

Bullets Over Broadway
Commedia · Crime
95%
Certified Fresh
7.4/10
IMDb · 43.4K voti
La critica l'ha difeso più del pubblico−21 punti
“A killer comedy!”
Un gangster, una fidanzata senza talento e un drammaturgo alle prese con l'eterna domanda: l'arte può nascere dal compromesso?
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1920s Broadway. Playwright David Shayne considers himself an artist, and surrounds himself with like minded people, most struggling financially as they create art for themselves, not the masses. David, however, believes the failure of his first two plays was because he gave up creative control to other people who didn't understand the material. As such, he wants to direct his just completed third play, "God of Our Fathers", insider scuttlebutt being that it may very well make David the toast of Broadway. With David having no directing history, David's regular producer, Julian Marx, can't find any investors,... until a single investor who will finance the entire production comes onto the scene. He is Nick Valenti, a big time mobster, with the catch being that his dimwitted girlfriend, non-actress Olive Neal, get the lead role. A hesitant David and Julian, who are able to talk Nick into them giving Olive one of the two female supporting roles instead, go along with the scheme hoping that the three other actors hired will be able to make up for any deficiencies posed by Olive. What makes Olive's situation worse for David is that Nick has placed a bodyguard named Cheech - a typical thug who kills if need be - on Olive, he a constant presence at the theater during rehearsals. David is unaware or mindfully ignorant of issues concerning the other actors. Helen Sinclair, who has the lead, is a diva of an actress, who hasn't had a hit in years. Regardless, she is slyly manipulating David to make the role more glamorous befitting her real life persona than the frigid character he has written. Gossip is that Warner Purcell, the only male among the cast, has a roller coaster of a weight problem. Currently on a low, Warner tends to eat and eat and eat when when he gets stressed. And Eden Brent, a happy-go-lucky actress, has a constant companion in her pet chihuahua, Mr. Woofulls, whose presence is a constant thorn in Helen's side. With one problem after another during rehearsals, one event seems to have the potential to turn the production around on a permanent upswing,... that is if David goes along with it, he resisting if only because it would mean that his artistic vision was wrong. Regardless, there is still the potential for something to go violently wrong with Nick solely looking out for Olive's interest, and Cheech a constant presence, he seeing and hearing everything that is happening.
John CusackDavid Shayne
Chazz PalminteriCheech
Dianne WiestHelen Sinclair
Jennifer TillyOlive Neal
Mary-Louise ParkerEllen
Tracey UllmanEden Brent
Jim BroadbentWarner Purcell
Joe ViterelliNick Valenti
Harvey FiersteinSid Loomis
Rob ReinerSheldon Flender
Jack WardenJulian Marx
Tony SiricoRocco
Victor ColicchioWaterfront Hood
Louis EppolitoWaterfront Hood
Gene CanfieldWaterfront Hood
Peter CastellottiWaterfront Hood
John Di BenedettoWaterfront Hood
John VentimigliaWaterfront Hood
Lisa ArturoThree Deuces Chorus Line1 Oscar, 1 Golden Globe
Allen compone una commedia brillante sulla natura dell'arte e del compromesso, dove il teatro diventa specchio del cinema stesso. La struttura è impeccabile: ogni personaggio è un tipo riconoscibile del mondo dello spettacolo, eppure mai caricaturale, e l'intreccio tra ambizione creativa e necessità pratiche genera un meccanismo comico inesorabile.
La direzione degli attori è straordinaria: Dianne Wiest costruisce una diva teatrale indimenticabile e vinse l'Oscar proprio per questo ruolo, mentre Chazz Palminteri – già autore del monologo da cui nascerà A Bronx Tale – trasforma il gangster Cheech in qualcosa di inaspettatamente umano. Allen orchestra il tutto con il ritmo di una commedia classica hollywoodiana, dove ogni battuta conta e nulla è sprecato.
È uno dei suoi film più generosi: ironico sull'ego degli artisti ma mai cinico, capace di ridere delle pretese intellettuali senza disprezzarle. Un affresco del teatro anni Venti che parla a chiunque abbia mai dovuto scegliere tra visione e realtà.
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