Cradle Will Rock

source: Cradle Will Rock

Trailer—Cradle Will Rock

Cradle Will Rock

What is it with films like this & The Moderns? Are they bad homages or assassinations masquerading as tributes? We seem to live in an age with a massive oedipal artistic complex. Hemingway & Stein reduced to simpering pedantic fools in The Moderns & here Welles & Rivera & Rockefeller reduced to late Saturday Nite Live skits. There's some kind of ideology at work here. Ideology of trivialization. Here's rooting for the next generation to rise & overthrow the Robbins/Sarandon mindless retro-liberal nexus.

I do not know where the problem in this movies lies. There must have been something in the script to get people like John & Joan Cusack, Reuben Blades, Bob Balaban and the rest involved in the project like this. However, from watching the final project I have no idea what it was. The movie was poorly written. The characters were buffoonish stereotypes. The plot was a hodge-podge of storylines that lacked Robert Atlman's unifying touches. The direction was over the top. Was Tim Robbins trying to distract the audience from the weaknesses in the film? In short, I would not recommend this movie to anyone. I can not believe I wasted money renting this. I expected so much more. The subject matter and the historical characters deserve much better treatment.

Tim Robbins creates a brilliant social commentary in the same in-your-face style as "Bob Roberts". I adore the statements Robbins makes about social politics, as well as the problems with the idea of "art for art's sake". He lyrically tells the story of the struggle of performing and visual artists around the Depression era, choosing between their art and their livelihood--a struggle that is universal for artists through the expanse of time. The concept of this film is a breakthrough for the big screen, since Hollywood seems to be the capital of "selling out". The comments on artistic integrity are strong and literally moving in the acting of an amazing cast, as well as the way in which the story is edited to David Robbins' beautiful score. The entire film is simply poetic. This film is truly a masterpiece to any artist, or to anyone who knows what it like to compromise your values to survive.

This is a classically written piece about the corruptability and compromises of politicians, businessmen and yes even artists. Tim Robbins is quickly becoming one of my favorite writers. I'll admit I had a hard time trying not to misinterpret the dialog, but at least the movie made me think. I also commend Robbins for tackling the hypocrisy involved in being an artist. It's slow, but give it a chance. By the end of this movie the levels and themes he's hitting on tie together very, very well.

This may suffer from having a few too many plot lines and characters (Emily Watson, for example, is a role too far), but most of what's there is excellent. Bill Murray is as good as he has been recently in Rushmore and Lost in Translation, and the Cusacks are at their best. This is a film that lingers with you after you've seen it, and gives a fascinating insight into a turbulent time.

This is definately Tim Robbins best (directed) film yet. He brings a number of characters together to tell the story of the 1930's. In particular, Orson Wells and his broadway production that caused a controversy and some other things. Though it take liberties in history (that sounds weird), it comes out in the end as good entertainment from an exceptional actor/writer/director/producer. All star cast includes John and Joan Cusack, Ruben Blades, Hank Azaria, Tim Robbins (uncredited), Emily Watson, Susan Sarandon, Paul Giamatti, Angus MacFaden as Orson Wells (in a breakthrough performance) and Bill Murray in a wonderful role as a puppeteer. A+