I tend to be down on Oliver Stone films. More often than not, they emphasize style over substance - flashy camera work or editing to mask an inability to tell a story effectively. I think one notable exception is WALL STREET, the Reel 13 Classic from the first Saturday in October. While there are occasional moments that Stone makes his presence felt (zooms that feel so wrong, occasional whip pans and of course, the old dolly-in/zoom-out that filmmakers love to overuse), for the most part, he lets the story unfold on its own. He (generally) doesn't force matters, which is unusual for him and allows, to my mind, for a more effective and interesting narrative.
And so, it's the script that's front and center in WALL STREET and that is what I think is the key to the film's effectiveness. Stone, along with co-writer Stanley Weiser, craft a very detailed and well-structured story with terrific, snappy dialogue that is clever without being overly so and therefore, remains believable. This gives the cast something meaty to work with and most of the ensemble doesn't disappoint. Of course, Michael Douglas' portrayal of Gordon Gekko is now legendary and quite possibly, deservedly so. He exudes both confidence and menace at all times, but occasionally reveals glimpses of vulnerability and humanity that make the character three-dimensional. It's never enough to diminish his on-screen authority, but just enough to round out Gekko. Even Charlie Sheen is quite strong through most of the movie, that is, until he gets truly tested in the third act. In other words, he nails ambition, greed and confidence. When he has to play betrayed, embarrassed, angry, devastated and hurt, he falters greatly.
It may come as no surprise that the one member of the cast that is a complete waste of space is Daryl Hannah as the femme fatale caught in the middle. She doesn't even look good (though that may be my 2008 sensibility speaking), let alone present an interesting character that we might actually root for. Her scenes are like nails on a chalkboard and add absolutely nothing to the narrative. Perhaps the character's storyline might have worked with another actor (I know that Diane Lane was around then…), but as it stands, you mentally plead with Sheen's Bud Fox to dump her ass as soon as possible so we can return to the real story.
This is just another of a handful of flaws that prevent WALL STREET from being a wholly satisfying experience. Hannah, Stone's sporadic stylistic flights of fancy and the unnecessary coda at the end all fall into that category, but ultimately they are overshadowed by the strength of the story and script. There is enough quality within the narrative to keep the viewer invested, in spite of the intermittent hiccups along the way.
(For more information on this or any other Reel 13 film, check out their website at www.reel13.org)