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The Kid Stays in the Picture
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Starring Robert Evans
Robert Evans' rise from second-string actor (who really was discovered while lounging by the pool at the Beverly Hills Hotel) to head of one of Hollywood's biggest movie studios is told from the viewpoint of Evans himself in this documentary, adapted from his autobiography (and featuring Evans' own narration). In 1957, Evans had already achieved success in the garment business when actress Norma Shearer spotting him at poolside and suggested he should play her late husband, legendary producer Irving Thalberg, in the movie Man of a Thousand Faces. While Evans knew he wasn't cut out to be an actor, he discovered he liked the movie business, and after becoming a film industry executive, Evans was named head of production at Paramount in the late '60s. Under Evans' leadership, Paramount produced such classics as Rosemary's Baby, Love Story, and The Godfather. He also married actress Ali McGraw; however, McGraw left Evans for Steve McQueen after they starred together in The Getaway. After leaving Paramount to become a producer (and racking up hits like Chinatown and Marathon Man), Evans' golden touch began to elude him; an arrest for drugs seemed to put an end to his career, until he made a comeback as a freelance producer in the 1990s on such films as Sliver and The Saint. Part of the narration for The Kid Stays in the Picture was drawn from the book-on-tape version of Robert Evans' autobiography of the same name, which featured Evans reading his own work; the audio book has developed a cult following of its own, and legend has it Dustin Hoffman based his performance in Wag The Dog on Evans' reading style on the tape. ~ Mark Deming, All Movie Guide
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RisseladaRisselada The Kid Stays in the Picture
by Risselada in Risselada Blog
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"The Kid Stays in the Picture The movie industry likes to make a lot of movies about itself. Then again there are a lot of books about writing and a lot of plays about theatre so I guess people just like writing about what they know. This film is not quite as indulgent because it presents it as a documentary instead of retelling or [More]
Kowalski76Kowalski76 Lacks third party commentary
by Kowalski76 in Rebellious Celluloid
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"The Kid Stays In The Picture2002 (USA)dir: Nanette Burstein & Brett MorgenRobert Evans (himself - narrator)The Kid Stays In The Picture traces the meteoric rise, fall and rise again of legendary Hollywood producer Robert Evans. The producer of The Godfather (1972) and Chinatown (1974), Evans' career faltered in the early 80s thanks to a cocaine bust and hi " [More]
mercurialmercurial Weekly Theme for September 1: W ...
by mercurial in Weekly Theme
"With this Labor Day Weekend (for those of us living in the United States - sorry for those elsewhere) coming to a close, I felt it apropos to dedicate this week's theme to all the films that celebrate those hardworking people out there that flat out hate their jobs. Undoubtedly the two movies that are referenced most often when one tries to relate their hatred for their work are Office Space " [More]
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Review by All Movie Guide
All Movie Guide
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Since Robert Evans' fingerprints were all over everything he touched during a meteoric rise through Hollywood, it's no surprise that the film version of his autobiography was both narrated and thoroughly controlled by the colorful egomaniac. As a result, The Kid Stays in the Picture relegates directors Brett Morgen and Nanette Burstein (On the Ropes) to the role of window dressers, not the probing interpreters they might have been if filming an unauthorized piece, a la Nicholas Broomfield's Kurt & Courtney. But since there would be no movie without Evans' juicy book, and since the mogul's exhibitionism knows no bounds -- including a willingness to expose sordid rehab episodes and cast doubt upon himself -- this is an acceptable sacrifice. The result is a funny, clever entry into a rich era of film history, by way of one its most attractive and powerful figures. And what window dressing -- Morgen and Burstein adopt a vivid format for presenting the snippets of newspaper and behind-the-scenes footage that chart Evans' journey from poolside dreamer to chief of Paramount Pictures to scandalous burnout. Static still photographs burst with vitality thanks to a device that gives them a third dimension, with each picture element floating on its own plane. The collection of materials on hand indicates some pretty thorough scrounging by Morgen, Burstein and Evans. A standout is the desperate plea Evans filmed to dissuade Paramount's board of directors from closing the studio; in a trademark moment, his suave confidence utterly overcame them. Evans doesn't censor his thoughts on his industry associates, least of all the women in his life, so this is a delicious inside treat with real laughs and genuine, dissociated insight. ~ Derek Armstrong, All Movie Guide
 

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