El cómico

Título original: The Comic

1969
M/PG
1h 34min

PUNTUACIÓN EN IMDb

TU PUNTUACIÓN

Historia de un brillante cómico del cine mudo cuyo talento se ve eclipsado por su ego.Historia de un brillante cómico del cine mudo cuyo talento se ve eclipsado por su ego.Historia de un brillante cómico del cine mudo cuyo talento se ve eclipsado por su ego.

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PUNTUACIÓN EN IMDb

6,4/10

979

TU PUNTUACIÓN

Ver la información de la producción en IMDbPro

Imágenes15

+ 8

Más del estilo

6,3

El novio de mi mujer

6,6

Cuidado con el mayordomo

6,6

Un mes de abstinencia

6,4

El hombre de la medianoche

5,7

6,6

4,3

6,3

7,0

Los encantos de la gran ciudad

6,8

Látigo

7,0

El candidato

6,7

La última locura

Argumento

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Curiosidades
While starring in El show de Dick Van Dyke (1961), Van Dyke called up Stan Laurel to ask for permission to do a Laurel & Hardy bit in an episode. Laurel told him that neither he nor Hardy's heirs owned the rights to the characters. Van Dyke and Reiner were horrified that Laurel didn't even own the rights to his own face, and this picture is the result.

Pifias
When Billy and Cockeye are walking along the Hollywood Walk of Fame, they are on Vine Street near the intersection of Selma Avenue. However, the stars' markers they point out are not in a row, or even near each other at that location.

Citas
[first lines]
Passerby at Billy's Funeral: Who checked out?
Hearse Driver: An old-time movie actor.
Passerby at Billy's Funeral: What's his name?
Hearse Driver: Billy Bright.
Passerby at Billy's Funeral: Billy Bright? Billy Bright?
Hearse Driver: Yeah, he was... back in the silent movies.
Passerby at Billy's Funeral: Oh, Billy Bright! I thought he was dead?

Conexiones
Features The Best Mouse Loses (1920)

Banda sonora
Yes! We Have No Bananas
Written by Frank Silver and Irving Cohn
Performed by Dick Van Dyke
Briefly sung by Billy Bright in voiceover and used as a leitmotif throughout the film

Reseñas de usuarios40

Comentarios

Reseña destacada

8/10

Reiner and Van Dyke at their non-TV best

Brilliantly realized tragicomedy in a Citizen Kane framework, obviously based on Buster Keaton. A tour de force for Dick Van Dyke, whose film work was inconsistent at best. But he nails Billy Bright from word one, and Carl Reiner's concise script gives him room to run. Reiner's no slouch, either; check the restaurant meeting for some biting wit on the Let's Do Lunch mentality. A boxoffice flop in '69-'70, tossed away on the lower half of double bills, or sent directly to subrun houses, this is a semi-classic that should be seen by all who love, or study, films.