Fitzgerald's unfinished novel about the romantic yearnings of an Irving Thalberg-like mogul (Robert DeNiro) is turned into the screenwriter Harold Pinter's stock in trade: a sphinxlike ballet of omitted information. The mixture of Pinter's ellipsis-strewn dialogue rhythms and the coarseness of the Old Hollywood setting gives the picture a strange, detached mood--cryptic, teasing, vaguely dislikable. DeNiro would nail this sewed-up-kingpin character two decades later in Scorsese's CASINO; here, whether through youthful inexperience or Pinter's deletions, he's remote and untantalizing. The punch of Fitzgerald's story--the hyperefficient chief's destruction through a search for the love he never found--never lands, because Pinter has drawn the character as a pinched, uncommunicative stick who seems to have no inner life. (It doesn't help that the director, Elia Kazan, seems unsure if he wants to communicate that DeNiro's love interest, Ingrid Boulting, is either a vapid lump or a pornographic doll.) Pinter designs most of the scenes to have anti-payoffs; in one--DeNiro's counsel to a panicky, impotent movie star (Tony Curtis)--he seems to have carefully tailored a joke with no punchline. With Theresa Russell, who gives the best performance as the Big Boss' daughter, and Jack Nicholson, in one of his finest tiny-role performances as a strangely fastidious union organizer. Also with Robert Mitchum, Ray Milland, Donald Pleasence, Seymour Cassel, Jeff Corey, and an extremely young, haunted-looking Anjelica Huston.
