Nothing has changed. We can believe that corporations have taken over Tinsel Town, but in this version of "The Last Tycoon" creativity has always been controlled by committee. So the filmmakers out there that think they are autonomous, without using your own money, it 'aint happening.
That aside, the story is of wunderkind Monroe Stahr (Matt Bomer) a ambitious young studio executive who is known to fix movies within the walls of Brady-American International, a fictional movie studio run by Pat Brady (Kelsey Grammer). During the depression, they both attempt to save the studio from outside forces including the rise of stars and divas, and dark secrets of actors, the dynamics of writers and producers and so forth. Coming into the story, we also have Brady's daughter Celia Brady (Lily Collins) who is at the edge of adulthood and fixated on making her own way into Hollywood, and also Brady's wife Rose Brady (Rosemarie DeWitt) who has a history with Monroe whilst Celia holds a burning crush on him.
Admittedly, I know very little about the book, which was written by F. Scott Fitzgerald. But I've seen the late 70's version, and they both do really good things. The issue with the 70's version is that it gets TOO melancholic. This skates a very tragic line since Bomer's Monroe plays a little more buoyant and hopeful than DeNiro's Monroe, who plays it brooding and bullish.
The series has some great moments (somewhat predictable but still satisfying) and makes nods to Hollywood lore. Louis B. Mayer's (Saul Rubinek) close to making "Wizard Of Oz" a Shirley Temple reference, and also a curious one with Margo Taft (Jennifer Beals) whom I can only assume is suppose to be Merle Oberon. Any way, this does suck you in. And I loved the production design. The characters have their intentions known and fascinating when they cut between the stories. You can keep up.
IF you are interested in old Hollywood, this is a great series to remind you that movie worlds were once made by people who really cared about the content.
That aside, the story is of wunderkind Monroe Stahr (Matt Bomer) a ambitious young studio executive who is known to fix movies within the walls of Brady-American International, a fictional movie studio run by Pat Brady (Kelsey Grammer). During the depression, they both attempt to save the studio from outside forces including the rise of stars and divas, and dark secrets of actors, the dynamics of writers and producers and so forth. Coming into the story, we also have Brady's daughter Celia Brady (Lily Collins) who is at the edge of adulthood and fixated on making her own way into Hollywood, and also Brady's wife Rose Brady (Rosemarie DeWitt) who has a history with Monroe whilst Celia holds a burning crush on him.
Admittedly, I know very little about the book, which was written by F. Scott Fitzgerald. But I've seen the late 70's version, and they both do really good things. The issue with the 70's version is that it gets TOO melancholic. This skates a very tragic line since Bomer's Monroe plays a little more buoyant and hopeful than DeNiro's Monroe, who plays it brooding and bullish.
The series has some great moments (somewhat predictable but still satisfying) and makes nods to Hollywood lore. Louis B. Mayer's (Saul Rubinek) close to making "Wizard Of Oz" a Shirley Temple reference, and also a curious one with Margo Taft (Jennifer Beals) whom I can only assume is suppose to be Merle Oberon. Any way, this does suck you in. And I loved the production design. The characters have their intentions known and fascinating when they cut between the stories. You can keep up.
IF you are interested in old Hollywood, this is a great series to remind you that movie worlds were once made by people who really cared about the content.