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The Player (1992)

R | | Comedy, Crime, Drama | 8 May 1992 (USA)
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A Hollywood studio executive is being sent death threats by a writer whose script he rejected, but which one?

Director:

Robert Altman

Writers:

Michael Tolkin (screenplay), Michael Tolkin (novel)
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Popularity
4,279 ( 629)
Nominated for 3 Oscars. Another 24 wins & 29 nominations. See more awards »

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Cast

Cast overview, first billed only:
Tim Robbins ... Griffin Mill
Greta Scacchi ... June Gudmundsdottir
Fred Ward ... Walter Stuckel
Whoopi Goldberg ... Detective Avery
Peter Gallagher ... Larry Levy
Brion James ... Joel Levison
Cynthia Stevenson ... Bonnie Sherow
Vincent D'Onofrio ... David Kahane
Dean Stockwell ... Andy Civella
Richard E. Grant ... Tom Oakley
Sydney Pollack ... Dick Mellen
Lyle Lovett ... Detective DeLongpre
Dina Merrill ... Celia
Angela Hall ... Jan
Leah Ayres ... Sandy
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Storyline

Events in the life of a Hollywood studio executive, unfold with the same unrealistic positive coincidences, ultimately culminating to a "happy ending", much like the movie scripts, with which he works day in and out, after he accidentally murders someone. Written by Abhay Bhatt

Plot Summary | Plot Synopsis

Taglines:

Now more than ever! See more »


Motion Picture Rating (MPAA)

Rated R for language, and for some sensuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

8 May 1992 (USA) See more »

Also Known As:

The Player See more »

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Box Office

Budget:

$8,000,000 (estimated)

Opening Weekend USA:

$302,216, 10 April 1992

Gross USA:

$21,706,100

Cumulative Worldwide Gross:

$28,876,701
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Ultra Stereo

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Greta Scacchi's character's name, Gudmundsdottir, is not really a last name. In Icelandic tradition there are no family names, one takes his or her father's name and adds -son or -dottir. She is therefore "June, daughter of Gudmund." (In Icelandic, it is pronounced more or less "Gvuth-munds-dokh-teer," stressed on the first syllable.) See more »

Goofs

In a tracking shot during the confrontation between Mill and the screenwriter, the camera and cameraman are reflected in the black paint of the SUV. See more »

Quotes

[first lines]
Man 1: [voiceover] Quiet on the set.
Woman: [voiceover] OK, everybody, quiet on the set.
Man 2: [voiceover] Scene 1, take 10. Marker.
Man 1: [voiceover] And - action!
See more »

Crazy Credits

Tim Robbins, Fred Ward and Cynthia Stevenson all enter the film when their names appear in the opening credits. See more »

Alternate Versions

In the theatrical version there was a frontal nude scene of Tim Robbins at the hotel in the desert. This scene was removed for the cable version. See more »

Connections

Featured in Indie Sex: Censored (2007) See more »

Soundtracks

TEMA PARA JOBIM
Copyright Mulligan Publishing Co., Inc.
Music by Gerry Mulligan
Lyrics by Joyce
Performed by Joyce, Milton Nascimento
Courtesy of Estudio Pointer Ltda. & RCA Electronica Ltda.
See more »

Frequently Asked Questions

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User Reviews

 
Joe Gillis calling...
21 August 2001 | by DeeNine-2See all my reviews

"Players only love you when they're playing." --Stevie Nicks

Griffin Mill, whose name has a kind of ersatz Hollywood feel to it (cf., D. W. Griffith/Cecil B. De Mille), is not a player with hearts so much as a player with dreams. He is a young and powerful film exec who hears thousands of movie pitches a year, but can only buy twelve. So he must do a lot of dissembling, not to mention outright lying, along with saying "We'll get back to you," etc. This is what he especially must say to writers. And sometimes they hold a grudge. In this case one of the rejected writers begins to stalk Griffin Mill and send him threatening postcards. And so the plot begins.

Tim Robbins, in a creative tour de force, plays Griffin Mill with such a delightful, ironic charm that we cannot help but identify with him even as he violates several layers of human trust. The script by Michael Tolkin smoothly combines the best elements of a thriller with a kind of Terry Southern satirical intent that keeps us totally engrossed throughout. The direction by Robert Altman is full of inside Hollywood jokes and remembrances, including cameos by dozens of Hollywood stars, some of whom get to say nasty things about producers. The scenes are well-planned and then infused with witty asides. The tampon scene at police headquarters with Whoopi Goldberg is an hilarious case in point, while the sequence of scenes from Greta Scacchi's character's house to the manslaughter scene outside the Pasadena Rialto, is wonderfully conceived and nicely cut. Also memorable is the all black and white dress dinner scene in which Cher is the only person in red, a kind of mean or silly joke, depending on your perspective. During the same scene Mill gives a little speech in which he avers that "movies are art," a statement that amounts to sardonic irony since, as a greedy producer, he cares nothing at all about art, but only about box office success. His words also form a kind of dramatic irony when one realizes that this movie itself really is a work of art. As Altman observes in a trailing clip, the movie "becomes itself." The Machiavellian ending illustrates this with an almost miraculous dovetailing. This is the kind of script that turns most screen writers Kermit-green with envy.

Incidentally, Joe Gillis, the Hollywood writer played by William Holden in Sunset Boulevard--personifying all unsuccessful screen writers--actually does call during the movie, but Mill doesn't recognize the name and has to be told he is being put on, further revealing the narrow confines of his character.

In short, this is a wonderfully clever, diabolically cynical satire of Hollywood and the movie industry. This is one of those movies that, if you care anything at all about film, you must see. Period. It is especially delicious if you hate Hollywood. It is also one of the best movies ever made about Hollywood, to be ranked up there with A Star is Born (1937) (Janet Gaynor, Fredric March); Sunset Boulevard (1950); A Star is Born (1954) (Judy Garland, James Mason); and Postcards from the Edge (1990).

I must add that in the annals of film, this has to go down as one of the best Hollywood movies not to win a single Academy Award, although it was nominated for three: Best Director, Best Adapted Screenplay and Best Editing. I suspect the Academy felt that the satire hit a little too close to home for comfort.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)


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