In November 1924, multimillionaire William Randolph Hearst (Edward Herrmann) hosts a weekend of festivities aboard his 220-foot steamer in honor of filmmaker Thomas Ince's (Cary Elwes) birthday. It seems that everyone on board wants something from Hearst. Ince and his partner, George Thomas (Victor Slezak), need his financial assistance for their faltering business; gossip columnist Louella Parsons (Jennifer Tilly), an East Coast Hearst employee, wants to transfer to Tinseltown; and comedian womanizer Charlie Chaplin (Eddie Izzard) wants Hearst's lover Marion Davies (Kirsten Dunst) for his own. Joined by other party goers, including English Victorian novelist Elinor Glyn (Joanna Lumley) and Ince's mistress, the actress Margaret Livingston (Claudia Harrison), the group ships off for a weekend of fun and debauchery. The festivities soon turn more serious as Chaplin pursues Davies, fueling Hearst's jealousy over their alleged relationship. Ince, meanwhile, attempts to ingratiate himself with Hearst by keeping an eye on Chaplin and Davies. Ultimately, jealousy leads to tragedy, with all of the party goers sworn to secrecy over what transpired. Director Peter Bogdanovich (MASK) successfully recreates the opulence of Hearst's lifestyle and the spirit of the Roaring Twenties right down to the bootleg moonshine and the Charleston. (officiële tekst van distribiteur)


Video's (1)


Recensie (2)


alle recensies van de gebruiker

Engels A sympathetic little movie about a film scandal that brought me closer to the story of Marion Davies in particular. The role and the setting were perfect for the wonderful Kirsten Dunst. Everyone remembers 1924 as the Thomas Ince scandal. Elinor Glyn, Louella Parsons, Margaret Livingston, and Charlie Chaplin are all where they need to be. Another scandal in the lives of Hearst and Davies from 1940 can be seen in the film RKO 281 (1999). ()


alle recensies van de gebruiker

Engels Would you want to spend two hours in a cramped space with a bunch of noisy hypocrites? Poor in both form and content, The Cat’s Meow gives only an inkling of how much Peter Bogdanovich really knows and is capable of doing. Kirsten Dunst, whose 1920s dresses suit her as well as her 1880s/90s costumes, improves this impression (though she doesn’t do much more than that). 40% ()


Galerie (14)