Talk Radio (1988)

The movie is still so topical, even if it was out in 1988. It is filled with arguments from people who call themselves far right or far left. We get mixed up, hateful and frustrated callers. Everything is there. It is not premonitory, but we are now back in this atmosphere of mistrust towards all.It's little like Facebook but on the radio.In any case, that led me to several thoughts. It does not stop. A social criticism still on the spot, especially nowadays.In addition, the main actor, Eric Bogosian, is the same who wrote the play and the film, he is excellent and realistic in portraying a loud, talk radio personality.

He's toured Vietnam, sent the stock market, and streets of New York shaking with Wall Street. Now he's visiting the talk show arena, making one hell of an impact. Talk Radio is riveting viewing, from the get go. Not a mainstream film like Platoon or Wall Street, this one is just as good, (to some infinitely better) where shock jocks would definitely relate with this film. It features an electrifying and certainly, underrated performance, by much less known actor, Bogosian, in one breakthrough performance to end all breakthrough performances. He'll hook you like candy. You won't be able to divert your attention away from this actor's intense performance. Trust me. If you can remember, He was the eccentric nutter in Under Siege 2 (again a masterpiece performance) as well as that unbalanced, bad arse drug dealer in Wonderland. Here he's a devoted and zealous talk show host, rude, crude, ill respect of people's feelings, and heading on one dangerously evident path to self destruction as well his own demise, where despite these unlikeness's, we still feel worried and concerned for this guy's welfare, while liking him too. That's how I felt about this character. Among a sea of haters, whether shock jocks, Trumps, whatever, they're are devoted lovers too. We know 'em, these controversial talk show hosts, who like to take it one notch higher, push the envelope, what have you. An Adelaide'n, I used to love listening to our own Bob Francis, putting d..kheads back in their place, or being too harsh with some callers, cutting them off, unfairly, or being way out of line, with others, where on that rare occasion, they warranted fines, court cases, even arrests. One such incident, I especially remember, involving an 81 year old women. These kind of hosts, whether Big Bad Bob, Hinch, or Laws, the most controversial Aussie talk show Hosts, the ones who tell it like it is, and aren't afraid to play dirty, and dish it straight back at them, are the ones that reel us in. We lap it up. Right near the end of the piece, Bogosian, at his finest moment, showing balls, tells his listeners, that exact point, while also candidly, if bravely admitting his real self truths and faults, as well as how he feels towards his listeners, which for me was the part of the film, that really blew me away, and shone the brightest. Unpredictable moments, those brash moments of self admittance, in characters that aren't particularly likable, though not always, mind you, I really admire. John C. McGinley, a seasoned character actor, lends great support as Bogosian's good friend and colleague, where we know what Baldwin's selfish intentions are, which first don't come to light, as Bogosian's boss, a much cliché'd traits in bosses. Baldwin gves a nice, mellow, not overplayed performance, where another particularly impressive performance, came from John Pankow (a very good actor) as the boss of a bigger radio station, L.A style, scouting out Bogosian, at probably what could be the worst time, only it doesn't go that way. Surprise, surprise. Michael Wincott just cracked me up, as Bogosian's drug crazed No 1 listener (what a wild and remarkably versatile actor this guy is) who Bogosian invites onto the show. I know why too. It's not that hard to figure. Wincott who gets second acting dibs, went onto to star in Stone's next pic, The Doors, playing Jim Morrison's manager. Ellen Greene, another great actress, again delivers a top shelf performance as Bogosian's suffering ex wife, where we take a trip back in time through sepia to happier times between the two, Bogosian, sporting long curly hair. You couldn't ask for a more perfect cast of actors here, where Stone has a gift for assembling the right ones. He's a f..kin' genius for again bringing a none finer flawless film to us, the much appreciated viewer, considering too, this went straight to video, which I much more than suspect, criminally undersold this film. The finale has a stinging and shockingly affecting tragedy to it, yet a foreboding in the moments leading up to this, like a knowing fate. What follows, in a manifold of reactive caller ins, going into the end credits. This and beyond that, is a wonderfully executed end sequence. Again flawless, one of a few film endings that have left their mark. If you haven't seen ten "Must see" films, Talk Radio should be one of em'. And any shock jock, who hasn't seen this movie, needs to be shocked. It's real. This is how these loud hosts take it. I could especially relate, in what was just another moment of great acting, when Bogosian was overwhelmed, by the chain of hate callers, where we felt like a pressure cooker, about to pop it's top. Electrifying entertainment. Unmissable. Thanks Mr Stone. These are how movies should be.

Talk Radio is a heavy-handed treatment of Eric Bogosian's superb stage play; Oliver Stone has never been famous for his subtlety or minimalism and he's having a hard time dealing with it, adding dramatic camera angles and lighting effects that don't always compliment the dialog. But it's still understated compared to Stone's other films, and his over-the-top touches aren't enough to really detract from the excellent text or from Bogosian's brilliant performance, that makes every expression and every facial twitch count, although they do spoil the ending. The film's great moments are its smallest, the ones where Bogosian is alone with his microphone, and in those moments it's truly a disturbing pleasure. With a more fitting director - maybe Scorsese, maybe Jarmusch or Lumet - it could have been a masterpiece, instead it's a solid and effective film that has stood the test of time surprisingly well and still packs a punch.

More fast talking macho pyrotechnics from "Oliver Stone", a director whose love for alpha men borders on the homo-erotic."Talk Radio" revolves around Barry Champlain, a self loathing radio host who molests his callers through a microphone. Though he spends the entire film seated at a desk, Barry exudes pure sonic physicality, using his alpha dog swagger to simultaneously masturbate his listeners and cut them apart like a radio DJ rapist. In between these acts of audio sex, Barry indulges in doing what Oliver Stone's filmography does best; ranting about political and social corruption in the most didactic and obvious ways possible."Radio" is fast, fun and gripping, the audience watching as Barry explodes, implodes, yells and reveals – rarely – glimpses of his own wounded psyche. Like the stage play upon which it is based, "Radio" then launches into a subplot about 1960s styled social passion being repackaged for 80s styled profit. Barry is himself your typical hippie truth teller, albeit one who has been seduced by power, adopting ridiculously cartoonish (and wholly constructed) personas in order to both connect to viewers and convey an illusion of potency. But this potency, and Barry's very identity, is based on self-delusion, the film drawing parallels between Barry's alienation, cynicism, impotency, hypocrisy and anger, and the very bigots who call and listen to his show.As it was based on a stage play (by Eric Bogosian), it's no surprise that "Radio" takes place at one location and unfolds on a fairly small, single set. Still, Stone keeps the pace fast. Though at times goofy, he, like Barry, inserts enough energy and muscular trickery to keep us entertained.8/10 – Stone's films tend to age badly, but "Talk Radio" has held up very well. Whilst most of his films are overproduced and self-important, this one is sparse and self-depreciating. It's also Stone's most autobiographical film, though perhaps unintentionally so. Worth two viewings.