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108-578: To What Red Hell is an all-talking sound 1929 British crime film directed by Edwin Greenwood and starring Sybil Thorndike , Bramwell Fletcher and Janice Adair . Made at Twickenham Studios , it was one of the earliest all-talking sound films to be produced in Britain. It was released in the United States by Tiffany Pictures . This article related to a British film of the 1920s

216-416: A Hollywood feature went from $ 20,000 in 1914 to $ 300,000 in 1924. Silver and Ursini stated that the earliest crime features were by Austrian émigré director Josef von Sternberg whose films like Underworld (1927) eliminated most of the causes for criminal behavior and focused on the criminal perpetrators themselves which would anticipate the popular gangster films of the 1930s. The groundwork for

324-437: A better word, is good." It has also proven influential in inspiring people to work on Wall Street, with Sheen, Douglas, and Stone commenting over the years how people still approach them and say that they became stockbrokers because of their respective characters in the film. Stone and Douglas reunited for a sequel titled Wall Street: Money Never Sleeps , which was released theatrically on September 24, 2010. In 1985, Bud Fox

432-478: A broader category called "film type", mystery and suspense as "macro-genres", and film noir as a "screenwriter's pathway" explaining that these categories are additive rather than exclusionary. Chinatown would be an example of a film that is a drama (film type) crime film (super-genre) that is also a noir (pathway) mystery (macro-genre). The definition of what constitutes a crime film is not straightforward. Criminologist Nicole Hahn Rafter in her book Shots in

540-466: A broker during the Great Depression at Hayden Stone . The filmmaker knew a New York businessman who was making millions and working long days putting together deals all over the world. This man started making mistakes that cost him everything. Stone remembers that the "story frames what happens in my movie, which is basically a Pilgrim's Progress of a boy who is seduced and corrupted by

648-484: A business meeting, and the kinds of extras that should be seated at the annual shareholders' meeting where Gekko delivers his "Greed is good" speech. Stone agreed with Lipper's criticism and asked him to rewrite the script. Lipper brought a balance to the film and this helped Stone get permission to shoot on the floor of the New York Stock Exchange during trading hours. Lipper and Stone disagreed over

756-505: A change signaled by films like Chinatown (1974) and The Wild Bunch (1969) noting that older genres were being transformed through cultivation of nostalgia and a critique of the myths cultivated by their respective genres. Todd found that this found its way into crime films of the 1980s with films that could be labeled as post-modern , in which he felt that "genres blur, pastiche prevails, and once-fixed ideals, such as time and meaning, are subverted and destabilized". This would apply to

864-575: A conservative era. For crime films, this led to various reactions, including political films that critiqued official policies and citizen's political apathy. These included films like Missing (1982), Silkwood (1983), and No Way Out (1987). Prison films and courtroom dramas would also be politically charged with films like Kiss of the Spider Woman (1985) and Cry Freedom (1987). While films about serial killers existed in earlier films such as M (1931) and Peeping Tom (1960),

972-538: A considerable amount of money from the Bluestar tip, Gekko gives Bud some capital to manage, but the other stocks Bud selects by honest research and advice from respected senior broker Lou Mannheim lose money. Gekko offers Bud another chance, and tells him to spy on British investor Sir Lawrence Wildman. They deduce that Wildman is making a bid for Anacott Steel. Gekko buys a large block of shares in Anacott, which Wildman

1080-454: A crooked shell" and portrayed gangsters who showcased the "romantic mystique of the doomed criminal." The 1940s formed an ambivalence toward the criminal heroes. Leitch suggested that this shift was from the decline in high-profile organized crime, partly because of the repeal of Prohibition in 1933 and partly because of the well-publicized success of the FBI. Unlike the crime films of the 1930s,

1188-484: A film described as "crime/ action " or an "action/crime" or other hybrids was "only a semantic exercise" as both genres are important in the construction phase of the narrative. Mark Bould in A Companion to Film Noir stated that categorization of multiple generic genre labels was common in film reviews and rarely concerned with succinct descriptions that evoke elements of the film's form, content and make no claims beyond on how these elements combine. Leitch, stated that

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1296-439: A job at Bluestar once he has completed his prison sentence. After suggesting Bud "create, instead of living off the buying and selling of others", Carl drops Bud off at the courthouse, where he ascends the steps, ready to face justice for his crimes. After the success of Platoon (1986), Stone wanted film school friend and Los Angeles screenwriter Stanley Weiser to research and write a screenplay about quiz show scandals in

1404-491: A locker of the Hollywood Athletic Club. The Asphalt Jungle (1950) consolidated a tendency to define criminal subculture as a mirror of American culture. The cycle of caper films were foreshadowed by films like The Killers (1946) and Criss Cross (1949) to later examples like The Killing (1956) and Odds Against Tomorrow (1959). Leitch wrote that these films used the planning and action of

1512-684: A mobster known as The Snapper Kid. Regeneration (1915) was an early feature-length film about a gangster who saved from a life of crime by a social worker. These two early films and films like Tod Browning 's Outside the Law (1920) that deal with the world of criminal activity were described by Silver and Ursini as being gangsters "constrained by a strong moral code". Stuart Kaminsky in American Film Genres (1974) stated that prior to Little Caesar (1931), gangster characters were in films were essentially romances . European films of

1620-431: A part that almost nobody thought I could play". However, Daryl Hannah 's performance was not as well received and earned her a Golden Raspberry Award for Worst Supporting Actress , thus making this the only film to date to win both an Oscar and a Razzie . The "quintessential financial high-roller's attire" of Michael Douglas in the movie, designed by Alan Flusser , was emulated in the 1980s by yuppies . Interest in

1728-535: A psychopathic personality." Drew Todd in Shots in the Mirror: Crime Films and Society described the character as different than films featuring rebellious characters from the 1940s and 1950s, with a character whose anger is directed against the state, mixed with fantasies of vigilante justice. Films like Dirty Harry , The French Connection and Straw Dogs (1971) that presented a violent vigilante as

1836-470: A remake of The Defiant Ones (1958). The cycle generally slowed down by the mid 1970s. Prison films closely followed the formulas of films of the past while having an increased level of profanity, violence and sex. Cool Hand Luke (1967) inaugurated the revival and was followed into the 1970s with films like Papillon (1973), Midnight Express (1978) and Escape from Alcatraz (1979). When Ronald Reagan became president in 1980, he ushered in

1944-413: A robbery todramatize the "irreducible unreasonableness of life." The themes of existential despair made the these film popular with European filmmakers, who would make their own heist films like Rififi (1955) and Il bidone (1955). Filmmakers of the coming French New Wave movement would expand on these crime films into complex mixtures of nostalgia and critique with later pictures like Elevator to

2052-420: A savior. By the mid-1970s, a traditional lead with good looks, brawn and bravery was replaced with characters who Todd described as a "pathological outcast, embittered and impulsively violent." Hollywood productions began courting films produced and marketed by white Americans for the purpose of trying to attract a new audience with blaxploitation film. These films were almost exclusively crime films following

2160-419: A terrible example." The film is recognized by American Film Institute in these lists: In 2007, The New York Times reported that a sequel to Wall Street , to be subtitled Money Never Sleeps , was already in pre-production . Michael Douglas would reprise his role as Gordon Gekko. The film would also focus on Gekko, recently released from prison and re-entering a much more chaotic financial world than

2268-520: A worldwide total of $ 41 million. The film has a 79% rating on Rotten Tomatoes based on 61 reviews, with an average rating of 6.90/10. The consensus reads, "With Wall Street , Oliver Stone delivers a blunt but effective—and thoroughly well-acted—jeremiad against its era's veneration of greed as a means to its own end." On Metacritic it has a score of 56 out of 100 from 16 reviews, indicating "mixed or average reviews". In his review for The New York Times , Vincent Canby , while quite critical of

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2376-431: Is Good" credo and his frequent references to Sun Tzu 's The Art of War typify the short-term view prevalent in the 1980s. Wall Street was released on December 11, 1987, in 730 theaters and grossed $ 4.1 million on its opening weekend. It went on to make $ 43.8 million in the United States and Canada, earning theatrical rentals of $ 20 million. Internationally, it earned rentals of $ 21 million for

2484-466: Is a stub . You can help Misplaced Pages by expanding it . Crime film Screenwriter and scholar Eric R. Williams identified crime film as one of eleven super-genres in his Screenwriters Taxonomy , claiming that all feature-length narrative films can be classified by these super-genres.  The other ten super-genres are action, fantasy, horror, romance, science fiction, slice of life, sports, thriller, war and western. Williams identifies drama in

2592-480: Is a junior stockbroker at Jackson Steinem & Co. in New York City . He wants to work with his hero, Gordon Gekko , a legendary Wall Street player. After calling Gekko's office 59 days in a row trying to land an appointment, Bud visits Gekko on his birthday with a box of Gekko's favorite, contraband Cuban cigars. Impressed at his persistence, Gekko grants Bud an interview. Bud pitches him stocks, but Gekko

2700-402: Is a style of crime film that originated from two cinematic precursors: the gangster film and the gentleman thief film. The essential element in these films is the plot concentration on the commission of a single crime of great monetary significance, at least on the surface level. The narratives in these films focus on the heist being wrapped up in the execution of the crime more or at as much as

2808-538: Is an oily triumph and as the kid Gekko thinks he has found in Fox ('Poor, smart and hungry; no feelings'), Charlie Sheen evolves persuasively from gung-ho capitalist child to wily adolescent corporate raider to morally appalled adult". Rita Kempley wrote in The Washington Post that the film "is at its weakest when it preaches visually or verbally. Stone doesn't trust the time-honored story line, supplementing

2916-423: Is different just as crime are different than horror, science fiction and period drama films. Rafter also suggested that Westerns could be considered crime films, but that this perception would only be "muddying conceptual waters." The history of the crime film before 1940 follows reflected the changing social attitudes toward crime and criminals. In the first twenty years of the 20th Century, American society

3024-549: Is forced to buy off him at a high price, to complete the takeover. Bud becomes wealthy, enjoying Gekko's promised perks, including a penthouse on Manhattan's East Side. He also gains a girlfriend, Gekko's art consultant and ex-mistress, Darien, an interior decorator . Bud is promoted as a result of the large commissions he is bringing in and is given an office with a view. He continues to maximize inside information and use friends as straw buyers to provide more income for himself and Gekko. Unknown to Bud, several of his trades attract

3132-510: Is revealed that Bud was wearing a wire to record his encounter with Gekko for the authorities, who suggest he may get a lighter sentence in exchange for providing evidence against Gekko. Later, Bud's parents drive him down FDR Drive towards the New York County Courthouse , telling Bud he "did the right thing" by cooperating with the government and paying back his illicit earnings, and urging him to accept Wildman's offer of

3240-403: Is unimpressed. Desperate, Bud provides him some inside information about Bluestar Airlines, which he has learned in a casual conversation with his father, Carl, leader of the company's maintenance workers' union. Intrigued, Gekko tells Bud he will think about it. A dejected Bud returns to his office. However, Gekko places an order for Bluestar stock and becomes one of Bud's clients. After making

3348-640: The British Board of Film Censors or conveyed mostly through narration. Box-office receipts began to grow stronger towards the late 1960s. Hollywood's demise of the Hays Code standards would allow for further violent, risqué and gory films. As college students at the University of Berkeley and University of Columbia demonstrated against racial injustice and the Vietnam, Hollywood generally ignored

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3456-503: The Federal Bureau of Investigation (FBI) in 1935), promoted bigger budgets and wider press for his organization and himself through a well-publicized crusade against such real world gangsters as Machine Gun Kelly , Pretty Boy Floyd and John Dillinger . Hoover's fictionalized exploits were glorified in future films such as G Men (1935). Through the 1930s, American films view of criminals were predominantly glamorized, but as

3564-526: The University of California, Berkeley , Boesky said, "Greed is all right, by the way. I want you to know that. I think greed is healthy. You can be greedy and still feel good about yourself." Wall Street is not a wholesale criticism of capitalism , but of the cynical, quick-buck culture of the 1980s. The "good" characters in the film are themselves capitalists, but in a more steady, hardworking sense. In one scene, Gekko scoffs at Bud Fox's question as to

3672-1045: The Western film as they lack both the instantly recognizable or the unique intent of other genres such as parody films. Leitch and Rafter both write that it would be impractical to call every film in which a crime produces the central dramatic situation a crime film. Leitch gave an example that most Westerns from The Great Train Robbery (1903) to Unforgiven (1992) often have narratives about crime and punishment, but are not generally described as crime films. Films with crime-and-punishment themes like Winchester 73 (1950) and Rancho Notorious (1952) are classified as Westerns rather than crime films because their setting takes precedence over their story. Alain Silver and James Ursini argued in A Companion to Crime Fiction (2020) that "unquestionably most Western films are crime films" but that that their overriding generic identification

3780-495: The gangster film as both a genre on its own terms and a subgenre of the crime film. In these films, the gangster and their values have been imbedded through decades of reiteration and revision, generally with a masculine style where an elaboration on a codes of behavior by acts of decisive violence are central concerns. The archetypal gangster film was the Hollywood production Little Caesar (1931). A moral panic followed

3888-543: The "Greed is good" speech. Stone planned to use a Fortune magazine cover in exchange for promotional advertisements, but Forbes magazine made a similar offer. Stone stuck with Fortune , which upset Forbes publisher Malcolm Forbes , who turned down a later request to use his private yacht. Stone switched from 12- to 14-hour shooting days in the last few weeks in order to finish principal photography before an impending Directors Guild of America strike and finished five days ahead of schedule. Sheen remembered that Stone

3996-547: The "Greed, for lack of a better word, is good" line was based on a speech by Boesky where he said, "Greed is right". According to Edward R. Pressman , producer of the film, "Originally, there was no one individual who Gekko was modeled on", he adds, "But Gekko was partly Milken ". Also, Pressman has said that the character of Sir Larry Wildman was modeled on James Goldsmith , the Anglo-French billionaire and corporate-raider. According to Weiser, Gekko's style of speaking

4104-627: The "stiffness" of Sheen's acting style and used it to convey Bud's naivete. Michael Douglas had just come off heroic roles like the one in Romancing the Stone and was looking for something dark and edgy. The studio wanted Warren Beatty to play Gekko, but he was not interested. Stone initially wanted Richard Gere but the actor passed, so Stone went with Douglas despite having been advised by others in Hollywood not to cast him. Stone remembers, "I

4212-612: The 1940s films were based more on fictional tales with gangsters played by Paul Muni in Angel on My Shoulder (1946) and Cagney in White Heat (1949) were self-consciously anachronistic. Filmmakers from this period were fleeing Europe due to the rise of Nazism. These directors such as Fritz Lang , Robert Siodmak , and Billy Wilder would make crime films in the late 1930s and 1940s that were later described as film noir by French critics. Several films from 1944 like The Woman in

4320-464: The 1950s. During a story conference, Stone suggested making a film about Wall Street instead. The director pitched the premise of two investment partners getting involved in questionable financial dealings, using each other, and they are tailed by a prosecutor as in Crime and Punishment . The director had been thinking about this kind of a movie as early as 1981 and was inspired by his father, Lou Stone,

4428-689: The 1980s had an emphasis on the serial nature of their crimes with a larger number of films focusing on the repetitive nature of some murders. While many of these films were teen-oriented pictures, they also included films like Dressed to Kill (1980) and Henry: Portrait of a Serial Killer (1986) and continued into the 2000s with films like Seven (1995), Kiss the Girls (1997), and American Psycho (2000). In an article by John G. Cawelti titled " Chinatown and Generic Transformations in Recent American Films" (1979), Cawleti noticed

To What Red Hell - Misplaced Pages Continue

4536-652: The 1990s with films like Wild at Heart (1990). Quentin Tarantino would continue this trend in the 1990s with films where violence and crime is treated lightly such as Reservoir Dogs (1992), Pulp Fiction (1994) and Natural Born Killers (1994) while Lynch and the Coens would continue with Fargo (1996) and Lost Highway (1997). Other directors such as Martin Scorsese and Sidney Lumet would continue to more traditional crime films Goodfellas , Prince of

4644-498: The American crime film which began rejecting linear storytelling and distinctions between right and wrong with works from directors like Brian de Palma with Dressed to Kill and Scarface and works from The Coen Brothers and David Lynch whose had Todd described as having "stylized yet gritty and dryly humorous pictures evoking dream states" with films like Blood Simple (1984) and Blue Velvet (1986) and would continue into

4752-522: The City (1980), Q & A (1990), and Casino (1995). Other trends of the 1990s extended boundaries of crime films, ranging from main characters who were female or minorities with films like Thelma and Louise (1991), Swoon (1991), Devil in a Blue Dress (1995), Bound (1996) and Dolores Claiborne (1996). Every genre is a subgenre of a wider genre from whose contexts its own conventions take their meaning, it makes sense to think of

4860-794: The Gallows (1958), Breathless (1960) and Shoot the Piano Player (1960). Following the classical noir period of 1940 to 1958, a return to the violence of the two previous decades. By 1960, film was losing popularity to television as the mass form of media entertainment. Despite To The crime film countered this by providing material no acceptable for television, first with a higher level of onscreen violence. Films like Psycho (1960) and Black Sunday (1960) marked an increase in onscreen violence in film. Prior to these films, violence and gorier scenes were cut in Hammer film productions by

4968-660: The Mirror: Crime Films and Society (2006) found that film scholars had a traditional reluctance to examine the topic of crime films in their entirety due to complex nature of the topic. Carlos Clarens in his book Crime Movies (1980), described the crime film as a symbolic representation of criminals, law, and society. Clarens continued that they describe what is culturally and morally abnormal and differ from thriller films which he wrote as being more concerned with psychological and private situations. Thomas Schatz in Hollywood Genres: Formulas, Filmmaking, and

5076-516: The Studio System (1981) does not refer to the concept of crime film as a genre, and says that "such seemingly similar "urban crime" formulas" such as the gangster film and detective film were their own unique forms. Thomas Leitch, author of Crime Films (2004) stated that the crime film presents their defining subject as a crime culture that normalizes a place where crime is both shockingly disruptive and completely normal. Rafter suggested

5184-461: The Window , Laura , Murder, My Sweet and Double Indemnity ushered in this film cycle. These works continued into the mid-1950s. A reaction to film noir came with films with a more semi-documentary approach pioneered by the thriller The House on 92nd Street (1945). This led to crime films taking a more realistic approach like Kiss of Death (1947) and The Naked City (1948). By

5292-412: The allure of easy money. And in the third act, he sets out to redeem himself". Stone asked Weiser to read Crime and Punishment , but Weiser found that its story did not mix well with their own. Stone then asked Weiser to read The Great Gatsby for material that they could use, but it was not the right fit either. Weiser had no prior knowledge of the financial world and immersed himself in researching

5400-503: The attention of the SEC . Bud pitches a new idea to Gekko: buy Bluestar Airlines and expand the company, with Bud as president, using savings achieved by union concessions and the overfunded pension. Even though Bud is unable to persuade his father to support him and Gekko, he is able to get the unions to push for the deal. Soon afterward, Bud learns that Gekko plans to dissolve the company and sell off Bluestar's assets in order to access cash in

5508-554: The basis of the film's subtext. This subtext could be described as the concept of the two fathers battling for control over the morals of the son, a concept Stone had also used in Platoon . In Wall Street the hard-working Carl Fox and the cutthroat businessman Gordon Gekko represent the fathers. The producers of the film use Carl as their voice in the film, a voice of reason amid the creative destruction brought about by Gekko's unrestrained personal philosophy. A significant scene in

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5616-486: The best way to skirt complexities of various films that may be defined as crime films as works that focus primarily on crime and its consequences, and that they should be viewed as a category that encompasses a number genres, ranging from caper films , detective films, gangster films, cop and prison films and courtroom dramas. She said that like drama and romance film, they are umbrella terms that cover several smaller more coherent groups. The criminal acts in every film in

5724-601: The box office. The success of the film and its sequel The Godfather Part II (1974) reinforced the stature of the gangster film genre, which continued into the 1990s with films Scarface (1983), Once Upon a Time in America (1984), The Untouchables (1987), Goodfellas (1990) and Donnie Brasco (1997). Dirty Harry (1971) create a new form of police film, where Clint Eastwood 's performance as Inspector Callahan which critic Pauline Kael described as an "emotionless hero, who lives and kills as affectlessly as

5832-447: The camera circle the actors "in a way that makes you feel you're in a pool with sharks". Jeffrey "Mad Dog" Beck, a star investment banker at the time with Drexel Burnham Lambert , was one of the film's technical advisers and has a cameo appearance in the film as the man speaking at the meeting discussing the breakup of Bluestar. Kenneth Lipper , investment banker and former deputy mayor of New York for Finance and Economic Development,

5940-431: The character of Jimmy "Popeye" Doyle who Leitch described as a "tireless, brutal, vicious and indifferent" in terms of constraints of the law and his commanding officers. The film won several Academy Awards and was successful in the box office. This was followed in critical and commercial success of The Godfather (1972) which also won a Best Picture Academy Award and performed even better than The French Connection in

6048-496: The character of Lou Mannheim. Stone shot a scene showing the honest Mannheim giving in to insider trading, but Lipper argued that audiences might conclude that everyone on Wall Street is corrupt and insisted that the film needed an unimpeachable character. Stone cut the scene. Stone also consulted with Carl Icahn, Asher Edelman, convicted inside trader David Brown, several government prosecutors, and Wall Street investment bankers. In addition, traders were brought in to coach actors on

6156-479: The company's management owns less than three percent of its stock, and that it has too many vice presidents , is taken from similar speeches and comments made by Carl Icahn about companies he was trying to take over. The defense of greed was adapted from a remark by Boesky, who himself was later convicted of insider trading charges. Delivering the 1986 commencement address to the School of Business Administration at

6264-427: The company's pension plan, leaving Carl and the entire Bluestar staff unemployed. Although this would leave Bud a very rich man, he is angered by Gekko's deceit and wracked with guilt for being an accessory to Bluestar's impending destruction, especially after his father suffers a heart attack. Bud resolves to disrupt Gekko's plans, and breaks up with Darien when she refuses to go against Gekko, her former lover. Bud and

6372-429: The continual breakdown and re-establishment of borders among criminals, crime solvers and victims, concluding that "this paradox is at the heart of all crime films." Rafter echoed these statements, saying crime films should be defined on the basis of their relationship with society. Leitch writes that crime films reinforce popular social beliefs of their audience, such as the road to hell is paved with good intentions ,

6480-412: The crime film was following changing attitudes towards the law and the social order that criminals metaphorically reflect while most film were also no more explicitly violent or explicitly sexual than those of 1934. White Heat (1949) inaugurated a cycle of crime films that would deal with the omnipresent danger of the nuclear bomb with its theme of when being threatened with technological nightmares,

6588-554: The criminal psychology and are characterized by and emphasis on the crime unfolding often though montage and extended sequences. The genre is sometimes used interchangeable with the term "caper". The term was used for the more dramatic films of the 1950s, while in the 1960s, it had stronger elements of romantic comedy with more playful elements as seen in films like The Thomas Crown Affair (1968) and Topkapi (1964). Leitch described combining genres as problematic. Screenwriter and academic Jule Selbo expanded on this, describing

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6696-680: The decade ended, the attitudes Hollywood productions had towards fictional criminals grew less straightforward and more conflicted. In 1935, Humphrey Bogart played Duke Mantee in The Petrified Forest (1936), a role Leitch described as the "first of Hollywood's overtly metaphorical gangsters." Bogart would appear in films in the later thirties: Angels with Dirty Faces (1938) and The Roaring Twenties (1939). Unlike actor James Cagney , whose appeal as described by Leitch "direct, physical, and extroverted", Bogart characters and acting suggested "depths of worldly disillusionment beneath

6804-401: The end of the decade, American critics such as Parker Tyler and Robert Warshow regarded Hollywood itself as a stage for repressed American cultural anxieties following World War II. This can be seen in films such as Brute Force , a prison film where the prison is an existential social metaphor for a what Leitch described as a "meaningless, tragically unjust round of activities." By 1950,

6912-444: The fast rhythm of the film's dialogue. Early on in the shoot, Stone tested Douglas by enhancing his "repressed anger", according to the actor. At one point, Stone came into Douglas' trailer and asked him if he was doing drugs because "you look like you haven't acted before". This shocked Douglas, who did more research and worked on his lines again and again, pushing himself harder than he had before. All of this hard work culminated with

7020-569: The film "reveals something now which it couldn't back then: that the Gordon Gekkos of the world weren't just getting rich—they were creating an alternate reality that was going to crash down on all of us." A 20th-anniversary edition was released on September 18, 2007. New extras include an on-camera introduction by Stone, extensive deleted scenes , "Greed is Good" featurettes, and interviews with Michael Douglas and Martin Sheen. In reviewing

7128-478: The film in 1985 because insider trading scandals culminated in 1985 and 1986. This led to anachronisms in the script, including a reference to the Space Shuttle Challenger disaster , which had not yet occurred. Stone met with Tom Cruise about playing Bud Fox, but the director had already committed to Charlie Sheen for the role. Matthew Modine turned down the role of Bud Fox. Stone liked

7236-549: The film is a speech by Gekko to a shareholders' meeting of Teldar Paper, a company he is planning to take over. Stone uses this scene to give Gekko, and by extension, the Wall Street raiders he personifies, the chance to justify their actions, portraying himself as a liberator of the company value from the ineffective and excessively compensated executives. The inspiration for the "Greed is good" speech seems to have come from two sources. The first part, where Gekko complains that

7344-441: The film overall, praised Douglas' work as "the funniest, canniest performance of his career". Roger Ebert gave the film three and a half stars out of four and praised it for allowing "all the financial wheeling and dealing to seem complicated and convincing, and yet always have it make sense. The movie can be followed by anybody, because the details of stock manipulation are all filtered through transparent layers of greed. Most of

7452-595: The film was renewed in 1990 when the cover of Newsweek magazine asked, "Is Greed Dead?" after 1980s icons like Michael Milken and Ivan Boesky ran afoul of insider trading laws. Over the years, the film's screenwriter Stanley Weiser has been approached by numerous people who told him, "The movie changed my life. Once I saw it I knew that I wanted to get into such and such business. I wanted to be like Gordon Gekko". In addition, both Charlie Sheen and Michael Douglas still have people come up to them and say that they became stockbrokers because of their respective characters in

7560-407: The film's sequel 23 years later, Variety noted that though the original film was "intended as a cautionary tale on the pitfalls of unchecked ambition and greed, Stone's 1987 original instead had the effect of turning Douglas' hugely charismatic (and Oscar-winning) villain into a household name and boardroom icon – an inspiration to the very power players and Wall Street wannabes for whom he set such

7668-432: The film, and Sheen picked his father. The elder Sheen related to the moral sense of his character. Stone cast Daryl Hannah as Bud Fox's materialistic girlfriend Darien Taylor, but felt that she was never happy with the role and did not know why she accepted it. He tried to explain the character to Hannah repeatedly, and thought that the materialism of the character conflicted with Hannah's idealism. Stone said later that he

7776-431: The film. In 2002, Stone was asked how the financial market depicted in Wall Street has changed and he replied, "The problems that existed in the 1980s market grew and grew into a much larger phenomenon. Enron is a fiction, in a sense, in the same way that Gordon Gekko's buying and selling was a fiction ... Kenny Lay —he's the new Gordon Gekko". Entertainment Weekly magazine's Owen Gleiberman commented in 2009 that

7884-536: The gangster films of the early 1930s were influenced by the early 1920s when cheap wood-pulp paper stocks led to an explosion in mass-market publishing. Newspapers would make folk heroes of bootleggers like Al Capone , while pulp magazines like Black Mask (1920) helped support more highbrow magazines such as The Smart Set which published stories of hard-edged detetives like Carroll John Daly 's Race Williams. The early wave of gangster films borrowed liberally from stories for early Hollywood productions that defined

7992-491: The genre has been popular since the dawn of the sound era of film. Ursini and Silver said that unlike the Western, the horror film, or the war film, the popularity of crime cinema has never waned. Wall Street (1987 film) Wall Street is a 1987 American crime drama film , directed and co-written by Oliver Stone , which stars Michael Douglas , Charlie Sheen , Daryl Hannah , and Martin Sheen . The film tells

8100-412: The genre represents a larger critique of either social or institutional order from the perspective of a character or from the film's narrative at large. The films also depend on the audience ambivalence towards crime. Master criminals are portrayed as immoral but glamourous while maverick police officers break the law to capture criminals. Leitch defined this as a critical to the film as the films are about

8208-566: The genre with films like Little Caesar (1931), The Public Enemy (1931), and Scarface (1932). In comparison to much earlier films of the silent era, Leitch described the 1930s cycle as turning "the bighearted crook silent films had considered ripe for redemption into a remorseless killer." Hollywood Studio heads were under such constant pressure from public-interest groups to tone down their portrayal of professional criminals that as early as 1931. Jack L. Warner announced that Warner Bros. would stop producing such films. Scarface itself

8316-526: The growing rage against the establishment spilled into portrayal police themselves with films like Bullitt (1968) about a police officer caught between mob killers and ruthless politicians while In the Heat of the Night (1967) which called for racial equality and became the first crime film to win an Academy Award for Best Picture . The French Connection (1971) dispensed Bullitt ' s noble hero for

8424-445: The law is above individuals, and that crime does not pay. The genre also generally has endings that confirm the moral absolutes that an innocent victim, a menacing criminal, and detective and their own morals that inspire them by questioning their heroic or pathetic status, their moral authority of the justice system, or by presenting innocent characters who seem guilty and vice-versa. Crime films includes all films that focus on any of

8532-498: The main gangster Jody Jarrett fights fire with fire. These themes extended into two other major crime films by bring the issues down from global to the subcultural level: The Big Heat (1953) and Kiss Me Deadly (1955) which use apocalyptical imagery to indicate danger with the first film which the film persistently links to images of catastrophically uncontrolled power and the "traumatic consequences" of nuclear holocaust and Kiss Me Deadly literally features an atom bomb waiting in

8640-503: The moral value of hard work, quoting the example of his (Gekko's) father, who worked hard his entire life only to die in debt. Sir Laurence Wildman genuinely attempts to save Anacott Steel and ultimately saves Blue Star instead, although Gekko taunts him that he laid off thousands of workers in previous companies which he took over. Lou Mannheim, the film's archetypal mentor, says early in the film, that "good things sometimes take time", referring to IBM and Hilton —in contrast, Gekko's "Greed

8748-547: The movie in New York City and that required a budget of at least $ 15 million, a moderate shooting budget by 1980s standards. The studio that backed Platoon felt that it was too risky a project to bankroll and passed. Stone and producer Edward R. Pressman took it to 20th Century Fox and filming began in April 1987 and ended on July 4 of the same year. Parts of the film were shot in Snowbird, Utah . According to Stone, he

8856-515: The obvious moral with plenty of soapboxery". F.F. Mormani, writing for The Objective Standard, calls the film "mixed", explaining that it "accurately portray[s] some aspects of the financial profession and unjustly demonizing it, too. But," she concludes, "it is sufficiently thought provoking and philosophical to recommend watching or rewatching." Michael Douglas won the Academy Award for Best Actor and thanked Oliver Stone for "casting me in

8964-461: The one he once oversaw. Charlie Sheen would also reprise his character of Bud Fox, but only in a cameo role . Daryl Hannah would not be involved in the sequel. But by April 2009, 20th Century Fox confirmed that the sequel was already in development and announced that Oliver Stone would direct. In addition, Shia LaBeouf was cast with Josh Brolin . Javier Bardem had been considered, but Bardem dropped out due to scheduling conflicts. The film

9072-405: The only or first gangster film following the fall of the production code, The Godfather (1972) was the most popular and launched a major revival of the style. The film followed the themes of the genres past while adding new emphasis on the intricate world of the mafia and its scale and seriousness that established new parameters for the genre. The heist film, also known as the "big caper" film

9180-434: The release of the early gangster films following Little Caesar , which led to the 1935 Production Code Administration in 1935 ending its first major cycle. As early as 1939, the traditional gangster was already a nostalgic figure as seen in films like The Roaring Twenties (1939). American productions about career criminals became possible through the relaxation of the code in the 1950s and its abolition in 1966. While not

9288-409: The set late and unprepared. She did not get along with Charlie Sheen, which caused further friction on the set. In retrospect, Stone felt that Young was right and he should have swapped Hannah's role with hers. Stone admits that he had "some problems" with Young, but was not willing to confirm or deny rumors that she walked off with all of her costumes when she completed filming. Stone wanted to shoot

9396-448: The set on how to hold phones, write out tickets, and talk to clients. Stone asked Lipper to design a six-week course that would expose Charlie Sheen to a cross section of young Wall Street business people. The actor said, "I was impressed and very, very respectful of the fact that they could maintain that kind of aggressiveness and drive". Douglas worked with a speech instructor on breath control in order to become better acclimatized to

9504-536: The silent era differed radically from the Hollywood productions, reflecting the post-World War I continental culture. Drew Todd wrote that with this, Europeans tended to create darker stories and the audiences of these films were readier to accept these narratives. Several European silent films go much further in exploring the mystique of the criminal figures. These followed the success in France of Louis Feuillade 's film serial Fantômas (1913). The average budget for

9612-484: The story of Bud Fox (C. Sheen), a young stockbroker who becomes involved with Gordon Gekko (Douglas), a wealthy, unscrupulous corporate raider . Stone made the film as a tribute to his father, Lou Stone, a stockbroker during the Great Depression . The character of Gekko is said to be a composite of several people, including Dennis Levine , Ivan Boesky , Carl Icahn , Asher Edelman , Michael Milken , and Stone himself. The character of Sir Lawrence Wildman, meanwhile,

9720-410: The success of Shaft (1971) which led to studios rushing to follow it's popularity with films like Super Fly (1972), Black Caesar (1973), Coffy (1973) and The Black Godfather (1974) The films were often derivations of earlier films such as Cool Breeze (1972), a remake of The Asphalt Jungle , Hit Man (1972) a remake of Get Carter (1971), and Black Mama, White Mama (1973)

9828-711: The takeover, and causing the price to plummet. This forces Gekko to offload his stock at a considerable loss. When Gekko learns on the evening news that Wildman is buying Bluestar, he realizes Bud has engineered the entire scheme. Bud triumphantly returns to work at Jackson Steinem the following day, only to be arrested for insider trading by the SEC, who had been tracking Bud's illicit trading. Later, Bud confronts Gekko in Central Park . Gekko punches Bud several times, berating him for his role with Bluestar, and accuses him of ingratitude for several of their illicit trades. Later, it

9936-407: The three parties to a crime: criminal, victims, and avengers and explores what one party's relation to the other two. This allows the crime film to encompass films as wide as Wall Street (1987); caper films like The Asphalt Jungle (1950); and prison films ranging from Brute Force (1947) to The Shawshank Redemption (1994). Crime films are not definable by their mise-en-scene such as

10044-449: The time we know what's going on. All of the time, we know why". Time magazine's Richard Corliss wrote, "This time he works up a salty sweat to end up nowhere, like a triathlete on a treadmill. But as long as he keeps his players in venal, perpetual motion, it is great scary fun to watch him work out". In his review for The Globe and Mail , Jay Scott praised the performances of the two leads: "But Douglas's portrayal of Gordon Gekko

10152-470: The union presidents secretly meet with Wildman and arrange for him to buy the stock and a controlling interest in Bluestar, at a significant discount, on the condition that he saves the company. Bud then devises a plan to leak news of Gekko's takeover to drive the price up. This forces Gekko to buy the stock at a higher price, as he tries to secure a controlling interest. Bud then convinces the unions to pull their support, ending any prospect of Gekko completing

10260-491: The value system of extreme competitiveness where ethics and the law are simply irrelevant parts of the show. Carl ( Martin Sheen 's character) represents the working class in the film: he is the union leader for the maintenance workers at Bluestar. He constantly attacks big business, money, mandatory drug screening, greedy manufacturers, and anything that he sees as a threat to his union. The conflict between Gekko's relentless pursuit of wealth and Carl Fox's leftward leanings form

10368-450: The war in narratives, with exceptions of film like The Green Berets (1968). The crime film Bonnie and Clyde (1967) revived the gangster film genre and captured the antiestablishment tone and set new standards for onscreen violence in film with its themes of demonizing American institution to attack the moral injustice of draft. This increase of violence was reflected in other crime films such as Point Blank (1967). Leitch found

10476-414: The world of stock trading, junk bonds , and corporate takeovers. He and Stone spent three weeks visiting brokerage houses and interviewing investors. Weiser wrote the first draft, initially called Greed , with Stone writing another draft. Originally, Charlie Sheen's character was a young Jewish broker named Freddie Goldsmith, but Stone changed the name to Bud Fox to avoid the stereotype that Wall Street

10584-456: Was "making a movie about sharks, about feeding frenzies. Bob [director of photography Robert Richardson ] and I wanted the camera to become a predator. There is no let-up until you get to the fixed world of Charlie's father, where the stationary camera gives you a sense of immutable values". The director saw [Wall Street] as a battle zone and "filmed it as such" including shooting conversations like physical confrontations, and in ensemble shots had

10692-446: Was a great part. It was a long script, and there were some incredibly long and intense monologues to open with. I'd never seen a screenplay where there were two or three pages of single-spaced type for a monologue. I thought, whoa! I mean, it was unbelievable". For research, he read profiles of corporate raiders T. Boone Pickens and Carl Icahn. Stone gave Charlie Sheen the choice of Jack Lemmon or Martin Sheen to play his father in

10800-434: Was also hired as chief technical adviser. At first, he turned Stone down because he felt that the film would be a one-sided attack. Stone asked him to reconsider and Lipper read the script responding with a 13-page critique. For example, he argued that it was unrealistic to have all the characters be "morally bankrupt". Lipper advised Stone on the kind of computers used on the trading floor, the accurate proportion of women at

10908-464: Was always looking at the script and at his watch. The original score composed by Stewart Copeland was released on LP record in 1988, followed by a CD version in 1993. The film has come to be seen as the archetypal portrayal of 1980s excess, with Gekko advocating "greed, for lack of a better word, is good". Wall Street defines itself through a number of morality conflicts putting wealth and power against simplicity and honesty, and an attack on

11016-430: Was aware early on that she was not right for the part. "Daryl Hannah was not happy doing the role and I should have let her go. All my crew wanted to get rid of her after one day of shooting. My pride was such that I kept saying I was going to make it work". Stone also had difficulties with Sean Young , who made her opinions known that Hannah should be fired and that she should play that role instead. Young would show up to

11124-417: Was controlled by Jews. Reportedly, Gordon Gekko is said to be a composite of several people: Wall Street broker Owen Morrisey, an old friend of Stone's who was involved in a $ 20 million insider trading scandal in 1985, Dennis Levine , Ivan Boesky , corporate raider Carl Icahn , investor and art collector Asher Edelman , agent Michael Ovitz , and Stone himself. For example, Stone told Newsweek that

11232-532: Was delayed for over a year as its director Howard Hughes talked with the Motion Picture Producers and Distributors of America 's Production Code Office over the films violence and overtones of incest. A new wave of crime films that began in 1934 were made that had law enforcers as glamourous and as charismatic as the criminals. J. Edgar Hoover , director the Bureau of Investigation (renamed

11340-415: Was inspired by Stone. "When I was writing some of the dialogue I would listen to Oliver on the phone and sometimes he talks very rapid-fire, the way Gordon Gekko does". Stone cites as influences on his approach to business, the novels of Upton Sinclair , Sinclair Lewis and Victor Hugo , and the films of Paddy Chayefsky because they were able to make a complicated subject clear to the audience. Stone set

11448-477: Was modelled on British financier and corporate raider Sir James Goldsmith . Originally, the studio wanted Warren Beatty to play Gekko, but he was not interested; Stone, meanwhile, wanted Richard Gere , but Gere passed on the role. The film was well received among major film critics. Douglas won the Academy Award for Best Actor , and the film has come to be seen as the archetypal portrayal of 1980s excess, with Douglas' character declaring that "greed, for lack of

11556-400: Was under intense social reform with cities rapidly expanding and leading to social unrest and street crime rising and some people forming criminal gangs. In this early silent film period, criminals were more prominent on film screens than enforcers of the law. Among these early films from the period is D.W. Griffith 's The Musketeers of Pig Alley (1912) involving a young woman hounded by

11664-471: Was warned by everyone in Hollywood that Michael couldn't act, that he was a producer more than an actor and would spend all his time in his trailer on the phone". Nevertheless, Stone found out that "when he's acting he gives it his all". Stone said that he saw "that villain quality" in Douglas and always thought he was a smart businessman. Douglas remembers that when he first read the screenplay, "I thought it

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