Epochal film from the 80's, which has almost unbelievably, in today's post Merrill Lynch / Northern Rock (depending on which side of the pond you're on) banking debacles become topical again, so much so that a same director / same star follow-up is reportedly in the making.
It will have to go some though to beat the shock and awe value of its prototype, with Douglas' larger than life personification of corporate greed, Gordon Gekko, dominating proceedings. Charlie Sheen is the young trader on the make, aiming to aspire, or so he thinks, to Gekko's status and success, trying so hard to please his idol that he not only ends up aping his appearance (slicked back hair, big suspender braces) but even betraying his idealistic union-man father by relaying insider knowledge on the latter's ailing airline employer to Gekko who then moves in to welsh on his workforce-friendly words to asset strip the company for massive personal gain. Sheen's Bud Fox character eventually has an epiphany, augured by the coincidence of real-life and cinema dad Martin copping a heart attack and turns on and indeed turns in his guru to the authorities to bring ultimate closure to the piece.
The film has its faults; I didn't quite buy into Douglas surrogate-father figure appeal to Sheen Jr., the coincidental heart attack of Sheen/Fox Sr is a bit too pat and some of the supporting characters come on like mere ciphers, including Terence Stamp as the UK magnate-cum-nemesis of Gekko and Daryl Hannah as a Gekko cast-off girlfriend/groupie who becomes young Sheen's trophy girl-friend. This leads to a larger criticism on the paucity of female characters in the film at all, but if you can accept that this is a man's man's man's world, to paraphrase James Brown, then this morality tale of its time still packs a punch, especially with the collapse of Communism and the surrender of the likes of Russia, China et. al to the addictive drug of big-bucks capitalism.
Stone's camera is constantly on the move, capturing the frenetic-ism of dealers on the trading floor as market frenzy takes hold, with the dialogue razor-sharp throughout, so many of the phrases of course having become clichés for that era, almost entering common parlance the language, such as greed is good, lunch is for wimps and more.
In the end, young Sheen would have done well to be careful what he wished for, but if he's the Little Red Riding Hood to Douglas' Big Bad Wolf, this particular out-sized fairy tale reaches its conclusion fittingly and satisfyingly, opening up a seamy, selfish world that you know is out there still, now more than ever.
It will have to go some though to beat the shock and awe value of its prototype, with Douglas' larger than life personification of corporate greed, Gordon Gekko, dominating proceedings. Charlie Sheen is the young trader on the make, aiming to aspire, or so he thinks, to Gekko's status and success, trying so hard to please his idol that he not only ends up aping his appearance (slicked back hair, big suspender braces) but even betraying his idealistic union-man father by relaying insider knowledge on the latter's ailing airline employer to Gekko who then moves in to welsh on his workforce-friendly words to asset strip the company for massive personal gain. Sheen's Bud Fox character eventually has an epiphany, augured by the coincidence of real-life and cinema dad Martin copping a heart attack and turns on and indeed turns in his guru to the authorities to bring ultimate closure to the piece.
The film has its faults; I didn't quite buy into Douglas surrogate-father figure appeal to Sheen Jr., the coincidental heart attack of Sheen/Fox Sr is a bit too pat and some of the supporting characters come on like mere ciphers, including Terence Stamp as the UK magnate-cum-nemesis of Gekko and Daryl Hannah as a Gekko cast-off girlfriend/groupie who becomes young Sheen's trophy girl-friend. This leads to a larger criticism on the paucity of female characters in the film at all, but if you can accept that this is a man's man's man's world, to paraphrase James Brown, then this morality tale of its time still packs a punch, especially with the collapse of Communism and the surrender of the likes of Russia, China et. al to the addictive drug of big-bucks capitalism.
Stone's camera is constantly on the move, capturing the frenetic-ism of dealers on the trading floor as market frenzy takes hold, with the dialogue razor-sharp throughout, so many of the phrases of course having become clichés for that era, almost entering common parlance the language, such as greed is good, lunch is for wimps and more.
In the end, young Sheen would have done well to be careful what he wished for, but if he's the Little Red Riding Hood to Douglas' Big Bad Wolf, this particular out-sized fairy tale reaches its conclusion fittingly and satisfyingly, opening up a seamy, selfish world that you know is out there still, now more than ever.