In 1971, Danny admits to a that he finds imminent fame and fortune more terrifying than gratifying.
45 or so years later, we see that Danny was right to be worried, he is now a boozy, coked- up parody, singing the same hits to arenas full of ageing fans.
During his surprise birthday party, he is given a present from his best friend and manager Frank, a letter to Danny from John Lennon, sent to that journalist, who kept it all these years, telling him that you can get rich and still remain an artist, and inviting Danny to give him a call sometime so they could talk about music.
Danny sets off to New Jersey, setting up camp in a Hilton, and flirts with the hotel manager, Mary.
He now only has two goals, write a song that is meaningful to him, and build a relationship with his long-estranged son Tom, a construction worker who wants nothing to do with him.........
And with this movie, Pacino is finally back, showing us what an absolute the legend the man is. In my opinion, he hasn't been this good in a film since The Insider, and it's not just him, the story, the narrative, and the support is as just as awe-inspiring as the true story it's based on.
Fogelman handles the heavy parts of the story in a way that other film-makers should take notice of, whenever a scene is in danger of becoming over schmaltzy, there is an injection of spiteful humour thrown in to detract itself, and the audience.
Collins could be based on any ageing celebrity who is remembered, and still famous for having huge hits back in the day, and keeping his wealth by doing the same thing over and over and over. Englebert Humperdinck sprung to mind a few times whilst watching this.
It's no wonder that he's a hard drinking, drug taking shadow, the man knows he's a joke, an almost walking satire, but Pacino adds such a swagger to Collins, such a front, that it's not until the second act you realise that this is apparent, because of his numerous facades, it's almost chameleon like how Collins acts with different people.
The sub-plot involving his estranged son could have been an absolute disaster, but the fact that it's never too saccharine coated, and just that little bitter, adds depth to the narrative. Especially his subliminal message to himself when he leaves his Granddaughter.......the simple line 'Goodbye Hope' has many connotations in this film.
Plummer is wonderful, and he's the link to get Collins back on side with his son, a little monologue in the third act is handled wonderfully by Plummer, as again, humour prevents the film from becoming too schmaltzy.
If Pacino never made a film again, this would be a wonderful film to end an illustrious career, and I hope that he makes more like this, he owns the film, and even when his Collins is hungover, drunk, or sad, Pacino is effervescent in every scene.
Welcome back Al.
45 or so years later, we see that Danny was right to be worried, he is now a boozy, coked- up parody, singing the same hits to arenas full of ageing fans.
During his surprise birthday party, he is given a present from his best friend and manager Frank, a letter to Danny from John Lennon, sent to that journalist, who kept it all these years, telling him that you can get rich and still remain an artist, and inviting Danny to give him a call sometime so they could talk about music.
Danny sets off to New Jersey, setting up camp in a Hilton, and flirts with the hotel manager, Mary.
He now only has two goals, write a song that is meaningful to him, and build a relationship with his long-estranged son Tom, a construction worker who wants nothing to do with him.........
And with this movie, Pacino is finally back, showing us what an absolute the legend the man is. In my opinion, he hasn't been this good in a film since The Insider, and it's not just him, the story, the narrative, and the support is as just as awe-inspiring as the true story it's based on.
Fogelman handles the heavy parts of the story in a way that other film-makers should take notice of, whenever a scene is in danger of becoming over schmaltzy, there is an injection of spiteful humour thrown in to detract itself, and the audience.
Collins could be based on any ageing celebrity who is remembered, and still famous for having huge hits back in the day, and keeping his wealth by doing the same thing over and over and over. Englebert Humperdinck sprung to mind a few times whilst watching this.
It's no wonder that he's a hard drinking, drug taking shadow, the man knows he's a joke, an almost walking satire, but Pacino adds such a swagger to Collins, such a front, that it's not until the second act you realise that this is apparent, because of his numerous facades, it's almost chameleon like how Collins acts with different people.
The sub-plot involving his estranged son could have been an absolute disaster, but the fact that it's never too saccharine coated, and just that little bitter, adds depth to the narrative. Especially his subliminal message to himself when he leaves his Granddaughter.......the simple line 'Goodbye Hope' has many connotations in this film.
Plummer is wonderful, and he's the link to get Collins back on side with his son, a little monologue in the third act is handled wonderfully by Plummer, as again, humour prevents the film from becoming too schmaltzy.
If Pacino never made a film again, this would be a wonderful film to end an illustrious career, and I hope that he makes more like this, he owns the film, and even when his Collins is hungover, drunk, or sad, Pacino is effervescent in every scene.
Welcome back Al.