ポルノ雑誌「ハスラー」の創刊者ラリー・フリントは、J・オナシス(ケネディ元大統領夫人)のヌード写真をスクープした号の大ヒットで、アメリカン・ドリームを手に入れる。しかし、そのスキャンダラスで不道徳な内容で、ついには猥せつ罪で起訴されてしまう。憲法修正第１条に基づく「表現の自由」を盾に、ラリーは最高裁判所に上訴するのだが・・・。
製作費: $36,000,000 (54億円)
興行収入: $20,300,385 (30億円)
推定収支: $-15,699,615 (-24億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: ミロス・フォアマン
脚本: スコット・アレクサンダー / Larry Karaszewski
音楽: トーマス・ニューマン
制作: オリバー・ストーン / Janet Yang / Michael Hausman
撮影監督: Philippe Rousselot
制作会社: Columbia Pictures / Phoenix Pictures / Ixtlan Productions
**Larry Flynt: the man, the monster, the hero and the pervert.** After seeing this film, I had the feeling that I should start this text with a warning: we should not mix our opinion about Larry Flynt with our assessment of the film. I loved the film, but I'm the first to admit that I don't feel any sympathy for the biographed person. Regardless of my opinion, sex sells, people are attracted to anything that has a forbidden aroma and, even today, the magazine “Hustler” is a success, with a television channel dedicated to adult content. The real Larry Flynt proved to be a provocative and materialistic man: he made a fortune off the exploitation of pornographic magazines and used all means to shock people, ridicule the conservatives who criticized him, and confront society and the judicial system. He demanded to be respected, but was incapable of respecting anyone who criticized him; He used the First Amendment to defend his right to publish what he wanted, forgetting that same document when he heard criticism of what he published. Dear reader, I don't have to be a lawyer to know that the same right that protected Mr. Flynt also protected everyone who expressed a negative opinion about him within the limits of urbanity. And if it is true that freedom of expression is crucial to the democratic system, it is also true that it is not an absolute value, it must be limited in a way that protects the rights and freedoms of other people. Unfortunately, the world is full of people like Larry Flynt, who demand the right to say whatever they want, but are unable to tolerate an opinion contrary to theirs. Of course, I also don't feel any sympathy for the professional activity of Mr. Flynt, a sexist man who profited from the objectification of sex and the female body, and I am disgusted by the business he created around that magazine. However, the film is fantastic. Milos Forman, who accustomed us to great works full of style and personality, surprises us once again with a film that does not shy away from provoking its audience, putting its finger on the wounds that hurt the most. The director made skillful use of cinematography, environments, filming locations, sets and costumes in order to construct a narrative that explores very well Flynt's controversial and contradictory nature. For several moments, I was afraid that the script would make the mistake of beatifying or cleaning up Flynt's image. However, I truly believe that Forman managed to avoid this and give the audience a neutral narrative, where he reveals the best and worst of this complex man. The film is reasonably discreet in its use of effects and the way it was edited, but it has a strong cast solidly based on the participation of Woody Harrelson. Looking at the finished film, I don't think I could imagine another actor better suited for the character in question. Harrelson gave himself body and soul to this project and produced one of the most consistent and powerful works of his film career, rightly deserving of an Oscar nomination. Courtney Love is perfect for the role she played, especially because the actress knew perfectly well the effects of substance abuse and was uninhibited enough to naturally face the nude scenes she was subjected to (something I tend to condemn, but I can understand, considering the film and the character) In turn, Edward Norton (at the time, experiencing a particularly radiant moment in his professional career) and Brett Harrelson make a frankly positive contribution. Richard Paul and James Cromwell also do a decent job, but they don't have the space or time to add much and seem somewhat wasted.
Aside from his gentle buffoonery in “Cheers”, this might be the defining role for Woody Harrelson as he depicts one of the pioneers of the American porn industry. Fighting a losing battle to keep his pole-dancing bar afloat, Larry Flynt (Harrelson) and his brother Jimmy (Brett Harrelson) need to come up with a plan, and a chance chat with a punter suggests that a subscription magazine might be a solution. “Hustler” is born. It’s a roaring success and together with the inspiration of his savvy girlfriend Althea (Courtney Love) they soon have all the money they need for booze, drugs, an hot tub and even a private jet! Thing is, though, the puritanical classes aren’t so happy with his lucrative activities and so he is promptly charged with peddling lewd materials. His attitude doesn’t impress the judge (a real life Larry Flynt) and so he’s sent to jail for twenty five years! Thanks to the efforts of his new-found lawyer “Isaacman” (Ed Norton) he is soon free and embarking on a lifelong crusade to expose the hypocrisy of the religious and political fervidity exemplified by the likes of Jerry Falwell (Richard Paul) and Charles Keating (James Cromwell). As this quest ebbs and flows he survives an assassination attempt that renders him wheelchair-bound before suffering an even greater tragedy en route to an ultimate battle in the US Supreme Court where the very principles of first amendment rights are up for grabs. It’s history, so there’s not much jeopardy, but the gritty and plausible writing alongside a performance from Harrelson that powerfully vacillates from the thoughtlessly obnoxious to the shrewd and the vulnerable creates an almost likeable impression. Love also delivers well here with her no holds barred effort and though Norton hasn’t loads to do, when he is on screen he brings a degree of much needed sanity, and loyalty, to the proceedings. It’s sleazy and rotten - but Flynt’s point that his business is open and honest about being like that rather than those who don’t practise what the preach is quite potently made here and though it can be a little sordid, it never comes across as gratuitously graphic - just a starkly plausible portrayal of life in an adult industry that nobody ever owns up to supporting.
