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Home / Fear and Loathing in Las Vegas Fear and Loathing in Las Vegas Art

Fear and Loathing in Las Vegas Fear and Loathing in Las Vegas Art

1998 film directed by Terry Gilliam

Fear and Loathing in Las Vegas
FandlinLV.jpg

Theatrical release poster
Directed past Terry Gilliam
Screenplay by Terry Gilliam
Tony Grisoni
Alex Cox
Tod Davies
Based on Fear and Loathing in Las Vegas
past Hunter S. Thompson
Produced by Patrick Cassavetti
Laila Nabulsi
Stephen Nemeth
Starring
  • Johnny Depp
  • Benicio del Toro
Cinematography Nicola Pecorini
Edited by Lesley Walker
Music by Ray Cooper

Production
companies

Rhino Films
Top Entertainment
Distributed by Universal Pictures

Release engagement
  • May 22, 1998 (1998-05-22)

Running fourth dimension

 118 minutes
Land United states of america
Linguistic communication English language
Budget $18 one thousand thousand
Box part $13.seven 1000000

Fearfulness and Loathing in Las Vegas is a 1998 American chance black one-act film adapted from Hunter S. Thompson's 1971 novel of the same proper name. It was co-written and directed by Terry Gilliam, and stars Johnny Depp and Benicio del Toro as Raoul Knuckles and Dr. Gonzo, respectively. The flick details the duo's journey through Las Vegas as their initial journalistic intentions devolve into an exploration of the city under the influence of psychoactive substances.

The film received mixed reviews from critics and was a financial failure, just has since become a cult classic among film fans.

Plot [edit]

In 1971, Raoul Duke and Dr. Gonzo speed across the Nevada desert. Duke, under the influence of mescaline, complains of a swarm of behemothic bats, and inventories their drug stash. They pick up a young hitchhiker and explain their mission: Knuckles has been assigned by a magazine to cover the Mint 400 motorcycle race in Las Vegas. They bought excessive drugs for the trip, and rented a red Chevrolet Impala convertible. The hitchhiker flees on pes at their behavior. Trying to achieve Vegas before the hitchhiker can get to the police, Gonzo gives Duke function of a canvass of Sunshine Acrid, then informs him that there is piddling chance of making it before the drug kicks in. By the time they reach the strip, Knuckles is in the total throes of his trip and barely makes it through the hotel bank check-in, hallucinating that the clerk is a moray eel and that his fellow bar patrons are orgiastic lizards.

The next solar day, Duke arrives at the race and heads out with his photographer, Lacerda. Duke becomes irrational and believes that they are in the center of a battleground, so he fires Lacerda and returns to the hotel. After consuming more mescaline, as well as huffing diethyl ether, Knuckles and Gonzo arrive at the Bazooko Circus casino but exit shortly afterwards, the cluttered temper frightening Gonzo. Dorsum in the hotel room, Duke leaves Gonzo unattended, and tries his luck at Big Six. When Duke returns he finds that Gonzo, high on LSD, has trashed the room, and is in the bathtub clothed, attempting to pull the record histrion in with him equally he wants to hear the song better. He pleads with Duke to throw the machine into the water when the song "White Rabbit" peaks. Duke agrees, simply instead throws a grapefruit at Gonzo's head before running exterior and locking Gonzo in the bathroom. Duke attempts to type his reminisces on hippie culture, and flashes dorsum to San Francisco where a hippie licks spilled LSD off his sleeve.

The side by side morning, Knuckles awakens to an exorbitant room service bill and no sign of Gonzo (who has returned to Los Angeles while Duke slept), and attempts to leave boondocks. Every bit he nears Baker, California, a patrolman stops him for speeding, and advises him to slumber at a nearby residual stop. Duke instead heads to a payphone and calls Gonzo, learning that he has a suite in his name at the Flamingo Las Vegas so he can cover a commune attorney'south convention on narcotics. Knuckles checks into his suite, only to exist met by an LSD-tripping Gonzo and a young girl called Lucy, who Gonzo explains has come up to Las Vegas to meet Barbra Streisand, and that this was her first LSD trip. Duke convinces Gonzo to ditch Lucy in some other hotel before her trip wears off.

Gonzo accompanies Duke to the convention, and the pair discreetly snort cocaine as the guest speaker delivers a comically out-of-touch speech about "marijuana addicts" earlier showing a brief moving picture. Unable to take information technology, Duke and Gonzo flee back to their room, simply to detect that Lucy has chosen. Their trips by and large over, Gonzo deals with Lucy over the phone (pretending that he is being savagely beaten by thugs) equally Duke attempts to mellow out by trying some of Gonzo's stash of adrenochrome. However, the trip spirals out of control, and Duke is reduced to an incoherent mess before he blacks out.

Subsequently an unspecified amount of time passes, Duke wakes up to a complete ruin of the once pristine suite. After discovering his tape recorder, he attempts to remember what has happened. As he listens, he has brief memories of the general mayhem that has taken place, including Gonzo threatening a waitress at a diner,[i] himself convincing a distraught cleaning woman that they are law officers investigating a drug band, and attempting to buy an orangutan.

Duke drops Gonzo off at the airport, driving correct upwardly to the airplane, before returning to the hotel one last time to terminate his article. He then speeds back to Los Angeles.

Cast [edit]

  • Johnny Depp as Raoul Duke
  • Benicio del Toro every bit Dr. Gonzo
  • Tobey Maguire as The Hitchhiker
  • Christina Ricci as Lucy
  • Ellen Barkin equally The Waitress at North Star Cafe
  • Gary Busey as The Highway Patrolman
  • Marking Harmon as The Mag Reporter at Mint 400
  • Cameron Diaz every bit The Blonde TV Reporter
  • Katherine Helmond as The Desk Clerk at Mint Hotel
  • Michael Jeter equally Dr. Elron Bumquist
  • Craig Bierko every bit Lacerda
  • Lyle Lovett as The Route Person
  • Flea as Hippie
  • Larry Cedar as Car Rental Amanuensis - Los Angeles
  • Tim Thomerson as Hoodlum
  • Richard Riehle equally Dune Buggy Commuter
  • Richard Portnow as Wine Colored Tuxedo
  • Steve Schirripa equally Goon
  • Larry Brandenburg as Cop in Back
  • Jennifer Elise Cox as Shopper
  • Kim Flowers as Lizard Performer
  • Tane McClure every bit Lizard Performer

Cameos [edit]

  • Christopher Meloni as Sven, Flamingo Hotel Clerk
  • Harry Dean Stanton equally The Judge
  • Troy Evans as Constabulary Principal
  • Debbie Reynolds as Herself (voice)
  • Jenette Goldstein as Alice the Maid
  • Verne Troyer as Wee Waiter
  • Gregory Itzin as Mint Hotel Clerk
  • Laraine Newman as Frog-Eyed Woman
  • Penn Jillette as Bazooko Circus Barker
  • Hunter South. Thompson as Older Raoul Duke in Matrix flashback

Production [edit]

Evolution [edit]

In January 1976, Texas Monthly appear that Larry McMurtry had signed a contract to write a screenplay for a film adaptation.[2] Martin Scorsese and Oliver Rock each tried to get the film off the basis, but were unsuccessful and moved on.[three]

Rhino Films began work on a flick version as early as 1992.[4] Head of Product and the movie's producer Stephen Nemeth originally wanted Lee Tamahori to straight, but he wasn't available until afterwards the January 1997 start date.[4] Depp wanted Bruce Robinson to direct, simply he was "unavailable... by choice".[5] Rhino appealed to Thompson for an extension on the film rights just the writer and his lawyers denied the extension. Under force per unit area, Rhinoceros countered past green-lighting the pic and hiring Alex Cox to direct within a few days.[4] Co-ordinate to Nemeth, Cox could "do it for a toll, could do it speedily and could get this movie going in four months."[4]

Rhino hired Terry Gilliam and was granted an extension from Thompson but just with the stipulation that the manager made the film. Rhinoceros did not desire to commit to Gilliam in case he didn't work out.[4] Thompson remembers, "They just kept asking for more [time]. I got kind of agitated well-nigh information technology considering I idea they were trying to put off doing it. Then I began to charge them more than... I wanted to come across the picture show washed, once information technology got started."[iv] The studio threatened to make the film with Cox and without Depp and del Toro. The two actors were upset when producer Laila Nabulsi told them of Rhino's plans.[4] Universal Pictures stepped in to distribute the moving picture. Depp and Gilliam were paid $500,000 each but the managing director still did non have a house deal in identify. In retaliation, Depp and Gilliam locked Rhinoceros out of the fix during filming.[four]

Casting [edit]

During the initial development to get the moving-picture show fabricated, Jack Nicholson and Marlon Brando were originally considered for the roles of Knuckles and Gonzo only they both grew as well old.[vi] After, Dan Aykroyd and John Belushi were considered for the duo, just that roughshod apart when Belushi died. John Malkovich was later considered for the role of Knuckles, but he grew likewise onetime also. At one point John Cusack was almost cast (Cusack had previously directed the play version of Fearfulness and Loathing in Las Vegas, with his brother playing Duke).[7] However, later on Hunter S. Thompson met with Johnny Depp he became convinced that no one else could play him. When Cox and Davies started writing the screenplay, Depp and del Toro committed to starring in the film.[4]

Gilliam said in an interview that his films are player-led, the performance of the 2 characters in Fear and Loathing is hyper realistic merely truthful: "I am interested in existent people in bizarre, twisted environments that force them to act... to react confronting."[eight]

Dr. Gonzo is based on Thompson's friend Oscar Zeta Acosta, who disappeared sometime in 1974.[nine] Thompson changed Acosta's ethnic identity to "Samoan" to deflect suspicion from Acosta, who was in problem with the Los Angeles County Bar Clan. He was the "Chicano lawyer" notorious for his party binges.

The lead actors undertook extraordinary preparations for their respective roles. Del Toro gained more than 45 pounds (18 kg) in nine weeks before filming began, eating 16 donuts a mean solar day,[x] and extensively researched Acosta's life.[9] [11] In the jump of 1997, Depp moved into the basement of Thompson's Owl Farm abode and lived there for four months, doing research for the function as well equally studying Thompson's habits and mannerisms.[12] The actor went through Thompson'southward original manuscript, mementos and notebooks that he kept during the actual trip.[12] Depp remembers, "He saved it all. Not but is [the book] true, merely there'southward more. And information technology was worse."[13] Depp even traded his machine for Thompson's cherry Chevrolet Caprice convertible, known to fans as The Great Red Shark, and drove it around California during his grooming for the role.[14] Many of the costumes that Depp wears in the pic are 18-carat articles of wearable that Depp borrowed from Thompson, and the author himself shaved Depp's head to match his own natural male pattern baldness.[12] Other props, such as Duke's cigarette filter (a TarGard Permanent Filter Organization), Hawaiian shirts, hats, a patchwork jacket, a argent medallion (given to him by Oscar Acosta) and IDs, belonged to Thompson.[14]

Writing [edit]

Cox started writing the screenplay with Tod Davies, a UCLA Thompson scholar. During pre-production, Cox and producer Laila Nabulsi had "creative differences" and she forced Rhino to choose betwixt her and Cox.[iv] She had an arrangement with Thompson to produce the motion-picture show and the studio fired Cox and paid him $60,000 in script fees. Thompson'southward disapproval of the Cox/Davies script treatment is documented in the film Breakfast with Hunter.

The conclusion was made to not use the Cox/Davies script, which gave Gilliam merely ten days to write another.[fifteen] Gilliam has stated in an interview "When we were writing the script, we really tried not to invent anything. Nosotros sort of cannibalized the book."[sixteen] The managing director enlisted the aid of Tony Grisoni and they wrote the script at Gilliam's domicile in May 1997. Grisoni remembers, "I'd sit at the keyboard, and we'd talk and talk and I'd continue typing."[15] One of the well-nigh important scenes from the book that Gilliam wanted to put in the moving picture was the confrontation between Duke and Dr. Gonzo and the waitress of the North Star Coffee Lounge. The managing director said, "This is two guys who have gone beyond the pale, this is unforgivable – that scene, it's ugly. My approach, rather than to throw it out, was to make that scene the depression point."[17]

Initially, the studio wanted Gilliam to update the book for the 1990s, which he considered, "And so I looked at the motion picture and said, 'No, that's apologizing. I don't want to apologize for this affair. It is what information technology is.' It'south an artifact. If it's an accurate representation of that volume, which I idea was an accurate representation of a particular time and identify and people."[18] Gilliam, while speaking to Sight & Sound magazine, highlighted if he had updated the movie to the 1990s information technology would simply "exist a story almost two people going to excess". Keeping information technology fix in the 70's, using the backdrop of the Vietnam War and a perceived loss of the American dream, offers reasoning to the characters actions.[19]

Writers credit dispute with WGA [edit]

When the film approached release, Gilliam learned that the Writers Guild of America (WGA) would not allow Cox and Davies to be removed from the credits even though none of their material was used in the production of the motion picture. According to WGA rules, Gilliam and Grisoni had to prove that they wrote 60% of their script. The director said, "But there have been at least five previous attempts at adapting the volume, and they all come from the book. They all apply the aforementioned scenes."[20] Gilliam remarked in an interview, "The end issue was we didn't exist. Equally a manager, I was automatically deemed a 'product executive' by the club and, by definition, discriminated against. Just for Tony to go without any credit would exist really unfair."[21] David Kanter, agent for Cox and Davies, argued, "About 60 percent of the decisions they fabricated on what stays in from the volume are in the film – every bit well as their attitude of wide-eyed anarchy."[21] Co-ordinate to the audio commentary by Gilliam on the Benchmark Collection DVD, during the period where it appeared that only Cox and Davies would be credited for the screenplay, the motion-picture show was to begin with a short scene in which it is explained that no matter what is said in the credits, no writers were involved in the making of the film. When this changed in early May 1998 after the WGA revised its decision and gave credit to Gilliam and Grisoni first and Cox and Davies second, the short was not needed.[17] Angered over having to share credit, Gilliam publicly burned his WGA card at a 22 May book signing on Broadway.[22] [17]

Filming [edit]

According to Gilliam, at that place was no firm budget in place when filming started.[23] He felt that it was not a well-organized movie and said, "Certain people didn't... I'm not going to proper noun names but information technology was a foreign movie, similar ane leg was shorter than the other. In that location was all sorts of chaos."[fifteen] While Depp was on location in Los Angeles, he got a phone call from comedian Bill Murray who had played Thompson in Where the Buffalo Roam. He warned Depp, "Be careful or you'll notice yourself ten years from at present all the same doing him… Make sure your next role is some drastically dissimilar guy."[24]

Shooting on location in Las Vegas began on iii August 1997 and lasted 56 days. The production ran into bug when they wanted to shoot in a casino. They were only immune to film betwixt two and six in the morning, given only six tables to put extras around and insisted that the extras really adventure.[15] Exterior shots of the Bazooko Casino were filmed in front end of the Stardust hotel/casino with the interiors constructed with a Warner Bros. Hollywood soundstage.[25] To get the period await of Vegas in the 1970s, Gilliam and Pecorini used rear-projection footage from the quondam telly show, Vega$. According to the cinematographer, this footage heightened the film'south "already otherworldly tone an extra notch."[25]

Cinematography [edit]

Nicola Pecorini was hired based on an audition reel he sent Gilliam that fabricated fun of the fact that he had only i eye (he lost the other to retinal cancer).[25] According to Pecorini, the await of the motion-picture show was influenced by the paintings of Robert Yarber that are "very hallucinatory: the paintings employ all kinds of neon colors, and the lite sources don't necessarily make sense."[25] According to Gilliam, they used him every bit a guide "While mixing our palette of deeply disturbing fluorescent colors."[26]

For the desert scenes, Pecorini wanted a specific, undefined quality without a real horizon to convey the notion that the landscape never concluded and to emphasize "a sure kind of unreality outside the characters' car, because everything that matters to them is within the Red Shark."[25] For the scene where Duke hallucinates a lounge full of lizards, the production was supposed to have 25 animatronic reptiles but they only received 7 or eight.[25] The product used movement-control techniques to arrive await like they had a whole room of them and made multiple passes with the cameras outfitting the lizards with different costumes each fourth dimension.[25]

During production, it was Gilliam'south intention that it should feel like a drug trip from beginning to end. He said in an interview, "We start out at full speed and information technology's WOOOO! The drug kicks in and you're on speed! Whoah! You get the buzz – it's crazy, it's outrageous, the carpet'due south moving and everybody's laughing and having a great time. Just so, e'er then slowly, the walls first closing in and information technology's similar you're never going to become out of this fucking identify. It'south an ugly nightmare and there's no escape."[xiv] To convey the effects of the diverse drugs, Gilliam and Pecorini assembled a list of "phases" that detailed the "cinematic qualities" of each drug consumed.[25] For ether, Pecorini said they used a "loose depth of field; everything becomes not-defined"; for adrenochrome, "everything gets narrow and claustrophobic, motility closer with lens"; mescaline was fake by having "colors melt into each other, flares with no sources, play with color temperatures"; for amyl nitrite, the "perception of light gets very uneven, light levels increase and decrease during the shots"; and for LSD, "everything extremely wide, hallucinations via morphs, shapes, colors, and sound."[25]

Pecorini and Gilliam decided they wanted the film to be shot broad-angle just considering of the small budget they couldn't afford the downfalls of anamorphic lenses and so they paired the Arriflex 535, Arri BL-4S and the Arri 35-iii with a set of Zeiss Standard Primes and Kodak'south 250D Vision 5246 filmstock in order to achieve the saturated look the film has.[27]

Soundtrack [edit]

Professional ratings
Review scores
Source Rating
AllMusic link

The music belongs to the psychedelic stone and classic rock genre. The soundtrack contains songs used in the picture show with sound bites of the film before each song. Well-nigh of the music is nowadays in the soundtrack with a few exceptions: the Lennon Sisters' version of "My Favorite Things" from The Sound of Music which plays at the beginning of the picture, Jefferson Airplane's "Somebody to Love" which is heard during a flashback, Debbie Reynolds' "Tammy", Perry Como's "Magic Moments", Beck, Bogert & Appice'south "Lady", Tom Jones' "It's Not Unusual", Frank Sinatra'southward "Y'all're Getting to Be a Habit with Me", Combustible Edison'due south "Spy vs Spy", the Out-Islanders' "Moon Mist" from Polynesian Fantasy, Robert Goulet'south "My Love, Forgive Me", and a recording of "Ball and Chain" by Janis Joplin.

The Rolling Stones song "Jumping Jack Flash" is heard at the conclusion of the picture as Thompson drives out of Las Vegas. Gilliam could non pay $300,000 (half of the soundtrack upkeep) for the rights to "Sympathy for the Devil" by the Rolling Stones, which plays a prominent role in the book.[4]

The Dead Kennedys rendition of "Viva Las Vegas" is heard at the very end of the closing credits.

Runway list [edit]

No. Championship Performed past Length
1. "Combination of the Two" Big Brother and the Belongings Visitor 5:47
2. "Ane Toke Over the Line" Brewer & Shipley 3:43
3. "She's a Lady" Tom Jones 2:53
4. "For Your Love" The Yardbirds 2:36
5. "White Rabbit" Jefferson Aeroplane three:13
half dozen. "A Drug Score – Function 1 (Acid Spill)" Tomoyasu Hotei & Ray Cooper 0:52
7. "Assemble" The Youngbloods 5:41
8. "Mama Told Me Not to Come" Three Dog Nighttime 3:51
9. "Stuck Inside of Mobile with the Memphis Blues Over again" Bob Dylan 7:27
10. "Time Is Tight" Booker T. & the MG'due south 3:29
11. "Magic Moments" Perry Como iii:04
12. "A Drug Score – Office 2 (Adrenochrome, the Devil's Dance)" Tomoyasu Hotei & Ray Cooper 2:27
thirteen. "Tammy" Debbie Reynolds 3:03
14. "A Drug Score – Part 3 (Flashbacks)" Tomoyasu Hotei & Ray Cooper ii:26
fifteen. "Expecting to Fly" Buffalo Springfield 4:17
xvi. "Viva Las Vegas" Dead Kennedys 3:23
Full length: 61:00

Release [edit]

Fear and Loathing in Las Vegas underwent preview test screenings – a process that Gilliam does non bask. "I ever become very tense in those (test screenings), because I'm ready to fight. I know the pressure from the studio is, 'somebody didn't like that, change it!'"[xiii] The filmmaker said that it was of import to him that Thompson like the film and recalls the writer's reaction at a screening, "Hunter watched it for the first time at the premiere and he was making all this fucking noise! Apparently it all came flooding back to him, he was reliving the whole trip! He was yelling out and jumping on his seat like information technology was a roller coaster, ducking and diving, shouting 'SHIT! Await OUT! GODDAMN BATS!' That was fantastic – if he thought nosotros'd captured it, so we must have done it!"[xiv] Thompson himself stated, "Yeah, I liked it. Information technology'southward non my show, but I appreciated it. Depp did a hell of a job. His narration is what really held the motion picture together, I think. If you hadn't had that, it would have but been a series of wild scenes."[28]

Fearfulness and Loathing in Las Vegas debuted at the 1998 Cannes Film Festival[29] and Gilliam said, "I'm curious well-nigh the reaction... If I'yard going to be disappointed, it's because it doesn't make any waves, that people are non outraged."[30]

Abode media [edit]

By the fourth dimension Fright and Loathing was released every bit a Criterion Collection DVD in 2003, Thompson showed his approving of the Gilliam version by recording a full-length audio commentary for the film and participating in several DVD special features.[31]

On an audio commentary rail in the Criterion edition of the DVD, Gilliam expresses peachy pride in the film and says it was one of the few times where he did not accept to fight extensively with the studio during the filming. Gilliam chalks this up to the fact that many of the studio executives read Thompson's book in their youth and understood it could not exist made into a conventional Hollywood film. However, he does limited frustration with the advertising entrada used during its initial release, which he says tried to sell it every bit wacky comedy. The picture show was later released by Universal Studios on Hard disk drive DVD and, subsequently, Blu-ray; Benchmark released the moving picture on Blu-ray on 26 April 2011.[33]

Reception [edit]

Box role [edit]

The moving picture opened in broad release on 22 May 1998 and grossed $3.3 one thousand thousand in 1,126 theaters on its first weekend. The film went on to gross $x.vi one thousand thousand, well below its budget of $18.5 million.[34] However, the movie reignited involvement in Thompson'due south novel. Vintage Press reported an initial reprint of 100,000 copies to tie in with the pic's release, only demand was college than expected and forced the novel to go back to print a farther v times.[35]

Critical response [edit]

Gilliam wanted to provoke strong reactions to his film as he said in an interview, "I want it to be seen as one of the great movies of all time, and i of the nigh hated movies of all time."[13] Fright and Loathing in Las Vegas polarized critics; it currently has a 50% approval rating on Rotten Tomatoes based on 70 reviews, with an boilerplate rating of v.93/10. The site'south critical consensus calls the motion picture "visually creative, only also aimless, repetitive, and devoid of graphic symbol development."[36] Metacritic calculated an average score of 41 out of 100 based on 19 reviews, indicating "mixed or average reviews".[37] Audiences polled past CinemaScore gave the film an boilerplate course of "C+" on an A+ to F scale.[38]

In The New York Times, Stephen Holden wrote, "Fifty-fifty the near precise cinematic realizations of Mr. Thompson'south images don't begin to match the surreal ferocity of the author'southward linguistic communication."[39] Stephen Hunter, in his review for the Washington Mail, wrote, "Information technology tells no story at all. Little episodes of no detail import come and go...Just the picture is besides grotesque to exist entered emotionally."[twoscore] Mike Clark, of USA Today, found the film "but unwatchable."[41] In The Guardian, Gaby Forest wrote: "Later on a while, though, the ups and downs don't come frequently enough fifty-fifty for the audience, and at that place's an element of the tedium usually constitute in someone else'southward druggy experiences."[42] Roger Ebert found the film disgraceful, giving it one star out of 4 and calling it:

a horrible mess of a picture, without shape, trajectory or purpose–a one joke movie, if it had one joke. The two characters wander witlessly past the bizarre backdrops of Las Vegas (some real, some hallucinated, all interchangeable) while zonked out of their minds. Humor depends on attitude. Beyond a certain point, y'all don't have an mental attitude, you merely inhabit a state.[43]

Gene Siskel's "thumbs-upwardly" review at the time also noted the motion picture successfully captured the book'due south themes into film, calculation "What the picture show is about and what the book is about is using Las Vegas as a metaphor for – or a location for – the worst of America, the extremes of America, the money obsession, the visual vulgarity of America."[44] Michael O'Sullivan gave the movie a positive review in the Washington Post. "What elevates the tale from being a mere drug chronicle is the same thing that lifted the volume into the realm of literature. It's the sense that Gilliam, like Thompson, is always totally in control of the medium, while abandoning himself utterly to unpredictable forces across his command."[45] Empire mag voted the moving picture the 469th greatest film in their "500 Greatest Movies of All Fourth dimension" list.[46]

Andrew Johnston, writing in Time Out New York, observed: "Fear is really a Rorschach exam of a movie – some people will run into a godawful mess, rendered inaccessible past the stumbling handheld camera and Depp'due south nearly incomprehensible narration. Others will see a freewheeling one-act, a thinking person's Cheech and Chong film. It all depends on your mood, expectations and state of mind (for the tape, I was rock sober and basically enjoyed myself)."[47]

Status [edit]

The film has been re-screened at various cinemas such every bit The Prince Charles Cinema in Leicester Square, London and a special screening from original VHS tape at Swordtail Studio London in 2016.[48]

The increased attention for the film has too led some news outlets to reconsider the mixed original reception of the motion picture; Scott Tobias of The A.V. Social club argued in his more than recent review of the film that "the moving picture would have had a greater impact had it been produced at the time, when Brewster McCloud proved that annihilation was possible, but short of a time auto, Gilliam does what he can to bring the era back to life."[49]

Awards [edit]

The moving picture was nominated for a multifariousness of awards that both praised and condemned it. Terry Gilliam was nominated for the Palme d'Or at the 1998 Cannes Pic Festival while Johnny Depp won the Best Foreign Actor award from the Russian Guild of Film Critics in 1998.

However, Depp and Del Toro were as well nominated past the Stinkers Bad Movie Awards for Worst On-Screen Couple, and during the same awards Del Toro's portrayal of Dr. Gonzo was also nominated for the Worst Supporting Histrion.

See also [edit]

  • Gonzo journalism
  • The Rum Diary
  • Where the Buffalo Roam
  • List of films featuring hallucinogens

References [edit]

  1. ^ "Fearfulness And Loathing In Las Vegas: five Things The Movie Inverse From The Book (And v Things Kept The Same)". ScreenRant. 20 June 2019. Retrieved 14 September 2020.
  2. ^ West, Richard (January 1976). "Texas Monthly Reporter". Texas Monthly . Retrieved 29 August 2011.
  3. ^ David Morgan (1999). "The Making of Fear and Loathing in Las Vegas". Retrieved 15 Dec 2006.
  4. ^ a b c d e f g h i j grand Ebner, Mark (January 1998). "Fearfulness and Bleating in Las Vegas: Hunter Thompson Goes Hollywood". Premiere.
  5. ^ "Johnny Depp and Director Bruce Robinson THE RUM DIARY Interview". 26 Oct 2011. Retrieved ten July 2017.
  6. ^ Nathan Lee (12 May 2006). "Fear and Loathing in Las Vegas". The New York Times . Retrieved 4 January 2007. (registration required)
  7. ^ Laila Nabulsi. Fear and Loathing in Las Vegas audio commentary (DVD).
  8. ^ clamenza33 (21 September 2008), Terry Gilliam Interview - Fright & Loathing , retrieved xix February 2017
  9. ^ a b Doss, Yvette C (5 June 1998). "The Lost Legend of the Real Dr. Gonzo". Los Angeles Times.
  10. ^ "'Melania knew what she was putting on': Benicio Del Toro on drugs, Sicario and Trump's border war". The Guardian. 29 June 2018. Retrieved 22 November 2018.
  11. ^ Elias, Justine (June 1998). "Behind the Scenes: Terry Gilliam". United states Weekly.
  12. ^ a b c Brinkley, Douglas (June 1998). "Johnny, Become Your Gun". George. pp. 96–100, 109–110.
  13. ^ a b c McCracken, Elizabeth (June 1998). "Depp Charge". ELLE.
  14. ^ a b c d Holden, Michael John Perry, Nib Borrows (December 1998). "Fear and Loathing". Loaded.
  15. ^ a b c d Gale, David (June 1998). "Cardboard Castles and Chaos". Icon. pp. 102–105.
  16. ^ clamenza 33 (21 September 2008).'Terry Gilliam Interview - Fearfulness & Loathing'.Youtube. Existent to Reel interview. Retrieved from:https://www.youtube.com/watch?v=e4QOU8wS7jI
  17. ^ a b c Smith, Giles (25 May 1998). "War Games". The New Yorker. pp. 74–79.
  18. ^ Rowe, Douglas J (29 May 1998). "Terry Gilliam Tin Wing Without Acid". Associated Printing.
  19. ^ Macabe, Bob (1998). "Chemical Warfare". Sight and Sound. 8: 6–8 – via Sight and Audio digital archive.
  20. ^ McCabe, Bob (December 1998). "One on 1". Empire. pp. 120–123.
  21. ^ a b Willens, Michele (17 May 1998). "How Many Writers Does it Accept...?". The New York Times.
  22. ^ "Dreams: Gilliam burns his WGA card - Pictures!". Smart.co.uk. Retrieved 17 February 2017.
  23. ^ Houpt, Simon (21 May 1998). "Going Gonzo with Fright and Loathing". The Globe and Mail service. pp. D1–D2.
  24. ^ Brinkley, Douglas (26 July 1998). "Road to Ruin". Sunday Postal service.
  25. ^ a b c d e f m h i Pizzello, Stephen (May 1998). "Gonzo Filmmaking". American Cinematographer. pp. 30–41.
  26. ^ Pizzello, Stephen (May 1998). "Unholy Grail". American Cinematographer. pp. 42–47.
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  35. ^ Fright and Loathing in Las Vegas at Rotten Tomatoes
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External links [edit]

  • Fear and Loathing in Las Vegas at IMDb
  • Fear and Loathing in Las Vegas at AllMovie
  • Fright and Loathing in Las Vegas at Box Office Mojo
  • Fearfulness and Loathing in Las Vegas at Rotten Tomatoes
  • Fear and Loathing in Las Vegas at Metacritic Edit this at Wikidata
  • Fear and Loathing in Las Vegas: A Pint of Raw Ether and Three Reels of Motion picture an essay by J. Hoberman at the Criterion Collection
  • Wide Angle/Closeup: Fear and Loathing script analysis – Compares Gilliam/Grisoni and Cox/Davies screenplays

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Source: https://en.wikipedia.org/wiki/Fear_and_Loathing_in_Las_Vegas_(film)