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Closed Caption; "A Shot At the Top" making-of featurette; Still gallery; Theatrical trailer and TV spot; Anamorphic widescreen (Aspect Ratio 1.85:1); Audio: English stereo, English mono, French mono, Spanish mono; Subtitles: English, Spanish
Full Product DetailsSide #1 --
1. Say Hello to Jerry [3:14]
2. Main Titles [2:35]
3. Pupkin's Pitch [5:18]
4. Something Impossible [2:30]
5. A Call From Masha [1:20]
6. Mr. Romance [8:40]
7. Rupert Pupkin Calling [6:01]
8. Masha [2:24]
9. The Audition Tape [4:24]
10. How Do You Do It? [1:50]
11. Out in Public [2:58]
12. Royal Wedding [3:24]
13. Not Ready Yet [7:46]
14. Jerry's "Guests" [8:46]
15. Kidnapped [4:01]
16. The Phone Call [4:10]
17. Jerry's Word [5:04]
18. A Stupid Offense [2:25]
19. Mr. King [1:30]
20. Alone With Jerry [3:21]
21. Rules & Regulations [3:04]
22. Come Rain or Come Shine [1:30]
23. The FBI [3:52]
24. Showtime [2:01]
25. Masha's Mistake [2:42]
26. The Newest King of Comedy [7:33]
27. A Household Word [2:30]
28. End Titles [3:36]
Dreams of stardom become a star's nightmare in The King of Comedy, a sharp, surgically precise satire from director Martin Scorsese. Robert DeNiro plays Rupert Pupkin, an aspiring stand-up comedian who kidnaps his idol, a famous TV talk-show host (Jerry Lewis), in a desperate attempt to get his big break. While this implausible plot might suggest farce, Scorsese opts instead for a darker tone: Lewis's Tonight-styled talk show is barely shown, and Pupkin's stand-up material isn't even heard until the end of the film. Indeed, neither comedy nor real-world celebrity is really of interest here; what matters are Pupkin's delusions of grandeur, and the film slips neatly into fantasy to get inside Pupkin's head, while honing an ominous edge reminiscent of Taxi Driver. DeNiro, who was the star of that film as well, is perfectly suited to the part of a not-so-average Joe whose obsessive compulsions are infused with an inscrutable air of menace. Meanwhile, show-biz legend Lewis is perfectly cast as the beleaguered victim of fan adulation, barely cracking a smile in a low-key performance that somehow anchors the film. By the end, although King of Comedy's portrayal of mass-media culture invites comparisons to a film like Network, it lacks that film's grand satirical scope. Instead, it triumphs as an intensely focused exploration of the perils of celebrity worship. Gregory Baird, Barnes & Noble
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