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Money is a fable of excess and flawed ambition, set in the world of movie deals, call girls and impossibly petulant actors.
It’s 1981 and Londoner John Self (Nick Frost) – a successful director of commercials, a hedonist and habitual drunk – is invited to New York by film producer Fielding Goodney in order to shoot his first film. But things are not straightforward. Self’s cast of acting legends and up-and-coming stars find their egos and emotional issues aggravated by the roles they’ve been given. Back home, his father is invoicing him for his childhood and Self is starting to suspect his girlfriend, Selina, is cheating. He is also receiving phone calls from a mysterious stalker who seems to know his every move, demands money and threatens retribution... Meanwhile, Goodney’s budget increases by the day. Is John Self’s life about to implode?
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8 of 8 people found the following review helpful
Format:DVD
I have not read the Amis novel, which is probably a positive as those who have tend to dismiss this drama out of hand. I thought that generally this was good, with Nick Frost just about pulling off the portrayal of a pitiful brooding character (John Self) who expects everything to fall in to place at his command. When it does not go to plan, Self drinks himself into oblivion. Ultimately it is about Self being taught a lesson and the only criticism would be that Frost does not make him horrible enough for the viewer to applaud the outcome when all is revealed. Supporting cast is good, although it is Emma Pierson that steals the whole show once again from a supporting role (see Little Dorrit also). Surely a major lead role now beckons for such a talented actress!
4 of 5 people found the following review helpful
By MrAsh
Format:DVD
"The book is better than the adaptation." Never has this been more true. After reading Money I immediately bought 4 copies for friends. One (buys books based on length: `better value') didn't finish. Another (never was a reader) didn't start. The other two raved over it and continue to keep the Amis faith.
Marty calls Money a voice novel, and that's what's missing here. The book was brilliant because of the frankly stunning prose. Without that you have an okay comedy with some amusing moments and relatively interesting characters. It's just ... okay.
I honestly believe it would never have been commissioned from an original screenplay. There's nothing stand-out about it. Nick Frost does a fine job, but he ain't the character from Martin Amis's novel. And that's a shame, because the John Self of the page is one of the most awful, funny, fascinating, mesmerising characters I've ever met.
If they repeat it on the box, if you have 4 hours to kill, then why not. But don't spend your money on this DVD.
Buy the book - but maybe just the one.
Marty calls Money a voice novel, and that's what's missing here. The book was brilliant because of the frankly stunning prose. Without that you have an okay comedy with some amusing moments and relatively interesting characters. It's just ... okay.
I honestly believe it would never have been commissioned from an original screenplay. There's nothing stand-out about it. Nick Frost does a fine job, but he ain't the character from Martin Amis's novel. And that's a shame, because the John Self of the page is one of the most awful, funny, fascinating, mesmerising characters I've ever met.
If they repeat it on the box, if you have 4 hours to kill, then why not. But don't spend your money on this DVD.
Buy the book - but maybe just the one.
By Paul Healy
Format:DVD
This BBC telemovie is a surprising adaptation of Martin Amis's 1984 novel. The production has captured the look and feel of the 1980s with such verisimilitude that I had to check the production date. The novel portrayed a nasty, venal, Hogarthian (should that be Amisian?) view of a horrible man in his horrible, nasty little england. The supporting characters were all nightmarish creations of a febrile imagination. This production is far kinder, both to the central character, John Self, and to the view of little england (and only a slightly larger america). One suspects that, in the best traditions of the filmmaking-as-production line idea, the producers thought the Amisian view was far too bleak and needed toning down. John Self is still a hapless dupe, but is likeable and sympathetic. This version even has a happy ending, which is surprisingly satisfying. The novel's detailed portrayal of the feature film industry as a bunch of gormless chancers, jerry-rigging a hopeless deal that only very rarely comes off, is extremely diluted in this version. I would guess that is one mirror that most filmmakers really don't want to look into. When you consider the filmed-travesties that have represented other Amis novels (Dead Babies and The Rachel Papers to name two), Amis has got off lightly. This version is a decent representation of the novel but a representation missing the scarifying wit and pin-point sociological observation that you will find in the novel.
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