The Woman Chaser



IMDb Rating 7.1 10 659


Downloaded times
November 11, 2021



Eugene Roche as Used Car Dealer
Ezra Buzzington as Piano Player
Patrick Warburton as Richard Hudson
799.15 MB
English 2.0
23.976 fps
90 min
P/S N/A / N/A

Movie Reviews

Reviewed by Quinoa1984 9 / 10 / 10

unique not just as a film-noir but as a piece of movie-movie lore

The Woman Chaser stars Patrick Warburton in a performance that could be called uncanny. He's deadpan in his delivery of lines, as well as his demeanor, but that doesn't mean he's just completely flat-toned. As Richard Hudson, a car salesman who has a lot of money but is bored to death who decides to make a movie called "The Man Who Got Away", Warburton finds one of his richest characters to play through, and it's a performance that is quite funny, really dark, wretchedly tragic, and sometimes a little awkward (see how casual he is about commenting on his mother's beauty - including her breasts). It's he who the director, Robinson Devor, uses as his anchor for the film, and it was a creative and interesting choice. We usually see him in a supporting role or as a guy like Putty on Seinfeld. Here, he fits so well you'd swear he somehow beat out Glenn Ford and Robert Mitchum at the audition (it if were the 50's that is). It's a kind of weird- sometimes very weird- 'spoof' on film-noirs, particularly those set in the 1950s, and it also skewers the art of film-making. Hudson wants to make this film, and has a way of talking people into anything that gets him a 150 grand budget almost without even trying. We see him, narrating in a soulful and tragi-comic voice, how he goes from being at the top of his game as a sudden 'artist' to realizing the greed in others and betrayal in his own father/producer. Devor shoots the film as a black and white waking-nightmare (albeit shot in color, which really fooled me), and you get sucked into it much the same way you do The Man Who Wasn't There or even Ed Wood as contemporary filmed throwbacks to the mood its after and the subject matter. And it is funny, sometimes in ways that will just throw you completely off guard (one of my favorites is how he gets a particularly bad actress to play a scene by coaching her lines during a break - while having rough sex at the same time - and throwing her right into the scene immediately after, her face priceless), and other times in little moments that will hit more with film buffs than anyone else. There's even some Godardian deconstruction, however not quite as smart or biting, in how Richard keeps breaking the narrative of the film (par for the course in this story) and speaks to the audience while in front of a film camera spinning away on the reels. We don't sympathize with this character, but that's the point, and runs both as a great comment on its style of film and how film is made in general. One of the most curious things I should mention is the film within the film, the title 'The Man Who Got Away' also a very personal reference to its maker. We see Richard describe this scenario to us- directly to us, even as he's pitching it to his father- and we can see some of the things he's describing. We suspect even then it could never get made, not in the 1950s, or at least never released. What makes it so fascinating is how little Devor shows us of what was filmed for the movie, a really bitter screed on a truck driver who runs over a little girl and dies in his big getaway. I wanted to see more of it, but maybe that too is part of the construct of the Woman Chaser. We don't need to see the art Hudson is making - he's living through it, however poorly or an odd man-child, enthralled by TS Elliot to tears and strong enough to possibly kick someone's ass. It's a should-have-been sleeper that you can only find on limited-release VHS, but it's worth it.

Reviewed by morrison-dylan-fan 9 / 10 / 10

"What's more unusual than Santa Clause selling used cars in August?"

With a poll taking place on IMDb's Classic Film board for the best titles of 1999,I started looking round for left-field movies to view.Reading a great post on IMDb's Film Noir board,I found out that Patrick Warburton (known for his distinctive voice over work on Family Guy & the quirky Disney movie The Emperor's New Groove) had actually starred in a 1999 Neo-Noir!,which led to me getting ready to meet the woman chaser. The plot: Being a master in all the tricks of the trade,used cars salesmen Richard Hudson decides to set up his own used car showroom.Making good cash with his smooth business skills,Hudson begins thinking about fulfilling his dream of making a film.Wanting to give all the attention to his debut film,Hudson passes the business over to the assistant manager.Pulling his washed up,ol' faithful directing father-in-law Leo,Hudson gets his foot in the door at a studio,who with Leo's help agree to fund Hudson's "vision" Writing and directing the film himself,Hudson rigidly sticks to "his vision",and soon finds himself trying to stop the studio from editing his vision to destruction. View on the film: Selling Hudson's "vision" in pin-stripe B&W backed with a smooth Jazz and Blues soundtrack, (which has caused the original cut to be stuck in royalties issues for years)writer/director Robinson Devor gives the film a wonderfully peculiar Neo-Noir atmosphere, with gliding tracking shots in Hudson's car setting off stylish close-ups held in left- field angles,which give Hudson's adventures in the Hollywood "dream factory" a darkly comedic,acid-tongue Film Noir mood.Keeping his excellent adaptation rooted in Charles Willeford 50's LA pulp novel, Devor wraps the movie in a deliciously jet-black comedic wit,with the rich narration revealing Hudson's determination to be an "auteur" and destroy anyone that tries to stop his vision from being seen. Whilst firing sharp one liners across the screen, Devor tightly threads an explosive,self-destructive Film Noir streak round Hudson,who holds onto to ridged beliefs which stop Hudson from seeing the "development hell" that he and his project is sinking into.Joined by a fantastic supporting cast with "lived in" faces that go from Ernie Vincent's thunderous studio head to Marilyn Rising's flirty stepsister Becky, Patrick Warburton gives a fabulously chiselled performance as Hudson, thanks to Warburton being able to deliver a dead-pan line with real-precision,whilst keeping Hudson's Film Noir rage bubbling away,which spills over as Hudson's nitrate dream vision is lit up.

Reviewed by PimpinAinttEasy 9 / 10 / 10

A great film about 20th Century Man's impulsiveness and insanity

Dear Robinson Devor, thanks for making a movie based on a Charles Willeford novel. Willeford is one of my favorite writers. The film has one of the most interesting plots ever for a crime thriller. A crooked, arrogant and vicious car salesman who is really good at his job panics at a meeting of aspiring young reps. He realizes that he is wasting his life in the 9 to 5 grind. It dawns on him that we are on this planet to be creative. So he writes a script with help from his step-father and decides to direct a film. But when his edited film fails to meet the 6 reel 90 minute length standard, the studio tries to interfere in the future of the film. The crazed car salesman/movie director embarks on a rampage of destruction. I think there is more to this film than a man trying to escape his mundane life. It is also about 20th century man's impulsive behavior without thinking about the consequences. It is also about how we are all basically mad. I mean, I found myself laughing and cheering on some of the actions of the main character. I could totally identify with him. Like Willeford himself said - "I had a hunch that madness was a predominant theme and a normal condition for Americans living in the second half of this century." Your film was visually arresting - full of directorial flourishes characterized by slow motions and weird camera angles and lighting. Visually, it was quite similar to noir films. I loved the way you filmed the scene in the swimming pool. The film was also pretty true to the book though you did exclude two scenes of violence. You also played with the structure a little bit. I liked what another IMDb user said about the actors - they did not look like actors. They came across as real people. This is so true. Square jawed Patrick Warburton could walk into a Russ Meyer film. His acting in the ballet dance sequence was terrific. I hope Criterion or Arrow puts out a Blu Ray of this terrific film. And I hope you make more films, Robinson Devor. Best Regards, Pimpin. (9/10)

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