Like several of Penn's later films, it draws upon the style and legacy of the French New Wave to construct an allegory of capitalism, and has also been read in reference to McCarthyism.[2]
Plot
After incurring the wrath of the Mafia, a stand-up comic (Warren Beatty) flees Detroit for Chicago, taking the name Mickey One (from the ethnic name Miklos Wunejeva on a Social Security card he steals from a homeless man). He uses the card to get a job at a seedy diner hauling garbage. He saves up enough money from his low wages to rent a room at a local flop house and buy himself some new clothes. Eventually he returns to the stage as a stand-up comic, but is wary of becoming successful, afraid that he will attract too much attention. When he gets a booking at the upscale club Xanadu, he finds that his first rehearsal has become a special "audition" for an unseen man with a frightening, gruff voice (Aram Avakian). Paranoid that the mob has found him, Mickey runs away. He decides to find out who "owns" him and square himself with the mob. However, he doesn't know what he did to anger them or what his debt is. Searching for a mobster who will talk to him, he gets beaten up by several nightclub doormen. Mickey finally concludes that it's impossible to get away and be safe, so he pulls himself together and does his act anyway.
In traveling about the city, Mickey continually sees a mute mime-like character known only as The Artist (Kamatari Fujiwara). The Artist eventually unleashes his Rube Goldberg-like creation, a deliberately self-destructive machine called "Yes," an homage to the sculptor Jean Tinguely.[3]
Penn received a nomination for a Golden Lion at the Venice Film Festival. However, critical reaction was mostly negative. Bosley Crowther in The New York Times praised the visual style but claimed that the film was "pretentious and monotonous."[4]Time called the film, "never boring but never very precise, and finally goes to pieces amidst the crash of its own symbols."[5] In 1979, James Monaco wrote Mickey One 'except for Woody Allen's Interiors, is the most pretentious film by a major American filmmaker in the last thirty years'.[6]
Beatty and Penn did not get along while making this film. Beatty later recalled, "We had a lot of trouble on that film, because I didn't know what the hell Arthur was trying to do and I tried to find out ... I'm not sure that he knew himself" and added, "To me, the stand-up gags that the guy had to do in Mickey One were not funny and that was always my complaint with Arthur." Producer Harrison Starr recalled, "Warren and Arthur had go-arounds ... the role was basically a role of an eccentric, a person whose inner demons were reflected in the world he inhabited ... and I think that was difficult for Warren to play."[7] Nevertheless, Beatty and Penn teamed again for Bonnie and Clyde in 1967.
Rediscovery
The rediscovery of the film began in 1995 with a booking at San Francisco's Castro Theater and a reevaluation by Peter Stack:
Mickey One is, in essence, a jazz film with an edgy style in which shadings and tone of voice are everything. It is laced with American idioms in its script by Alan Surgal, and most of Beatty's lines have a smart-alecky tone. When he goes on the run, Mickey meets a woman who wonders who he is (since he can't shake his show-biz patina) and he hits her with the line: "I'm the king of silent movies hiding out till the talkies blow over." In another place he verbally assaults a nightclub owner who can't figure out why Mickey's so edgy, saying, "I'm guilty of not being innocent." At the start we see pretty-boy Beatty as a hot comic in Detroit. He's got it all -- good looks, the swagger of a deft improviser -- and he's having a torrid affair with a blond siren. (The film is filled with women bursting with desire.) But fortune quickly turns -- witness to a torture murder in a back room, the comic flees, hoboes his way to Chicago's West Side and takes refuge in a junkyard. There he runs into another nightmarish scene -- police investigating a murder in an automobile crusher. The cinematic invention in Mickey One has been dismissed by some critics as contrivance. But Penn may have been decades ahead of his time in depicting an urban America as gallery of paranoia, cynicism and loneliness. In a classic scene, the comic is up against a brick wall auditioning at a nightclub, a single, powerful spotlight trained on him so he can't see into the audience. Penn creates an agonizing moment of a man talking awkwardly to God while looking as if he's standing before a firing squad.[excessivequote][8]
The film's soundtrack, reverberating with hints of everything from Béla Bartók to bossa nova, reteamed Stan Getz with arranger Eddie Sauter, following their album Focus[10] (1961).
Henry Warren Beatty is an American actor and filmmaker. His career has spanned over six decades, and he has received an Academy Award and three Golden Globe Awards. He also received the Irving G. Thalberg Award in 1999, the BAFTA Fellowship in 2002, the Kennedy Center Honors in 2004, the Cecil B. DeMille Award in 2007, and the AFI Life Achievement Award in 2008.
Bonnie and Clyde is a 1967 American biographical neo-noir crime film directed by Arthur Penn and starring Warren Beatty and Faye Dunaway as the title characters Clyde Barrow and Bonnie Parker. The film also features Michael J. Pollard, Gene Hackman, and Estelle Parsons. The screenplay is by David Newman and Robert Benton. Robert Towne and Beatty provided uncredited contributions to the script; Beatty produced the film. The music is by Charles Strouse.
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Arthur Hiller Penn was an American filmmaker, theatre director, and producer. He was a Tony Award winner, and was nominated for three Academy Awards for Best Director, as well as a BAFTA Award, a Golden Globe, two Primetime Emmys. As a member of the New Hollywood movement, Penn directed several critically-acclaimed films dealing with countercultural issues of the late 1960s and 1970s, notably the drama The Chase (1966), the biographical crime film Bonnie and Clyde (1967), the comedy Alice's Restaurant (1969), and the revisionist Western Little Big Man (1970). His films tend to explore themes such as the legacy of the American counterculture, the relationship between individuals and communities, and contemporary Romanticism.
Francis Bosley Crowther Jr. was an American journalist, writer, and film critic for The New York Times for 27 years. His work helped shape the careers of many actors, directors and screenwriters, though his reviews were criticized as unnecessarily harsh. Crowther was an advocate of foreign-language films in the 1950s and 1960s, particularly those of Roberto Rossellini, Vittorio De Sica, Ingmar Bergman, and Federico Fellini.
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Focus is a jazz album recorded in 1961, featuring Stan Getz on tenor saxophone with a string orchestra. The album is a suite which was originally commissioned by Getz from composer and arranger Eddie Sauter. Widely regarded as a high point in both men's careers, Getz later described Focus as his favorite among his own records. The pair would next collaborate on their soundtrack to the 1965 film Mickey One.
Edward Ernest Sauter was an American composer and arranger during the swing era.
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Sunday in New York is a 1963 American romantic comedy film directed by Peter Tewksbury from a screenplay by Norman Krasna, based on Krasna's 1961 play of the same name. Filmed in Metrocolor, the film stars Cliff Robertson, Jane Fonda, and Rod Taylor, with Robert Culp, Jo Morrow, and Jim Backus. The score was composed and recorded by Peter Nero, who also appears as himself performing in a nightclub; Mel Tormé sang the title song.
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Joseph C. Shaughnessy, better known as Mickey Shaughnessy, was an American actor and comedian.
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Janie is a 1944 film directed by Michael Curtiz, based on a 1942 Broadway play by Josephine Bentham and Herschel V. Williams Jr. The play was adapted from Bentham's 1940 novel by the same name.
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Stan Getz Plays Music from the Soundtrack of Mickey One is a 1965 studio album by Stan Getz arranged by Eddie Sauter of their music for the soundtrack of the 1965 film Mickey One. The two men had previously collaborated on Getz's album Focus (1961).
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