He flees to Detroit and almost goes to work for weirdo Hurd Hatfield.

Mickey One is a bizarre send up of film noir tropes and a top notch paranoid film in the vein of Polanski's "The Tenant". It also analyzes reviews to verify trustworthiness. To add contrast Director Arthur Penn also interjects dreamy Playboy magazine moments between Warren Beatty and 1966 Playmate of the Year Donna Loren at a posh hotel. Your AMC Ticket Confirmation# can be found in your order confirmation email. I have had to wait decades for the film to become available on home video. Mickey One is a strange film about a man on the run and living on the edge. We won’t be able to verify your ticket today, but it’s great to know for the future. The complications of Mickey One, alas, are all manufactured. This flashily photographed and edited film sort of sounds good when you talk about it: the ultimate French New Wave rip off with a comic book existential "plot" and a heaping helping of self indulgence all around. Sign up here. Surfing in wave of french Nouvelle vague the director Arthur Penn made one of most intriguing movie on the 60' and the second movie of new star Warren Beatty who want to do a right move in the beginning of your career, nevertheless this independent movie didn't have any impact in that time taking years to becomes a cult status, even today isn't for all taste, telling story of young guy who is a comic stand up and after make some excesses is running from the mob, ends up in Chicago living on underground and a paranoid life, a mix of styles gave to this picture some weirdo reading, ain't conventional movie!!! Had it arrived a few years later, when Hollywood really started to embrace new ideas and the visions of filmmakers, it may now be more highly regarded, although with its offbeat, freestyle-jazz swagger, Mickey One would still infuriate as much as it would inspire. He drifts along keeping an extremely low profile and doing odd jobs, before the lure of the stage proves to be too strong to ignore. Beatty's erratic, hyped-up demeanor grated on me from time to time, but I have to assume that Mr. Penn had intended his lead character to exhibit these manic symptoms to blend in with the madcap sequences of events that were taking place during the course of the film. It reminded me in some ways of Boorman's 'Point Blank' and Seijun Suzuki's 'Tokyo Drifter' and 'Branded To Kill' ( all of which it predates by the way) in the way that it uses a genre crime film as an excuse for some mind-blowing visuals and ideas. There's a lot of interesting things going on in this gritty urban psychological misfire, and it's inky black-and-white surreal ambiguity will draw in the viewer who is game for what's often considered the first major Hollywood film to embrace the French New Wave aesthetic. It's pathetic and speaks volumes about the incompetence of the American film studios that both of these still modern seminal fillms are unavailable in full blown out DVD versions. Regal

Don’t worry, it won’t take long. -- is merely confusing. , the new DVD gives an impression of avant-garde American filmmaking from the era. Mr. Penn seems to think that by keeping it ambiguous, he can roam more freely on both planes, reality and fantasy. I had been curious about the movie for some time and was ecstatic when I stumbled across an old VHS copy in my local video store (apparently it was never released on video in the US, this is certainly not the case here in Australia). "Ahead of its time."

This goes for every era of American film. Cinemark As the first collaboration between director Arthur Penn and actor-cum-producer Warren Beatty, MICKEY ONE could be considered important as the predecessor of BONNIE AND CLYDE, but it's such a different film that it should be judged on its own merits, which are considerable.

| The B&W cinematography is by Ghislain Cloquet. Stand-up comic Mickey One (Warren Beatty) is fearful that the gambling debts he amassed have made him a marked man in the Detroit clubs that he frequents. External Reviews West Chicago has never been more lunar and rapturously stark than as filmed by Ghislain Cloquet for Penn's Mickey One. ), who plays a nightclub impressario that wants to try out Beatty's act, and various other interactions on his trip to nowhere. Sadly, audiences were perhaps unprepared for this radical new approach to film-making, at least for an American studio, as the film's free-wheeling, care-free attitude and style, heavily influenced by the burgeoning French New Wave in Europe, was a turn-off for critics. Cold and strange and alien, yet its absurdism, which fits no era except whatever moment you're watching it in, is a compelling phantasm Chicago that presumes you're guilty until presuming you're ready to die. Get the freshest reviews, news, and more delivered right to your inbox!

Arthur Penn made the most of his Chicago locale. I was immediately impressed with the attitudes expressed by the script and with a structure at the time highly unusual in American cinema. Much of what he used is no longer standing, but it is deeply ingrained in true Chicago-influenced art: not just the works of Nelson Algren, but Richard Wright, Theodore Dreiser and James T. Farrell, blues artists from Maxwell Street, Ivan Allbright's grotesque paintings, the non-fiction of Studs Terkel and Upton Sinclair, Gwendolyn Brooks' poems all drew a kind of grimy vitality from this landscape, as well.

Beatty is enigmatic enough, with barely any dialog and Hatfield is well suited for his creepy role. All Critics (7) Beatty's paranoia gets the best of him as he flees from one bad situation after another, all the while pursued by a silent pipe playing rag man. Like a last visit to the now absent locales featured in Diane Arbus photographs, it repels and attracts almost like a roadside museum of oddities. Assuming a false identity, Mickey flees to Chicago, where he cautiously resumes his career at the upscale Club Xanadu. All rights reserved.

He flees to Detroit and almost goes to work for weirdo Hurd Hatfield.

Mickey One is a bizarre send up of film noir tropes and a top notch paranoid film in the vein of Polanski's "The Tenant". It also analyzes reviews to verify trustworthiness. To add contrast Director Arthur Penn also interjects dreamy Playboy magazine moments between Warren Beatty and 1966 Playmate of the Year Donna Loren at a posh hotel. Your AMC Ticket Confirmation# can be found in your order confirmation email. I have had to wait decades for the film to become available on home video. Mickey One is a strange film about a man on the run and living on the edge. We won’t be able to verify your ticket today, but it’s great to know for the future. The complications of Mickey One, alas, are all manufactured. This flashily photographed and edited film sort of sounds good when you talk about it: the ultimate French New Wave rip off with a comic book existential "plot" and a heaping helping of self indulgence all around. Sign up here. Surfing in wave of french Nouvelle vague the director Arthur Penn made one of most intriguing movie on the 60' and the second movie of new star Warren Beatty who want to do a right move in the beginning of your career, nevertheless this independent movie didn't have any impact in that time taking years to becomes a cult status, even today isn't for all taste, telling story of young guy who is a comic stand up and after make some excesses is running from the mob, ends up in Chicago living on underground and a paranoid life, a mix of styles gave to this picture some weirdo reading, ain't conventional movie!!! Had it arrived a few years later, when Hollywood really started to embrace new ideas and the visions of filmmakers, it may now be more highly regarded, although with its offbeat, freestyle-jazz swagger, Mickey One would still infuriate as much as it would inspire. He drifts along keeping an extremely low profile and doing odd jobs, before the lure of the stage proves to be too strong to ignore. Beatty's erratic, hyped-up demeanor grated on me from time to time, but I have to assume that Mr. Penn had intended his lead character to exhibit these manic symptoms to blend in with the madcap sequences of events that were taking place during the course of the film. It reminded me in some ways of Boorman's 'Point Blank' and Seijun Suzuki's 'Tokyo Drifter' and 'Branded To Kill' ( all of which it predates by the way) in the way that it uses a genre crime film as an excuse for some mind-blowing visuals and ideas. There's a lot of interesting things going on in this gritty urban psychological misfire, and it's inky black-and-white surreal ambiguity will draw in the viewer who is game for what's often considered the first major Hollywood film to embrace the French New Wave aesthetic. It's pathetic and speaks volumes about the incompetence of the American film studios that both of these still modern seminal fillms are unavailable in full blown out DVD versions. Regal

Don’t worry, it won’t take long. -- is merely confusing. , the new DVD gives an impression of avant-garde American filmmaking from the era. Mr. Penn seems to think that by keeping it ambiguous, he can roam more freely on both planes, reality and fantasy. I had been curious about the movie for some time and was ecstatic when I stumbled across an old VHS copy in my local video store (apparently it was never released on video in the US, this is certainly not the case here in Australia). "Ahead of its time."

This goes for every era of American film. Cinemark As the first collaboration between director Arthur Penn and actor-cum-producer Warren Beatty, MICKEY ONE could be considered important as the predecessor of BONNIE AND CLYDE, but it's such a different film that it should be judged on its own merits, which are considerable.

| The B&W cinematography is by Ghislain Cloquet. Stand-up comic Mickey One (Warren Beatty) is fearful that the gambling debts he amassed have made him a marked man in the Detroit clubs that he frequents. External Reviews West Chicago has never been more lunar and rapturously stark than as filmed by Ghislain Cloquet for Penn's Mickey One. ), who plays a nightclub impressario that wants to try out Beatty's act, and various other interactions on his trip to nowhere. Sadly, audiences were perhaps unprepared for this radical new approach to film-making, at least for an American studio, as the film's free-wheeling, care-free attitude and style, heavily influenced by the burgeoning French New Wave in Europe, was a turn-off for critics. Cold and strange and alien, yet its absurdism, which fits no era except whatever moment you're watching it in, is a compelling phantasm Chicago that presumes you're guilty until presuming you're ready to die. Get the freshest reviews, news, and more delivered right to your inbox!

Arthur Penn made the most of his Chicago locale. I was immediately impressed with the attitudes expressed by the script and with a structure at the time highly unusual in American cinema. Much of what he used is no longer standing, but it is deeply ingrained in true Chicago-influenced art: not just the works of Nelson Algren, but Richard Wright, Theodore Dreiser and James T. Farrell, blues artists from Maxwell Street, Ivan Allbright's grotesque paintings, the non-fiction of Studs Terkel and Upton Sinclair, Gwendolyn Brooks' poems all drew a kind of grimy vitality from this landscape, as well.

Beatty is enigmatic enough, with barely any dialog and Hatfield is well suited for his creepy role. All Critics (7) Beatty's paranoia gets the best of him as he flees from one bad situation after another, all the while pursued by a silent pipe playing rag man. Like a last visit to the now absent locales featured in Diane Arbus photographs, it repels and attracts almost like a roadside museum of oddities. Assuming a false identity, Mickey flees to Chicago, where he cautiously resumes his career at the upscale Club Xanadu. All rights reserved.

He flees to Detroit and almost goes to work for weirdo Hurd Hatfield.

Mickey One is a bizarre send up of film noir tropes and a top notch paranoid film in the vein of Polanski's "The Tenant". It also analyzes reviews to verify trustworthiness. To add contrast Director Arthur Penn also interjects dreamy Playboy magazine moments between Warren Beatty and 1966 Playmate of the Year Donna Loren at a posh hotel. Your AMC Ticket Confirmation# can be found in your order confirmation email. I have had to wait decades for the film to become available on home video. Mickey One is a strange film about a man on the run and living on the edge. We won’t be able to verify your ticket today, but it’s great to know for the future. The complications of Mickey One, alas, are all manufactured. This flashily photographed and edited film sort of sounds good when you talk about it: the ultimate French New Wave rip off with a comic book existential "plot" and a heaping helping of self indulgence all around. Sign up here. Surfing in wave of french Nouvelle vague the director Arthur Penn made one of most intriguing movie on the 60' and the second movie of new star Warren Beatty who want to do a right move in the beginning of your career, nevertheless this independent movie didn't have any impact in that time taking years to becomes a cult status, even today isn't for all taste, telling story of young guy who is a comic stand up and after make some excesses is running from the mob, ends up in Chicago living on underground and a paranoid life, a mix of styles gave to this picture some weirdo reading, ain't conventional movie!!! Had it arrived a few years later, when Hollywood really started to embrace new ideas and the visions of filmmakers, it may now be more highly regarded, although with its offbeat, freestyle-jazz swagger, Mickey One would still infuriate as much as it would inspire. He drifts along keeping an extremely low profile and doing odd jobs, before the lure of the stage proves to be too strong to ignore. Beatty's erratic, hyped-up demeanor grated on me from time to time, but I have to assume that Mr. Penn had intended his lead character to exhibit these manic symptoms to blend in with the madcap sequences of events that were taking place during the course of the film. It reminded me in some ways of Boorman's 'Point Blank' and Seijun Suzuki's 'Tokyo Drifter' and 'Branded To Kill' ( all of which it predates by the way) in the way that it uses a genre crime film as an excuse for some mind-blowing visuals and ideas. There's a lot of interesting things going on in this gritty urban psychological misfire, and it's inky black-and-white surreal ambiguity will draw in the viewer who is game for what's often considered the first major Hollywood film to embrace the French New Wave aesthetic. It's pathetic and speaks volumes about the incompetence of the American film studios that both of these still modern seminal fillms are unavailable in full blown out DVD versions. Regal

Don’t worry, it won’t take long. -- is merely confusing. , the new DVD gives an impression of avant-garde American filmmaking from the era. Mr. Penn seems to think that by keeping it ambiguous, he can roam more freely on both planes, reality and fantasy. I had been curious about the movie for some time and was ecstatic when I stumbled across an old VHS copy in my local video store (apparently it was never released on video in the US, this is certainly not the case here in Australia). "Ahead of its time."

This goes for every era of American film. Cinemark As the first collaboration between director Arthur Penn and actor-cum-producer Warren Beatty, MICKEY ONE could be considered important as the predecessor of BONNIE AND CLYDE, but it's such a different film that it should be judged on its own merits, which are considerable.

| The B&W cinematography is by Ghislain Cloquet. Stand-up comic Mickey One (Warren Beatty) is fearful that the gambling debts he amassed have made him a marked man in the Detroit clubs that he frequents. External Reviews West Chicago has never been more lunar and rapturously stark than as filmed by Ghislain Cloquet for Penn's Mickey One. ), who plays a nightclub impressario that wants to try out Beatty's act, and various other interactions on his trip to nowhere. Sadly, audiences were perhaps unprepared for this radical new approach to film-making, at least for an American studio, as the film's free-wheeling, care-free attitude and style, heavily influenced by the burgeoning French New Wave in Europe, was a turn-off for critics. Cold and strange and alien, yet its absurdism, which fits no era except whatever moment you're watching it in, is a compelling phantasm Chicago that presumes you're guilty until presuming you're ready to die. Get the freshest reviews, news, and more delivered right to your inbox!

Arthur Penn made the most of his Chicago locale. I was immediately impressed with the attitudes expressed by the script and with a structure at the time highly unusual in American cinema. Much of what he used is no longer standing, but it is deeply ingrained in true Chicago-influenced art: not just the works of Nelson Algren, but Richard Wright, Theodore Dreiser and James T. Farrell, blues artists from Maxwell Street, Ivan Allbright's grotesque paintings, the non-fiction of Studs Terkel and Upton Sinclair, Gwendolyn Brooks' poems all drew a kind of grimy vitality from this landscape, as well.

Beatty is enigmatic enough, with barely any dialog and Hatfield is well suited for his creepy role. All Critics (7) Beatty's paranoia gets the best of him as he flees from one bad situation after another, all the while pursued by a silent pipe playing rag man. Like a last visit to the now absent locales featured in Diane Arbus photographs, it repels and attracts almost like a roadside museum of oddities. Assuming a false identity, Mickey flees to Chicago, where he cautiously resumes his career at the upscale Club Xanadu. All rights reserved.

He flees to Detroit and almost goes to work for weirdo Hurd Hatfield.

Mickey One is a bizarre send up of film noir tropes and a top notch paranoid film in the vein of Polanski's "The Tenant". It also analyzes reviews to verify trustworthiness. To add contrast Director Arthur Penn also interjects dreamy Playboy magazine moments between Warren Beatty and 1966 Playmate of the Year Donna Loren at a posh hotel. Your AMC Ticket Confirmation# can be found in your order confirmation email. I have had to wait decades for the film to become available on home video. Mickey One is a strange film about a man on the run and living on the edge. We won’t be able to verify your ticket today, but it’s great to know for the future. The complications of Mickey One, alas, are all manufactured. This flashily photographed and edited film sort of sounds good when you talk about it: the ultimate French New Wave rip off with a comic book existential "plot" and a heaping helping of self indulgence all around. Sign up here. Surfing in wave of french Nouvelle vague the director Arthur Penn made one of most intriguing movie on the 60' and the second movie of new star Warren Beatty who want to do a right move in the beginning of your career, nevertheless this independent movie didn't have any impact in that time taking years to becomes a cult status, even today isn't for all taste, telling story of young guy who is a comic stand up and after make some excesses is running from the mob, ends up in Chicago living on underground and a paranoid life, a mix of styles gave to this picture some weirdo reading, ain't conventional movie!!! Had it arrived a few years later, when Hollywood really started to embrace new ideas and the visions of filmmakers, it may now be more highly regarded, although with its offbeat, freestyle-jazz swagger, Mickey One would still infuriate as much as it would inspire. He drifts along keeping an extremely low profile and doing odd jobs, before the lure of the stage proves to be too strong to ignore. Beatty's erratic, hyped-up demeanor grated on me from time to time, but I have to assume that Mr. Penn had intended his lead character to exhibit these manic symptoms to blend in with the madcap sequences of events that were taking place during the course of the film. It reminded me in some ways of Boorman's 'Point Blank' and Seijun Suzuki's 'Tokyo Drifter' and 'Branded To Kill' ( all of which it predates by the way) in the way that it uses a genre crime film as an excuse for some mind-blowing visuals and ideas. There's a lot of interesting things going on in this gritty urban psychological misfire, and it's inky black-and-white surreal ambiguity will draw in the viewer who is game for what's often considered the first major Hollywood film to embrace the French New Wave aesthetic. It's pathetic and speaks volumes about the incompetence of the American film studios that both of these still modern seminal fillms are unavailable in full blown out DVD versions. Regal

Don’t worry, it won’t take long. -- is merely confusing. , the new DVD gives an impression of avant-garde American filmmaking from the era. Mr. Penn seems to think that by keeping it ambiguous, he can roam more freely on both planes, reality and fantasy. I had been curious about the movie for some time and was ecstatic when I stumbled across an old VHS copy in my local video store (apparently it was never released on video in the US, this is certainly not the case here in Australia). "Ahead of its time."

This goes for every era of American film. Cinemark As the first collaboration between director Arthur Penn and actor-cum-producer Warren Beatty, MICKEY ONE could be considered important as the predecessor of BONNIE AND CLYDE, but it's such a different film that it should be judged on its own merits, which are considerable.

| The B&W cinematography is by Ghislain Cloquet. Stand-up comic Mickey One (Warren Beatty) is fearful that the gambling debts he amassed have made him a marked man in the Detroit clubs that he frequents. External Reviews West Chicago has never been more lunar and rapturously stark than as filmed by Ghislain Cloquet for Penn's Mickey One. ), who plays a nightclub impressario that wants to try out Beatty's act, and various other interactions on his trip to nowhere. Sadly, audiences were perhaps unprepared for this radical new approach to film-making, at least for an American studio, as the film's free-wheeling, care-free attitude and style, heavily influenced by the burgeoning French New Wave in Europe, was a turn-off for critics. Cold and strange and alien, yet its absurdism, which fits no era except whatever moment you're watching it in, is a compelling phantasm Chicago that presumes you're guilty until presuming you're ready to die. Get the freshest reviews, news, and more delivered right to your inbox!

Arthur Penn made the most of his Chicago locale. I was immediately impressed with the attitudes expressed by the script and with a structure at the time highly unusual in American cinema. Much of what he used is no longer standing, but it is deeply ingrained in true Chicago-influenced art: not just the works of Nelson Algren, but Richard Wright, Theodore Dreiser and James T. Farrell, blues artists from Maxwell Street, Ivan Allbright's grotesque paintings, the non-fiction of Studs Terkel and Upton Sinclair, Gwendolyn Brooks' poems all drew a kind of grimy vitality from this landscape, as well.

Beatty is enigmatic enough, with barely any dialog and Hatfield is well suited for his creepy role. All Critics (7) Beatty's paranoia gets the best of him as he flees from one bad situation after another, all the while pursued by a silent pipe playing rag man. Like a last visit to the now absent locales featured in Diane Arbus photographs, it repels and attracts almost like a roadside museum of oddities. Assuming a false identity, Mickey flees to Chicago, where he cautiously resumes his career at the upscale Club Xanadu. All rights reserved.