Rating: 
Summary: The rise and fall of free-speech
Review: Dustin Hoffman is Lenny Bruce - controversial loudmouth, frequent defendant and doomed icon. By now, we all know that Lenny Bruce was famous for making people laugh at hearing things they didn't want to hear (as long as they weren't middle-aged white men involved in law enforcement). Bruce earned the adoration of fans even as his routines and addictions brought him into repeated contact with the police. Surprisingly, despite his eager exploration at the dark side of everything, Bruce manages to achieve some real happiness - finding love with a similarly off-center stripper (a very pre-"Can't Stop the Music" Valerie Perrine), and even triumphing (eventually) in one of his prosecutions. The film is presented in verite black and white, and tells the story of Bruce through interviews with the people who knew him - Perrine, his lawyers, his promoters and agents. The light is low, hinting of the gloomy circumstances that have made the story of Bruce's life a subject of such interest. Most of the characters looks as if they were interviewed in dark closets or on darkened stages. The film slyly suggests we can recognize the villains and heroes of Bruce's story according to how grieved they are in reliving his tortured life. By the end, Bruce was stretched too thin by additional brushes with the law and problems both medical and financial. This flick is actually full of surprises. For one thing, we've got the fragility of Bruce's heroic façade. Though resolute in the face of the establishment on stage, Lenny seems to come apart when facing obscenity charges. Bruce spoke to an America full of people ready to go to jail to speak their mind on civil rights or against the war, but Dustin Hoffman's Lenny is terrified of going to prison. Facing certain conviction, he becomes snippy - his routines degenerate into monologues about his trials. Another surprise is Bruce's feelings about obscenity. Though he knows he's pushing the envelope, Hoffman's Bruce doesn't think himself obscene, and takes it personally when others describe him that way (especially during his trials when police officers' testimony essentially requires that they give their version of his act - you're spoiling the act! He yells at them). Hoffman's Bruce isn't looking to fight for the right to be obscene - merely to stretch the bounds of what's acceptable; he struggles for a chance to perform his routine for the court, knowing he can prove that he's not obscene. In the end, all is futile, and the law takes away the one thing Bruce can't afford to lose - his words. Though showing many faces of Lenny Bruce, the flick seems to be missing Bruce's biggest target: himself Bob Fosse directed both this and his own semi-autobiographical "All That Jazz". While you can see that both films share a common vision, self disparagement seems something Fosse saves for the latter film ("Jazz" seemed to have a double-helping of it; now we know where it came from). The film never has Bruce question his own substance abuse problems which wrecked his health and brought him further closer to prison. Neither does the later Bruce - the one closer to the end - even seem to acknowledge those he loved, those he must have known would feel the most pain when he was gone. Fosse seems so resolute to show how weak and non-iconic Lenny Bruce really was that he misses the chance to show how human he could have been.
Rating: 
Summary: The Bruce you thought you knew
Review: Dustin Hoffman is Lenny Bruce - controversial loudmouth, frequent defendant and doomed icon. By now, we all know that Lenny Bruce was famous for making people laugh at hearing things they didn't want to hear (as long as they weren't middle-aged white men involved in law enforcement). Bruce earned the adoration of fans even as his routines and addictions brought him into repeated contact with the police. Surprisingly, despite his eager exploration at the dark side of everything, Bruce manages to achieve some real happiness - finding love with a similarly off-center stripper (a very pre-"Can't Stop the Music" Valerie Perrine), and even triumphing (eventually) in one of his prosecutions. The film is presented in verite black and white, and tells the story of Bruce through interviews with the people who knew him - Perrine, his lawyers, his promoters and agents. The light is low, hinting of the gloomy circumstances that have made the story of Bruce's life a subject of such interest. Most of the characters looks as if they were interviewed in dark closets or on darkened stages. The film slyly suggests we can recognize the villains and heroes of Bruce's story according to how grieved they are in reliving his tortured life. By the end, Bruce was stretched too thin by additional brushes with the law and problems both medical and financial. This flick is actually full of surprises. For one thing, we've got the fragility of Bruce's heroic façade. Though resolute in the face of the establishment on stage, Lenny seems to come apart when facing obscenity charges. Bruce spoke to an America full of people ready to go to jail to speak their mind on civil rights or against the war, but Dustin Hoffman's Lenny is terrified of going to prison. Facing certain conviction, he becomes snippy - his routines degenerate into monologues about his trials. Another surprise is Bruce's feelings about obscenity. Though he knows he's pushing the envelope, Hoffman's Bruce doesn't think himself obscene, and takes it personally when others describe him that way (especially during his trials when police officers' testimony essentially requires that they give their version of his act - you're spoiling the act! He yells at them). Hoffman's Bruce isn't looking to fight for the right to be obscene - merely to stretch the bounds of what's acceptable; he struggles for a chance to perform his routine for the court, knowing he can prove that he's not obscene. In the end, all is futile, and the law takes away the one thing Bruce can't afford to lose - his words. Though showing many faces of Lenny Bruce, the flick seems to be missing Bruce's biggest target: himself Bob Fosse directed both this and his own semi-autobiographical "All That Jazz". While you can see that both films share a common vision, self disparagement seems something Fosse saves for the latter film ("Jazz" seemed to have a double-helping of it; now we know where it came from). The film never has Bruce question his own substance abuse problems which wrecked his health and brought him further closer to prison. Neither does the later Bruce - the one closer to the end - even seem to acknowledge those he loved, those he must have known would feel the most pain when he was gone. Fosse seems so resolute to show how weak and non-iconic Lenny Bruce really was that he misses the chance to show how human he could have been.
Rating:
Summary: One of Dustin Hoffman's best overlooked roles
Review: Dustin Hoffman was just getting solidly established as a major Hollywood star when he took on the role of Lenny Bruce, the push-the-envelope comic whose use of profanity to poke fun at overly rigid '50s society led to numerous arrests and court cases that only fueled his fame and, ultimately, his addiction to heroin. His death by overdose left a gaping hole in American comedy that was soon filled by George Carlin and others -- none of whom would have been able to make it big if Lenny Bruce had not paved the way. Hoffman does a credible job of recreating Hoffman, especially the obsessiveness Hoffman had with his own celebrity trials and which, sadly, became the fabric of many of his later routines and drove away fans. Valerie Perrine gives a strong supporting performance as Bruce's wife (and ex-wife) and the sole somewhat stabilizing influence in his life. The gritty black-and-white technique conveys the black-and-white reality of the button-down, conformist 1950s and the manner in which the powers that be of that time pushed Bruce to the brink -- and he jumped... A great performance by Hoffman, and one that is sadly overlooked because of the harsh, gritty reality of the subject matter of this film. Excellent from beginning to end.
Rating:
Summary: Fosse's Genius Shines Through. Absolutely Brillant
Review: For starters, I don't necessarily subscribe to the theory that Lenny Bruce was this ultra hip social satirist. Nor did I find him funny back in my college years, ('68-'72). Today I find him less relavant, even somewhat dated. But that's really not important in appreciating Dustin Hoffman's brillant, warts and all portrayal in this marvelous movie. There's so much to like here that I'm amazed, despite six Oscar nominations Lenny went away empty-handed. I don't remember who won the awards for best direction and best actress in '74, but they would have to go to great lengths to top Perrine's superlative performace and Fosse's masterful direction. For me, every scene from the cheap strip joints and Borsht-Belt casinos to the small west coast clubs to the woman's penitentiary all ring so true to life. Fosse's insight in recreating these venues is as brillant, perhaps even greater than his oscar winning direction of Caberet. What works so well in both movies is his intuitive knack of finding the right face in the crowd at just the right moment to focus in on. There's a scene in Lenny that takes place in a small dive. He's facing a particularly hostile crowd. The camera pans the audience and we find a midget hopping up onto a bar stool, where he's greeted by his transvestite companion. Both look sullen and bemused. Much the same way Joel Gray was abused by an audience hot to see the real entertainment, Lenny knows he's no match for the ladies headlinning these bucket-of-blood joints. What really holds Lenny together is the peerless performaces of both Hoffman and Perrine. Hoffman transforms himself from aspiring club MC to foul mouthed clut comic to free speech champion to frustrated jail-house lawyer to strung out junkie, with his usual deft insight and skill. Perrine, whose character must go back and forth from past to present, acts as the primary storyteller. It is in her uncanny performace that we are guided through this train wreck world of Lenny Bruce. She must be his enabler, his confidant, his lover and eventualy his chronicler. She is truly Oscar worthy in her endeavor. As a director Bob Fosse gave us but three movies, Caberet, Lenny and his own biographical All That Jazz. He certainly left us all too soon. His brillance as a flim director rests on these few nuggets. I for one will savor them and look back endless times at what is perhaps the most underated career in all of cinema. His likeness we will surely never see again.
Rating:
Summary: The intensity of this film will stay with you
Review: I saw this film originally when it came out and was haunted by the lifestyle. The performances were great and if you read the books about Lenny you realize there is no one better to play the part than Dustin Hoffman and Valerie Perrine. Leave your life for 2 hours and see what it is like to live a show business life to the max centered around drugs and sex and fame.
Rating:
Summary: Good Overlooked Film
Review: I saw this Movie the Other night on Cable&I felt the Story was done really well.Dustin Hoffman did a Good Job though I don't think He fully captured all of the Energy&Edge that Lenny Bruce had.but He did a Good Job&should be given some Props for doing such a Challenging role.I enjoyed the pacing of this film&it works in it's format shot in Black&White.
Rating:
Summary: If you believe they put a man on the moon...
Review: I went into this film knowing nothing about the comic Lenny Bruce, and after watching this film I have already added two of his CDs to my Wish List. I am eager to hear more, to listen to his words, and be intrigued by how his thoughts are still relevant in today's society. This was a beautiful film made in 1974. The decision by director Bob Fosse to film it completely in black and white was brilliant. Hoffman and Perrine's chemistry is brilliant as well as their performances. The power of this man is vividly demonstrated through this film, leaving you with questions answered as well as a desire to hear more. This was such a captivating feature. From the opening sequence of words spewing from a mouth to the final shot of Lenny Bruce, I was glued to my seat.
To begin, the cinematography was better than most feature films. Fosse knew what he was doing and did it with the greatest of ease. His choice to film completely in black and white really helped me hear the words that Bruce spoke instead of just being involved in the colors that surrounded him. The black and white feature gave Hoffman the ability to create a human from his character and take us away from Hoffman and into the mind of comic Lenny Bruce. The shots that Fosse used also assisted with building this compelling story. Every shot is important in this film, and Fosse does a great job of demonstrating and explaining the "why" and "where" of a scene. This was his first and only nonmusical, and he was triumphant. The way that the story works in a pseudo-documentary style was impeccable. While you are never quite told who the person is behind the camera, you do get that raw emotion from the actors as if you were watching a real documentary. There was just so much emotion that Fosse pulled from his troupe in this film that you could only watch in amazement. It also left the door open to the question of who is behind the camera. With the words that Bruce said nightly in his show, I couldn't help but think of the possibility of government conspiracy. Maybe I am way off, but there was that aura of "cover-up" throughout this film. Even the final sequence gives off that sense.
BAM - Powerful cinematography is right in front of you, but whom do we have in the center of the camera? None other than a very young and fresh Dustin Hoffman. This film really showcased his talents. While he had several films before this one that brought him into the spotlight, I thought that he went above and beyond for this film. He really transformed himself into the character. Some of my favorite moments with Hoffman in Lenny was when he thinks about the nurse the first time, when Honey calls asking for money, and when he asks the Judge to sentence him now instead of going through the trial. The vision of defeat was spectacular. You see in this film why Hoffman is considered one of the greats of Hollywood. Valerie Perrine, also a young actress at the time, was immaculate. Her portrayal of Honey needs to go in the history books. Actresses today could take a moment or two to learn from this dramatic actress. These two actors really brought this film together. They took you deep into the life of this radical thinker and kept you nestled deeply inside of him. They shined greatly, and the Academy saw it too!
BAM - Cinematography, BAM - award winning acting, what can be the final BAM? How about Lenny Bruce? Born well after his death, I had never even heard of the man, but the words that I witnessed from this film from his mouth shocked me. Not so much because of the shock value that surrounded them, but just how relevant his work is still today. As homosexuality becomes a staple in our community and society, Lenny's comments on the teachers in this film seemed like topics we are still talking about today. He was way ahead of his time, and I think that is why people feared him. Living with an English teacher, I am constantly involved with the English language, but I am also shown information about those that have no interest because they do not see how it relates to "real" life. I am also aware of how little respect English gets as daily we hear of schools cutting back on their Literature studies to help support their sports program, or how the first way to cut back spending is to close libraries. These are sad days that we live in, and if only people could see how powerful words can be in defending yourself and explaining the world, I think we would see a rebirth. If I had the option to fight with a loaded gun or an aggressive dictionary, I think you can see which I would choose. Lenny Bruce did no harm to anyone, he spoke his mind, and for that he was convicted. What a sad day for America.
Grade: ***** out of *****
Rating: 
Summary: Lenny Bruce is a great man!
Review: Lenny Bruce fought his entire life to make it possible for us to say [c--------r] anywhere we pleased and that it could not be censored anywhere for any reason. [Excrement]! Amazon is [fornicating] censoring my review. [fornicating] [c--------rs]! Where's Lenny when you need him?
Rating:
Summary: One of the best films I've ever seen . . .
Review: Lenny Bruce was a pioneer in comedy as well as opening up people's eyes to the dark, hypocritical attitudes practiced by most post-WWII Americans. Unfortunately, this comic crusade of truth ended tragically when years of ridiculous obscenity charges and painful drug abuse caught up with him. Bob Fosse's black and white elegy gives a brutally direct look into the rollercoaster life of this seminal genius played by Dustin Hoffman in one of his most captivating and honest roles. A classic similar to "The People Vs. Larry Flynt" and Howard Stern's "Private Parts", but with much more compelling, artistic subject matter. A must-see for any Dustin Hoffman fan.
Rating:
Summary: The rise and fall of free-speech
Review: Quality- filmed in black and white, the print is awesome- clear with great sound. Excellent production.
Acting- first-rate: Hoffman and Perrine are awesome.
The tragedy that this films reveals is that comics like Richard Pryor and Eddie Murphy had acts that were ten times more obscene than Bruce's act. Lenny was hounded by authorities, his career destroyed by constant police harassement and money problems due to legal fees (lawyers). There should be a new investigation into his case, with the appropriate authorities brought to trial for illegal harassement and evidence tampering. Lenny was simply a target, possibly because he was Jewish. But the film is great, very arty, and it also shows how quickly he was forgotton after he died, and how callous his friends were later on when giving interviews.
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