User reviews

Lenny Bruce loved words. The most common misconception is that he did not. Today, Bruce is best known for revolutionizing the face of stand-up – paving the way for such future talents as George Carlin and Bill Hicks – but not many people are actually familiar with his comedy, and that's a shame, because there was a lot more to it than just swearing.

He was infamously arrested over a dozen or so times for speaking offensively in comedy clubs, and eventually began to represent himself in court. He never gained respect when he was alive, and so he died a frustrated, misunderstood soul who was simply far too ahead of his time.

The masses didn't get him. His racial jokes and political satire was misinterpreted and taken at face value. His sermons ridiculing religion drew hate from conservative Americans.

But Bruce enjoyed toying with words, and bending the typical perception of what they symbolized – he cherished the impact they had on people. When Bruce said a certain four-letter expletive, it wasn't to purposely offend people – it was to help liberate their ways of thinking. Words were an entryway - once he could knock people off-balance, he was free to go for the throat. He used foul language in the same way as he used words dealing with religion, homosexuals, politics and the world – he used them to make a point. And it's a shame his point didn't resonate until after his death.

The makers of "Lenny" understood Bruce, though. They also understood his flaws as a human being, and the result is an unflinchingly honest biopic that paints a dark, staunch portrait of a troubled man. Dustin Hoffman presents Lenny as an alternately despicable and heroic figure, and there is a spark in his eyes throughout the early scenes of the movie that eventually gives way to desperation later in the picture. Hoffman is so convincing we forget we are watching an actor. He entirely embodies himself within Lenny Bruce, adapting all of the comic's tics and habits.

The movie is told from the perspective of those who knew Bruce – his wife, Honey (Valerie Perrine), his aunt, and his manager. The narrative cuts back and forth between scenes with Lenny and interview segments, which we see through the eyes of an off-screen interviewer (whose voice is none other than the movie's director, Bob Fosse).

"Lenny" is an uncomfortable film, and it is not by any means perfect. The matter-of-fact narrative is a bit alienating and prevents us from getting entirely close to Bruce – but that may very well have been the point. A more heartfelt biography of the performer perhaps would have restricted Fosse and screenwriter Julian Barry from divulging into Lenny's more seedy character traits – such as when he coerces his unwilling wife into a threesome with another woman, later ridiculing her for doing so; or when he goes on stage completely drugged out of his mind and makes a fool of himself. If they had allowed audiences to empathize with Bruce to a greater degree, truth may have been sacrificed along the way. And although the narrative is rather cold, it's also unique – sometimes refreshingly so.

Despite imperfections, "Lenny" is one of the better motion pictures of the 1970s – and perhaps one of the movies that best capture the essence of cinema from a time when the mainstream and art-house were coexistent.

It is a typical 1970s production insofar as that it is grim, bleak and more depressing than any production you would have seen on the screen a decade earlier – but it's an admirable feat. Fosse has a close grip on the direction and Hoffman and Perrine are both absolutely superb, bringing to life two very tortured souls who temporarily found solace in each other, before finding their relationship put to the test by drug abuse and self-loathing.

Lenny died from a heroin overdose in 1966. In 2003 he was granted a posthumous pardon by New York State for his most notable arrest in 1964, for an "obscene performance." It's a nice gesture, although one can't help but think it would have only really made a difference 40 years ago.

As long as I can remember, I've been a massive fan of stand-up comedy. I think that these days there are very few comedians who are worth their weight, but the joy of watching the few who are is almost unparalleled. It's no secret that Lenny Bruce changed the face of stand-up, becoming a pioneer for such contemporaries as Louis C.K. and Bill Burr, my two favorite comedians. Bruce came into a world that was scared to speak the truth, scared to laugh at the absurdity of human behavior and he held up a mirror to the world and said, "Look at yourself, aren't you ridiculous?".

For it's time, the idea of doing this was shocking and wildly controversial. People saw him as vulgar and offensive, when he was really just speaking the truth that people were afraid to here. He evolved the game and it's only fair that an actor like Dustin Hoffman, a fellow pioneer of his career field, was selected to portray Bruce in this stark and honest biographic tale. My general stance towards Hollywood biopics is that I'm strongly against them, believing that to condense the life of a human being into a two or three hour film is impossible, but the script here by Julian Barry, adapting from his own play, does a strong job of taking the important parts of Bruce's life and leaving the rest behind.

Unfortunately it does fall into a lazy trap of this genre, using a structure that functions around post-death interviews with those closest to Bruce in order to tell the story of his rise and fall. What's interesting though is that it doesn't play it straight in the sense of going back and forth between post-death and the chronological rise of Bruce; it does do this, but it also throws in another period, Bruce's last routine on stage. This adds an interesting twist onto this worn out structure and makes watching his rise even more intriguing to witness.

We see him on stage, miraculously portrayed by Hoffman, with a full beard, exhausted expression and a wild, kinetic energy; a refusal to give up and sit down, an almost desperate need to get out all of the words he needs to say before he is stopped again. Bruce is almost a protester here, grabbing his microphone and shouting towards anyone who will listen to understand the crimes against humanity that are being permitted every day. Seeing him in this state makes it even more interesting to see where he began, as we now must wonder what happens to turn the nebbish and soft Bruce we meet in his earliest time period into the biting and confident man he will later become.

Bob Fosse directs it all with his own unique flare, and some razor-sharp editing keeps things feeling fresh and as kinetic as the man the whole thing is based around. I also want to mention the cinematography, which is honestly some of the best I've ever come across. It's presented in black and white, which was a wonderful idea to match Bruce's style as a performer, and the way that the shots are composed and lit is a visual orgasm in every way. This is one of those films that I wanted to pause every five seconds just to marvel at the way it was shot, but I couldn't allow myself to step away from seeing more of Bruce.

Everyone in the cast and crew do marvelous work here, but there's no denying that the film belongs to one man and that man is Dustin Hoffman. His performance is one of titanic proportions here, a slow-burn of pure genius, bringing Bruce along that evolutionary path to the man we know he will one day become. Lenny Bruce goes through many stages before he becomes the comedic icon that we initially see, and Hoffman plays them all with an absorbed authenticity that is purely magical. Looking back in time we see when he first meets his future wife Honey, and the utter bliss and childish joy on his face would be beautiful if it wasn't so heartbreaking knowing what he will eventually become.

It's in the later stages that Hoffman truly lifts off though, when Bruce is in and out of prison and struggling with a drug addiction. Bruce becomes a bastion for free speech and social commentary, but more the film presents him as something more human than that; a flawed creature who for all of his evolutionary changes to media was also a very broken man within himself. There is a scene where Bruce does a routine wearing nothing but a raincoat and one sock, while he's riding high on drugs, that might just be the finest piece of acting I've seen my entire life.

The scene is about ten minutes long, but it feels like it lasts an eternity. Normally this would be a complaint, but here it couldn't be a stronger compliment, as Hoffman takes us through this horrific state that the man is in at the time. With his lapses in silence, his rambling dialogues and his stop and start speech patterns, it's like watching a train wreck that you can't stare away from and you just keep hoping will be over soon. You want it to stop but you know that you aren't going to look away until it does.

This colossal feat of acting would be impressive on it's own, but the fact that Hoffman does all of it in one take makes it something truly out of this world. It's a performance that stands at the very top of the all-time greats, in a film that is as brutally honest towards Lenny Bruce as he was towards the rest of the world.

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 non musical, 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 *****

To be honest I don't think the rest of the film quite deserves 8 stars, but Dustin Hoffman's performance as Lenny Bruce is so extraordinary that it lifts the movie up to that rating.

Made in a fairly familiar quasi-documentary style, 'Lenny' begins with 'present day' (i.e. 1974) interviews with the surviving characters from Lenny's life, cut with flashbacks to his 1950's beginnings as a 'traditional' comic, and 'late' live performances in his post-drug-bust days. As the film progresses and the narrative catches up with the interviews, the gaps between these segments 'close'. Clever use is made of some of Lenny's material, cutting from keywords or phrases in his bits, to events in his life with inspired or correlated to them.

All the same there is something a little dry and disappointing in the film's structure: almost as if it could have used a more conventional, linear narrative, like Milos Forman's tribute to Andy Kauffman, 'Man on the Moon' would use to such great effect 25 years later.

Ironically though, such a structure might have deprived of us of seeing more of Hoffman doing Lenny's bits 'live' on stage - and for me these were the highlights, which I wish had lasted longer, rather than flashing back to some past event after 30 seconds. As a big Lenny Bruce fan, I can only say that Hoffman's portrayal is almost supernatural. It's like he's channeling the guy. He has his mannerisms and improvisational style down perfectly. You would swear you were seeing these improvisations for the first time if you hadn't heard them already. In fact, Hoffman possibly even improves on Lenny's delivery in one small respect. Lenny had a penchant for the 'conversation' that would erupt in the middle of one of his bits, between two or more characters. Hoffman probably puts a bit more distinction between the characters than Lenny often did (quite often they would all just sound like Lenny, which was part of the magic, but never mind.) Over 30 years on, it's quite amazing to me that this film has become a relative obscurity in Dustin Hoffman's filmography. Frankly, though Hoffman has blown me away on various occasions, I don't ever remember being more blown away than this. And if you were to pick easy people to imitate, I doubt Lenny Bruce on stage would be high on many people's lists.

The film as a whole is good, but to witness Hoffman channeling Bruce, it's a must-see.

When I first put this movie in I thought I knew what to expect. I expected a good movie with a great actor in Dustin Hoffman. Well, as soon as it started and there is Hoffman's first dialogue through the credits, I was blown away. It was as if Lenny was starring in the film. I couldn't believe what I was seeing and hearing. Hoffman and Valerie Perrine gave excellent performances. It is almost inconceivable to imagine the preparation and training that Hoffman must have gone through to get Lenny down. I don't know who beat out Hoffman for the best actor award in 1974, but I can't imagine it being a more convincing performance than this.

And the use of black and white was great. The movie did give Lenny the appreciation that he deserved, mainly by showing his troubled personal life and his troubles with the law. The movie portrayed the trouble and basically harassment that Lenny went through when he voiced his observations of society, which were true, but weren't quite ready to be heard yet. The only fault (if at all) of the film is that it didn't quite show Lenny's genius in what he did. It definitely showed his potential but not quite his brilliance. But this might be because it was a biography of sorts of his life which included his personal and public life. I suppose if the movie just focused on his comedic talents; than his genius would have been obvious, but that wasn't the focus of the film. All in all this is an excellent movie in what it attempted to do. It accomplished what it set out to do and that's what counts.

This biopic about shock comedian Lenny Bruce was Bob Fosse's followup to his well-received 1972 film "Cabaret." I'm pretty sure that "Lenny" was a financial bomb, and I'm not surprised. It's a relentlessly depressing and ugly film, despite the stylish polish Fosse gives it. Anyone who has seen Fosse's last film, "Star 80," knows just how nihilistic this director could be, and "Lenny" shows evidence of that.

It is a fascinating film though, in its own way. Fosse uses a documentary-like approach, complete with black and white photography and a narrative device in which we see Bruce's long-suffering love (played heartbreakingly by Valerie Perrine, Lex Luthor's bikini-clad girlfriend in "Superman" [1978]) telling Bruce's story to a filmmaker while the actual events themselves are played out as flashbacks. Fosse was fond of this confessional type of storytelling and would use it again in "All That Jazz" (1979). Dustin Hoffman is simply sensational as Bruce; he utterly disappears into this caustic character until no trace of Hoffman the actor is left. Technically, everything about the film is highly accomplished, but it's so desolately grim as to be off putting.

Grade: B+

... because I watched this yesterday for the first time in years, and I was less impressed than I was when I saw it in the early 80s. That's probably because I've been binging on The Marvelous Mrs. Maisel and thus have seen Luke Kirby's interpretation. Allowed to be spread out over several seasons, episodes, and situations, I just feel it is a more complete performance. But I digress.

Lenny starts out trying to do bits like any other comic of the day - the early 50s, and he fails at it. He then starts to do more commentary on the human condition as stand-up, and that's where he hits his mark. Especially at a time of great societal change like the late 50s/early 60s. Today, that's the stuff of pretty much all stand-up comics, so it's hard to appreciate just how ground-breaking it was at the time. It's like trying to appreciate how ground-breaking "Citizen Kane" was in 1941. It's still an interesting film, but it's just impossible to appreciate it as next-level filmmaking like it was at the time.

My big takeaway was that director Bob Fosse really knows how to tell a story with editing. There are sequences in all of his movies where I would say, 'Wow,' just to an editing choice. Lenny impressed me the most in that regard. As for Valerie Perrine as Lenny's wife - I think that had she been up for Best Supporting Actress Oscar instead of Best Actress, she would have won that category. She was striking as a woman who went along with the choices that her husband made for the both of them with not much if any input from her, and later got blamed by him and society for that matter for going along with those choices. In that regard, she was a more conventional wife of the 1950s than you would think.

Lenny Bruce's troubled life came to celluloid with the Late/Great Bob Fosse's 'Lenny', one of the most well-reviewed films of its time. And like any-other Bob Fosse film, 'Lenny' is imperfect & uninhibited, with two leading-performances that will sweep you off your feat.

'Lenny' Synopsis: The story of acerbic 1960s comic Lenny Bruce, whose groundbreaking, no-holds-barred style and social commentary was often deemed by the Establishment as too obscene for the public.

Lenny Bruce's sense of humor was no-holds-barred & hence he was a controversial figure of his time. 'Lenny' captures his undeniable talent for humor that raised laughs & questions. This biopic also captures his rather sad personal life & his relationship with his stripper wife & her troubled journey with drugs. And some of this is actually affecting & also inspired stuff.

BUT, The Screenplay by Julian Barry isn't entirely engaging. The Writing is brave in parts and unappealing in parts. As acidic as Lenny's stand-up shows turn out, the Writing can never match up to its outspoken, thought-provoking hero.

Fosse's Direction, like always, is driven by human-emotions. And the filmmaker captures Lenny's life with complete honesty. Cinematography & Editing are finely done.

Performance-Wise: Dustin Hoffman & Valerie Perrine are brilliant. Hoffman portrays Lenny as a man with a sharp tongue & a flawed soul, giving us a questionable hero, made pure out of heart & flesh. Perrine soars as his troubled wife Honey. Honey died nearly 40 years after Lenny's demise & Perrine immerses herself into the part. Its a knock-out performance, that proves her powerhouse talent. Its no surprise that both, Hoffman & Perrine, earned Oscar-Nominations for their work here!

On the whole, 'Lenny' is far from perfection, but the acting here, is beyond perfection.

Lenny is the best picture of 1974 by far. Overshadowed by masterpieces like the Godfather Part 2 and Chinatown, Lenny is equal to the two if not better. It sad to say this but Lenny is the most underrated film in movie history. Everything about it is top notch. Fosse is great behind the camera and Perrine acts great as Bruce's wife. But the whole greatness to the film, the whole masterpiece of it, lies in the performance given by Dustin Hoffman. He keeps you glued to the screen. The way he says his lines, his facial expressions, his gestures. He should have won every acting award there was. Excuse me, I'm wrong. Awards don't mean anything, especially the Oscars, which are nothing but a popularity contest. The oscars are obscene, dirty, and no better than a beauty contest. All in all the best pic of 1974 and of all time for that matter. Hoffman's best ever, or that could be Midnight Cowboy. Hoffman, the greatest actor who ever lived.

After reading a couple of comments on "Lenny", claiming "Unfortunately not very funny" I have made an effort to register on IMDb.com, just to give my view. To the people who wrote the words along those lines - Has it ever occurred to you, that Lenny Bruce's life is just not a very funny story? Yes, he was 1 of the best comedians ever, but did you really expect 2 hours of laughter, and than at the end, a little reminder that something went very wrong here - a tiny reminder, not anything to shake you up too much? Really???

Yes, it is not very funny. If you decide to watch "Lenny", you will not get as many laughs, as you might have expected. I wouldn't say it is unfortunate though.

What you will get is an accurate description of an incredibly powerful, real character. Lenny might not be the most likable hero ever, but he was a guy who stood up for what he believed in, and had a lot of fight in him. Don't we want our movie heroes to be like that?

You'll get wonderful performances in the leading roles, a cinematography that each and every student of cinematography should be made to watch for hours, and Bob Fosse's direction, (helped by a modern approach to editing) simply stunning.

You'll be moved, you'll get a lot of food for thought and you'll feel enriched by this movie. But yeah, you won't get many laughs. What a waste of time, right?

Wrong.

I have a friend who strongly recommended I see "Lenny". Now, after seeing the film I understand why he suggested it--Lenny Bruce in this film sounded much like my friend! Both are huge proponents of the First Amendment (as am I) and both felt that words alone are harmless. So, for that I am thankful that I saw the film and now I can see where my friend got his strange sensibilities!

As far as the film goes, I STILL feel quite ambivalent about it several hours after finishing it. While I liked the film technically and appreciate that the film does not whitewash the man, it's also a rather unpleasant film about a guy who I am not even sure I care for one way or the other. I appreciate his pushing the limits of free speech, I just didn't think he was funny--and having seen his HORRIBLE film he wrote and acted in during his early career ("Dance Hall Racket") didn't help! I much more appreciated his insights into society but his jokes left me pretty flat. BUT, this is not really the purpose of the film. Even if you don't think he was funny, it's an interesting portrait of a very self-destructive man as well as the times he lived in and it's rather unflinching in its portrayal.

By the way, if you do see "Lenny", understand that even today it's a rather adult film--even over three decades later. There is a lot of nudity and the language is understandably rough. So, don't watch it with your mother-in-law or Father Jenkins!

Like being trapped at a dull party with a bore. Sorry all you LB acolytes (to mention nothing of Fosse and Hoffman devotees) but it is no surprise that a biopic of a tiresome comedian results in a tiresome motion picture. I mean, it's ok to commend this jerk for fighting censorship, always a noble and worthy activity, but that does not mean you want to spend two hours with the obnoxious butthole, now does it? Nor does it mean you want to look at Hoffman's grinning, whining mug for great lengths of time or put up with Fosse's cinematic indulgences, such as those endless, enervating interviews. Solid C.

The life of late stand-up comedian Lenny Bruce (played by Oscar-nominee Dustin Hoffman) is the focus of "Lenny", a dark and disturbing staircase of horrors from director Bob Fosse (Oscar-nominated). In the late-1950s and early-1960s the titled character defied convention by getting in front of nightclub crowds and saying anything and everything that was on his mind. He cursed profusely, talked about the U.S. government, made fun of taboo subjects (homosexuality, drug use, etc.) and basically upset every group and racial minority you can think of. Through the film Hoffman has strange views on every topic that dominated the time period and marries a club stripper (Valerie Perrine in her Oscar-nominated role) that has an intense drug abuse problem herself. The film is told in stunning flashbacks that are displayed in a documentary style by those who knew the comedian best (Lenny Bruce apparently overdosed on drugs intentionally to kill himself). Filmed entirely in black-and-white, "Lenny" is a terrifying story about how freedom is not always an option in certain circles. The film is full of intense sexual situations, drug abuse and constant adult language. Younger audiences have no business viewing this production, but all those of a mature age should give "Lenny" a try. The film stands very strong with the other big films of 1974 ("The Godfather, Part II" and "Chinatown" most notably). 5 stars out of 5.

Lenny is the story of the controversial comedian Lenny Bruce whose wild antics and crude humor lead to rise and ultimately his fall. This film though takes the risk of being shaped in a documentary-esquire design. Watching the opening minutes of the film worried me that this film would retreat into itself rather then expand in the so many aspects in which it actually did.

Lenny is portrayed with extraordinary and edgy depth by Dustin Hoffman. For me, this is the film that convinced me that Dustin Hoffman is truly a first rate actor. The range shown here by him from beginning to end is astounding in not his portrayal of the change in his personality, but in the drastic but slow transformation in his mental and psychological state. The range of the cast in general is quite commendable in the break stints in the film in which they are shown to be interviewed individually on the life of Lenny Bruce.

With this unique style of film making, much credit should be given to Bob Fosse who brings an original visual experience. Also the screenplay by Julian Barry is totally engaging. In my opinion this movie is indicative of the revolutionary style brought to movies during the 1970s. Lenny might be one of the most courageous movies ever made and it reaches its full potential.

A tribute to ground-breaking comedian Lenny Bruce and - another - absolutely breathtaking performance by Dustin Hoffman (and, as is typical for that period of filmmaking, pretty much everyone of the cast).

When seventies cinema was good, it was really, really good, and it is, at least acting-wise, only rarely rivaled in contemporary productions. As a character study and also as a snap shot of an era, 'Lenny' is essential viewing. 8 stars out of 10.

In case you're interested in more underrated masterpieces, here's some of my favorites:

imdb.com/list/ls070242495

Lenny Bruce is iconic - Richard Pryor, George Carlin, Robin Williams all owe much to Bruce's honesty. No one-liners, just observational comedy on sex and relationships.

Here under Bob Fosse's stark direction Hoffman shines. This is the closet Dustin Hoffman comes to method acting: if you go to YouTube and look at Bruce you can really see the effort Hoffman put in here.

The film tries to explain, only partially successfully, how Lenny came to be the comedian he was. The biographical format works well enough but we are never really given the insight as to how he developed his stage act, rather it is explained through the drugs and circumstances...

All in all a good, fairly gritty film, which charts the life of one f comedy's great groundbreakers, and a killer performance by Dustin Hoffman.

I saw this film during it's initial release in the theaters but have only seen it twice since then. It didn't get much of a TV life. Dustin Hoffman is stellar as social commentary/satirist/observationalist/blue language comic Lenny Bruce. He was nominated for Best Actor for the 1974 Academy Award for his role but lost out to Art Carney for Harry and Tonto. Veteran actor Albert Finney was also nominated that year but Carney won on sentiment and Hoffman lost out when he and fellow nominees Jack Nicholson for Chinatown and Al Pacino for Godfather II split the vote which led to Carney's win. Valerie Perrine in her only Oscar nomination of her career was up for Best Actress. Lenny was up for most of the major awards including Best Picture, Best Director for Bob Fosse. It was also nominated for Best Screenplay and Cinematography but came up empty in all six nominations. Hoffman had just come off playing another biographical figure of Louis Dega in Pappion and would be Carl Bernstein in his his next film All the President's Men. Lenny Bruce had only been dead for eight years when Hoffman portrayed him on the big screen so much of the audience knew Bruce fairly fresh in their memories so to portray a contemporary figure of Bruce's genius and legend was not an easy role for Hoffman to step into but his portrayal of the doomed and controversial comic is compelling. Fosse, known for his choreography which is still being used in films like Chicago years after his death only directed five theatrical films and three of those were musicals in Sweet Charity, Caberet and All That Jazz so Lenny would be the first of only two non-musicals he would direct, both biographies, Lenny and Star 80. I don't think as a film this had enough to be a best picture but Hoffman was deserved of his best actor nomination and arguably should have won the Oscar for it. I would give this an 8.5 out of 10 and recommend it.

"Lenny" is a movie better appreciated than enjoyed, much in the same class as "The Unforgiven," "Taxi Driver," and "Bad Lieutenant." Dustin Hoffman, as one might expect, literally crawls into Lenny Bruce's skin in portraying the groundbreaking but fatally flawed comedian/social critic's short, tumultuous life. What is an unexpected surprise is Valerie Perrine's stunning performance as Bruce's unstable wife, Honey Harlow. Those who are more familiar with Perrine's performances as glorified eye candy will be blindsided by her acting chops as demonstrated here.

The use of black-and-white film captures the bleak mood of the film, which strains under the pressure of persuading viewers to follow two unlikable characters for two hours. While Bruce may have been brave and visionary in breaking down taboos at the time, this film correctly avoids making him a completely sympathetic figure.

Despite the great acting performances, the film's quasi-documentary approach leads to a disjointed narrative that is more distracting than effective. "Interviews" with the actual relatives and colleagues of Bruce rather than actors portraying them - still possible when the film was made in 1974 - would have been more convincing in laying out Bruce's intentions and persona.

Bottom line is that this film is worth watching, though one will leave depressed. Bob Fosse's approach to portraying Bruce's career will be appreciated by some more than others, but if he was attempting to make the audience bemoan Bruce's John Belushi-style exit from life, he failed with this viewer.

I never got to see Lenny Bruce perform. Apparently, he broke the mold when it came to political and social commentary. He was down and dirty with social mores. But under all that was a depressed fragile man, a drug user, an alcoholic. He had trouble relating to his audiences and yet they adored him. So he was willing to put it out there while he lived in darkness. Dustin Hoffmann's performance is without peer. He manages to get the edginess into his delivery and be that person. The black and white allows us to not be distracted by colors that would take away our sensations. We follow Lenny Bruce as he fights for sanity amid a world where he has trouble seeing the upside.

A bio-pic of the controversial 1960's comedian and social commentator Lenny Bruce - told in interview-cum-flashback style.

Presuming you know anything about LB at all, what do you want to believe? That he was a comedic genius who was a forerunner to today's "alternative comedians" or a foul mouthed drug addict whose only working tool was to shock and titillate a virgin audience? Here it hardly matters whether you like the man himself or would have laughed at his material if present at his better shows. No one much was laughing much near the end - as this film clearly testifies.

Curiously, this is a film that is neither a love-in nor a condemnation. More a cold eyed and professional look at a life lived - by self choice - on the edge.

(I am sure that fellow "edge livers" will give this movie an extra star just for topic alone.)

This film has three pieces of good fortune: The star talent of Dustin Hoffman, the confident direction of Bob Fosse and the cool b&w cinematography of Bruce Surtees. However the pacing is slow and given that we know the pathetic final reel (indeed it is used as the first reel and we work backwards!) it is a slow journey to nowhere all that special.

Lenny loved sleaze. Strippers, dope, stag films, parties that you can't remember much about the next day. All well recorded here. So unlike other comedians who climb the ladder from dive to Broadway we feel sorry for him in success because it took him away from what he loved best. And, as many have found out before and since, if you lash out at society, society will hit back - and you find that society has a lot more weapons than a microphone.

The legal cases give this film a second act, but as I have suggested before, there isn't a third. Bad dope (or a mistake with it) took his life and others took on the baton of what he was trying to do - and to be frank, did it a whole lot better. How ironic that the "black Lenny Bruce" Richard Prior followed his self-destructive model so closely. But Prior could act as well (when given a chance - see him in Blue Collar) and was a wonderful visual comedian. Bruce was, meanwhile, all voice.

Nothing dates quicker than comedy and people that once made the world laugh (such as Chaplin) are now viewed as being anything but funny. The stage act (sometimes viewed in cold detachment from the gods) won't make you laugh, it might make you nod and smile occasionally, but no more.

In reality I feel nothing for LB, he was a minor player in the world of showbiz who made his own choices and took his own risks. The talents and legacy of Fosse and Hoffman will ring on forever - which makes him the third banana in his own life story!

I love Dustin Hoffman, truly. What a great actor!

That said, This is the worst depiction of Lenny Bruce ever. All he does is screech loudly & blast his audiences. After seeing stage productions, with actors whom seem to have really understood Bruce better, this is almost difficult to get through with his performance, especially since Bruce was a genius of his time. Fosse's direction was unique , & innovative, but hearing Hoffman just scream Bruce's routine ruins this for me everytime.