#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Carter Page III (Woody Harrelson) holds a special place in Washington, D.C. society: the gay son and grandson of powerful men, he has connections, manners, and he’s no threat, so he’s an available escort when a woman’s husband would rather not accompany her to a public event. When the secret lover of one of his women friends is murdered, she asks Carter to cover for her, and his acquiescence gets him into immediate trouble with the Police and an ambitious prosecutor. Carter, with the help of his lover Emek Yoglu (Moritz Bleibtreu), starts his own investigation. They’re warned off by someone’s hired muscle. Can Carter figure out what happened or will he lose more than he realizes he has? Human behavior is a mystery.
Plot: An escort who caters to Washington D.C.’s society ladies becomes involved in a murder case.
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|5.8/10 Votes: 5,514|
|5.2 Votes: 59 Popularity: 6.623|
A Tour de Force for a Fine Cast of Seasoned Actors
THE WALKER (defined as a man who escorts rich ladies around town in their leisure) is both a pungent political comment and a fine mystery from Paul Schrader who both wrote and directed this smart film and had the good fortune to surround his tale with a fine cast of actors. It may not be a film for everyone, but it will satisfy viewers who tire of superficial fluff films, allowing time to ponder the way we live and converse today.
Carter Page III (Woody Harelson in one of his finest performances) is an openly gay, well- heeled, dapper man about town who devotes his life to pleasing the wealthy wives of men in high government levels in Washington, DC. Together with Abby (Lily Tomlin), Natalie (Lauren Bacall), Chrissy (Mary Beth Hurt), and Lynn (Kristin Scott Thomas) the group gossips, plays canasta in an expensive hotel parlor, and confides secrets that are surefire rumor fodder. Lynn is escorted by Carter to her lover’s home for a tryst only to find the lover murdered. Carter attempts to protect Lynn from scandal only to become implicated himself. Carter discovers secrets about his own insecurities, and while he is solidly supported by his lover Emek (the excellent Moritz Bleibtreu), an artist of strange works that prove subtle background connotations of the mystery that is unwinding, he must face the realities of his decision when confronting husbands, lawyers, police, and intelligence agents (portrayed by such fine actors as Ned Beatty, Willem Defoe, William Hope and Geff Francis). The story is, in many ways, an examination of the corruption in Washington, DC – a fact that may explain why it did not enjoy a long theater run.
For viewers who appreciate fine dialogue and a smart story with well-delineated characters portrayed by superb actors, this is a film that should not be neglected. Grady Harp
Meditation upon the true meaning of loyalty
This is a fascinating film which seems to be something other than what it is. It is absolutely not a thriller, although many people might be confused and believe it was meant to be one. In the film, a great deal of corruption, murder, and intrigue is portrayed at the top of the political hierarchy in Washington, D.C. But that is merely the setting and milieu for a wholly different story. The film is really about the true meaning of loyalty, and hence it is a disguised morality tale. The lead character, played by Woody Harrelson, is an elegant homosexual who escorts wives of leading politicians to social events, what is called ‘a walker’. In the course of doing this, he accidentally becomes involved in a serious scandal involving murder and ruthless intrigue, which has no connection with him at all. The character whom Harrelson portrays is called Carter Page III, whose grandfather and father of the same name had been famous Washington politicians from the South. His father had been a ‘hero of the Watergate hearings’, and is clearly modelled on the late Senator Sam Ervin, Junior, of North Carolina. Page ‘the Walker’ thus has access to all the top social circles of Washington, but is looked upon with a certain amount of scorn because he is viewed as such a decline from the fame of his forebears. It is only as the film evolves that Page reluctantly reveals that in fact his father and grandfather had both been crooks, and were not heroes at all, and that he feels bad about his heritage, the endless praise for which he has to sit and listen to silently, while keeping his own views to himself. He is very camp and people don’t really take him seriously as a person, considering him a hopeless lightweight. He even says of himself: ‘I am superficial’. But this film is a study of what lies beneath the illusory surface of a supposedly superficial man. It is only in the last two minutes of the film that the full truth is revealed, and the film has its sad and pensive ending, where the meaning of the film really becomes clear. Harrelson depicts an unforgettable character, ‘a man in full’. His Southern accent is as thick as heavy cream. He has to a certain extent modelled himself on Marlon Brando in ‘Streetcar’ and ‘The Fugitive Kind’, not always successfully, but it is a great effort and largely works, with the elegance, cufflinks, and finicky mannerisms of a dandy added very successfully on top. Paul Schrader’s script is wonderfully subtle and well-crafted, but he is a much better writer than he is a director, and his shots are badly framed, which indicates that his cinematographer did not make up for his deficiencies at all. The sound is also inadequate, but then that is a common problem these days with Hollywood films, where all the good sound men seem to be dead. One problem with the direction is that Schrader was too close to the material. He could not stand back from it and see where a bit more clarity was needed for the sake of a possibly baffled viewer and instead he worked to increase rather than to diminish the sometimes excessive subtlety of this tale. In other words, it could and should have been a better film than it is. Harrelson needed a bit of toning down in some scenes. After all, he was way out on a limb in his performance, and although he didn’t fall off a branch, he trembled amongst the leaves sometimes and could have done with some more help. Kristin Scott-Thomas’s performance is impeccable, but when has one of her performances not been? Has anyone ever seen her do anything less than perfect on screen? I haven’t. She isn’t afraid to let herself look really terrible, haggard and wobbly in a harsh light if it helps the story. This film is about Harrelson showing the ultimate loyalty, the last man you would think capable of it, as an act of personal redemption. The end of the film is so perfectly performed and directed that one forgives the film any previous imperfections it may have had. It was worth waiting for. But what a sad and devastating realisation comes then, so impeccably presented. I cannot reveal what it is, but it is the whole point. The way Carter Page III comes out of it all as a hero reminds me of the husband in ‘Brick Lane’: sometimes the most unlikely people outshine everyone else in the most unexpected way when you see the true depths of their character. Schrader’s perceptions in this story are immensely sensitive. This was an extraordinarily ambitious undertaking, and although the result is not perfect, so that the film is not a classic, Schrader and his actors all came close and can be justly proud of what they achieved. After all, it is not easy to make films about what is not spoken and what is not seen. Most people don’t bother. So please keep it up, y’all.
Original Language en
Runtime 1 hr 48 min (108 min)
Genre Crime, Drama, Mystery
Director Paul Schrader
Writer Paul Schrader
Actors Woody Harrelson, Kristin Scott Thomas, Lauren Bacall
Country United States, United Kingdom, Isle of Man
Awards 1 nomination
Production Company N/A
Sound Mix Dolby Digital EX
Aspect Ratio 2.35 : 1
Camera Arriflex Cameras and Lenses
Laboratory DeLuxe, London, UK
Film Length 2,956 m (Sweden)
Negative Format 35 mm (Fuji) (Kodak)
Cinematographic Process Digital Intermediate (master format), Super 35 (source format)
Printed Film Format 35 mm (anamorphic)