never enough

Greed is a re­cur­ring theme in many Hollywood movies.

The Star Malaysia - Star2 - - PEOPLE - By CHRISTY LEMIRE Ci­ti­zenKane Scar­face Wal­lStreet Fargo ASim­plePlan

GREED, for lack of a bet­ter word, is good,” Gor­don Gekko fa­mously as­sured us. “Greed is right. Greed works.”

Greed also can make for mem­o­rable films in which char­ac­ters want, need, de­sire, and will do what­ever it takes, to have it all. Some­times they get in over their heads in their schemes, which al­ways makes things juicier, as we see in Mid­dle Men.

In­spired by the true story of the ori­gin of In­ter­net porn, it is ba­si­cally about a cou­ple of guys who want to make a ton of money to buy more co­caine and hang out with gor­geous women at ex­clu­sive par­ties.

Here are five other movies that should sat­isfy your de­sire for more­more-more:

(1941): Who bet­ter per­son­i­fied the drive for big­ger and bet­ter and more stuff than Charles Fos­ter Kane? Just take a look at Xanadu, the pala­tial es­tate crammed with all the crap the news­pa­per ty­coon amassed.

He rose from poverty and be­gan his ca­reer as an ide­al­ist, but Kane’s de­sire for more news­pa­pers, power and in­flu­ence be­came all-con­sum­ing, un­til he died alone and shrouded in mys­tery.

It is the ar­che­typal rise-and-fall story; the larger-than-life per­sona of di­rec­tor, co-writer and star Or­son Welles, both on screen and in real life, added to the in­trigue. Plus, it is largely con­sid­ered the great­est film ever made.

(1983): We’re go­ing with the Brian De Palma ver­sion, not the 1932 Howard Hawks orig­i­nal, just be­cause it is more fun. Ad­mit it: You stop and watch it ev­ery time it is on tele­vi­sion while you’re flip­ping chan­nels.

It is such a guilty plea­sure, it is ir­re­sistible: the clothes, the cars, that house with the gi­ant, sunken bath­tub and of course, the no­to­ri­ously over­the-top per­for­mance from Al Pa­cino as drug lord Tony Mon­tana.

It is an em­blem of the 1980s’ wretched ex­cess. Af­ter all, Tony is told that the world is his, so why shouldn’t he want it all?

Or as he so elo­quently puts it: “In this coun­try, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, you get the women.” What more do you need?

(1987): Oliver Stone’s clas­sic epit­o­mised the con­spic­u­ous con­sump­tion men­tal­ity of the 1980s, and pro­vided Michael Dou­glas with one of his best-known char­ac­ters and best-known lines. (Peo­ple al­ways get it wrong, though. Cor­po­rate raider Gor­don Gekko never ac­tu­ally says “Greed is good” ver­ba­tim.)

It also earned Dou­glas a best-ac­tor Os­car, but truly, the slicked-back hairdo alone could have sealed the award for him. And it still is rel­e­vant as seen in the se­quel, Wall Street: Money Never Sleeps, star­ring Shia LaBeouf and fea­tur­ing Dou­glas once more as Gekko, al­beit with far less hair prod­uct.

(1996): One of the ab­so­lute best from Joel and Ethan Coen, it won two Academy Awards: for the broth­ers’ orig­i­nal screen­play and for best-ac­tress Frances McDor­mand as the plucky, per­sis­tent and ex­tremely preg­nant small-town sher­iff Marge Gun­der­son.

But the greed part comes from an in­ept scheme by car sales­man Jerry Lundegaard, played by the tremen­dous Wil­liam H. Macy, who ar­ranges to have his wife kid­napped to col­lect the ran­som. This does not go as planned. Darkly funny and starkly pho­tographed by the great cin­e­matog­ra­pher Roger Deakins, Fargo is a film you can watch re­peat­edly and see some­thing new each time. You betcha.

(1998): Sim­i­lar aes­thet­i­cally to Fargo, with its beau­ti­fully bleak win­ter land­scape and Min­nesota set­ting.

But whereas that was a neo-noir, this is an emo­tion­ally com­plex fam­ily drama; a great ex­am­ple of peo­ple who are not as smart as they think they are get­ting into more trou­ble than they ever could have imag­ined. Bill Pax­ton and Billy Bob Thorn­ton are equally ex­cel­lent as broth­ers who dis­cover US$4mil in cash in a downed air­plane.

What should be a sim­ple plan for the money ends up be­ing any­thing but when greed and para­noia take hold. Di­rec­tor Sam Raimi ratch­ets up the ten­sion as his char­ac­ters make one bad de­ci­sion, which leads to an­other, which leads to an­other ... – AP about a cou­ple of guys who want to make a ton of money to buy more co­caine and hang out with gor­geous women at ex­clu­sive par­ties.

Driven by vice: Luke Wil­son in Mid­dle­Men,

Or­son Welles’ clas­sic, Ci­ti­zenKane, about the rise and fall of a news­pa­per ty­coon.

Al Pa­cino plays Tony Mon­tana in Brian De Palma’s

clas­sic gang­ster

epic Scar­face.

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