Henry Bean
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As Danny, Ryan Gosling (“Remember The Titans”) gives an intense performance easily comparable to Tim Roth's in “Made In Britain” and Edward Norton's in “American History X.”
Unlike “The Believer,” “Romper Stomper,” or “American History X,” “Imperium” — directed and scripted by first-timer Daniel Ragussis — is not principally concerned with exploring the political or psychological dysfunction that drives young men to join violent hate-groups.
The first thing you’ll probably think of when reading about this movie is Edward Norton in American History X or Ryan Gosling in The Believer, both great movies and fair benchmarks for any movie dealing with white supremacists.
Like its controversial predecessors, the Australian "Romper Stomper," a film that thrust Russell Crowe into the limelight, and "American History X," which solidified Edward Norton's career, "The Believer" deals with neo-Nazism and anti-Semitic issues.
But, the religious angle aside, there's little to distinguish The Believer from the likes of American History X and Romper Stomper.
And like Edward Norton�s brownshirt in the less ambitious American History X, he�s as formidable verbally as he is physically.
As Danny, Ryan Gosling (“Remember The Titans”) gives an intense performance easily comparable to Tim Roth's in “Made In Britain” and Edward Norton's in “American History X.”
Like its controversial predecessors, the Australian "Romper Stomper," a film that thrust Russell Crowe into the limelight, and "American History X," which solidified Edward Norton's career, "The Believer" deals with neo-Nazism and anti-Semitic issues.
In "The Believer," he reminds us of Edward Norton in " American History X ," another movie about a bright, twisted kid who is attracted to the transgressive sickness of racism.
Several times, while watching "The Believer," another skinhead flick, "American History X," came to mind.
For a fascinating look at fascism, check out the early Russell Crowe-vehicle Romper Stomper; for an honest look at faith, look to Robert Duvall's The Apostle; for this picture's debate handled with searing intelligence and humour, see Roth's Operation: Shylock.
When Danny waxes ironic at a froufrou shindig amongst high-rolling haters (a gathering that would have been at home in outrageous schlock like The Boys From Brazil and is as inflammatory and ridiculous as a belief that Jews gather in a luxury cave to fix world events), The Believer sacrifices itself to contrivance and head-slapping improbabilities.
Gosling is known to aficionados of independent films for his fine turns in “The Believer,” “The Slaughter Rule” and “The United States of Leland.”
Gosling's best work is still his Jewish skinhead character in Henry Bean's overlooked The Believer.
Ryan Gosling (The Believer, The Notebook ) stars as Dan Dunne, an inner-city junior high school history teacher.
Ryan Gosling has been an actor to watch ever since he played a Jewish neo-Nazi in 2001's fierce "The Believer".
Though Ryan Gosling has yet to create as powerful a character as he did as a neo-Nazi skinhead in “The Believer,” he does a solid job as the intelligent, though drug-addled, teacher spiraling ever downward.
Ryan Gosling has established himself as one of our most talented young actors with strong performances in films like The Notebook and The Believer.
The award-winning novelist had previously written the screenplays to such movies as "Internal Affairs" and the fantastic "Deep Cover."
The nervy, adrenaline-fueled opening minutes of Sundance success “The Believer” suggest that Henry Bean, a proven screenwriter on “Internal Affairs” and “Enemy of the State,” also has an accomplished directorial style all of his own.
"The Believer," written and directed by Henry Bean (writer of "Enemy of the State" and "Internal Affairs"), is the antithesis of usual Hollywood fare.
In the past, you have seen Gosling (or maybe not) in films that have ranged from the edgy likes of “The Believer” and “Half Nelson” to more commercial endeavors such as “The Notebook,” “Murder By Numbers”and “Fracture” Some of those films have been good and some have been quite bad but in each one of them, Gosling has tackled the material with the kind of fierce commitment and determination that is reminiscent of Sean Penn in his early heyday.
Gosling continues his winning streak of strong roles in smart films (The Believer, Half Nelson, Fracture), showing his talents here as both a terrific character actor and appealing leading man.
Bryan Gosling continues his slide down from The Believer (2001) as the title misfit, who’s first seen clutching the baby blanket knit for him by his mother, who died giving birth to him.
(The great “Half Nelson” and “The Believer” remain underseen, while “The Notebook” is his major box office success.)
With none of the hard edges he displayed in Half Nelson and Fracture (never mind The Believer), he makes Lars into someone gentle and sad without being mopey, displaying awesome comic timing and a preternatural sense for the way years and years of mounting insecurities might plausibly manifest themselves in the character's body language and speech.
Of course, the real key to "Lars and the Real Girl" is Gosling, who for most of his fans arrived on the scene in 2004 in the romance "The Notebook," but who has been turning in consistently exceptional performances since his breakout lead role in the searing 2001 drama "The Believer."
Danny Balient is a Swastika-wearing skinhead who gets the attention of intellectuals Curtis Zampf (Billy Zane, "Titanic") and Lina Moebius (Theresa Russell), leaders of a sophisticated NYC white supremacist group, with his revolutionary plans that begin with the murder of a prominent Jewish liberal.
Henry Bean, director of " The Believer ", complained recently about the dearth of politics in American cinema.
The nervy, adrenaline-fueled opening minutes of Sundance success “The Believer” suggest that Henry Bean, a proven screenwriter on “Internal Affairs” and “Enemy of the State,” also has an accomplished directorial style all of his own.
I'm often asked to do that," he says, referring to his work script-doctoring movies like Enemy of the State and Murder by Numbers.
"The Believer," written and directed by Henry Bean (writer of "Enemy of the State" and "Internal Affairs"), is the antithesis of usual Hollywood fare.
Using a flashback structure that seems to exist only to remind us that age catches up with everyone, The Notebook tells the story of Noah (young: Ryan Gosling of The Believer; old: James Garner) and Allie (young: Rachel McAdams; old: Gena Rowlands, Cassavetess mother), who meet as two star-crossed teens (shes rich, hes poor) in the South six decades ago.
McAdams shows none of the fire or energy that she displayed as the leader of the "Mean Girls" while Gosling, best known for his psycho roles in "The Believer" and "Murder By Numbers", gives a performance entirely too reminiscent of his earlier work-he always seems as if he is just about to slit Allie?s throat and dance in her blood.
McAdams is so vibrant, in fact, that it's easy to overlook the contributions of Ryan Gosling as her soft-spoken sweetheart -- until you realize that he first made a name for himself as the neo-Nazi skinhead in The Believer.
Country boy Noah (Ryan Gosling of "The Believer") falls hard for sophisticated Allie (Rachel McAdams of "Mean Girls"), recognizing a free spirit beneath the money and breeding.
Roles in "The Believer" and "Murder by Numbers" have demonstrated that Gosling is adept at playing sociopaths and intense brooders, and there's reason to think, early on, that Noah might be similarly off, as when he threatens to drop from a Ferris wheel unless Allie agrees to go on a date with him.
Yet Refn, like director Henry Bean with Gosling’s breakout film, The Believer , channels that energy in a focused, alarming way.
Ever since his chilling young Jewish neo-Nazi in " The Believer " (2001), he has shown a gift for finding arresting, powerful characters.
First, though, let me talk about a modestly budgeted American movie, The Believer, since it has the distinction of being a film of ideas–in contrast to Insomnia, a film of idea.