The doctor asks him whether he wants to go back to Walbrook Mental Hospital or to stay with Charlie. He is unable to decide. Charlie tells him that he'll probably be sent back to Walbrook, and Raymond for the first time, realises his emotions and expresses them to Charlie, making a connection with him. Raymond gets put on the train back to Walbrook, hoping to get back before Wapner.
Continuity mistake : In the train station, the brothers walk down a hallway with a man in a suit behind. He disappears in the following angle. Raymond : Of course, I'm not wearing any underwear.
The two begin a long road trip that will lead them to an understanding of each other. Sign In. Edit Rain Man Jump to: Summaries 4 Synopsis 1. The synopsis below may give away important plot points.
Getting Started Contributor Zone ». Raymond is prone to panicking, and becomes frustrated when his strict daily schedule is disrupted. However, Charlie also begins to learn more about his brother, and their unexpected bond creates another huge change in his life. While Charlie and Raymond struggle to communicate, the younger brother sees some benefit in having his brother along for the ride. They hit up Las Vegas, and Charlie puts Raymond and his ability to rapidly calculate and count cards to work, until they've managed to pay off his debts for the Lamborghinis.
The bigger win for him, however, comes when he begins to let his walls down and open up to his brother in an emotional capacity. He realizes, as Raymond recounts his own memories, that the "Rain Man" he remembers as an imaginary friend from childhood was actually his brother.
Their father hid him away in the mental institution, preventing them from growing closer. The whole thing is garish and superficial, a simple set of infinitely repeatable tricks that are focused purely on the most superficial behaviors that he supposes to be associated with autism even allowing that autism was understood less in than it is in , I am fairly confident that it was understood better than this.
It is, maybe, the performance that the script requires - hence I say "not good" rather than "bad", for "bad" implies that it's doing some damage to the film - but it's not impressive , it's barely persuasive. I am at all points during the film watching Dustin Hoffman do acting exercises. I am never watching Raymond Babbitt, and so I never learn about him. The thing about Rain Man is that, despite Hoffman's omnipresence in the '89 awards season, is that it's not his film, and he's not the lead.
He's the conduit by which the lead undergoes his own arc - a prop, I might say, if I wanted to be exactly as generous to the film's treatment of Raymond as I believe it deserves. The lead, in this case, is Charlie Babbitt Tom Cruise a yuppie asshole who's gotten in over his head trying to import Lamborghinis for sale to other, richer yuppie assholes.
He has a girlfriend, Susanna Valeria Golino , that he treats like an object, and a father that he hasn't spoken to in years. And now he never will, since his father is dead. Eager to receive his inheritance, which will help to pay off his debts, Charlie is stunned to find instead that he's been given a deliberately insulting pittance, while the rest of his dad's estate has been placed in trust, for the benefit of the older brother Charlie never knew he had - Raymond, a deeply autistic man living in a facility in Cincinnati.
Undaunted, Charlie kidnaps Raymond, sort of legally, he's in the clear , and thus begins a six-day road trip back to Los Angeles, where Charlie hopes to shake the money out of Raymond, save his business, and screw it to his dead dad. Six days, of course, is just about exactly as much time as director Barry Levinson and screenwriters Ronald Bass and Barry Morrow need to have Charlie's heart grow three sizes, both toward Raymond and the rest of the world as well.
It's one of the key films in Cruise's self-conscious development towards becoming a Real Actor, falling between 's The Color of Money and 's Born on the Fourth of July. He had to fight for the role, which was written for a much older man, and it's probably just as well that he won that fight: the arc of the film requires somebody who seems like an over-privileged, smug asshole at the start, somebody we find appealing enough that spending two hours with him sounds like an acceptable prospect, but also somebody who contains no positive characteristics.
Cruise, in '88, was an outstanding choice to embody all of that. And he does good work; I haven't seen every one of the ten movie performances he gave prior to this, but it's certainly better than any of the ones I have seen, confident in his ability to hold focus against the shticky showboating going on next to him without having to fight Hoffman for scenes a fight he would immediately lose, of course , and willing to trust that the film's arc will make the audience love him by the end, without doing anything to beg for that love in the beginning.
0コメント