Not just a freewheeling non-musical musical but, as is common with FFC's '80s work, gently keyed in to the darker side of the time period it rhapsodizes. The recurring bits that acknowledge Tucker's hiring of a Japanese-American worker have a bit of Fulleresuqe bluntness to them when Tucker flies into defensive monologues in the face of whispers over internment, adding a dimension to the film and protagonist that could eaily have been missed.

This movie appeared on John Waters' list of top 10 underrated films. I was pretty into it in my early 20's. Tucker's Jimmy Stewart-like optimism and tenacity was endearing. Everything is so shiny and Rockwell-Esque. While it's certainly a great technical achievement it's a little too squeaky clean for my taste today. But it borders on self-parody, which is why I think Waters took to it. Maybe it is a little underrated but it's still a Coppola film. I always feel a little cold after watching Peggy Sue Got Married, and I get it a little bit of that from watching this too. Some kind of detachment and an "I don't care" sensation. Maybe I'm just getting tired of men and their dreams.

Car Wars: Episode V - The Empire Strikes Back

I don't know anything about the real Preston Tucker or his case but as a fictional emblem of good sense and innovation being crushed by big business he's ideal, played by Jeff Bridges with a perfect balance of charisma and neurotic genius. The autobiographical implications for both Coppola and Lucas are so obvious that they aren't even really subtext, but it's interesting to note that they both (Lucas especially) did what Tucker never did and essentially joined em after failing to beat em, which might be why this seems to have such a strange, distant urgency humming all the way under it. An amazing visual style that I can only describe as clean as hell, this movie looks as sexy as the Tucker automobiles did, and check out Dean Stockwell's one scene wonder as Howard Hughes!

The constant struggle to keep optimism from being ground down, underneath the wheels of cynicism ...

Steven Soderbergh called Tucker: The Man and His Dream “a parade of boner-inducing images.” Loath though I am to think of his erect cock, the man is right.

"As an auteur with a public persona, Coppola exists similarly to Tucker. Both sold products, but they also sold stories about themselves and their families. For Coppola and Tucker alike, there is no difference between the family, the firm, the factory, or the film studio: they’re all just a way of organizing business."

on the new restoration of TUCKER, my movie dads coppola and lucas, and the Business of Movies over at cinematary

Mike Thorn writes of Coppola's understanding of "romance in the dream" of capitalism that is interrupted by the "visible arrival" of its hangover. This is an astute way of summarizing the outlook of Coppola's entire oeuvre, as each text emphasizes desire as a more important tool than structure - this is the reason that the break-up scene in Godfather II is so emotionally affecting. Similarly, here, the Tucker character functions by attaching his moral outlook to an economic outlook. It is not just objects and money that are traded; even human interaction feels like a transaction.

“one day we’re gonna find ourselves at the bottom of the heap instead of king of the hill having no idea how we got there”

Solid ASS flick! 

Coppola has a real amazing ability to replicate eras with stunning believability. He and his creative team really do (as much as I sound like an IGN reviewer with this one) make you feel like you’re back in the late 40s. Storaro shoots the hell out of this one, and although no one actors performance is “great”, the whole cast is solid across the board. 

Tucker: The Man and His Creams more like :)))))

Na pierwszy rzut oka to kolejny typowy feelgoodowy biopic, ale mam wrażenie, że kryje się w nim coś więcej. Realizacja: świetna - od zdjęć, przez ogólny klimat.

Cartoonish dialogue. Goofy acting. Scenes given no chance to breathe, making the whole film feel like a trailer. Great photography. Great sets. Great story.

Inspiring, funny and informative.

Tells a lot about free market and its backgrounds in the 40's.

Main subjects from my point of view:

-Entrepreneurship
-Motivation
-Family dramas
-Life goals
-Fear of failure
-The feel of powerless

And more...

Kb. az Aviátor szerényebb előképe/inverze. Nem remekmű, pedig majdnem minden összetevője remek. Nem sokon múlott. (10/8,5 - od)

65/100

Francis Ford Coppola made this?

By the end I really felt for Tucker’s passion and struggle, while also genuinely hating all the bureaucrats involved. Well done Mr. Coppola

the style of every character in this movie (especially joan allen) is beyond amazing and the fact that there are no good screenshots of any of the outfits online is an indescribable tragedy. the movie’s not half bad either. probably. i really can’t say cause i couldn’t take my eyes off the wardrobe.

Francis Ford Coppola recria a figura do visionário Preston Tucker, o homem que promoveu avanços no design de carros - teve a audácia e o empreendedorismo de desenvolver e fabricar um novo conceito de automóvel nos Estados Unidos. O cenário da década de 1940 surge com o tom de encenação irônica, como o verniz colorido que caricatura o período. Através do carisma e excelente atuação de Jeff Bridges, o roteiro aproveita pra contestá-lo quando seu personagem se vê em uma encruzilhada contra o monopólio automobilístico. Acho a direção de arte caprichada, bem como a trilha sonora instrumental. Participações ótima de Joan Allen, como a esposa de Tucker; e do saudoso Martin Landau (que foi indicado ao Oscar de coadjuvante).

A fun game to play is, “How long would this movie be if Tucker weren’t white?”

Also, deeply fucked that Tucker is his last name and not his first.