Tucker: The Man and His Dream (1988) 1080p YIFY Movie

Tucker: The Man and His Dream (1988) 1080p

The story of Preston Tucker, the maverick car designer and his ill-fated challenge to the auto industry with his revolutionary car concept.

IMDB: 6.93 Likes

  • Genre: Biography | Drama
  • Quality: 1080p
  • Size: 2.14G
  • Resolution: / fps
  • Language: English
  • Run Time: 110
  • IMDB Rating: 6.9/10 
  • MPR: Normal
  • Peers/Seeds: 0 / 0

The Synopsis for Tucker: The Man and His Dream (1988) 1080p

Based on a true story. Shortly after World War II, Preston Tucker is a grandiose schemer with a new dream, to produce the best cars ever made. With the assistance of Abe Karatz and some impressive salesmanship on his own part, he obtains funding and begins to build his factory. The whole movie also has many parallels with director Coppola's own efforts to build a new movie studio of his own.


The Director and Players for Tucker: The Man and His Dream (1988) 1080p

[Director]Francis Ford Coppola
[Role:]Jeff Bridges
[Role:]Frederic Forrest
[Role:]Martin Landau
[Role:]Joan Allen


The Reviews for Tucker: The Man and His Dream (1988) 1080p


about the dreamers and achievers out there, if only achieving some of the time, like Coppola himselfReviewed byMisterWhiplashVote: 8/10

On the DVD of Tucker: The Man and His Dream, George Lucas comments that Francis Ford Coppola, the director of the film, shares qualities with Preston Tucker - both men have big dreams and always admire and gravitate towards innovation, and their ideas are always springing out in some eccentric but exciting ways. This is true, more or less, depending on when looking at either man's life (right now, for example, Coppola is fine just making wine with the occasional 'student' film like Tetro). But I would like to take the comparison a step further in the Tucker company and Coppola's film company, American Zoetrope.

Looking at what happened to the two companies, at least in the scope of the story told in the movie (I can't say how true it is to real events, just how it's depicted here), there's glaring similarities, and things I am sure Coppola connected with. Both men had passion to take a dream of something- for Tucker it was a car line, for Coppola it was independent cinema and a means to break out of studio controls- and they went forward to achieve it, like outsiders but with skills and a drive to succeed. And, ultimately, both men didn't quite live up to the dream. It's somewhat ironic then that the only other guy to really get something out of American Zoetrope in its early years (not counting its peaks and valleys in the 80s), was George Lucas, who turns the tables on the usual dynamic of Coppola producing Lucas' early films to producing Coppola's own film this time around. It's a glossy and nostalgic look at dreams how they can go. At the least, Tucker and Coppola tried.

And in the film on Tucker, Coppola and his crew, primarily in credit due to DP Vittorio Storaro, make what could be said like a filmic version of a "Tucker" Car. It's bright and fast and a little off-kilter and unusual. But we like riding in it, and it has an appeal that gives something just a little different, and it's also pretty to look at, too. This may be outside of Dick Tracy Storaro's most "colorful" color film, so to speak, with the bright primary colors and advertisement of 1940's Americana springing out in the screen. Now, this said, this is not exactly a 'rebel' picture like Coppola's early work. Instead it's in debt to the period in film as well, and the primary influence would probably be Capra. This I mean as a compliment - Tucker as a film is entertaining because of how endearing Tucker is, how Jeff Bridges plays him in this context (a guy with a pioneer-spirit, with a smile even when things look bleakest), and how the villains, corporate board members, a Senator, the "Big Three" come off.

Coppola even has time to give us two really great scenes. Like they're so good that they could be put right up against some of the essential scenes in the director's films (almost up there, though not quite, with the Wagner bombing in Apocalypse Now and Vito Corleone's death scene). One is the unveiling of the prototype of the Tucker car. It's an intense scene, one that is full of a "oh no!" factor, even as in the back of our minds we know things will be alright. Mishaps keep happening as a crowd of hundreds waits impatiently for the car to come out, as the crew keeps retooling it so it can actually move (with a spy in the midst snapping embarrassing photos) and not totally break down or go up in flames. It's an amazing, uplifting scene. The other great one, not quite in tone like any other scene in the film is when Tucker meets Howard Hughes. It's a strange scene, as Hughes is in the dark aircraft carrier at night with his "Spruce Goose" and, as played by a withdrawn Dean Stockwell, is a bit frightening as an innovator who, perhaps, got too much of what he wanted. It's a brief scene, but an important one, to showcase the variance of the two men, Tucker and Hughes.

underrated coppolaReviewed bybillcr12Vote: 7/10

Jeff Bridges stars as Preston Tucker, a pioneer of automobile manufacturing in the 1940s. The Tucker Torpedo was well ahead of its time, with disc brakes, seat belts and fuel injection, all new innovations.

The big three auto makers plotted against Tucker, not thrilled with the new competition. A real life courtroom drama ensues with a David vs. Goliath like battle with crooked politicians, bad journalism and a man with a big dream. Coppola put his heart and soul into the making of Tucker, much like the subject did into his car. This film is a fine example of bringing to life a man with a dream who never gave up; very inspirational.

Bridges Embodies the Soul and Spirit of Preston TuckerReviewed bydglinkVote: 8/10

"Tucker, the Man and His Dream" offers the quintessential Jeff Bridges performance. While not as tricky as his skillful turn in "Starman," the role of Preston Tucker provided Bridges with a chance to use his innate optimism and unflagging energy to create an indelible character. Although nominated four times for an Oscar, Bridges was overlooked for this, arguably his finest performance. Perhaps the idealistic upbeat Tucker was too close to the real Bridges, and Academy members failed to notice that he was acting out the role of his career. The real Preston Tucker was a man of ideas that outpaced his time, which was the post-World War II era. Eager to produce a car that would embody all manner of advanced technology and safety measures from a rear engine to seat belts, Tucker's mind and spirit far outpaced the abilities of his engineers and backers to keep up with him. Unfortunately, he fell afoul of Detroit's Big Three automakers. The automotive giants felt threatened by the innovations that Tucker proposed and feared that the increased costs required to implement the new features would cut into profits. Fortunately, 46 of the Tucker automobiles that were produced are still road worthy and highly collectible.

Directed by Francis Ford Coppola, who is reportedly the owner of a Tucker or two, the film boasts a cast of professionals that appear to revel in their roles. Martin Landau as the financier with a criminal record, Joan Allen as the epitome of a supportive early 1950's wife, Christian Slater as the devoted son, and a crew of mechanics that includes Frederic Forrest, Mako, and Elias Koteas all provide excellent support to Bridges's central starring role. Jeff's father, Lloyd Bridges, shows up in the small, but tasty role of a corrupt senator. The film begins as a glossy promotional documentary for Tucker, a la "Citizen Kane," and the concept recurs throughout. Joe Jackson's music emphasizes the upbeat gung ho proceedings even in the face of adversity and captures the era effectively. Vittorio Storaro's superb cinematography and Dean and Alex Tavoularis's period art direction are as slick and shiny as the Tucker automobiles that come off the assembly line.

While not in the same league as Coppola's "Godfather" films or "Apocalypse Now," the film is an obvious labor of love. Like Scorsese, Hitchcock, and Ford, Coppola's second-tier works are still head and shoulders above the films of less talented directors. Engaging from beginning to end, the story of Preston Tucker could only have taken place in America, where an idealistic man with a dream can come up a winner even when he loses. Jeff Bridges also comes up a winner as Tucker even though he does not have a golden statuette to prove it.

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