Wired Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

The story follows John Belushi (Michael Chiklis), shortly after his death from a drug overdose in March 1982, as he awakens in a morgue and is about to undergo an autopsy. Panicked, Belushi escapes and finds himself in the company of the enigmatic Angel Velasquez (Ray Sharkey), a Puerto Rican cabbie who takes Belushi to significant moments in his life from the beginning of his career to the courtship of his wife, Judith (Lucinda Jenney), into his burgeoning comedy career, his friendship with Dan Aykroyd (Gary Groomes) and his eventual decline. The film alternates between Belushi as a ghost and his journey with Velasquez to flashbacks (in non-linear style) as his career gains momentum. Meanwhile, journalist Bob Woodward (J. T. Walsh) is researching Belushi's life as he prepares to write a book about the late comic actor. Woodward's investigation leads him to Cathy Smith (Patti D'Arbanville), who procured drugs for Belushi, and the story climaxes with Woodward directly conversing with Belushi during the actor's dying moments.

• Michael Chiklis as John Belushi
• Ray Sharkey as Angel Velasquez
• J. T. Walsh as Bob Woodward
• Patti D'Arbanville as Cathy Smith
• Lucinda Jenney as Judy Belushi
• Alex Rocco as Arnie Fromson
• Gary Groomes as Dan Aykroyd
• Jere Burns as Lou Connors
• Clyde Kusatsu as Coroner
• Tom Bower as Detective
• Earl Billings as Detective
• Dakin Matthews as Washington Post editor
• J. C. Quinn as Comedy coach
• Steve Vinovich as Studio executive
• Matthew Faison as Dr. Robbins
• Jon Snyder as John Landis
• Brooke McCarter as Punk Rocker
• Paul Ben-Victor as Tom Perino
• Billy Preston as Himself

Background

Belushi's widow, Judith, and his manager, Bernie Brillstein, asked Bob Woodward to write a factual book about the actor to counter the speculation and rumours that had arisen after his death. Woodward, like Belushi, was from Wheaton, Illinois and had friends in common with him; Belushi had also been a fan of Woodward's investigative journalism. Although Woodward secured interviews with Belushi's family, friends and associates, he neither requested nor received approval from Judith before submitting his manuscript for publication. Those close to Belushi claimed that the book was exploitative and not representative of the man they knew. Nevertheless, Wired became a bestseller, albeit one that was publicly criticized by Belushi's family and friends for sensationalism, and for what they perceived to be a negative and one-sided portrait of the actor. Tanner Colby, who co-wrote a biography of Belushi in 2004, later claimed that while many of the anecdotes in Woodward's book were true, Woodward missed, or did not seek out, their meaning or context.

Woodward sought to sell the book's film rights as early as 1984 - the year it was published - but he found little interest in Hollywood for the project. Woodward later claimed, "A large portion of Hollywood didn't want this movie made because there's too much truth in it." Producers Edward S. Feldman and Charles R. Meeker eventually bought the film rights for the relatively modest sum of $300,000, and, lacking major studio funding, put up $1 million of the film's $13 million budget themselves. The rest of the film's funding came from the New Zealand conglomerate Lion Nathan.

Woodward served as an uncredited technical adviser on the film; the screenplay was written by Earl Mac Rauch, whose previous writing credits included Martin Scorsese's New York, New York (1977) and the science-fiction comedy The Adventures of Buckaroo Banzai Across the 8th Dimension (1984). Hired to direct the film was Larry Peerce, a film and television veteran who had directed his wife Marilyn Hassett in the films The Other Side of the Mountain (1975), Two-Minute Warning (1976), The Other Side of the Mountain Part 2 (1978), and The Bell Jar (1979).

Chiklis claimed it took the producers three years to cast the role of Belushi. Then aged 25, Chiklis heard about auditions for the part when he was weeks away from picking up his theatre arts degree at Boston University: "I rushed down to try out... In the first 24 hours, I was called back 57 times to see different people. It was the first movie I ever read for. I was called back three times at first, then six to eight months would go by and I'd be called again, asked to perform two to three times, then nothing for maybe 10 months. I'd just about given up hope, then I'd get another call for more auditions." Chiklis finally won the role after being chosen over 200 other actors, and he put on 30 pounds for the part. The blue-eyed actor also wore brown contact lenses to more closely resemble Belushi.

Development

The film adaptation of Wired did little to separate itself from the book's dubious reputation (promotional material described Wired as "the film Hollywood didn't want made"). Like the book, the film was boycotted by several of Belushi's friends and family, including Judith Belushi, Dan Aykroyd, and Jim Belushi. However, in many ways, Wired diverged from its source material. The film was criticized due to the addition of several fictional elements that were not present in the book, such as the guardian angel character, and the addition of Woodward himself as a character. Other difficulties for the filmmakers during production included their inability to obtain the rights to Belushi's original Saturday Night Live skits, and so they were forced to write imitations, e.g. "Samurai Baseball." However, the screenwriters did manage to work allusions and in-jokes to Belushi's routines into scenes and dialogue in the film. The film also alludes to the fact that Belushi's fictional guardian angel may not be sending him to Heaven but possibly Hell in the film's ending, when Belushi agrees to a pivotal pinball game - a parody of the chess game between the Knight and Death in the Ingmar Bergman film The Seventh Seal (1957).

The characters of Wired are a mixture of real-life people and obvious facsimiles. Judith Belushi, Dan Aykroyd, Bob Woodward and Cathy Smith, in addition to Belushi himself, appear by name in the film. Belushi's Saturday Night Live co-stars Chevy Chase, Gilda Radner and Laraine Newman are referred to but not seen. Other real-life associates of Belushi's are depicted onscreen, but assigned fictional names; for example, Brillstein is represented in the film by Alex Rocco's character "Arnie Fromson," and Belushi's minder Smokey Wendell is represented by Blake Clark's character "Dusty Jenkins." Many real-life celebrities who figured prominently in Belushi's life and in Woodward's book (including Robert De Niro, Robin Williams, Ed Begley Jr., Treat Williams, Carrie Fisher, and Steven Spielberg) are not depicted in the film at all.

An obvious portrait is made of SNL producer Lorne Michaels, played by actor Joe Urla, although the role is listed as "Stage Manager".

One scene in Wired features Joe Strummer's song "Love Kills", from the soundtrack to Sid and Nancy (1986) - another biopic about a celebrity drug casualty, and which features a taxicab as a metaphor for the afterlife. In another scene in Wired, Billy Preston appears as himself, playing a piano accompaniment to Chiklis as Belushi singing the song "You Are So Beautiful" (co-written by Preston) in the style of Joe Cocker.

Principal photography of Wired commenced in May 1988 and finished in the autumn of that year. The film was completed by the end of 1988; however, it did not receive a theatrical release until August 1989. The producers of Wired had problems finding a distributor for the film, as many of the major studios refused to distribute it. Several independent studios such as New Visions (then headed by Taylor Hackford) backed away from it. Atlantic Entertainment was about to distribute Wired, but financial problems prevented that from happening, so Taurus Entertainment agreed to distribute the film.

In his book Tell Me How You Love The Picture: A Hollywood Life (2005), Feldman recalled the film's difficulties securing a distributor. He accused Hollywood powerbroker Michael Ovitz - whose Creative Artists Agency had represented Belushi, as well as Aykroyd and Murray - of using his influence to sabotage the production and distribution of Wired. Ovitz himself claimed that "The film will rise or fall based on its own merits... We have nothing to do with the movie." Some studio executives claimed that their reluctance to distribute Wired was due to the film's dubious quality, rather than its subject matter. Brillstein accused the filmmakers of generating the controversy around the film themselves, in an attempt to improve its commercial prospects: "The only thing that the producers have to hang on to is the image of Wired as "the movie that Hollywood tried to stop"... I think this is a very good plan to get some excitement for the movie." In April 1989, the Los Angeles Times published the article "Another Chapter in the Strange Odyssey of Wired," chronicling in detail the obstacles the film faced throughout its production.

Wired screened at the 1989 Cannes Film Festival in May, three months before the film's general release. Jack Mathews of the Times wrote that while Wired was "one of the most anticipated films in the festival," by the end a "smattering of applause was drowned out by whistles and jeers." Afterwards, Woodward faced a hostile press conference in which he was bombarded with questions about his inclusion as a character in the film. Rita Kempley of the Post also reported that the Cannes reception "recalled a hive of John Belushi's killer bees."

Critical reception

The critical response to Wired was almost uniformly hostile. Wired has an overall approval rating of 4% on Rotten Tomatoes based on 26 reviews.

Leonard Maltin condemned the movie as "the film fiasco of its year" and "mind-numbingly wrongheaded." Maltin noted that Michael Chiklis "looks a little like Belushi but conveys none of his comic genius in some clumsy Saturday Night Live recreations" and that J.T. Walsh, "as Woodward, is an unintentional howl with the decade's most constipated performance."

Writing for The Washington Post, Rita Kempley dismissed the movie as "the silliest celebrity bio since Mommie Dearest" and "a biography without an ounce of soul or a shred of dignity. Billed as a fantasy-comedy-drama, it manages to be none of these. The drama is laughable, the comedy lame, the fantasy without wings." Kempley described the film's direction as "ludicrous," the script as "preposterous," and also criticised Michael Chiklis' portrayal of Belushi: "Sam Kinison might have played the part -- like Belushi, he's obscene, overweight, abusive and mad as hell. Chiklis, who does look and sound like Belushi, is rather cherubic in his movie debut. There's a Bambi-ish quality to his portrait of debauchery, a strangely cute requiem for a funny man."

Also writing for The Washington Post, Desson Howe wondered if this movie is "what the real Belushi's family, friends and fans really need. Certainly Belushi deserves as much scrutiny as the next public figure who died after heavy drug use, but this autopsy seems unnecessary." Howe had no praise for Michael Chiklis' performance as Belushi: "Despite a histrionic outpouring of growls, snorts, yells and re-creations of familiar Belushi shticks, from Jake Elmore to Joe Cocker, Chiklis seems to miss every opportunity to redeem himself. He's loud where he should have been soft, flat where he should have been funny and dead where he should have been alive." Howe also noted that the film version of Woodward "seems to have stumbled out of a "Dragnet" episode."

Vincent Canby for The New York Times described the movie as "a bit fuzzy and off-center." Canby also noted that Chiklis "seems to be doing the role a few years too soon. It's not only that he seems too young, but also that he simply hasn't any idea of what it's like to scrape the bottom of life's barrel." Canby did praise Patti D'Arbanville, "who is exceptionally good as the addict who fatally ministers to Belushi in his last hours. She's a lost, sad character, more vivid than anyone else in the movie."

Roger Hurlburt of the Sun-Sentinel also gave Wired a 1½-star rating, writing that "we have director Larry Peerce thinking he's Frank Capra doing It's a Wonderful Life, or worse, Charles Dickens reworking A Christmas Carol... As a film tha