Michael Douglas’s portrayal of Gordon Gekko in Oliver Stone’s 1987 masterpiece, “Wall Street,” remains one of cinema’s most captivating and morally ambiguous characters. With his slicked-back hair, confident demeanor, and the infamous “greed is good” mantra, Gekko, which earned Douglas an Oscar in 1988, transcends mere villainy to become a cultural icon, making “Wall Street” essential viewing for understanding the zeitgeist of the 1980s and the timeless appeal of financial power.
The film, set in the opulent yet ruthless world of 1985 lower Manhattan, explores the stark dichotomy of wealth. Stone masterfully contrasts Gekko’s extravagant lifestyle with glimpses of poverty and struggle, suggesting a zero-sum game where the prosperity of the few is built upon the backs of the many. This perspective is encapsulated in Gekko’s chillingly pragmatic statement to his protégé, Bud Fox (Charlie Sheen): “Money itself isn’t lost or made, it’s simply transferred.”
While Stone’s critical view of American capitalism might be interpreted as cynical, it’s precisely this unflinching portrayal that elevates “Wall Street” beyond a simple financial thriller. Just as one can appreciate Shakespeare’s “Richard III” without endorsing the character’s Machiavellian ethics, “Wall Street” allows viewers to be enthralled by Gekko’s charisma and intellect, even while recognizing the moral bankruptcy of his actions.
Stone’s direction injects a sense of dark humor into the narrative, particularly through Gekko’s sharp, often caustic wit. His observations are as insightful as they are cynical, delivered with a theatrical flair that makes him both repulsive and irresistibly entertaining. Consider his jibe about WASPs at a charity event: “That’s the thing about WASPs. They hate people, but they love animals.” Or his ruthless assessment of a rival: “If he was in the funeral business, no one would ever die!” Even his initial challenge to Fox is laced with a predatory charm: “You had what it took to get into my office, sport, the question is do you have what it takes to stay.”
Fox, eager to climb the Wall Street ladder, readily abandons ethical boundaries, mirroring the seductive allure of unchecked ambition that the film critiques. Stone, drawing from his father’s experiences as a stockbroker, avoids painting all Wall Streeters with the same brush. Characters like Hal Holbrook’s Lou Mannheim represent a more principled, albeit somewhat detached, old guard. John C. McGinley’s Marvin, a more morally ambiguous friend of Fox, elicits unexpected sympathy as Fox ascends and leaves him behind.
However, “Wall Street” undeniably belongs to Gekko. Douglas commands every scene, portraying him as a force of nature, orchestrating deals and manipulating markets with ruthless efficiency. His iconic speech at the Teldar Paper shareholders meeting is a masterclass in rhetoric, seducing the audience with a seemingly logical defense of greed that crumbles under scrutiny. This scene exemplifies Stone’s sharp screenwriting, exposing the seductive power of self-justification in the pursuit of wealth.
Sheen delivers a compelling performance as Bud Fox, the ambitious newcomer whose naiveté makes Gekko’s manipulations all the more impactful. Their dynamic is central to the film’s success, with Sheen’s earnestness providing the perfect foil to Douglas’s predatory charisma. While the romantic subplot with Darien Taylor (Daryl Hannah) feels somewhat underdeveloped and the ending perhaps too simplistic, these minor flaws are easily overshadowed by the sheer force of Gekko’s character and Douglas’s Oscar-winning performance.
Ultimately, “Wall Street” in 1987, is a thrilling and cautionary tale. It’s a cinematic journey into the heart of ambition, greed, and the seductive power of Wall Street. Michael Douglas’s Gordon Gekko is not just the reason to watch “Wall Street”; he is the embodiment of its enduring appeal – a captivating villain who exposes uncomfortable truths about the American dream and the price of success. Stone masterfully crafts a morality play that is as relevant today as it was in the era of excess it depicts, ensuring that “Wall Street” remains a vital and endlessly fascinating film.
