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"Cocktail" tells the story of two bartenders and their adventures in six bars and several bedrooms. What is remarkable, given the subject, is how little the movie knows about bars or drinking.

Early in the film, there's a scene where the two bartenders stage an elaborately choreographed act behind the bar. They juggle bottles in unison, one spins ice cubes into the air and the other one catches them, and then they flip bottles at each other like a couple of circus jugglers. All of this is done to rock 'n' roll music, and it takes them about four minutes to make two drinks. They get a roaring ovation from the customers in their crowded bar, which is a tip-off to the movie's glossy phoniness. This isn't bartending, it's a music video, and real drinkers wouldn't applaud, they'd shout: "Shut up and pour!" The bartenders in the film are played by Tom Cruise , as a young ex-serviceman who dreams of becoming a millionaire, and Bryan Brown , as a hard-bitten veteran who has lots of cynical advice. Brown advises Cruise to keep his eyes open for a "rich chick," because that's his ticket to someday opening his own bar. Cruise is ready for this advice.

He studies self-help books and believes that he'll be rich someday, if only he gets that big break. The movie is supposed to be about how he outgrows his materialism, although the closing scenes leave room for enormous doubts about his redemption.

The first part of the movie works the best. That's when Cruise drops out of school, becomes a full-time bartender, makes Brown his best friend and learns to juggle those bottles. In the real world, Cruise and Brown would be fired for their time-wasting grandstanding behind the bar, but in this movie they get hired to work in a fancy disco where they have a fight over a girl and Cruise heads for Jamaica.

There, as elsewhere, his twinkling eyes and friendly smile seem irresistible to the women on the other side of the bar, and he lives in a world of one-night stands. That's made possible by the fact that no one in this movie has ever heard of AIDS, not even the rich female fashion executive ( Lisa Banes ) who picks Cruise up and takes him back to Manhattan with her.

What do you think? Do you believe a millionaire Manhattan woman executive in her 30s would sleep with a wildly promiscuous bartender she picks up on the beach? Not unless she was seriously drunk. And that's another area this movie knows little about: the actual effects of drinking. Sure, Cruise gets tanked a couple of times and staggers around a little and throws a few punches. But given the premise that he and Brown drink all of the time, shouldn't they be drunk, or hung over, at least most of the time? Not in this fantasy world.

If the film had stuck to the relationship between Cruise and Brown, it might have had a chance. It makes a crucial error when it introduces a love story, involving Cruise and Elisabeth Shue , as a vacationing waitress from New York. They find true love, which is shattered when Shue sees Cruise with the rich Manhattan executive.

After the executive takes Cruise back to New York and tries to turn him into a pampered stud, he realizes his mistake and apologizes to Shue, only to discover, of course, that she is pregnant - and rich.

The last stages of the movie were written, directed and acted on automatic pilot, as Shue's millionaire daddy tries to throw Cruise out of the penthouse but love triumphs. There is not a moment in the movie's last half-hour that is not borrowed from other movies, and eventually even the talented and graceful Cruise can be seen laboring with the ungainly reversals in the script. Shue, who does whatever is possible with her role, is handicaped because her character is denied the freedom to make natural choices; at every moment, her actions are dictated by the artificial demands of the plot.

It's a shame the filmmakers didn't take a longer, harder look at this material. The movie's most interesting character is the older bartender, superbly played by Brown, who never has a false moment. If the film had been told from his point of view, it would have been a lot more interesting, but box-office considerations no doubt required the center of gravity to shift to Cruise and Shue.

One of the weirdest things about "Cocktail"' is the so-called message it thinks it contains. Cruise is painted throughout the film as a cynical, success-oriented 1980s materialist who wants only to meet a rich woman and own his own bar. That's why Shue doesn't tell him at first that she's rich. Toward the end of the movie, there's a scene where he allegedly chooses love over money, but then, a few months later, he is the owner and operator of his own slick Manhattan singles bar.

How did he finance it? There's a throwaway line about how he got some money from his uncle, a subsistence-level bartender who can't even afford a late-model car. Sure. It costs a fortune to open a slick singles bar in Manhattan, and so we are left with the assumption that Cruise's rich father-in-law came through with the financing. If the movie didn't want to leave that impression, it shouldn't have ended with the scene in the bar. But then this is the kind of movie that uses Cruise's materialism as a target all through the story and then rewards him for it at the end. The more you think about what really happens in "Cocktail," the more you realize how empty and fabricated it really is.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Cocktail (1988)

100 minutes

Tom Cruise as Brian Flanagan

Lisa Banes as Bonnie

Laurence Luckinbill as Mr. Mooney

Elisabeth Shue as Jordan Mooney

Bryan Brown as Doug Coughlin

Directed by

• Roger Donaldson

Produced by

• Robert W. Cort

Screenplay by

• Heywood Gould

Photographed by

• Dean Semler
• Neil Travis
• J. Peter Robinson

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Mixing It Up: Exploring the Iconic Cocktails from the Movie “Cocktail”

• developer on September 19, 2023

“Cocktail,” the 1988 romantic drama film directed by Roger Donaldson, is not just a classic of its time; it’s a celebration of mixology and the art of crafting the perfect cocktail. Starring Tom Cruise as the charming bartender Brian Flanagan, the film takes us on a journey through the world of bartending, love, and friendship. Along the way, it introduces us to several iconic cocktails that have since become staples in the world of mixology. In this article, we’ll delve into the delicious details of these cocktails, their history, and how you can recreate them at home.

The Red Eye

Our journey through the world of “Cocktail” begins with the Red Ey e, a simple yet refreshing cocktail. In the movie, Brian Flanagan (Tom Cruise) impresses his mentor Doug Coughlin (Bryan Brown) by making this drink for the first time.

Ingredients:

• 1 1/2 oz. vodka
• 1 oz. tomato juice
• 1 dash of hot sauce
• 1 dash of Worcestershire sauce
• Salt and pepper to taste

Instructions:

• Fill a shaker with ice.
• Add vodka, tomato juice, hot sauce, Worcestershire sauce, salt, and pepper.
• Shake well.
• Strain into a chilled glass filled with ice.
• Garnish with a lemon wedge and celery stick.

The Red Eye is a classic cocktail, often referred to as a “Bloody Mary Lite.” It’s perfect for those who enjoy the tangy flavors of tomato juice and a hint of spice.

The Woo Woo

Next up is the Woo Woo , a sweet and fruity cocktail that makes an appearance in the film during a beach party scene.

• 1/2 oz. peach schnapps
• 3 oz. cranberry juice
• Add vodka, peach schnapps, and cranberry juice.
• Strain into a chilled glass.
• Garnish with a lime wedge or a cherry.

The Woo Woo is a delightful and easy-to-make cocktail, making it a favorite at parties and gatherings.

The Jamaican Bobsled

The Jamaican Bobsled is another fun and tropical cocktail featured in the movie. It’s a colorful and flavorful drink that reflects the movie’s beachy vibes.

• 1 1/2 oz. white rum
• 1/2 oz. coconut cream
• 1/2 oz. blue curaçao
• 2 oz. pineapple juice
• Crushed ice
• Fill a blender with crushed ice.
• Add white rum, coconut cream, blue curaçao, and pineapple juice.
• Blend until smooth.
• Pour into a chilled glass.
• Garnish with a pineapple slice and a cherry.

The Jamaican Bobsled is a tropical paradise in a glass. Its vibrant blue color and refreshing flavors make it a hit at beach-themed parties.

• The Last Barman Poet

Named after Brian Flanagan’s poetic ambitions in the movie, The Last Barman Poet is a cocktail that represents the artistry and creativity of bartending.

• 1 1/2 oz. light rum
• 1/2 oz. lime juice
• 1/2 oz. simple syrup
• 1/2 oz. pineapple juice
• Lime twist for garnish
• Add light rum, blue curaçao, lime juice, simple syrup, and pineapple juice.
• Shake vigorously.
• Strain into a chilled martini glass.
• Garnish with a lime twist.

The Last Barman Poet is a cocktail that pays homage to the creativity and passion of bartenders. Its bright blue color and balanced flavors make it a true work of art.

The Flaming Dr. Pepper

In one of the film’s most memorable scenes, Brian Flanagan and Doug Coughlin introduce the audience to the Flaming Dr. Pepper , a daring and fiery cocktail that involves lighting the drink on fire before consuming it.

• 3/4 oz. amaretto liqueur
• 1/4 oz. high-proof rum (overproof)
• 1/2 glass of beer (lager)
• Pour the amaretto into a shot glass.
• Float the high-proof rum on top of the amaretto.
• Fill a beer glass halfway with beer.
• Carefully ignite the amaretto and rum in the shot glass.
• Drop the flaming shot glass into the beer glass.
• Blow out the flame, and drink the cocktail quickly through a straw.

The Flaming Dr. Pepper is not for the faint of heart, but it’s undoubtedly a showstopper at any gathering.

But here is more. Here is a list of cocktails that are either made, mentioned, or play a role in various scenes throughout the film:

• Bloody Mary
• Brandy Alexander
• The Righteous Bison
• Black Russian
• Jamaican Bobsled
• The Frozen Banana Daiquiri
• Planters Punch
• Irish Coffee
• Old-Fashioned
• Vodka Martini
• Amaretto Sour
• Screwdriver
• Tom Collins
• Dry Martini
• Flaming Dr. Pepper

The movie “Cocktail” may be a love story, but it’s also a love letter to the art of mixology and the delightful world of cocktails. Each of the cocktails featured in the film has its unique charm and flavor profile, making them a hit with fans and cocktail enthusiasts alike. Whether you’re sipping on a Red Eye, enjoying the tropical vibes of the Jamaican Bobsled, or daring to try the Flaming Dr. Pepper, these cocktails are a testament to the creativity and craftsmanship that go into the world of mixology. So, the next time you watch “Cocktail,” consider shaking up one of these iconic drinks to enhance your viewing experience.

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10 Stirring Facts About Cocktail

By roger cormier | jan 23, 2017.

One of cinema's greatest guilty pleasures, Cocktail starred Tom Cruise as Brian Flanagan, a young man who unexpectedly achieves some fame as a "flair bartender" in New York City along with his mentor, Doug Coughlin (Bryan Brown). Brian eventually takes his bottle-flipping skills down to Jamaica, where he falls for Jordan (Elisabeth Shue), a vacationing artist. Here are some facts about the Tom Cruise staple, in accordance with Coughlin's Law.

1. BRIAN FLANAGAN WAS ALMOST TWICE AS OLD IN THE BOOK.

Yes, Cocktail was originally a novel; it was written by Heywood Gould, and based on the dozen years he spent bartending to supplement his income as a writer. Whereas Tom Cruise's Brian Flanagan is in his twenties, Gould's protagonist was described as a "38-year-old weirdo in a field jacket with greasy, graying hair hanging over his collar, his blue eyes streaked like the red sky at morning." As Gould told the Chicago Tribune , "I was in my late 30s, and I was drinking pretty good, and I was starting to feel like I was missing the boat. The character in the book is an older guy who has been around and starting to feel that he's pretty washed-up." Disney and Gould—who adapted his book for the screen—fought over making Brian Flanagan younger, with Gould eventually relenting .

2. THERE WERE AT LEAST 40 DIFFERENT VERSIONS OF THE SCRIPT.

The script went through a couple of different studios, and dozens of iterations. According to Gould , "there must have been 40 drafts of the screenplay before we went into production. It was originally with Universal. They put it in turnaround because I wasn't making the character likable enough. And then Disney picked it up, and I went through the same process with them. I would fight them at every turn, and there was a huge battle over making the lead younger, which I eventually did."

Bryan Brown explained that when Cruise came on board, the movie "had to change. The studio made the changes to protect the star and it became a much slighter movie because of it."

Kelly Lynch, who played Kerry Coughlin, was much more forthright about how Gould's vision for the story changed under Disney, telling The A.V. Club :

"[Cocktail] was actually a really complicated story about the ’80s and power and money, and it was really re-edited where they completely lost my character’s backstory—her low self-esteem, who her father was, why she was this person that she was—but it was obviously a really successful movie, if not as good as it could’ve been. It was written by the guy who wrote Fort Apache The Bronx, and it was a much darker movie, but Disney took it, reshot about a third of it, and turned it into flipping the bottles and this and that."

3. FOR A BRIEF SECOND, DISNEY WASN'T COMPLETELY SOLD ON TOM CRUISE IN THE LEAD.

Recounting the kind of story that only happens in Hollywood, Gould told the Chicago Tribune about one of his early meetings with Disney heads Michael Eisner and Jeffrey Katzenberg. "Someone mentioned that this might be a good vehicle for Tom Cruise," Gould recalled. "Eisner says, 'He'll never do this, don't waste your time, he can't play this part.' And then Katzenberg says, 'Well, he's really interested in doing it,' and without skipping a beat Eisner says, 'He's perfect for it, a perfect fit!' That's the movie business: I hate him, I love him; I love him, I hate him!"

4. BRYAN BROWN'S AUDITION WAS "DREADFUL."

Director Roger Donaldson specifically wanted Bryan Brown to audition for the role of Doug. Brown flew from Sydney to New York and, almost immediately after his 20-plus-hour flight, was sitting in front of Donaldson. "He did the audition and he was dead tired and it was dreadful," Donaldson said . "After he did it I was like, ‘Bryan, do yourself a favor—we’ve got to do it again tomorrow.’ And he said, ‘No, no, I’m catching a plane back tonight.’ I couldn’t persuade him to stay and do it again, so I didn’t show anybody the audition." Instead, Donaldson told the producers and studio to watch Brown's performance in F/X (1986); clearly, they liked what they saw.

5. CRUISE AND BROWN PRACTICED THEIR FLAIR BARTENDING, AND USED REAL BOTTLES ON SET.

Los Angeles TGI Friday's bartender John Bandy was hired to train Cruise and Brown after he served a woman who worked for Disney who was on the lookout for a bartender for Cocktail . Bandy trained the two stars in the bottle-flipping routines , and Gould took Cruise and Brown to his friend's bar to show them the tricks they used to do . Donaldson claimed they used real bottles—and yes, they did break a few .

6. JAMAICA WASN'T KIND TO TOM CRUISE

The Jamaica exteriors were shot on location, where it was cold, and Cruise got sick. When he and Shue had to shoot a love scene at a jungle waterfall, it wasn't pleasant. "It’s not quite as romantic as it looks,” Cruise told Rolling Stone . “It was more like ‘Jesus, let’s get this shot and get out of here.’ Actually, in certain shots you’ll see that my lips are purple and, literally, my whole body’s shaking.”

7. THE FILM SCORE WAS ENTIRELY REWRITTEN IN A WEEKEND.

Three-time Oscar winner Maurice Jarre ( Lawrence of Arabia ) was Cocktail 's original composer, but the producers didn't think his score "fit in" with the story. They particularly didn't like one cue, so they called in J. Peter Robinson to fix it. Donaldson liked what Robinson did so much, that he asked the composer to take over and do the rest of the work. "All this was happening on a Friday," Robinson said . "I was starting another film on the following Monday and told Roger that I was going to be unavailable. 'We're print-mastering on Monday, mate!!' Roger said. So from that point on I stayed up writing the score and delivered it on Monday morning at around five in the morning."

8. "KOKOMO" WAS WRITTEN FOR THE MOVIE.

While it was The Beach Boys, by then minus Brian Wilson, that recorded the song which brought the group back into the spotlight, "Kokomo" was penned by John Phillips of the Mamas and the Papas; Scott McKenzie, who wrote “San Francisco (Be Sure to Wear Flowers in Your Hair)”; producer Terry Melcher, Doris Day's son; and Mike Love. Phillips wrote the verses, Love wrote the chorus, and Melcher penned the bridge. The specific instructions were to write a song for the part when Brian goes from a bartender in New York to Jamaica. Off of that, Love came up with the "Aruba, Jamaica ..." part .

9. ROGER DONALDSON IS SORRY ABOUT "DON'T WORRY BE HAPPY."

Bobby McFerrin's "Don't Worry, Be Happy" hit number one thanks to its inclusion on the Cocktail soundtrack. The director heard the song on the radio one day while driving to the set. “I heard it and thought it would be perfect for the film," he said . "And suddenly it was everywhere. Sorry about that."

10. THE REVIEWS—INCLUDING TOM CRUISE'S—WERE HARSH.

To conclude his two-star review, Roger Ebert wrote , "The more you think about what really happens in Cocktail, the more you realize how empty and fabricated it really is." Richard Corliss of TIME said it was "a bottle of rotgut in a Dom Perignon box."

In 1992, even Tom Cruise admitted that the movie "was not a crowning jewel" in his career. And Heywood Gould wasn't pleased with it at first either. "I was accused of betraying my own work, which is stupid," Gould said . "So I was pretty devastated. I literally couldn't get out of bed for a day. The good thing about that experience is that it toughened me up. It was like basic training. This movie got killed, and then after that I was OK with getting killed—I got killed a few more times since then, but it hasn't bothered me."

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Rent Cocktail on Fandango at Home, Prime Video, or buy it on Fandango at Home, Prime Video.

What to Know

There are no surprises in Cocktail , a shallow, dramatically inert romance that squanders Tom Cruise's talents in what amounts to a naive barkeep's banal fantasy.

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Roger Donaldson

Brian Flanagan

Bryan Brown

Douglas 'Doug' Coughlin

Elisabeth Shue

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The Best Tom Cruise Year Is ...

… maybe not the most obvious one. But when Cruise made ‘Cocktail’ and ‘Rain Man,’ he unlocked a new side that would define the quintessential movie star’s career for decades to come.

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You’ve probably already heard the stories about Tom Cruise’s preposterous level of effort in the new Mission: Impossible—Fallout, in which he plays the role of Ethan Hunt for the sixth time in 22 years. Of course the aggressively ageless 56-year-old performs his own stunts. At one point, he broke his ankle after slamming into the side of a damn building—and then pulled himself up, and ran across the roof. And then there’s the spectacular helicopter chase sequence, for which Cruise (again, of course ) learned how to really pilot a helicopter. Elsewhere, when he’s not risking life and actual limbs in Fallout , he is doing that rigorous, purposeful Tom Cruise sprint , like Jim Fixx on a Red Bull bender.

That’s the one thing everyone — fans and critics alike — always says about him: Tom Cruise works hard. Working hard is his brand. He’s, well, worked very hard to make it so.

But what if he didn’t work quite so hard? Not to suggest that Tom Cruise has ever coasted, exactly. But what if he let himself lay back just a little bit and allowed the centrifugal force of his one-in-a-billion movie-star charisma propel him forward? Is it possible that this would make the longest-tenured A-list movie star since Clint Eastwood even more watchable?

Almost 30 years ago to the day, millions of people lined up to see the latest Tom Cruise movie, and the stakes couldn’t have been lower. The mission was not impossible; it was impossibly mundane. What mattered were dreams … and cocktails … Cocktails & Dreams, if you will. And people were fine with that! All it took to put butts in seats was this simple log line: Tom Cruise plays a sexy bartender . That’s it. Nothing else was required — no special effects, no elaborate cinematic universe, and certainly no broken ankles.

This is not to say that Tom Cruise sloughed off in Cocktail, one of the more popular, and least reputable, films in his oeuvre. He tossed bottles in synchronized motion with costar Bryan Brown. He rode horses on the beach with love interest Elisabeth Shue. He resisted the string-bikini’d bod of Kelly Lynch. He reacted with appropriate pathos to one of the all-time left-field suicide scenes. He put in work.

When was the last time you watched Cocktail ? Oh, you’ve never watched Cocktail ? Wow … I really don’t want to spoil this one. I’ll run down the essentials: Cruise plays Brian Flanagan, a wannabe business tycoon and military veteran (!) who moves to the big city in order to get rich, and then becomes a bartender at a TGI Fridays. And that’s basically all you need to know.

What Cocktail is really about is the desirability of Tom Cruise circa 1988. Put another way: Everybody in this movie wants to fuck him — Shue, Lynch, even Brown, kind of. Women literally paw at his legs when he stands on a bar top to recite tavern-inspired poetry. (This is also a thing that happens in Cocktail. ) He is, in no uncertain terms, a sex object.

“Doug says you’re incredible with women — a real lady-killer,” Lynch drools near the end of Cocktail as she corners a semi-willing Cruise. “What’s your secret weapon?”

“Well,” Cruise says, flashing his trademark toothy grin, “what you see is what you get.”

He’s not lying.

Cocktail played a pivotal role in consolidating Cruise’s burgeoning stardom, a star vehicle built on the flimsiest of premises that grossed $78 million domestically (and another $93 million around the world), good for the ninth-best box-office haul of 1988, an achievement that could only be attributed to Cruise’s mega-watt marquee appeal. But it never fully registered as a career triumph. Not long after Cocktail unleashed so many dubious fads on American pop culture — including two of the era’s most grating pop hits, the Beach Boys’ “Kokomo” and Bobby McFerrin’s “Don’t Worry Be Happy,” to say nothing of acrobatic mixology — Cruise distanced himself from the film.

“It’s painful as hell,” Cruise says of watching Cocktail in a 1990 Rolling Stone profile . “I mean, I worked my ass off on that movie.” Again with the work ethic, Tom.

Defenders of Cocktail have tried to couch it as a “secretly dark” look at ’80s “greed is good” culture, a depiction not far off from the eccentric barfly novel on which it is based. Screenwriter Heywood Gould, who also wrote the book, later claimed that the script went through 40 different iterations, with the film’s studio, Disney, constantly pressing to make Flanagan younger, more likable, and, ultimately, more Cruise-like. But even after all of those revisions, Cocktail was still watered down further during production.

“It was a much darker movie,” Lynch told The A.V. Club in 2012 , “but Disney took it, reshot about a third of it, and turned it into flipping the bottles and this and that.”

When I revisited Cocktail recently, I could see traces of the more biting film it might have been. Flanagan is a prototypical working-class stiff who is twisted by capitalism into a money-obsessed douche, lending his blandly handsome bro-ness a faintly tragic lilt. But I prefer to accept Cocktail on its own compromised, cheesy terms. Forget the Reagan-era subtext. This is an enjoyable dumb movie, and it is best appreciated as a superficial confection. What you see is what you get.

And it deserves better. Cocktail isn’t any campier than Top Gun , with its slow-motion volleyball action, overwrought “Take My Breath Away” love scene, and Val Kilmer’s playfully unrestrained homoeroticism. So why is Cocktail the movie that Cruise has to live down?

In May, Cruise started filming Top Gun: Maverick , which is currently slated to arrive in theaters around this time in 2019. Cruise started teasing the possibility of a sequel to the 1986 film two years ago, on Jimmy Kimmel Live! He is, as always, committed to the enterprise, even if it is wholly unnecessary. But the closest Cruise will likely ever come to reviving Cocktail was a career-spanning bit with another late-night host, James Corden, on that same 2016 press cycle. This is a shame — I would rather watch a prequel delving into Flanagan’s mysterious Army background than a movie about Maverick’s kid . Call it Cocktail: First Blood. (I will nevertheless watch the movie about Maverick’s kid.)

This willingness to revisit Top Gun , and reticence to embrace Cocktail , presumably boils down to one thing for Cruise: He had to train in an F-14 to make Top Gun , whereas Cocktail only needed that dumb hook — Tom Cruise plays a sexy bartender — to be a success. He worked hard on Cocktail , but he didn’t have to work hard. He just had to be Tom Cruise.

But he didn’t want to be that Tom Cruise anymore. And he wouldn’t be ever again.

For millennials and Generation Z, there’s never been a world in which Cruise wasn’t among the most famous people on the planet. (August 5 marks the 35th anniversary of Risky Business , Cruise’s big breakthrough, released one month after his 21st birthday.) He’s practically an elemental property at this point.

But there have been oscillations in his fame. You might remember them, the way you can recall down seasons for a dynastic sports franchise. Like in the mid-’00s, during that disastrous press cycle for 2005’s War of the Worlds , marred by the Oprah Winfrey incident and that time he got testy with Matt Lauer. (When does Cruise get awarded his revisionist history bonus points for the last one?) The past few years have been another struggle: 2016’s Jack Reacher: Never Go Back and 2017’s The Mummy were widely derided duds. But his late-’10s period hasn’t been as down as you might think: Last year’s American Made , while not exactly great, is awfully hard not to watch when it pops up on airplanes or HBO.

Cruise has been around for so long, all while working steadily and prolifically, that you can break his career into notable eras, or even memorable years. Many of his notable films come in bunches. There’s 1986, the year of Top Gun and The Color of Money , his first movie to gross more than $100 million and his first “adult” drama . There’s 1996, the “blockbuster” year, distinguished by Jerry Maguire and the first Mission: Impossible , which combined grossed more than $731 million worldwide. (That’s about $1.2 billion in 2018 dollars.) There’s 1999, the “prestige” year, with Eyes Wide Shut and Magnolia , neither of which nabbed him that elusive Oscar . And then there’s the opposite of a prestige year, 2012, marked by late-career guilty pleasures Rock of Ages and (the pretty good!) first Jack Reacher film.

But if I’m picking my favorite Tom Cruise year, I’m going back to 1988, his “transitional” year, when he released Cocktail at the end of July and Rain Man , his road movie–buddy picture with Dustin Hoffman, one week before Christmas. Between the release of those radically different movies, from October to December, he filmed Born on the Fourth of July with Oliver Stone, playing the paraplegic Vietnam veteran Ron Kovic, which garnered him his first Oscar nomination.

Rain Man was even more successful than Cocktail , tallying a worldwide gross of nearly $355 million and four Oscars. (It was no. 1 at the American box office that year, which seems all the more incredible in these franchise-saturated times.) Cruise undoubtedly was a primary reason for the former, though he wasn’t nominated for an Academy Award. But Rain Man gave him something far more valuable — a pathway to the “mature” second act of his professional life, to the success of Born on the Fourth of July and beyond.

When you look at the best years of Cruise’s career, there’s an obvious yin-and-yang quality, typically balancing an action tent-pole like Top Gun and Mission Impossible with a “smaller” film such as The Color of Money or Jerry Maguire. This contrast is starkest in ’88, between the disreputable camp classic and the award-winning family drama.

An oft-repeated complaint about Cruise’s recent filmography is the loss of that balance. It’s been this way for about 15 years. In the early ’00s, he made two risky sci-fi films, 2001’s Vanilla Sky and 2002’s Minority Report , and his overall best movie of the 21st century, 2004’s Collateral , along with requisite business-minded ventures like 2000’s Mission: Impossible II and 2003’s forgettable but very profitable The Last Samurai.

Cruise hasn’t made a movie remotely like Collateral since then. In the past decade, he has tilted heavily to tent-poles with astronomical budgets, including four more Mission: Impossible films. Then again, Hollywood has also abandoned yang in order to focus solely on yin. And Tom Cruise and Hollywood are nothing if not symbiotic. You don’t get to your 35th year as a movie star without always adapting to the present climate.

Cruise has been a rare constant in Hollywood since the early ’80s. But neither Cruise nor Hollywood has stayed the same. There have been several reinventions for both American institutions along the way.

Time, for one, moved much slower in 1988. A lot could happen in six months. The Tom Cruise of Cocktail is not the Tom Cruise of Rain Man. When you toggle between those films, you get the rare opportunity to witness an iconic actor grow up in real time.

Tom Cruise in 1988 is like U2 in 1983. In the video for “Sunday Bloody Sunday,” filmed live at Red Rocks Amphitheater outside of Denver, Bono is still an awkward kid — he has a mullet, a sleeveless shirt, knee-high boots, and an abundance of spirited high kicks. He’s not really the stadium-rock Bono yet. But every so often you catch a glimmer in his eyes that says, I think I know how to own these people. I’m not there yet, but I’m on my way. Cruise similarly came into his own as a grown-up star in the transition from Cocktail and Rain Man. Though Bono didn’t completely lose the mullet for another four years, Cruise’s transformation was far more condensed.

If Cocktail truly is a failure — I don’t think it is, but Cruise does — it is first and foremost a failure of career planning. It’s a little like Bono briefly reverting to his Under a Blood Red Sky guise between The Joshua Tree and Achtung Baby. Cocktail was a throwback to the early ’80s Tom Cruise of Losin’ It and Legend , before he got his act together and became the Tom Cruise, a movie star who transcends time, generations, and bodily harm . Cocktail feels out of place between The Color of Money and Rain Man in Cruise’s catalog, in the midst of his “apprenticeship” period, when he dutifully shared the spotlight with respected elders from the ’60s and ’70s like Paul Newman and Dustin Hoffman, on the way to becoming an elder himself. (This continued with Robert Duvall in Days of Thunder , Jack Nicholson in A Few Good Men , and Gene Hackman in The Firm , culminating with Stanley Kubrick and Eyes Wide Shut. )

Standing next to distinguished gentlemen makes you look distinguished. In Cocktail , Cruise resembles a man in his mid-20s who still lives with roommates and sleeps on a mattress on the floor. In Rain Man , he’s that same guy after he’s settled down with a nice girl and an IKEA charge card. This shift from innocence to experience defines the crux of Cocktail and Rain Man. After Cocktail , a cinematic mullet if there ever was one, Cruise would never be so guileless again on screen.

Rain Man made Paul Thomas Anderson realize that he loves Tom Cruise more than most people.

“He’s funny too!” Anderson raved last December to Bill Simmons . “Cruise is funny . When you see Tom Cruise on screen, name me anyone else that can do that right now.”

Cruise’s portrayal of Charlie Babbitt — luxury car huckster, mocker of his disabled brother, impatient clapper when people aren’t moving fast enough — helped to inspire Frank T.J. Mackey, the role Anderson created for Cruise in 1999’s Magnolia. You don’t need to squint hard to see the parallels. Charlie and Frank are unlikable assholes nursing wounded hearts and troubled relationships with their fathers. They abuse people as a way of keeping the world at arm’s length, the ultimate form of self-abuse. And when they achieve catharsis, they aren’t redeemed — their souls have thawed, but they haven’t stopped being assholes.

They are also, like PTA says, very funny characters, mostly because they are excuses for Cruise to launch into prolonged mental breakdowns. Is there anything better than Tom Cruise huffing, puffing, gesticulating, becoming unglued, yelling , and finally losing his freaking mind?

For years, distinguished directors lined up to run Cruise through the wringer: Scorsese, Levinson, Stone, Pollack, De Palma, Crowe, and Kubrick all delighted in driving him absolutely wild. What fresh torture can we inflict on Tom Cruise this time? Put him in a wheelchair! Strip him of his lucrative sports-agent career! Send him on a metaphorical “journey into the night” that doubles as a rumination on the compromises inherent to any marriage! Now, step back and watch the glorious madness commence.

During the prelude to the 61st Academy Awards, Hoffman was the favorite to win Best Actor for Rain Man . He did just that. (The other nominees that year included Tom Hanks for Big and Edward James Olmos in Stand and Deliver , both of whom seem leagues better in retrospect.) At the time, Hoffman’s performance was widely admired as a landmark in the portrayal of a disabled person on film. But since then, Hoffman’s stock has plummeted and Cruise’s has skyrocketed. It’s now become a cliché to talk about how much better Cruise is than Hoffman in Rain Man , even though he supposedly has the less showy role.

This is only half true. Cruise is indeed superior to Hoffman’s mannered, dated performance as Raymond Babbitt, which now seems like a cartoonish caricature of a person with autism. But Cruise’s work in Rain Man can’t really be described as not showy. While Hoffman exists as a static irritant, Cruise is reactive to the extreme. He’s big and bombastic, and he dominates the film’s dramatic arc. He’s the one the audience relates with, the one who changes from the start of the story to the end — not much, but enough. It’s dazzling to witness. Rain Man is the greatest breakdown of Tom Cruise’s career.

If Cruise’s role was merely to support Hoffman’s campaign to win a second Oscar, he doesn’t act like it. He knew how good the role of Charlie was. He spent two years working on the script, starting back when he was promoting Top Gun in 1986. “What I gave him is the thing that he hasn’t often had the opportunity to do: work with a full character,” Levinson told Rolling Stone in 1989.

As Charlie, Cruise is a man constantly reminded of how he falls short, and there is no guarantee that he won’t carry on making the same mistakes after the credits roll. It is a complicated depiction of adulthood, whereas Flanagan’s magical turnaround in Cocktail — he marries Shue, agrees to be a father to his unborn child, and opens his own bar — is a child’s fairy tale.

If it’s been a while since you watched it, or you’ve never seen Rain Man , go do it now. My wife and I revisited it last week, and we barely noticed Hoffman. Meanwhile, we couldn’t stop laughing — or cringing — at Cruise. We hadn’t seen it since our two kids were born, and now it was impossible not to watch Rain Man as an allegory about the frustrations of parenthood. Charlie is not a parent; he’s merely tasked (by his own greed and resentment over essentially being cut out of his father’s will) with taking care of his brother. But his rage over, say, not being able to get his brother to board an airplane , in spite of deploying simple logic and facts , felt extremely familiar.

The central struggle of taking care of a person who can’t take care of themselves is over control. The dance between caregiver and care-receiver requires the giver to convince the receiver to acquiesce; this means the receiver is actually in the power position at all times, even when it appears that the opposite is so. No matter Rain Man ’s other deficiencies, particularly when judged according to modern sensibilities, the way the film depicts that dance still feels true.

Charlie Babbitt is Patient Zero for Cruise’s strongest subsequent performances, which all concern power in some way. Cruise plays men who want to command their surroundings, and can’t, thus causing all that imminently watchable turmoil. Ron Kovic can’t control his body. Cole Trickle can’t control his emotions behind the wheel. Lt. Daniel Kaffee can’t control his court case. Mitch McDeere can’t control his own life once it is infiltrated by the mob. Jerry Maguire can’t control Rod Tidwell. William Harford can’t control his wife’s sexual desires. Frank T.J. Mackey can’t control the TV reporter who is about to expose him.

And that need for control clearly resonates with Cruise in his real life. What could be the cause of his fixation on hard work? Could it be a desire to account for every possible outcome, to ensure that he never falls from his perch? Either way, all of that planning and plotting and persnickety obsessing has clearly paid off. If you can will yourself to run on a broken ankle, or carry on each time news breaks about the weirdness of your personal life, you can accomplish anything.

But nobody is perfect. For Cruise, Cocktail represented a loss of control — he couldn’t change the final product or prevent the short-term damage it caused to his reputation. But with Rain Man , he was able to channel his control-freak tendencies into a character who must accept that the arc of the universe is long but bends toward accepting that Wapner must be watched in five minutes.

By the end of 1988, Tom Cruise showed that he could sublimate himself on purpose . He turned powerlessness into a superpower.

Steven Hyden is the author of two books, including Twilight of the Gods: A Journey to the End of Classic Rock , out now from Dey Street Books. His writing has appeared in The New York Times Magazine , The Washington Post , Billboard , Pitchfork , Rolling Stone , Grantland , The A.V. Club , Slate , and Salon . He is currently the cultural critic at UPROXX and the host of the Celebration Rock podcast.

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Cast & Crew

Brian Flanagan

Bryan Brown

Douglas 'Doug' Coughlin

Elisabeth Shue

Jordan Mooney

Laurence Luckinbill

Traditional values trump glitz. Not for kids.

• Average 4.2

Information

© 1988 TOUCHSTONE PICTURES

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Rotten Tomatoes® Score

Cruise was never been a bad actor, but this film about a flaming sex symbol has elevated him to definitive stardom. [Full review in Spanish]

Cocktail kicks off with an entertainingly lighthearted opening stretch revolving around Brian's initial entry into the world of bartending...

Cocktail is a vacuous throwback to Saturday Night Fever -- without the cultural novelty. The script is spiked with some comic lines, but overproof doses of inadvertent humor kill the effect.

As if realizing that his star hasn't smiled for 15 minutes, Donaldson tacks on a goody-goody ending that would shame the Care Bears. How to sum up what went wrong? Cruise has a line in the movie: "Flat beer from rusty pipes."

Ultimately, the ideas in this film fall as flat as stale beer and honest emotions are as watered down as cheap whiskey. This Cocktail is definitely on the rocks.

Cocktail is so steeped in corn, the drama seems comedic and the comedy is about as funny as a hangover.

Cocktail is a bottle of rotgut in a Dom Perignon box.

The pairing of old-hand Brown and young-hand Cruise may have been meant to remind us of Cruise and Paul Newman; if so, think of this as The Color of Counterfeit Money.

Perhaps the best one can say for this bland concoction mixed by agents and the studio executives is that every bartender in Hollywood wants to be Tom Cruise and that suffices as an ironic subtext.

It may not be a megaton bomb, but Cocktail is definitely of the Molotov type.

Additional Info

• Genre : Drama, Comedy
• Release Date : July 29, 1988
• Languages : English, Spanish
• Captions : English, Spanish
• Audio Format : 5.1

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Tom Cruise’s first and greatest hot streak as an actor lasted from 1986 to 1990, starting with Top Gun , followed by The Color of Money , Rain Man , Born on the Fourth of July, which got him his first Best Actor nomination, and Days of Thunder . But smack in the middle of that run was one major stinker: Cocktail .

In the 30 years since its theatrical release, Cocktail has not earned a reappraisal from critics. No one is saying: Actually, it was ahead of it's time . But it also hasn't faded away. Over the years, the movie has maintained a loyal audience, including in Hollywood. Some of which you might even call admirers of the film. The producer of one of this year’s buzzy award-nominated films told me members of his social circle spent the weekend Cocktail hit Netflix last spring watching the movie and exchanging messages about it. Matthew Rhys, the star of The Americans , also told me , possibly half-joking, that Cocktail is an all-time favorite.

In case you haven’t seen Cocktail , or haven’t seen it in a while, you should know it’s kind of insane. It takes place in three acts, across New York and Jamaica. Cruise’s character is a working-class guy from Queens, who’s striving to become an '80s era yuppie, yet he settles for a relatively quiet life owning a small bar and raising a family—an enormous shift his character makes in a few minutes. There’s a suicide. There’s a waterfall sex scene. There’s a very angry father who appears in a third act that wraps up way too quickly.

But I love the movie. Tom Cruise remains the most exuberant actor on the screen, and in Cocktail he’s at his second-most exuberant, behind only Jerry Maguire . (In fact, there’s some Brian Flanagan in Jerry.) Plus, Bryan Brown, who plays Cruise's mentor in the film, is so good they could've just made the movie about him. Elisabeth Shue, no surprise, is an absolute breath of fresh air.

And so last summer, I emailed Heywood Gould, who wrote both the movie and the novel upon which it’s based, asking to chat. He responded promptly, and one afternoon I spent an hour talking to the guy who wrote Cocktail about the movie’s plot, his reaction to its sour reception in 1988, Tom Cruise, and where the characters might be today. During our conversation, Gould dropped a bombshell: The 76-year-old is working on a sequel.

“I have a long treatment,” he said. “We’ll see what happens.”

Here’s the plot of Cocktail : Tom Cruise’s character, Brian Flanagan, returns home to New York from the military in search of an executive-level job. This was a common trope in the ‘80s: If you’re a white guy, you don’t necessarily need a college degree or even experience to land a cushy corporate job. But in Flanagan’s case, no one is biting, so he ends up at a TGI Friday’s, where Doug Coughlin, played by Bryan Brown, gives him a job despite having never tended bar.

Bartending, it turns out, suits Flanagan, and he quickly becomes locally famous for a routine with Coughlin that involves tossing bottles in the air. One thing leads to another and Flanagan lands in Jamaica, where he meets Elisabeth Shue’s Jordan Mooney, and, after breaking her heart, heads back to New York where Coughlin takes his own life. At the same time, Mooney, who’s pregnant with Flanagan’s baby, turns her back on her wealthy father to be with Flanagan. The movie ends with Flanagan opening his own saloon, and Mooney revealing she’s having twins.

Like I said, it’s kind of insane. But what’s most surprising is how shockingly unfocused the movie is for a Tom Cruise project. His movies are usually taut and to the point. This one lists in search of ballast and never decides if it wants to rebuke '80s greed or revel in it.

(One question that’s long dogged me about the plot is the timeline: over how long a period does this movie take place? Gould told me Flanagan spends between four and six months in Jamaica, which would mean the movie itself occurs over the span of about 18 months.)

The sequel, according to Gould, takes place 15 to 20 years after the events of the original film. Flanagan is a "star in the big club world,” Gould said. But he’s divorced and estranged from his twin daughters. “Now that he’s older, he’s trying to reform himself, rehabilitate his marriage and relationship with his daughters.”

To be clear: Gould hasn't pitched the sequel to anyone. The money people, as he calls them, haven’t signed on. “If anyone wants to see it they can,” he said.

I need to pause for a moment to tell you that Heywood Gould is like a boozy Forrest Gump of pre-Giuliani New York. In the '60s and '70s, he covered the crime beat for the New York Post , served in Vietnam, returned to New York and became a professional poker player, drove a cab, wrote books, articles, and TV and movie scripts—he co-wrote the 1977 movie Rolling Thunder with Paul Schrader—got himself into serious gambling debt and worked it off as a bartender at the Hotel Diplomat's nightclub in Times Square, all the while writing Cocktail (and other books). In 1984, he published Cocktail , which Universal bought. Then he adapted the novel into a screenplay that Disney acquired from Universal.

The book is semi-autobiographical, according to Gould, who said the two main characters are composites of people he'd met behind the bar. He is neither Flanagan nor Coughlin, although in conversation Gould occasionally sounds like Coughlin.

At last year’s Sydney Film Festival, Bryan Brown said in an interview that the original script for Cocktail was one of the “very best” he’d ever read. “Very dark ... about the cult of celebrity and everything about it,” he said. But when Cruise signed on for the film, Disney sought to lighten up the script.

“They gave me a bunch of notes about making Brian more likable,” Gould recalled. “There were fights along the way, big battles with Disney about how likable to make him.”

A sequel that casts a shadow on the main character, adding nuance and depth to Brian Flanagan, would certainly be redemption for Gould. And in the age of reboots, it might be just the thing for Hollywood. (I mean, a dark reimagining of the Cocktail story is definitely something I'd see—and no worse an idea than at least half the reboots of the last decade.) But Gould isn't looking to redeem himself.

At this point in his life, he doesn’t harbor any ill will towards Disney or, for that matter, Cruise, who’s never said a negative word about Cocktail . Gould said he hung around with Cruise during the filming of the movie. Cruise, he said, would have him over to his loft on 13th Street for dinner parties. They even paired up for two-on-two basketball at the Carmine Street gym and once held the court for an hour and a half, according to Gould. “He’s a really good ball player,” Gould said. “I had to quit and get a cigarette because I was dying.”

(Look, I get it: Cruise is 5’7” and Gould was apparently a heavy smoker, but I love this story and I choose to believe it.)

When the movie came out to bad reviews, Gould fell into a brief depression. “They hated it. They hated me. They hated everything,” he said. “I was pretty shook to tell you the truth.” Gould hung around the house for a couple days, until his wife came back from the grocery store with good news: She’d overheard two people saying the movie made them think. This snapped him out of it. (He’s told versions of this story in the past. Sometimes it’s his wife who overheard people discussing the film. Sometimes it’s him.)

But he earned good money from the movie, continued to write screenplays as well as direct. In the early '90s, he directed two movies he wrote, One Good Cop starring Michael Keaton and Trial by Jury starring Gabriel Byrne. After 19 years in L.A., Gould moved back to New York when, he said, "the money ran out." Today he continues to write and still collects checks thanks to Cocktail . Its appearance on Netflix also goosed his book sales. On the first night Cocktail appeared on Netflix, Gould said he sold 47 copies of his book. “I was stunned,” he said. “Netflix has been great for me.”

Gould told the Chicago Tribune in 2013 that he was not happy with the movie when it came out. So I asked him how he felt about it today, whether he had any regrets or would do anything differently. “It’s become an institution,” he said about the movie. “I get a lot of letters from people about it. I’m happy people like it. You don’t have to see great profundity in what I do; I’m just glad you like it.”

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Cocktail (1988)

Tom cruise: brian flanagan.

• Photos (63)
• Quotes (24)

Photos 

Quotes 

[Last Barman poem] 

Brian : I am the last barman poet / I see America drinking the fabulous cocktails I make / Americans getting stinky on something I stir or shake / The sex on the beach / The schnapps made from peach / The velvet hammer / The Alabama slammer. / I make things with juice and froth / The pink squirrel / The three-toed sloth. / I make drinks so sweet and snazzy / The iced tea / The kamakazi / The orgasm / The death spasm / The Singapore sling / The dingaling. / America you've just been devoted to every flavor I got / But if you want to got loaded / Why don't you just order a shot? / Bar is open.

Bonnie : Please, I don't want to end it this way.

Brian : Jesus, everything ends badly, otherwise it wouldn't end.

Brian : Days get shorter and shorter, nights longer and longer, before you know it, your life is just one long night with a few comatose daylight hours.

[last lines] 

Jordan : Bet I can still spook you.

Brian : No way.

[she whispers in his ear] 

Brian : Twins? Twins?

[to everyone] 

Brian : Twins! Drinks are on the house!

Uncle Pat : No! No!

Brian : The bar is open!

[Flanagan's advice to his unborn child:] 

Brian : If Jordan gives birth to a fine Irish son / There will be Cocktails and Dreams for him one day to run / A business that will yield the financial windfall / To be franchised in every suburban shopping mall. / If a daughter arrives to bless our clan / I guess the shit will finally hit the fan / But this I shall promise thee / I'll never let her marry a guy like me. / Still if our child is the naughtiest of girls or the wildest of young men / I swear I'll be the best dad I can / And never ever get spooked again.

Brian : Coughlin's law: never show surprise, never lose your cool.

Brian : Should we let it breathe?

Doug : It hasn't breathed for fifty years, it's dead. Let's just drink it.

Brian : You're offering me a job?

Doug : Uh huh.

Brian : The waitresses hate me!

Doug : You wait till you've given them crabs. Then you'll really know hatred.

[Jordan is drawing a picture of Brian] 

Brian : So this is your profession.

Jordan : More like my... obsession.

Brian : To pay the rent?

Jordan : Someday it will.

Brian : I'm willing to start at the bottom.

Job Interviewer : You're aiming too high.

Brian : I'm looking for the Manager.

Doug : What's the problem? Did you find a hair in your quiche?

Brian : No, I'm looking for a job.

Doug : Ah, you'd like to put a hair in somebody else's quiche.

Doug : Mighty Casey has struck out.

Brian : The game's not over yet. It wouldn't be any fun if they fell over with their legs in the air, would it?

Brian : I'll stick with the brew.

Doug : Beer is for breakfast around here, drink or be gone.

[Jordan has returned to her father's Park Avenue penthouse to find Brian arguing with him] 

Brian : I think there's a chance for us.

Jordan : Brian, there is no "us." There's too many things about "us" that don't work.

Brian : What about the baby? A kid needs a father.

Jordan : Not one who's not going to be around in a year?

Mr. Mooney : Yeah, with your lifestyle, what kind of a father would you...

Jordan : Dad!

Brian : Listen, I'm sorry I called you a bitch.

Eleanor : Why? I am a bitch.

Brian : Not a goddamned thing any one of those professors says makes a difference on the street.

Doug : If you know that, you're ready to graduate.

Mr. Mooney : You're on your own.

Brian : That's the only way I want it.

Brian : [telling Bonnie he's moving out of her place]  I left a can of Spam in your refrigerator... I hope your Brewers Yeast doesn't take it personally.

Brian : [looking at Jordan's painting]  Is this our waterfall?

Jordan : No.

Brian : It's terrific.

Jordan : Yeah, it's all right. The name's Mooney, not Monet.

Bonnie : I've been thinking about you all day.

Brian : Really? A plane ride home will cure that.

Jordan : What are you doing here?

Brian : I bet you thought you'd never see me again.

Jordan : *Hoped* is a better word!

[first lines] 

Brian : Come on, put it to the floor! Come on! Let's go!

Brian : You wouldn't treat a stray dog like this.

Jordan : A stray dog can be *loyal*.

Brian : I can't *make it with my best friend's old lady.

Kerry Coughlin : Ami I supposed to live with the same man *forever and no one else in my life?

Brian : Yes! It's called *marriage.

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NEWS... BUT NOT AS YOU KNOW IT

‘I thought I had been cast in a Tom Cruise film – until I was asked to touch myself on camera’

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On an otherwise unremarkable day in 2019, jobbing actor John Taylor* received an email that would change his life forever.

He did not initially recognise the sender’s name but a quick Google search revealed Doug Liman was a huge Hollywood director, behind blockbusters including The Bourne Identity.

Doug said he was looking for undiscovered talent for his latest movie set in space starring Tom Cruise and John had been recommended by a producer he had previously worked with.

‘It was surreal, exciting, and weird,’ John recalled after receiving the offer; global superstardom, it seemed, was now in touching distance.

But first John needed to get in shape for the physically intense role and was instructed by Doug, and Donna Langley, the chairperson of the film’s producer Universal, to undergo martial arts training.

He was asked to pay $800 (£638) upfront for the teaching which, at the time, ‘didn’t seem like a huge deal’ to John, who had been paying for acting classes. It was another skill to add to his arsenal.

Doug would also call him multiple times a day, for hours on end, and ask him to watch dozens of films back-to-back, from dusk until dawn, and write analyses of the characters.

Eager to impress, John recalled to the makers of the Apple TV Plus documentary Hollywood Con Queen : ‘The whole time I was waiting for my phone to ring to do whatever they needed.’

But then John’s prescribed preparation took a horrific turn.

He was told Donna wanted to make sure he could perform a specific scene in the film and was made to jump on a Skype call. Her camera was switched off.

Donna asked him to act out chatting up and then kissing a ‘beautiful’ woman. John did as instructed but her feedback was not positive. She said she didn’t feel that he ‘believed’ it.

‘She was right,’ John recalled. ‘It was incredibly awkward and I didn’t believe it and it was uncomfortable and I didn’t want to do it.’

After an hours-long break for John to ‘loosen up’, they reconvened on Skype and Donna asked him to reenact the scene with his trousers off.

John said he obliged as he was wearing underpants and his waist downwards was not visible on the camera.

But then he was asked to touch himself.

‘And then I snapped,’ John said. ‘I was like, “No, this is ridiculous. This is not OK what you’re doing.”

‘It was the strongest combination of anger and of feeling upset I’ve ever felt – to the point where I was literally shaking. I was completely disrespected.’

When Doug apologised to John for Donna’s behaviour, only to ask for more money minutes later, it dawned on John he had been scammed.

A con artist had been impersonating the Hollywood power players and swindled $5,000 (£3,989) out of him.

After the realisation, John said: ‘[I thought] this is a really horrible person who uses people for sport.’

Donna and Doug had been impersonated by one man, Hargobind Punjabi Tahilramani, also known as the Hollywood Con Queen, whose crimes have been explored in the Apple three-part series.

Tahilramani had pretended to be multiple Hollywood executives to dupe more than 300 victims out for more than $1m (£797,999) by offering them non-existent film work in Indonesia between 2013 and 2020.

With the help of The Hollywood Reporter’s Scott Johnson, who first broke the story, filmmaker Chris Smith, who also directed the Fyre: The Greatest Party That Never Happened, has turned the extraordinary case into a gripping documentary.

For the three-part docuseries, Tiger King executive producer Chris even spoke to Tahilramani, who was born in Indonesia but had been living in the UK, via Zoom, as he recounted to Metro.co.uk ahead of its release.

On his first impression of Tahilramani, Chris said: ‘He was very in control of the way that he presented himself and the way that he revealed information.

‘I think he was attempting to manipulate and control our dialogue and communication.

‘But what makes him so masterful is that it felt very genuine and real. I sympathise with the victims.’

Chris also said that during the making of the Hollywood Con Queen, he had concerns he had been sucked into Tahilramani’s web of manipulation.

He added: ‘By the end of the series, we found ourselves in Indonesia exploring all these things that he wanted us to explore.

‘We realised that maybe we had fallen prey to the same sort of manipulation that his victims have fallen prey to.

‘It was hard to understand always what was real, and there’s part of him that feels very relatable and genuine.

‘But it was trying to disentangle what was real, and what was not real, that was the constant push and pull of the process of trying to make this series.’

What also emerges from the Hollywood Con Queen is that Tahilramani’s motivation was not purely financial.

‘It’s hard to say [what his main aim was],’ Chris, who worked on the documentary for four years, explained.

‘He was living a good life in London and had nice clothes and went to nice restaurants. I don’t think the money was immaterial.

‘But from our perspective, it felt like it wasn’t the primary motivation, it felt like it was more about something else. It was about psychological manipulation, and destroying people’s dreams.

‘I don’t think we can ever fully know.’

Tahilramani was arrested following an FBI investigation on November 25, 2020 in a £60-a-night Aparthotel in  Manchester .

On June 6, 2023 a British judge ruled that he be extradited to the US to face trial for his crimes.

Tahilramani remains in the UK and is fighting extradition.

*Names have been changed.

Hollywood Con Queen is available to stream on Apple TV Plus from May 8.

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Inside Victoria and David Beckham's long-term friendship with Hollywood legend Tom Cruise

The top gun actor forged a close friendship with power couple david and victoria in the early 2000s.

Fashion mogul Victoria Beckham threw an opulent birthday bash  recently to celebrate her 50th. While the occasion, held at private members club Oswalds, was very much a family affair, 'Posh Spice' also invited a fleet of starry A-list guests.

Among those hot-footing it to the exclusive jaunt were Gordon and Tana Ramsay , Rosie Huntington-Whiteley and her fiance Jason Statham, Eva Longoria , Salma Hayek and singer Marc Anthony, who had flown in from Miami with his new wife Nadia.

But there was one guest who made a surprising appearance at the celebratory bash - enter Hollywood legend Tom Cruise . And according to MailOnline , the Tropic Thunder  actor, 61, floored fans with an impressive 'breakdance' routine after dinner which culminated in the splits. While Tom's attendance may have come as a surprise to many, he has actually known the Beckhams for 20 years.

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Take a look inside Victoria and David's friendship with Tom below…

Their friendship crystallised back in 2007 when lovebirds David and Victoria moved across the pond to Los Angeles as part of the former professional footballer's transfer to LA Galaxy. And prior to making the big move, David divulged that he'd spoken to Tom, asking for his advice.

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"I was on the phone to him for about an hour last night and the night before," David said when addressing his new club by video-link from Madrid in January 2007. "I asked for his advice because he's a very wise man and a very good friend of mine. He couldn't speak any higher about LA. It's a big help to us to have friends in LA when we arrive."

During their time in the US, Tom and his then-wife Katie Holmes forged a friendship with the quartet regularly stepping out together in public. Meanwhile, Tom, who is an ardent football fan, was spotted at several of David's matches. 

While David hasn't spoken at length about his friendship with Tom, he did mention him in his Netflix BECKHAM documentary. Sharing a rare glimpse inside their bond, he said: "The funny thing was that I was friends with Tom Cruise. I remember Tom turned around and said, 'Will and I are going to throw you a party.' I was like 'Will?' And he said 'Will Smith'."

The party in question was a lavish welcome bash held to mark the Beckhams' arrival in Los Angeles following David's transfer from Real Madrid. It took place at the Museum of Contemporary Art in LA, with Tom reportedly taking to the dance floor to recreate the choreography from his 1983 film Risky Business.

Other guests in attendance included Jim Carrey, Matthew Perry, Rihanna, Eva Longoria, Forest Whitaker, Serena Williams and Kerry Washington.

Recalling the party, David's close friend David Gardner said: "It was like being in Madame Tussauds, everywhere you looked there was a famous person." 

He added: "The next minute the piano starts going and Stevie Wonder startings singing him happy birthday. And I was like '[expletive] this, he's gone, we've lost him.'" 

Beyond this, Tom, Katie, David and Victoria also made glittering group appearances at the 2008 Met Gala and at the Vanity Fair Oscars party in 2012.

2012 nonetheless heralded a shift in the quartet's close friendship in the sense that it also marked the year of Tom and Katie's divorce after five years of marriage. Following their split, the Beckhams appeared to deepen their bond with Tom and were pictured with the film star at several sporting events.

In May 2013, David and Tom watched a game between the Los Angeles Kings and the San Jose Sharks at Staples Center, while in July 2021, Tom could be seen clapping alongside David at the UEFA EURO 2020 final football match between Italy and England at Wembley Stadium. 

And judging from his latest appearance at VB's lavish bash, it seems that power couple David and Victoria have continued to rekindle their friendship with Tom. 

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From Tom Cruise breakdancing to Spice Girls reuniting, reports from Victoria Beckham's bash capture imagination

Tom Cruise breakdancing, a Spice Girls reunion and tons of A-list celebrities gathering in one location have social media and the general public in awe over Victoria Beckham's 50th birthday party.

Beckham, who celebrated half a century over the weekend, posted about the luxurious soiree Sunday on Instagram.

But some of the most buzzworthy moments went intentionally unrecorded.

"I don’t think I’ve ever felt as loved as I did last night," Beckham's post said. "Thank you all for coming from near and so far!! X"

In the post, Beckham shared pictures of her with actor Eva Longoria, celebrity Chef Gordon Ramsay, her husband, soccer star David Beckham and some of the couple's children.

In another Instagram post, Beckham shared a picture of her and the four other members of the English pop group, the Spice Girls.

"The best gift to be reunited!! Thank you to all my friends and family for celebrating with me. Kisses! xxx," Beckham's post about the Spice Girls said.

Guests 'absolutely dumbfounded' by Tom Cruise's dancing, reports say

Not included in either post were other famous attendees who came to celebrate with the Beckhams at Oswald’s, a private member’s club owned by Robin Birley in London's Mayfair district.

Oswald's is strict about taking photos and allowing social media within the venue , according to the club's member's privacy notice.

Actors Tom Cruise and Salma Hayek both made an appearance at Beckham's party and while one left an impression with their outfit, the other left it all on the dance floor, the Daily Mail reported.

Cruise, who turned 61 in July 2023, stunned guests when he began demonstrating "a series of breakdancing moves, culminating in splits," the outlet said.

"People were absolutely dumbfounded," one guest told the Daily Mail.

Social media reacts to Tom Cruise's 'split mania' and not receiving an invite to Victoria Beckham's party

While no photos or videos of Cruise dancing exist online, social media users continue to poke fun at the expense of the "Mission Impossible" movie star. An X user who goes by @Douggernaut_2 posted a clip of actor Mike Myers dancing in the film "Austin Powers" and said, "Tom Cruise arriving at Victoria Beckham's bday."

Several social media users hearkened back to when Cruise played the Les Grossman character in the 2008 comedy movie "Tropic Thunder." Cruise would hilariously reprise the character during the 2010 MTV Movie Awards and dance to rapper Ludacris' song "Get Back."

"Remember when Tom Cruise did this," X user @charletty_ said Monday in a post reacting to the video of Cruise's full dance routine at the awards show.

During the routine with singer and actress Jennifer Lopez, Cruise does a split on stage. X user @danilo_parks said Monday in a post, "It's real Tom Cruise does the splits mania out there today."

In addition to seeing Cruise do splits and the Spice Girls perform, guests also received goody bags full of Beckham's branded products, including a candle and a fragrance, the Telegraph reported.

All the fun has people wondering where their invite was to Beckham's birthday party, including X user @StaceyVaselaney who said, "I’m sitting here shaking my head wondering why wasn’t I invited to Victoria Beckham’s 50th birthday party."

‘Grabbed the olive branch with both hands': Tom Cruise ‘thrilled' to be back with old pals David and Victoria Beckham

L ONDON, UNITED KINGDOM: Tom Cruise had almost given up hope on a reunion with friends David Beckham and Victoria until the fashion designer's 50th birthday.

As per sources, the ‘Top Gun' star is now doing everything to keep their relationship intact.

Why did Tom Cruise and David Beckham's friendship get stained?

Tom Cruise and the Beckhams' friendship turned sour almost a decade ago after the movie star allegedly tried to pressurize the couple to join his controversial religious group, Scientology.

David Beckham and Tom Cruise's friendship was strongest when the athlete moved to LA after signing with the Galaxy soccer team in 2007, as per RadarOnline . But when Cruise reportedly started putting pressure on the Beckhams to join Scientology, they started maintaining distance.

"He came on way too strong and wouldn't take no for an answer. They essentially ghosted him - and Tom was very bitter!" an insider told National Enquirer .

"Tom did everything for them when they first moved to LA. He practically gave them the keys to the city," the insider said.

"He threw them a party to meet everyone important - and the moment they were established they chucked him!"

The insider added that Cruise was so hurt by the Beckhams' behavior that he had "no intention" of reuniting with the couple ever again.

Victoria Beckham's 50th birthday bash 

But differences were put aside and finally, after Victoria's 50th birthday invite, Cruise was ‘thrilled' to get back with his old friends.

"He'd pretty much given up hope they'd ever be friends ever again," the insider told the outlet.

Cruise also got everyone's attention at the birthday party on April 20 in London with his incredible dance movies, as he reportedly performed splits on the dance floor with some cheering from the guests.

"Tom grabbed the olive branch with both hands," a source spilled. "Now he plans on building things back up and sees it as a passport into Posh and Becks' UK cool club!"

Cruise attended the event solo since he split with his rumored Russian socialite girlfriend, Elsina Khayrova, in February.

He showed up in a well-fitted tux, and was joined at the lavish celebration by several A-listers, including Salma Hayek and 'Spice Girls' members, Mel B, Melanie C, Emma Bunton, and Geri Halliwell.

"Getting together was a lot of fun but it was also a meaningful moment for all of them. They have had fallings in and fallings out - plenty of them, but they all loved being there to celebrate with Victoria and her family," shared a close friend about the girl group.

Tom Cruise and Nicole Kidman's Son Connor Cruise Shares Rare Selfie With Friends

Spotted: tom cruise and ex-wife nicole kidman's son connor cruise, 28, on a day out with pals in florida. see his rare new pic..

Blink and you'll miss it: It's another Connor Cruise sighting.

On June 2, Tom Cruise  and ex-wife Nicole Kidman 's son shared a group selfie with two friends at Belleair Country Club in Florida on his Instagram Stories.

Connor, 28, last posted a pic of himself on his account April 29 . In the photo, he was also seen golfing with a friend at a different county club in the state, where he lives.

Both Connor, a DJ, and his sister, artist  Bella Kidman Cruise , 30, have largely kept out of the spotlight despite growing up with famous parents, and rarely post on social media. Connor is occasionally photographed at fashion events and sometimes attends ballgames with his dad . He also shares Instagram pics of himself golfing, fishing or grilling meats, as well as throwback images of himself and his sister as children.

Connor and Bella are the only children Tom and Nicole, who divorced in 2001 , share together. The  Mission: Impossible actor also shares daughter  Suri Cruise , 17, with ex-wife  Katie Holmes , while the  Big Little Lies actress and husband Keith Urban  are parents to daughters  Sunday Rose Kidman Urban , 14, and Faith Margaret Kidman Urban , 12.

See photos of Connor and Bella over the years:

Say Cheese!

Tom, Bella and Connor pose with former NFL player Derrick Brooks when they saw the Tampa Bay Lightning face off against the Florida Panthers.

Connor is seen golfing with friends in June 2023.

Connor goes golfing in April 2023.

Connor appears on a fishing trip in 2019.

Connor attends the Diesel Womenswear Fall/Winter 2023/24 fashion show during Milan Fashion Week in February 2023.

Bella appears in a 2021 selfie.

Connor shared this childhood pic of himself with Bella on Instagram in 2019, writing, "Day 1 homies."

"Throwback time," Connor captioned this childhood pic of himself and Bella, which he shared on Instagram in 2016.

Connor appears on a fishing trip in 2018.

Connor appears at The Pool After Dark at Harrah's Resort in Atlantic City New Jersey in February 2016.

Connor celebrates his 21st birthday at The Pool After Dark at Harrah's Resort in Atlantic City New Jersey in February 2016.

Connor DJs in the booth at Temple Nightclub in San Francisco in January 2016.

Tom and Connor watch the Maryland Terrapins play against the Connecticut Huskies during the NCAA Women's Final Four Semifinal at Amalie Arena in Tampa, Florida in April 2015.

Connor attends the Emirates marquee during Stakes Day at Flemington Racecourse in Melbourne, Australia in November 2013.

Tom and Connor attend Game Four of the National League Championship Series at Dodger Stadium in Los Angeles in October 2013.

The siblings appear at Connor's 17th birthday party benefiting Children's Miracle Network Hospitals, at the Hyde lounge at Staples Center (now Crypto.com Arena) in Los Angeles in January 2012.

Tom, Connor and Jeffrey Katzenberg attend an NBA game between the New Orleans Hornets and the Los Angeles Lakers at Staples Center (now Crypto.com Arena) in Los Angeles in March 2011.

Tom and Connor attend a game between the New York Yankees and the Los Angeles Dodgers at Dodger Stadium in Los Angeles in June 2010.

Tom and Connor attend Game Two of the Western Conference Finals between the Phoenix Suns and the Los Angeles Lakers during the 2010 NBA Playoffs at Staples Center (now Crypto.com Arena) in Los Angeles in May 2010.

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