From Monthly Film Bulletin, May 1975 (Vol. 42, No. 496). Blythe Danner, incidentally, was a classmate of mine at Bard College, where I had the privilege of seeing what a gifted actress she already was (I remember especially her performance of one of the lead roles in Jean Genet’s The Maids) and the pleasure of accompanying her once or twice on the piano when she performed as a jazz singer (in particular, on “‘Round Midnight”). — J.R.
U.SA., 1973 Director: Sidney Lumet
Bastrop, Texas. The lives of three characters, narrated by each in
turn. 1925, Gid (Anthony Perkins): Gid and Johnny (Beau Bridges)
are friends who compete for the favors of Molly (Blythe Danner),
who likes them both. When Gid proposes to Molly, she replies
that she’d rather have sex with him for its own sake, not as part
of a marriage contract, and invites him to join her in a nude swim,
but he refuses. She goes to a dance with Eddie (Conrad Fowkes),
another local boy, and Johnny picks a fight with him. Gid sleeps
with her for the first time, and is shocked to discover she isn’t a
virgin. On a train to the Panhandle to sell his father’s cattle, Gid
attacks Johnny for sleeping with Molly and not proposing to her, but
then discovers that Eddie slept with her first.… Read more »
This review of Night Moves appeared in the May 1975 issue of Monthly Film Bulletin. [September 11, 2009 postscript: Having just reseen Night Moves for the first time since it came out, I think it holds up remarkably well, in terms of its script and direction and almost uniformly fine performances. There's also some additional interest now in seeing Melanie Griffith in her first credited performance and James Woods, less impressive, in one of his earliest after Elia Kazan discovered him for The Visitors. As for Alan Sharp, it would appear that his filmography (which also includes The Hired Hand and Ulzana's Raid) warrants further investigation -- as does Jennifer Warren's.]—J.R.
U.S.A., 1975 Director: Arthur Penn
Cert—X. dist—Columbia-Warner. p.c—Hiller Productions/Layton. p—Robert M. Sherman. assoc. p—Gene Lasko. p. manager—Thomas J. Schmidt. asst. d—Jack Roe, Patrick H. Kehoe. sc—Alan Sharp. ph—Bruce Surtees. col—Technicolor. underwater ph—Jordan Klein. ed—Dede Allen, Stephen A. Rotter. p. designer—George Jenkins.… Read more »
From Film Comment (May-June 1975). -– J.R. February 28: Heathrow Airport, London. As soon as I step on the plane, TWA’s Muzak system has seen to it that I’m already back in America. Listening on the plastic earphones to blatant hypes for GOLD on two separate channels, the soundtrack of THUNDERBOLT AND LIGHTFOOT on another (where “fuck” is consistently bleeped out, but “fucker” and the sound of Jeff Bridges getting kicked in the face are dutifully preserved), it becomes evident once more that America starts and stops where its money reaches, and that “going there” means following the money trail. It’s over two years since my last visit – my longest sojourn abroad, during which I’ve had to miss the splendors of Watergate and depend on such things as Michael Arlen’s excellent TV column in The New Yorker for accounts of shifts in the national psyche — but TWA tells me in its own quiet way that nothing essential has changed. On the plane I read Pauline Kael’s pre-release rave about Altman’s NASHVILLE, and and it certainly does its job: I can’t wait to see the movie. But why does she have to embarrass everyone by comparing Altman to Joyce? It’s just about as unhelpful (and unsubstantiated) as her earlier comparisons of, say, LES ENFANTS DU PARADIS with Ulysees and THIEVES LIKE US with Faulkner, which confuse more than they clarify.… Read more »
This may be Antonioni’s most unjustly neglected fiction feature, at least in the U.S. (though even in France, where it’s on DVD, it’s only available in a box set). I reviewed it for the May 1975 issue of Monthly Film Bulletin. –J.R.
Signora Senza Camelie, La
(The Lady Without Camelias)
Italy, 1953 Director: Michelangelo Antonioni
If it lacks the final fusion of purposes characterizing a masterwork, La Signora Senza Camelie is nevertheless so unmistakably and remarkably that work of a master that one is shocked to discover the rather cursory critical treatment is has generally been accorded. A frequent bone of contention is Lucia Bosè’s performance as the starlet in search of an identity –- recalling that the part was first offered, in turn, to Gina Lollobrigida and Sophia Loren, and usually implying some difficulty in accepting Bosè as a persuasive Milanese-shopgirl-turned-sex-symbol. Yet what strikes one at once today is how totally her cold, somewhat remote beauty establishes and “places” the tone of the film, clarifying her cosmic distance from the brassy world of popular filmmaking as well as the natural way in which she might become the goddess of such a realm. In anticipation of Godard’s Vivre sa vie, Antonioni brilliantly opens the film with an image of Clara seen from behind, as an anonymous pedestrian -– tracing her fingers across a move poster and then strolling down the street, the camera gliding slowly after her until she turns into the cinema entrance.… Read more »