Monthly Archives: January 1976

THE GHOST THAT NEVER RETURNS (1976 review)

From Monthly Film Bulletin, January 1976. — J.R.

Prividenie, Kotoroe ne Vozvrashchaetsya
(The Ghost that Never Returns)

U.S.S.R., 1929
Director: Abram Room

In an unidentified South American country, José Real is serving a life sentence for having led an oilfield workers’ strike ten years earlier. After another prisoner breaks away from guards to tell him that the prison governor has a letter from his wife, and then leaps to his death, Real leads a revolt among the prisoners. The governor orders that they be sprayed with hoses; the revolt subsides, and Real is locked into a narrow cupboard. Conferring with the chief of the secret service, the governor recalls the regulation whereby a prisoner who has served ten years is entitled to one day’s liberty and decides to grant this to Real, with the understanding that he will be killed at the day’s end for trying to ‘escape’. After being shown his wife’s letter and hearing from a newly arrived prisoner that a new strike is planned at Hillside Well, Real agrees to go. Five days later – after news of his imminent arrival has reached his family, their neighbors and the oilfield workers — he sets out, warned that no one who has taken this leave has ever made it back alive.… Read more »

A WOMAN UNDER THE INFLUENCE (1976 review)

From Monthly Film Bulletin, Vol. 43, No. 504, January 1976. As with some of my other reviews from this magazine reproduced on this site, the credits and synopsis are omitted.– J.R.

Woman Under the Influence, A

U.S.A., 1974
Director: John Cassavetes

Beginning with Shadows, the films of John Cassavetes have been at once limited and defined by their anti-intellectual form of humanism, an unconditional acceptance of the social norms of his characters that exalts emotion and intuition over analysis and, in narrative terms, looseness and approximation over precision. Used as an instrument for a delivering a thesis (as in Faces) and/or allowing actors to indulge themselves in fun and games (as in Husbands), it is a style which characteristically operates like a bludgeon, obscuring at least as much as it illuminates while confidently hammering home its proud discoveries. But when it serves as a means for exploration, as in Shadows or A Woman Under the Influence –- however halting or incomplete a method it may be for serving that function — it deserves to be treated with greater credence.… Read more »