From Film Comment (January-February 1975). An expanded version of an entry for Richard Roud’s 1980, two-volume Cinema: A Critical Dictionary. (“Dream Masters I,” incidentally, which appeared in the same issue of Film Comment, is devoted to Walt Disney — a much longer essay that can be accessed here.) I was delighted to receive a handwritten letter of thanks from Avery himself sometime after this was published which I still have in one of my scrapbooks. And, for the record, despite my gripes here about the unlikeliness of a Paul Fejos Festival, I did actually attend a Paul Fejos retrospective at the Viennale in 2004, almost 30 years after this was written. — J.R.
Paris, late January, my deadline a week away (later postponed).… Read more »
From Time Out (London), October 11-17, 1974. –- J.R.
Up to now, Richard Lester has been in the habit of either attacking genres (‘How I Won the War’) or mixing them (‘A Funny Thing Happened on the Way to the Forum,’ ‘The Three Musketeers’ –- in the case of ‘A Hard Day’s Night,’ virtually inventing a new genre out of the mixture). In ‘Juggernaut’, a commercial job with relatively modest pretensions, he is simply conforming to a genre -– the Ocean Liner catastrophe –- and comes up with a better-crafted version of ‘The Poseidon Adventure’, complete with multiple subplots and cornball heroics, but with smoother acting and sharper direction. The potential catastrophe is seven steel drums of amatol timed to go off and destroy 1200 passengers unless a ransom is delivered to the mysterious Juggernaut. Using such varied ingredients as the flamboyance of Richard Harris, the stolid inexpressiveness of Omar Sharif and the usual carrying on of Roy Kinnear, Lester milks the situation for all the suspense that can be expected and then some, pushing a few arch gags into the remaining cracks. The results: mindless entertainment of the first order, at least in the Ocean Liner Catastrophe cycle.… Read more »