If you know me, you've probably picked up on the fact that
I’m overly fond of the 1970’s, at least when it comes to movies, TV, and, to an
extent, music.
Let me state it clearly: I believe the 1970’s were the
single greatest decade for movie making to date. The ‘70’s produced Godfather I and II, Annie Hall, Taxi Driver, Rocky, Jaws, All the
President’s Men, Star Wars, Young Frankenstein, just to name a few. Even
the clunkers were epic; Attack of the
Killer Tomatoes and Rocky Horror Picture Show, for instance.
This past week I finally got a chance to watch three of the
undisputed best offerings of that golden decade.
Network is best
known for its “I’m mad as hell and I’m not going to take it anymore!” scree,
which is certainly worth remembering.
Still, it’s a shame that memory of the film has been largely reduced to
one catchy line of dialogue. For those of you unfamiliar with Network, it’s the story of a television
news anchor that slips off the rails and speaks his mind on the air, and the
ensuing ratings boost inspires the network to make the newscast more of a
circus than an informational broadcast.
It was intended as broad satire, an exaggerated swipe at the
business of television. Flash forward nearly 40 years and much of that satire
is unrecognizable. Oh, sure, we don’t have psychics on our nightly news (yet),
but much of the ‘insanity’ of the network decisions is just par for the course
in this day and age. It reads much ‘straighter’ now than it ever did when it
was released.
It is a finely written film with inspired performances by
the entire cast; my one complaint would be that each character seems
contractually obligated to launch into at least one long, preachy monologue
during each act.
Grade A+
Next up was Marathon
Man, the Lawrence Oliver/Dustin Hoffmann thriller best known for the
torture scene in Oliver’s dentist’s chair. I thought it was a good thriller,
though I remain a little confused as to the relationship between the American
agents and Oliver’s Nazi character. Additionally the final scenes in the water
treatment plant seemed flat, and I’ve heard a rumor that the author of the
source material was annoyed with it too.
A great movie? Eh. A very good movie? Yes. More proof screenwriter William Goldman is a Hollywood genius? Darn skippy.
Grade: B+
I have seen and read more about Dog Day Afternoon than just about any film out there (it even
popped up in a novel I just read) and so I was eager to see this Pacino
classic. The verdict? Wow. As good as advertised.
Pacino is perfect as the quirky, slightly effeminate Sonny,
while John Cazale’s otherwise minuscule part resonates with hopelessness and an
undercurrent of violence. Were there flaws? Precious few. The police response
to the bank robbery seems ham-fisted and overblown to my eyes, , but I’ll chalk
that up to a different time and place.
The grade for this film is a no-brainer from me: A+
No comments:
Post a Comment
Feel free to comment without signing in if you like, but please leave your name in the comment. Thanks for reading!