Take One (Jul-Aug 1971)
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Package No. 2 Same as No. 1, without sound equipment
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strongest, most personal films Huston has made in years. Ostensibly about a down-and-out prizefighter (Stacy
Keach) living on the seamy skid row of Stockton, California, Fat City is yet YY another manifestation of Huston’s fascination with the losers of the world, and their struggle to maintain dignity in the face of a hard universe. The performances are rich and believable,
and Huston’s direction is deeply movSe ing. (etek He ) Frenzy (dir. Alfred Hitchcock): Well, spin is the Hitchcock film we've been waiting for since 1963, folks. Sure, it’s 3X a taste over-long and self-conscious, but it’s thoroughly gripping and deliAS ciously suspenseful. For all its enterYW tainment values, for all its comedy, LL Frenzy is as darkly ambiguous, as WC disturbingly suggestive as any film we O Hitchcock has ever made. (*#*&#&%) Hannie Caulder (dir. Burt Kennedy): A fascinating allegory cast in the westis OUR BEAT ern mold, this story of a woman gun: fighter features Raquel Welch in one Hal Aigner Jon Carroll Michael Goodwin of her strongest performances, and
further boasts Christopher Lee in a
Rating Guide: stunning supporting role as a slightlya Beneath Contempt more-than-human gunsmith. We _ sus(*) Contemptible pect it’s about witchcraft, but you better (*%) Good Rainy Night Flick go see it and figure it out for yourself. (k%*) Excellent After all those Return of the Seven
(*&%* x) Critics’ Choice/Deathless Art potboilers, it’s good to note the return of Burt Kennedy. (***) Fat City (dir. John Huston): One of the Tomorrow (dir. Joseph Anthony):
40
This adaptation of a William Faulkner story comes to the screen with full power and a generous measure of poetry. A lyrical composition in black, white and grey, the film expounds on a theme of rural stoicism. Robert Duvall fills the lead role with an excellent performance. (***)
Dr. Phibes Rises Again (dir. Robert Fuest): Fully as outrageous as last year’s Abominable Dr. Phibes, this sequel re-unites director Fuest with Vincent Price as the abominable doctor — and it’s nothing short of delightful. Touches from Feuillade, Franju and Anger abound, as do a number of extremely gruesome murders. At one point, when Phibes has made good his escape to Egypt, two oafish Scotland Yard detectives consider the possibilities: “Maybe he won’t come back,” suggests Detective #1 with a hopeful smile. Detective #2 replies, “He always comes back.” Right on. (***)
Everything You Always Wanted to Know About Sex But Were Afraid to Ask (dir. Woody Allen): A surprisingly mature film for Allen. Stock satirical devices are put to excellent, bawdy use as Woody provides thoroughly spurious (but funny) answers to all the things you always wanted to know about etc. etc. (kK**)
Junior Bonner (dir. Sam Peckinpah): Taking a break from the old ultra-violence, Peckinpah has forged a modern parable of the passing of the American West. With grace and affection, the film acknowledges the passing of an era. (k**)
Malcolm X (dirs. Marvin Worth & Arnold Perl): A serious, uncompromising, and very well-made documentary about a key figure in the rise of black militancy in America. The film (made with the cooperation of Betty Shabazz, Malcolm’s widow) does not glorify Malcolm, but shows him as a dedicated revolutionary who made mistakes and learned from them. In years to come, this film will be an invaluable reference work; for today, it’s fascinating, thought-provoking, and _ well worth your time and attention. (** *)
The New Centurions (dir. Richard Fleischer): George C. Scott and Stacy Keach pair up as a veteran-rookie cop team that handles everything LA throws at it — with ease and excitement. Unfortunately, Scott dies midway through the film, at which point the action begins to lag. On the bright side, despite being somewhat unbalanced in favor of the police, The New Centurions is not the law-and-order polemic we feared it might be. (**)
Butterflies Are Free (dir. Milton Katselas): Cute and giggly. A scatterbrained blonde woman, a young blind man, and his matronly mother tangle in this light-hearted romantic comedy highlighted by a surprisingly fine performance from Goldie Hawn. (**)
The Candidate (dir. Michael Ritchie):