If nothing else, Marathon Man is relevant as British director John Schlesinger’s last important film. He had been a major force in English cinema in the '60s with Darling, Far From The Madding Crowd, and Sunday Bloody Sunday. In America he made one of the great "Los Angeles movies," Day Of The Locust, and one of the great "New York Movies," Midnight Cowboy (for which he won an Oscar). After Marathon Man his next dozen or so films before his death in 2003 would be completely unmemorable (with the exception of Sean Penn’s stellar performance in The Falcon and The Snowman), sadly ending such a promising career with the horrid Madonna vehicle, The Next Best Thing.
Based on a massive bestseller by William Goldman (Butch Cassidy and The Sundance Kid), Marathon Man is interesting because Schlesinger is able to use the docu-street style he perfected with Midnight Cowboy and his smart, gentle approach to grown-up literature to turn out a really cool, tough, and intelligent thriller. It’s a film with a number of twists, though they don’t always add-up, on the whole it's a taut, gripping, exciting film.Continue Reading
Though “X-rated” means something different than it did in 1969, it’s still a badge of honor that Midnight Cowboy is the only film with that “for adults only” label to have won the Best Picture Oscar (Last Tango in Paris being the other great “X-rated” flick of the era). Midnight Cowboy is less shocking today; sexually, it’s not the graphic images that provide the punch it’s the intellectually complicated nature of the characters’ sexuality that still can move an audience. As a follow up to The Graduate, Dustin Hoffman proved he was more than a one-hit wonder and instead that he had a long and vital career ahead of him. It also deservedly made a star out of a little known pretty-boy actor named Jon Voight. And it also put British director John Schlesinger on the American A-list, a guy whose deep sensitivity and open homosexuality put him ahead of his time. The film’s theme song, “Everybody’s Talkin’” performed by Harry Nilsson, has become the iconic standard bearer for images of a lonely guy walking the streets of New York. Midnight Cowboy also is a fascinating peek at an era both for representation for how an artist works at a time when the movie studios were willing to take a chance on a grubby flick about a would-be male prostitute and his new BFF while also revealing a dark side to the Big Apple during what has sometimes been considered a golden age of self-expression.
Apparently screenwriter Waldo Salt (who was just emerging from two decades of being blacklisted) took a lot of liberties with James Leo Herlihy’s undergrou...
The Day of the Locust
Adaptations of quintessentially L.A. novels tend to either work marvelously, as with L.A. Confidential, or don't quite measure up to their source material (a category I’d lump Ask the Dust into). John Schlesinger’s adaptation of The Day of the Locust was a costly misfire for Paramount Studios which spent something like 6 months on the film and a whole lot of dough. It could have been as influential as Chinatown, but it was a flop upon release, though ultimately it had some enduring appeal as a cult film in later years. Nathaniel West’s novel is generally considered to be the very best novel on Hollywood, its more grotesque inhabitants, and its tragic allure as a festering dump where dreams go to die. That makes the novel sound sobering and self-serious but this is a story about fame whores, violently degenerate midgets, sociopathic child actors, cockfights, stag films, and a movie premiere that culminates in the apocalypse. It’s brutally dark and really, really entertaining.
The movie is essentially a literal adaptation of West’s novel and it came under criticism from some quarters for being too literal. Director John Schlesinger was taken to task for supposedly ignoring the arch satire of West's depiction of Hollywood as the epicenter of greed, desperation, and idiocy, and instead ratcheting up the cartoon nihilism to a fever pitch. But when you do a story about America’s pop cultural border town that ends with a murderous orgy of celebrity blood lust I’m not exactly sure "holding back" is the way to go. The Day of the Locust is about a particular kind of American tragedy that West found on Hollywood Boulevard during the 1930s. In the dive bars and diners that lined the boulevard were hundreds of desperate people without a nickel to their name, all drawn to Hollywood in the hopes of making it big. Most, West found, couldn’t even get work as extras. He saw them as a mass of human wreckage under the movie premiere kleig lights. The dark joke beneath the glittering dream that Hollywood came to embody was exquisitely rendered by West as it was happening. The film does justice to the novel with its horror show theatrics under the palm trees and sunny skies of Southern California and ultimately it’s more creepy than campy.Continue Reading
The Russians Are Coming, the Russians Are Coming
Written by William Rose, who was also responsible for the loud, brash and big It’s a Mad, Mad, Mad, Mad World a couple years earlier (as well as the overrated Guess Who’s Coming to Dinner), The Russians Are Coming, the Russians Are Coming is also a big ensemble comedy, but much better executed and focused than his previous script, with more heart and less mean-spiritedness. It also helps that it has a very able director at the helm, the nearly forgotten Norman Jewison, whose socially-conscious films still hold up (In The Heat of The Night, A Soldier’s Story, The Hurricane; The Russians Are Coming could also be considered part of that group). He had a number of films which were popular and respected in their day (The Cincinnati Kid, The Thomas Crown Affair, Fiddler on the Roof, Agnes of God, Moonstruck) and some fascinating curios (Jesus Christ Superstar, Rollerball and F.I.S.T.). He falls into that group of directors who emerged in the sixties like Arthur Penn, George Roy Hill, John Boorman and John Schlesinger who had a lot of acclaim and made some classics, but never became brand names like Polanski and Coppola, or even to a lesser extent Mike Nichols and Sydney Pollack. Jewison has as many solid films as his peers, though looking back none reach that same level of transcendence as a Bonnie and Clyde, Midnight Cowboy or Deliverance. For my money, though many would disagree, The Russians Are Coming, the Russians Are Coming is his film that holds up best today.
Based on a novel by Nathaniel Benchley (whose son Peter wrote the novel Jaws), set in a little New England beachy island community (very similar looking to that one in Jaws, though surprisingly actually shot in Northern California), where a Russian submarine gets stuck in a sandbar, leading to havoc in the town. This was a few years after the Cuban Missile Crisis, so this was the height of cold-war hysteria (think Dr. Strangelove), so even just having likable Russian characters was enough to make this film subversive to some. The film has dozens of characters, with top character actors of the day in peak form.Continue Reading