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Hoffman and his co-film maker Jonathan Gordon focus blurrily on a corpulent little insurance hustler from Long Island named Murray King. In the cinéma vérité manner, they track him with camera and sound equipment from his office through some endless conferences to a business vacation at Caesars Palace in Las Vegas, all the while mocking their subject and his legion of clients, chippies and hangers-on. Despite the documentary pretense, it turns out that many of the scenes were staged expressly for the film. Only diehard viewers who survive to the last few frames...
...disappointing 1967-68 season, the staff of the Public Broadcasting Laboratory was naturally let down. Then last month PBL, the Ford Foundation's $12.5 million experiment in public-interest television, began its second year on an encouragingly upbeat note (TIME, Dec. 6). Birth and Death, PBL's cinéma vérité documentary on natural childbirth and death by cancer, won critical acclaim, and the staff was jubilant. Said Executive Director Av (Avram) Westin: "This year we go for broke...
...giggles as her husband presses a parfait glass to her abdomen in hopes of hearing his baby. The wife is Debbie North, a commercial artist and the sole support of her husband Bruce, a painter of unbought paintings. The people are real, and so is the rest of the cinéma-vérité film that follows their practice sessions at a natural-birth clinic and their visits to in-laws (Mom still wishes Bruce had gone into dentistry). A listener can even hear the chatter of Debbie's teeth as she is driven to the hospital...
Meanwhile, a pictorial record of what was allegedly the real thing is on display in Revolution, a cinéma vérité documentary made on the San Francisco scene last summer. There is acid rock by such groups as the Quicksilver Messenger Service and Mother Earth. There are shots of long-haired nymphets looking stoned, solemn interviews with cops, doctors, and headshrinkers about the dangers of drugs, and interminable expositions of hippie philosophy by unbathed gurus. Apparently for the benefit of grind-house voyeurs, there is also some totally nude choreography-filtered through eye-blasting psychedelic lighting-danced...
Under Bazin's guidance, Truffaut quickly stabilized and began to write film criticism for Cahiers du Cinéma, the recondite French movie journal that then housed such nouvelle vague cineasts as Jean-Luc Godard and Claude Chabrol. Truffaut proved so corrosive a critic that in 1958 he was banned from the Cannes Film Festival and forced to snipe at targets he could not see. What he could see, however, was Madeleine Morgenstern, daughter of a film executive whose products had received Truffaut's hardest knocks. After they were married, Truffaut continued his criticism, this time...