Word: hackman
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Frankenstein's monster is Peter Boyle (Joe), an actor wonderfully deft at being clumsy. The movie galvanizes just about the time of his appearance. Boyle shows up in, and helps make work, the two sharpest scenes: an encounter with a blind hermit (Gene Hackman, doing a dexterous comic cameo), in which the monster is assaulted by the hermit's well-intentioned blundering; and a brief foray into show biz, in which Frankenstein and his creation put on a fractured vaudeville. Brooks is always at his best making fun of the delicious stupidities of popular entertainment (recall Springtime...
Bonnie and Clyde (1967). Faye Dunaway and Warren Beatty star as the famous outlaws. A solid movie, a bit long on violence. Estelle Parsons and Gene Hackman are excellent in supporting roles. Ch. 7, 9 p.m. Color, 2hrs...
Actor Gene Hackman and a crew of narcotics agents and drug pushers out of Central Casting are currently in Marseille filming The French Connection II, a sequel to the award-winning 1971 dope flick. But as any real narc could tell them, this time they have the wrong location. For the moment at least, the French connection has been largely broken, along with the heroin-processing laboratories on the Cote d'Azur and the Corsican drug rings that ran them. The new center for the European heroin trade is, of all places, the jewel-box city of Amsterdam...
Even such able performers as Gene Hackman and Liv Ullmann cannot bring off a rescue effort without a little help from the writer and the director. Writer Norman has contented himself with providing a painfully straightforward story line, to which Director Troell has pinned a number of handsome album shots that appear to have been left over from his earlier The Emigrants and The New Land. There was a certain stately glory to those works, a sense that Troell's pioneers were big enough to deserve the great country he seemed to perceive with a fresh eye. In Zandy...
...made fair copy. (The film was extracted from L.H. Whittemore's book about the pair's exploits in the Bedford-Stuyvesant section of Brooklyn in the late '60s.) On screen, though, their heroics look lame. We expect our cops to be either a good deal meaner (Hackman in The French Connection, Scheider in The Seven-Ups) or at least stronger fantasy projections of unwavering strength and authority, like Clint Eastwood's Dirty Harry. Greenberg and Hantz here are neither real enough nor friends. romantic enough...