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...once in what to most acteurists was anathema--social criticism (in a useful review of The Great White Hope). Judging from the Voice's last volume, and sundry other writings. I was wrong. His current critical canon has included predictable praise for Frenzy (and a pre-review luncheon with Hitchcock himself), approval of The Man because it at least wasn't critical about politicians (some deep cynicism in an order, I would think), and the first step in doubtless a long series to come in the reclamation of John Huston for auleurists on the tenuous excuse of Fat City. Sarris...

Author: By Michael Sragow, | Title: Decline and Fall of a Film-Watcher | 11/22/1972 | See Source »

...analyses Bob Rafelson's style, pulling out on route some of his favorite baseball cards--Fellini, Bergman, Antonioni, Truffaut, Godard, Hitchcock, Ford, Welles, Walsh, Nichols, Mazursky, Grosbard--all in one short and easy review. Past the intro, there's no more social consciousness. It is pretty nervy for Sarris to condemn "disconnection with the Other" midway through as a misinterpretation of auteurism's roots. At that point he's already lost three quarters of his non-acolyte audience...

Author: By Michael Sragow, | Title: Decline and Fall of a Film-Watcher | 11/22/1972 | See Source »

North by Northwest. Foreign agents chase Cary Grant and Eva Marie Saint up the face of Mt. Rushmore in this Hitchcock thriller, CH. 5. 11:30 p.m. Color...

Author: NO WRITER ATTRIBUTED | Title: television | 11/16/1972 | See Source »

...father's control extends into Charles's mind. He has periods in which he is overcome by violent forces that black out his memory. He wakes up with bloodied hands, and, in a sequence recalling Hitchcock's Vertigo, finds himself going down a set of stairs that tilt and swing wildly under...

Author: By Phil Patton, | Title: Playing God | 10/21/1972 | See Source »

...GOES," as Kurt Vonnegut says, but for a director of Chabrol's stature, it never should go like that. As cheap Freudianism expands into cheap theology, even a skillful development of suspense is neglected. The "second level" with which Chabrol's idol Hitchcock expands the thriller here comes forward and overwhelms the story. What could have been turned into suspense or shock--the identity of Helene's murderer--is abbreviated and intellectualized into a sort of "wrap-up" scene between Paul and Theo. It is the philosophy professor, significantly, who has to figure out that...

Author: By Phil Patton, | Title: Playing God | 10/21/1972 | See Source »

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