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...until the last five minutes, and then after the fact. At that point both murderer and arcane motive are brought in out of left field to wrap up this rambling indecisive attempt at a thriller "American style." It is as if in Chinatown Jack Nicholson only discovered that John Huston had any interest in land just before he shot Faye Dunaway. Nor does the film's shallow social satire allow its all star cast to flourish any more than does the plot. Mastoianni is locked into a dull role as a middle class detective unsure of how to treat...

Author: By Jonathan Zeitlin, | Title: FILM | 10/14/1976 | See Source »

Each subsequent year's program was headed by a similarly respected name in a particular field (Huston Smith in religion, Daniel Lerner in sociology, Gregory Bateson in anthropology) and followed an itinerary chosen by the leader. The structure of the academic side of the school has remained as Jaeger first conceived it: a theoretical investigation ("Utopias" under Smith, "Change and Modernization" under Lerner, "The Nature and Culture of Man" under Bateson) substantiated by first-hand experience and supplemented by an occasional book and periodic class meetings to tie the whole thing together...

Author: By Richard Leo, | Title: A Grand Multi-Media Functionally Kinetic Thesis | 6/2/1976 | See Source »

This year's International School program is headed by Huston Smith and will study "Reality and Truth and Construct: Three Great Perspectives"--the perspectives being the Hindu, Buddhist, and Islamic religions. He stresses that, "Although I respect the theoretical basis of the school that allows personal freedom, a solid academic framework will keep the experience of the year from lacking solid academic focus." An anthropologist and a professor of Arabic studies complete the faculty. In past years, Jaeger, as executive director of the school, has appointed himself to the faculty, but this year his five-and two-year-old children...

Author: By Richard Leo, | Title: A Grand Multi-Media Functionally Kinetic Thesis | 6/2/1976 | See Source »

...much more complex and intelligent than anyone expected. Beneath the precise atmospheric touches (the right clothes, the right music, the right slang, etc.) you find an apt and sinister diagram of where the tentacles of power lead. It's a lovely new interpretation of the American pioneerism: John Huston's Noah Cross serves as one of the more indelible and paradigmatic characters in recent movies. He singlehandedly demystifies the American dream. The connection he embodies between incest, political power and capitalism finds a voice in his eloquent, filthy madness. Robert Towne's amazing screenplay sketches the self-cannibalizing character...

Author: By Eric M. Breindel, Peter Kaplan, and Jonathan Zeitlin, S | Title: Film | 4/29/1976 | See Source »

...Cagney's favorite role, says he in his autobiography. He good taste. You could watch this eight times a week on Million Dollar Movie and never get tired of it, especially the Cohan dance numbers. It's filled with stock Warner Brothers actors, not to mention the great Walter Huston and somebody who does an uncanny Franklin Roosevelt imitation. The movie's disregard for Cohan's real personality makes no difference. He was a patriot, and patriotism is never out of style...

Author: By Eric M. Breindel, Peter Kaplan, and Jonathan Zeitlin, S | Title: Film | 4/29/1976 | See Source »

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