Word: loved
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Dates: during 1970-1979
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Polanski aside, the academy sure does love Star Wars, doesn't it? What was it: six, seven Oscars? Natch. Star Wars saved the studio. It also served a death warrant for any film smacking of "relevance." What more could...
...wheelchair, he changes. The blond-haired, bearded wonder becomes totally hip--sympathetic, concerned, committed to the anti-war movement rather than despair, and the model responsive lover. His abilities as a teacher and healer are unsurpassed--from helping Fonda achieve her first satisfying orgasm (in a surprisingly graphic love scene) to consoling the chronically depressed brother of Jane's roommate. In the end, Voight's role as an analyst is more important than his role as a veteran. But he is too perfect, especially in the film's climax when Dern confronts his wife with his knowledge of her affair...
...focus on the love affair dulls the political statement of Coming Home. The movie starts to lose its grip on you after about the first hour, but it is nevertheless an excellent film. Perhaps its problems lie in the fact that there were too many cooks. Gilbert and Fonda took their original idea to the then untried scenarist Nancy Dowd, who has since won critical acclaim for her original screenplay of Slapshot. Over a year later, Dowd came up with a long, ultimately unusable screenplay. Next they approached Waldo Salt, an Oscar winner for Midnight Cowboy, who ended up writing...
Some directors lay on their heavy messages with a trowel; Ken Russell goes at you with a jack-hammer. Women in Love somehow enjoys a reputation as this one man wrecking crew's most meaningful work, but here, as in all his other films, Russell's only evident meaning lies aching behind his zipper. "Was it too much for you?" Oliver Reed asks Alan Bates after they finish a wrestling match in the raw, the homosexual hints dripping off their bodies faster than sweat. Then the line pops up again, this time after Reed has been rollicking in the snow...
...supposedly in the name of art and sensitivity. See Reed groan and growl with animalistic desires. See the abused Jackson run off with a scrawny but spiritual switch-hitter. See Bates act like a blubbering booby as he tries to convince Reed to reciprocate in a partnership of Platonic love. Art, my Oedipus complex. More like a "Dick and Jane" for voyeurs...