Word: motels
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...learned that early last summer a West Coast radical leader summoned Scott to Berkeley and asked him to help Patty and her friends. Then either Scott or his parents, Mr. and Mrs. John S. Scott, picked up Patty and the Harrises near Berkeley and took them to the motel the elder Scotts managed in Las Vegas. The trio stayed there for about a week. Patty and the Harrises then traveled to New York City and moved into an apartment on West 92nd Street. The younger Scott and his wife Micki joined the trio in New York...
Janis Joplin, the subject of this willfully empty-headed documentary, died of an overdose of heroin in 1970 in a Hollywood motel room, all alone. There is no sense whatsoever in this film of the loneliness and desolation that could have led to such an end; indeed, there is no mention at all of her death, not even the fact of it. Instead, we are presented with a lot of concert footage and some spliced-in interviews, mostly gath ered from old television spots. Joplin reveals as much of herself as most people do under the flighty scrutiny...
...example: The Reverend Marshfield suffers from "distraction." As a cure, his bishop orders him to spend a month in the desert, atoning. But this being truly the latter age, ascetism is not what it once was, and Marshfield gets to expiate his sins in fairly comfortable surroundings--a motel, actually. He is forbidden serious "intrapersonal or doctrinal" conversation, non-escapist reading material, and the Word of God as set down in Holy Scriptures (Marshfield doesn't miss the irony of his situation--who ever heard of a motel without Bibles?) His nights are to be devoted to poker, his days...
...author given his big chance, but they are unnecessary. Marshfield's anomalous faith gives him a depth, and a dignity, that makes the rest extraneous and distracting. The mediocre sermon early in the month is realistically valid, but artistically wrong. As something written to a preacher in a desert motel, it is revealing and effective. But it is mediocre writing nonetheless, and that is not Marshfield's name on the dust jacket...
...Brad (Jon Cypher) tracks Betty to her motel room and concludes that she is either having an affair or a breakdown. Unequipped to deal with either possibility, he has one stopgap measure: he wants to join up with a clan of swingers and swappers. Betty, usually a glutton for punishment, draws the line. The last scene shows her taking one of the two family cars and heading for an uncertain dawn. That she picks the station wagon with the fake wood paneling on the side to drive off in does not bode well for the future...