Word: rafelsons
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Dates: during 1970-1979
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...brothers has been killed, and the other trudges home where the grandfather is screening old home movies showing the two brothers on the beach long before when their sandcastles were more safely made of genuinesand and yet I was emotionally distracted because I was too aware that Rafelson was bring self-consciously cool...(100 more words...
...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...
Five Easy Pieces, Bob Rafelson's previous film, was a good, sharply observed melodrama. The King of Marvin Gardens shows the same restrained, rhythmic editing and unemphatic camera movement, the same scrupulous care for dramatic nuance. Marvin Gardens may not be as successful as Five Easy Pieces; yet in many ways it is more interesting and certainly more daring -the work of a talented director trying to extend himself...
...Rafelson and Scenarist Brackman understand their two played-out heroes without ever condescending to them, although both writer and director are often guilty of using the same kind of tin-ear dialogue and trite image that David himself might employ in one of his tortuous monologues. One of Rafelson's most certain talents is a nearly preternatural instinct for working with actors, and Nicholson and Dern give consummate performances. In such diverse parts as the bemused attorney in Easy Rider, the laborer and fugitive musician in Five Easy Pieces, the tomcat of Carnal Knowledge, Nicholson has already displayed remarkable...
...almost combustible uncertainty that shades Jason's assurance with doubt and intimations of defeat. Dern also moves Jason beyond the more obvious pyrotechnics to which the script has confined him, and the scene in which he embraces an embarrassed Nicholson is one of the best in the film. Rafelson may be too detached and dispassionate, but Dern and Nicholson never...