Word: rafelsons
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Dates: during 1970-1979
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Directed by BOB RAFELSON Screenplay by JACOB BRACKMAN
...also liked Karen Black's performance and a scene where Jack Nicholson sits down to play the piano in Rafelson's Five Easy Pieces, a slick film about alienation which seemed to cut away to a Laszlo Kovacs Easy Rider scenic vista whenever something seemed about to happen; Alan Arkin's Yossarian in Mike Nichols' Catch-22; Carrie Snodgress's heroine and Frank Perry's paranoiac camera work in the somewhat overdrawn Diary of a Mad Housewife; Charles Bronson's headstrong investigator in Rene Clement's Rider on the Rain; the dripping decadence and provocative idea behind Performance...
...feel compelled to tell you that the mood of the seventies has at last filtered down into the American cinema. After a year of indecisiveness from our American moviemakers (to wit, such products as the Perrys' Diary of a Mad Housewife and Bob Rafelson's Five Easy Pieces, films which serve the purpose of marking time rather than moving on), two major (and generally successful) works expressing the funereal feeling of the decade ahead have arrived in time to brighten up the holiday season. I say brighten up because while these two films-Paul Morrissey's Trash and Carl Reiner...
...drug movies with his friends Peter Fonda and Dennis Hopper. Easy Rider could have been, of course, just another in the cycle cycle. Fortunately for Nicholson, Rip Torn, originally cast as the Southern lawyer, bowed out and Nicholson's friends from Head, Producer Bert Schneider and Director Bob Rafelson, suggested Jack for the role. "I went immediately to work on the dialect. Drew a lot on L.B.J." For the campfire scene, his favorite, he says: "I smoked about 155 joints. Keeping it all in mind stoned, and playing the scene straight and then becoming stoned-it was fantastic...
...direction, by Bob Rafelson, leans toward the mediocre. Rather than devising a consistent visual approach to the material (and surely there was one to be found), he tries a lot of things-some of which work, many of which do not. Much too often he falls back on photographer Laszlo Kovacs' repertoire of American scenic vistas to punctuate scenes-a device that seems intended, for whatever reasons, to invite comparisons with Easy Rider. Occasionally, Rafelson cuts to moments back and forth in time; this invites comparisons to another, thematically similar American film, Richard Lester's Petulia -comparisons which Five Easy...