Word: thrillers
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Dates: during 1960-1969
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Harvard fared better in a thriller the year before. After one early season loss, Harvard beat the Bruins 1-0, on a last period goal headed in by Chris Ohiri. Because of that win, the booters ended the season in a first place tie with Brown...
...Tiger Lily, this baby-faced bagman has brought off the hat trick. He has made a movie without spending money-in fact, he has made a movie without even making a movie. For about $66,000, advanced by Producer Henry Saperstein, Allen bought up a ludicrously lousy Japanese thriller that was made in glorious TohoColor and should have been confiscated as contraBond. For a couple thou on top of that, he eliminated some Japtrap, erased the Japanese talk track and dubbed in some English dialogue that transforms the story into Allengory and the characters into kooky-yacky...
Thus far, this untidy thriller proceeds without a serious flaw. Working slowly into the nightmare realism of David Ely's novel, Director John Frankenheimer and Veteran Photographer James Wong Howe manage to give the most improbable doings a look of credible horror. Once Rock appears, though, the spell is shattered, and through no fault of his own. Instead of honestly exploring the ordeal of assuming a second identity, the script subsides for nearly an hour into conventional Hollywood fantasy...
...fact. Mailer's novel was an ardent-arrant attempt to reset Crime and Punishment in contemporary America, substituting for Raskolnikov a sort of Supernorman. Censoring both the author's ideas and his scatological eloquence, the film script turns the story into a cliche-stocked, ho-humdrum thriller about a TV star (Stuart Whitman) who murders his rich-bitch wife (Eleanor Parker) in Reel Two, and for the next 80 minutes is dogged doomward by the police (Barry Sullivan), his wife's father (Lloyd Nolan), a former mistress (Janet Leigh), and his own conscience. The few amusing moments...
...fastest-selling new spy thriller in the U.S., already on the bestseller lists, is The Kremlin Letter, by Noel Behn (284 pages; Simon & Schuster; $4.95). It raises no serious questions at all, except perhaps about taste. Faced with the espionage writer's inevitable decision of choosing between Ian Fleming's rollicking escapism and John le Carre's gritty realism, Author Behn, a onetime off-Broadway producer who served for two years in the U.S. Army's counter-intelligence corps, cops out. The result is a pop horror comic about a mission to Moscow by a team...