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...class a sense of the world beyond Yamacraw--before he is fired. She dunned some of the film's simplifications but saluted its spirit. Stanley Kauffman in The New Republic, applauded the film as entertainment, though he scored its faults more heavily than Kael; he singled out Jon Voight's performance and Martin Ritt's tactful, sympathetic direction, and noted that if the film relies on sentiment, organic, well-dramatized sentiment is always justifiable...

Author: By Michael Sragow, | Title: Conrack and Its Critics | 5/15/1974 | See Source »

Based on The Water Is Wide, Pat Conroy's memoir of the year he spent teaching in an all-black elementary school on a backward island off the South Carolina coast, the film features paradisiacal vistas, an enormously engaging performance by Jon Voight in the title role ("Conrack" is the way his students insisted on mispronouncing Conroy's name)-and a profound shortage of dramatic conflict. The children, needless to say, are adorable. They are rendered all the more touching by the superintendent of an inhumane school system and an inflexible principal (the former represented by Hume Cronyn...

Author: /time Magazine | Title: Cinema: A Sentimental Education | 4/8/1974 | See Source »

...dance routines and the music are quite a bit of work, especially considering that, at least as far as the kick line goes, the amount of talent involved is pitifully meager. Voight Kempson, the director, does a lot to compensate for this absence, by a lavish and effective use of mannerisms. The pit band seems more competent, though they tend to drown out some of the weaker voices onstage. The music Jonathan Scheffer and Barry Cohen dreamed up (stole?) for this show is the usual pastiche of everything from Motown to madrigal, with Harry Belafonte thrown in as some sort...

Author: By Dwight Cramer, | Title: I'd Rather French-Kiss the Blob | 3/2/1974 | See Source »

...white fighter without responsibilities is not reliable," says Aspiring Manager Ariel Van Daumee. "A middle-class white son of a bitch without goals will usually break your heart." He knows his boy. Vic Bealer (Jon Voight) fights heavyweight, talks about going to the nationals and getting to the Olympics, even turning pro. He has the equipment to do it, too. Blond and tall and blue-eyed, Vic is the kind of guy people like to pin hopes on; he is the young man of vast promise in whom the confidence of others is so eagerly invested...

Author: /time Magazine | Title: Cinema: Dubious Battler | 11/19/1973 | See Source »

...during which it acquired a leper-like reputation in the trade. The published screenplay (Farrar, Straus & Giroux; $6.50) disclosed that, fully realized, the film would have been considerably longer and rather less oblique. Vic would have been blessed and cursed by occasional shafts of self-knowledge. As it is, Voight's performance consists of careful character shadings that can only add tone to a silhouette. In more concise roles, the supporting performances are sharper. Carol Androsky as Vic's sister-in-law, who seems to dwell in the middle of some lunatic serenity; Art Metrano...

Author: /time Magazine | Title: Cinema: Dubious Battler | 11/19/1973 | See Source »

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