Category Archives: 70’s Movies

The People Next Door (1970)

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Daughter is on drugs.

Arthur and Gerrie Mason (Eli Wallach, Julie Harris) are a middle-aged couple living the comfortable suburban existence, which comes tumbling apart in a matter of only a few short weeks. It starts when their daughter Maxie (Deborah Winters) dabbles in acid and is sent to a mental institution. Acrimony and in-fighting commence and even with family counseling nothing helps. As both Maxie’s and Gerrie’s mental condition deteriorates it seems like their family unit is doomed while their neighbors David and Tina Hoffman (Hal Holbrook, Cloris Leachman) have issues of their own including the shock at finding out that their son Sandy (Don Scardino) is a drug dealer and was the one that gave Maxie the acid that sent things spiraling out-of-control.

There were many movies about the drug culture made during the 60’s and 70’s and many of them weren’t very good, but this one I have always liked. It is not that it doesn’t have its share of flaws like the others although not as many, but it is the performance by Winters (no relation) that knocks this to a whole new level.  Although only 17 at the time she exudes an amazing amount of composure and tackles some difficult scenes with ease and naturalism. Her blue eyes penetrate the screen, which director David Greene takes full advantage of especially during her acid trips, which get pretty freaky.

Two scenes of hers in particular really stand out and are worth catching. One is where she takes some acid and then strips off all of her clothes and goes running outside in the nude through the snow banks of their suburban neighborhood while singing and dancing to some strange song. Another is when she runs away from home and Wallach tracks her down living in squalor in a seedy, rundown apartment building with her boyfriend. When Wallach finds her she hops out of bed stark naked and walks over to him and plants him a deep kiss, which makes him violently slap her to the ground.

There are a few other interesting moments including one that takes place during a group counseling session where a young man of 20 named Wally (played by Matthew Cowles who later went on to marry actress Christine Baranski) berates in front of everyone his elderly parents who had him at a late age and he now finds them to be too old and embarrassing. The scene where David and Tina confront their son late at night about his drug dealing is also compelling.

The script by J.P. Miller has some emotionally high moments and hits on the issues of family strife head-on in a way that I felt is still impactful and relevant. Some critics argued that because Miller and director Greene were already 50 at the time that they were ‘out-of-touch’ with the youth generation, which to some extent may be valid, but the drama itself is strong and in the end that is what counts.

The only weak link is that of Wallach and Harris two very good actors who become wasted here. Both are locked in caricatures that are too broad and rigid and at times turn the thing into a heavy-handed soap opera. The correlation to the fact that while the daughter takes drugs they continue to smoke and drink becomes a bit too obvious and overplayed.

The story was originally made as a TV-movie that was broadcast on October 15, 1968 on CBS. Winters, Scardino as well as Nehemiah Persoff who plays the doctor at the institution play the same roles on that one that they do here. Lloyd Bridges and Kim Hunter played Winters’ parents and Fritz Weaver and Phyllis Newman were the Hoffman’s.

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My Rating: 7 out of 10

Released: August 26, 1970

Runtime: 1Hour 33Minutes

Rated R

Director: David Greene

Studio: AVCO Embassy Pictures

Available: None at this time.

Scavenger Hunt (1979)

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By Richard Winters

My Rating: 6 out of 10

4-Word Review: Mad dash for money.

When rich toy inventor Milton Parker (Vincent Price) dies all of his relatives gather for a reading of his will hoping to get a giant share of his 200 million dollar estate. There’s his greedy sister Mildred (Cloris Leachman) along with her child-like grown son Georgie (Richard Masur) and shyster lawyer Stuart (Richard Benjamin) his servants (Cleavon Little, Roddy McDowell, James Coco, Stephanie Faracy) a dimwitted cab driver (Richard Mulligan), his nephews Kenny (Dirk Benedict) and Jeff (Willie Aames) as well as his son-in-law Henry (Tony Randall) and his four children.  At the reading they are given a list of items each having a certain point total and told that whoever can collect the most items by the end of the day will be given the inheritance. Everyone then splits off into five teams and scours the city of San Diego looking to collect everything from a fat person, to a toilet and even an ostrich.

The natural inclination would be to write this movie off as being lame right from the beginning as the characterizations are quite broad, the action very cartoonish and the humor at an almost kiddie level, but farce/slapstick is a legitimate movie genre, so lambasting it simply for being silly isn’t really fair. Yes, you will have to park your intellect at the door to enjoy this one, but I found myself laughing more than I thought and it is great mindless escapism for the whole family without ever being crude or offensive. It also has Cloris Leachman who adds to her already legendary and eclectic resume by playing another extreme character and flying with it.

The film has a few hilarious bits including the servants stealing a toilet inside the bathroom of a post hotel and then later on while in a science lab getting attacked by a ‘giant soufflé’. Benjamin’s confrontation with an angry gang of bikers led by Meat Loaf is pretty good and the wild car chase that ensues at the end isn’t bad either. The film successfully interweaves moments of cynical humor as well, which helps make it more agreeable to older teens and adults.

There are also a myriad of famous faces in bit parts that are funnier than the main cast. I loved Ruth Gordon as a tough talking old lady and Robert Morley as the lawyer heading the estate whose facial expression when Leachman hugs him is a gem. Henry Polic II appears as a motorcycle cop who comes into contact with laughing gas and then loses his uniform and there is Arnold Schwarzenegger as an overzealous fitness instructor. I also really liked Scatman Crothers who appears for a while as Mulligan’s partner and then disappears only to come back in a pivotal part at the very end and even sings over the closing credits.

The only thing that really got on my nerves was Richard Masur as the overgrown man-child named Georgie. Acting wise he does it pretty well, but there is never any explanation why a grown man would be acting so infantile. Was he mentally challenged, or just mentally ill? It is never explained, but comes off more as creepy than funny. I also didn’t like Faracy initially as the dumb French maid, but she grew on me and eventually I came to adore her especially when she tells off Coco. Randall, as a beleaguered father is pretty much wasted, but I did like Julie Ann Haddock as his oldest daughter who later went on to play Cindy Webster on the first three seasons of ‘Facts of Life’.

African American director Michael Schultz shows quite the flair for variety. He started his career doing black-themed films like the classic Cooley High and Car Wash only to turn around and direct the Bee Gees in Sergeant. Pepper’s Lonely Club Hearts Band and then this one, which is in every way diametrically different from his earlier work, but still an accomplishment for his ability to take on such varying works and genuinely be successful at them.

Filmed entirely on-location in San Diego this film can be great fun for kids of all ages even those that are over 40.

My Rating: 6 out of 10

Released: December 21, 1979

Runtime: 1Hour 55Minutes

Rated PG

Director: Michael Schultz

Studio: 20th Century Fox

Available: VHS, YouTube

FM (1978)

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By Richard Winters

My Rating: 4 out of 10

4-Word Review: No static at all!

Q-SKY is the number one radio station in Los Angeles and this is mainly due to program director Jeff Dugan (Michael Brandon) who has lined up a good rock playlist as well as an eclectic bunch of on-air personalities. However, Regis Lamar (Tom Tarpey) the sales manager wants to play some army recruitment commercials, which Jeff refuses to do and when he gets into a fight with management over it he quits. The rest of the staff decides to come to his rescue by staging an on-air sit-in where they lock themselves inside the station and refuse to play any commercials until management agrees to hire Jeff back, which soon attracts the attention of hundreds of listeners that pack the streets of L.A. until it becomes a mob scene.

If this movie succeeds at anything it is in its ability at bringing the ‘70s back to life. In fact if you ever wanted to get into a time machine and travel back to that decade to see what things were really like this film does it better than just about any other from that era. The sights, sounds and attitudes from that crazy decade literally ooze from every frame until you feel like you are living it yourself.

The film also manages to recreate the behind-the-scenes life at a radio station in a realistic way. Back in the ‘90s I worked in radio and even had my own weekend overnight show called ‘After Hours’ at a FM station in Chicago and the atmosphere shown here is on-target and enough to make me long to go back to it if it just paid more.

The characterizations are fun. Eileen Brennan takes a rare dramatic turn and does quite well playing an older D.J. named Mother who is burnt out from the business and wants to quit, but can’t quite pull herself completely away from it. Martin Mull is amusing as the narcissist Eric Swan who considers his on-air persona to be an ‘art form’ and he even traps himself inside the radio booth when he breaks up with his girlfriend and refuses to leave until one of his many female listeners agrees to take her place. Ironically both Mull and Cleavon Little who plays Prince the overnight jock also played D.J.’s in two other movies. Mull was in Jingle All the Way while Little was in Vanishing Point.

The film also has a strong ‘70s soundtrack. Not only does it open with a great stereo version of Steely Dan’s title hit, but just about every rock hit from 1978 can be heard playing in the background at some point. There is also excellent concert footage of Jimmy Buffet as well as Linda Ronstadt who does live versions of ‘Tumbling Dice’, ‘Poor, Poor Pitiful Me’, and ‘Love Me Tender’.

The film unfortunately falls apart at the end with a sit-in segment that proves unrealistic and exaggerated. Radio personal are hired and fired every day. It’s the nature of the business and one knows that going in and prepares for it. It is highly unlikely that any of the other employees would stage a sit-in like the one shown here simply because it would put not only their job, but careers in complete jeopardy. Dugan with his strong resume could easily find himself a job at another station pretty quickly, so their efforts seemed unnecessary. The idea that hundreds of people would come out onto the street to protest and even overturn cars is ridiculous and what’s worse is that the crowd scenes were clearly done on an inside soundstage making the entire segment look staged and fake.

I loved the first half and had it stayed on that slice-of-life level this could’ve been an interesting time capsule. In some ways it still is, but the ending gets so stupid that it pretty much ruins the whole thing.

My Rating: 4 out of 10

Released: April 20, 1978

Runtime: 1Hour 44Minutes

Rated PG

Director: John A. Alonzo

Studio: Universal Pictures

Available: VHS

The Hireling (1973)

the hireling

By Richard Winters

My Rating: 6 out of 10

4-Word Review: His love isn’t reciprocated.

Based on the L.P. Hartley novel the film examines the unusual relationship between a rich English widow named Lady Franklin (Sarah Miles) and her chauffeur Steven Ledbetter (Robert Shaw). The setting is just after the First World War and Lady Franklin has suffered a nervous breakdown after the untimely death of her husband. Steven drives her from place-to-place and helps her out of her depression while also forming a strong attachment to her. Once she recuperates she no longer calls upon his services as much, which hurts him. She then forms a relationship with the much younger Hugh Cantrip (Peter Egan). His personality is the complete opposite of Steven’s and when Steven finds out that Hugh is still seeing another woman on the side it angers him. When he goes to Lady Franklin to inform her of this as well as profess his love for her things do not go well and soon spirals out-of-control.

The film is exquisitely photographed by director Alan Bridges with a haunting score by Marc Wilkinson that is excellent. The period atmosphere is perfect and the slow pace not only reflects that era, but the book to which it is based. Some may be put off by the pace as it is for the most part quite talky although the last half-hour has more action and final showdown is quite intense. The element I really liked about the film are the brief cutaways showing people listening in to other’s conversations and people always being careful what they say and great concern with always playing their ‘proper role’ in society. It really helps build a cloistered feeling for the viewer and gives them a better understanding to the meltdown that occurs at the end.

Miles gives another great performance and she essentially plays two characters here with the fragile, wide-eyed woman at the beginning and the more confident, emotionally distant person that she turns into at the end. Shaw is excellent as always. It is almost amazing to see how someone with such a strong personality as his could get hidden underneath the rather bland and proper character that he portrays at the beginning, but he comes through full-force at the end, which is chilling and terrifying.

The film makes some great statements about the inequities of a rigid social caste system as well as the unrealistic, rigid demands that were placed on people especially in past eras that did not completely take into account the human being underneath or their natural emotions. It is also a great testament to the loneliness of unrequited love, which is sadly a perennial element of the human experience. Although the film stays faithful to the novel the ending has been changed, which may or may not go over well with some viewers.

My Rating: 6 out of 10

Released: June 10, 1973

Runtime: 1Hour 35Minutes

Rated PG

Director: Alan Bridges

Studio: Columbia Pictures

Available: DVD (Region 1 & 2)

The Passenger (1975)

the passenger

By Richard Winters

My Rating: 5 out of 10

4-Word Review: He steals someone’s identity.

This is a low key drama detailing a world-weary reporter named David (Jack Nicholson) who comes upon a dead man in a hotel room. David is unhappy with his existence and since they closely resemble one another he decides to switch identities with the dead man. He believes that this man lives a jet setting lifestyle, but soon finds that may not be true and that everyone is trying to escape from something.

This film has the artsy flair that is typical of all Michelangelo Antonioni’s films. It tends to be quite evasive as it brings up certain points and then seems to muddle them. It’s made to make you ponder, but has a decidedly downbeat tone. There is no music until the very end, which was a mistake as it gets too quiet at points and one’s mind will eventually wander especially with the lack of strong dramatic interaction. Having some music blended in would certainly have helped the momentum and avoided the rather flat feeling you get when it is all over.

The film is not without its good points and can best be described as a kind of Easy Rider, but more from a world perspective. Like with that film it describes characters trying to escape from a world that will not let them go. I loved the wide variety of exotic locales, which in any other film would symbolize excitement and adventure yet here they become part of the imprisonment. The film though does not take full advantage of its outlets and the sense of detachment that it has eventually rubs off on the viewer.

Nicholson gives a surprisingly non-dynamic performance. Maybe he was just trying to get into his transparent character, but either way it is not riveting. Maria Schneider is interesting only because she has the face of a young girl but the sensibilities of a much older woman.

There are some interesting shots. One features the camera looking out of a barred window from inside a room. Then without taking a single cut the camera moves through the bars, makes a complete turn, and then looks back through the window from the outside. There is also footage of an actual execution of a political prisoner. This certainly will interest the morbid, but it also seems to be a bit sick and disrespectful especially when the camera stays locked onto limp, bullet-riddled body.

My Rating: 5 out of 10

Released: April 9, 1975

Runtime: 2Hours 6Minutes

Rated PG

Director: Michelangelo Antonioni

Studio: MGM

Available: VHS, DVD

Rabbit Test (1978)

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By Richard Winters

My Rating: 2 out of 10

4-Word Review: The first pregnant man.

Lionel (Billy Crystal) is a lonely young man of 24 who lives next to his obtrusive mother (Doris Roberts) and has never been with a woman. When his friend Danny (Alex Rocco) comes home from the service they go out to a war veteran’s social where he has sex with actress Sheree North on top of a bowling pinball machine and inexplicably becomes pregnant. This creates an uproar in both the media and medical world and turns Lionel into an unwanted celebrity.

This was the one and only movie directed by Joan Rivers. Like with her personality it can be mildly funny at times, but is mostly abrasive and crass. The film lacks any cinematic style and was originally shot on video. The plot is limp and the whole thing seems more like a gag reel than a movie. Her attempts at recreating the comic style of Mel Brooks, Woody Allen or even John Waters fails miserably and the viewer is left with one big amateurish mess.

Ninety-nine percent of the humor is crude and stupid and deals heavily in racial stereotypes making one almost thankful for political correctness. Some of the worst bits include the portrayal of Lionel’s Mexican-American students as being utterly infantile and the only way to get rid of them is to yell ‘immigration’. There is also a segment where Lionel travels to Africa and watches a ventriloquist act where a black man has a dummy on his lap that is played by midget actor Billy Barty in blackface. The film also takes potshots at elderly people, fat people, people with disabilities and even Jews. None of the jokes are funny and are often cruel and in the poorest of taste.

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Crystal in his film debut is the only good thing about the movie and is likable enough to help elevate it to some degree. Paul Lynde is amusing as a gynecologist and had he had more screen time it would have helped. Roberts score a few points in the caricature of a meddlesome mother as does George Gobel as the hick president. Michael Keaton also makes his film debut here, but it is in a non-speaking role as a sailor and if you blink you’ll miss him.

There is also never any explanation for exactly how Lionel becomes pregnant nor do we see the delivery or what type of baby it is which is annoying and dumb. It is almost like a bunch of twelve-year-olds got together to write the script and in many ways I think they could have done better. The film’s posters are funnier than anything you’ll see in the actual movie.

My Rating: 2 out of 10

Released: April 9, 1978

Runtime: 1Hour 26Minutes

Rated PG

Director: Joan Rivers

Studio: AVCO Embassy Pictures

Available: VHS

The Boys in the Band (1970)

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By Richard Winters

My Rating: 9 out of 10

4-Word Review: This party turns sour.

A group of gay men get together for an intended night of food and laughs as they celebrate Harold’s (Leonard Frey) birthday. Things begin to unravel when Alan (Peter White) appears who was an old college roommate of party host Michael (Kenneth Nelson). He insists that he is not gay, but Michael and the rest of the group intend to prove otherwise, which leads to many harsh and interesting revelations.

This film packs a wallop and is as relevant and daring now as it ever was back then. Director William Friedkin does a terrific job of making this story, which was originally an off-Broadway production seem cinematic. I loved the capturing of the apartment, which makes you feel like you are right there.

The performances are outstanding and all are the original cast from the stage production. Cliff Gorman as the flaming gay personality is a particular standout. The script by Mart Crowley is captivating from beginning to end as it brings out all the different personalities and myriad issues that make up the gay community and the whole thing is a tour-de-force on all levels.

My only complaint would be the character of the Cowboy played by actor Robert La Tourneaux who is the dim-witted, but good looking ‘gift’ giving to Harold for his birthday. I realize the intention is to make him a bit dumb, but it gets overdone. It’s one thing to be an ‘airhead’, but a complete other thing to sound so stupid it’s like he is from another planet. His character is the only one that does not get fleshed out at all and his utterly inane comments come off as hollow and annoying. Ironically La Tourneaux was unable to find many acting parts afterwards and became a gay prostitute in real-life by the late 70’s in order to make ends meet.

The characters are believable and the dialogue moving. It’s a compelling study of those feeling isolated from society and sometimes even themselves.  Even if you are not gay the film can still have a great impact and its quality viewing either way.

My Rating: 9 out of 10

Released: March 17, 1970

Runtime: 1Hour 58Minutes

Rated R

Director: William Friedkin

Studio: National General Pictures

Available: VHS, DVD

Brewster McCloud (1970)

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By Richard Winters

My Rating: 9 out of 10

4-Word Review: Flying in the Astrodome.

Brewster McCloud (Bud Cort) is a young man who lives and hides inside the giant Astrodome in Houston, Texas. He dreams of one day flying like a bird and secretly works on building a contraption that will help him do it while being aided by a mysterious guardian angel named Louise (Sally Kellerman). Meanwhile strangulations start occurring all over the city and the police become convinced that Brewster may have something to do with it. As he gets ready to ‘spread his wings’ and fly for the first time the police surround the place and try to arrest him.

This film is reportedly director Robert Altman’s favorite out of all the ones that he did and it is easy to see why. The quirky, offbeat script by Doran William Cannon nicely compliments Altman’s free-form, cerebral style. The film works on many different levels with every shot and scene being unique and a kind of story in itself. The dream-like quality is nicely balanced with harsh realities creating an interesting theme that touches a wide array of senses. Although this film is never mentioned in relation to car chases the one that is has is exciting and well photographed without any of the jump cuts that you normally see.

The city of Houston gets captured well and I liked the fact that Altman stayed away from the downtown and instead focused more on the neighborhoods and city streets. The filming of the inside of the Astrodome is the most impressive and the building becomes like a third character. It may seem hard to believe now, but at one time it was considered ‘the eighth wonder of the world’ and was the very first dome stadium in existence. Watching Cort fly around on the makeshift wings he creates gives off an exhilarating feeling especially with the way Altman captures it against the backdrop of the stadium’s ceiling filled with skylights. The best shot in my opinion though is the bird’s-eye view of seeing Kellerman walking the entire length of the field and out the exit.

The broad and amusing characterizations are fun and Altman gives his actors wide range to create them. Some of the best ones are Stacy Keach who is unrecognizable under heavy make-up as an elderly, cantankerous and greedy landlord who goes reeling down the city streets in nothing but a wheel chair. Bert Remsen is good as a corrupt and racist policeman who even beats and berates his own family. Michael Murphy is interesting as a narcissist, hotshot detective who ends up killing himself and Rene Auberjonois as the lecturer who slowly turns into a giant bird as the film progresses. There is even the aging Margaret Hamilton who says a few curse words and dies while wearing her ruby red slippers.

The film is one-of-a-kind and perfect fare for those looking for something offbeat and diverting. The kooky opening and ending title sequences alone make it worth it. My only real complaint would be the fact that supposedly a bird is committing all these strangulations, but we never see how. All the viewers see is the victims getting bird poop on them and nothing more. I realize this might have been technically difficult to film or visualize, but for such an otherwise creative movie this seems like a bit of a cop-out.

My Rating: 9 out of 10

Released: December 5, 1970

Runtime: 1Hour 45Minutes

Rated R

Director: Robert Altman

Studio: MGM

Available: VHS, DVD

The Mind of Mr. Soames (1970)

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By Richard Winters

My Rating: 6 out of 10

4-Word Review: Man child faces world.

Due to a complication at birth a man (Terence Stamp) is born into a coma and for thirty years he has stayed that way. Now due to medical advancement they can stimulate the part of the brain that is asleep, thus allowing him to awaken into consciousness. The problem is that he will be a virtual infant and have to taught at a much quicker pace than a normal child.

Outside of a few implausibility’s the story is handled in an overall realistic manner. The pacing is tight and compact and the cinematography by Billy Williams is outstanding with excellent framing. Stamp plays the part with conviction and overall makes a believable grown up baby.

The story itself is much more complex than it initially looks as it takes a good examination into the science approach vs the humanistic one. It shows how truly complicated the human being is and the great balance it takes to successfully raise one. It also takes a few good potshots at the obtrusiveness of the media.

The stories most interesting angle though comes when the adult child escapes and goes out into the real world where we see what a tight inner fabric society is and the complete inability that the ‘pure’ human, with no prior connections to it would have.

However, in the end this movie is a disappointment as it gives us no conclusion and we never see the end result. Was this man child successfully raised? Which approach was the best and did he ever fully adapt to the world around him? We never know because it never tells us. The whole idea for the film looks to have been made only to bring up certain issues with no attempt at a complete story.

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My Rating: 6 out of 10

Released: October 12, 1970

Runtime: 1Hour 32Minutes

Rated GP

Director: Alan Cooke

Studio: Columbia Pictures

Available: DVD-R

Up the Sandbox (1972)

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Housewife has secret fantasies.

Margaret (Barbra Streisand) is a neglected housewife taking care of her two children while her husband Paul (David Selby) busily works on his novel and thesis. She lives in a rundown New York apartment that seems to have bugs crawling from everywhere. Her nagging mother (Jane Hoffman) pressures her to move back with them to the suburbs, but she enjoys the excitement and independence of city life over lily white suburbia, so she resists. Now she finds that she is pregnant with her third child and this along with the other stresses causes her to slip into secret fantasies that become more and more outlandish.

This film didn’t do well upon its initial release and is a bit forgotten, but deserves a look simply for its unique and memorable fantasy segments. The scene where she joins a black militant group that gets inside the Statue of Liberty and wires it with explosives is pretty good as is the part at a party where her stomach suddenly balloons out as if she is pregnant and when she pushes it in it makes her breasts larger. The scene where she meets a Fidel Castro-like dictator who takes off his shirt to expose that he has female breasts is funny and the finale that takes place inside an abortion clinic is interesting. The best though is when she is captured by an African tribe of topless women. The shot of their grossly overweight leader whose gigantic, sagging breasts seem to overlap her entire body ends up being the film’s most lasting image.

Hoffman is hilarious and a perfect caricature of a meddling mother of adult children. The part where Margaret fantasies about stuffing her mother’s face into an anniversary cake and then the two roll around on the floor where Margaret then punches her in the face had me laughing-out-loud.

Paul Zindel’s script nicely balances the fantasy with the gritty reality of urban living. It also envelopes the feminist issues with the social upheaval of the times and the speech that Margaret gives about women needing to be less like men and more like themselves is excellent.

Director Irvin Kerschner makes fine use of the New York locales giving the viewer an eclectic taste of its crowded neighborhoods and street culture as well as its epic skyline. I loved the cinema vertite style that has a sophisticated and trendy feel.

Streisand herself seems to be having a lot of fun and purportedly this is her favorite out of all the films that she has done. This was just before she went through her frizzy hair phase and the long straight style that she has here I feel makes her look sexy.

The pace is unusual especially for a comedy in that it isn’t frantic and does not have any quick edits. Instead the set-ups are quite slow and seem at times to be almost dramatic before throwing in a surprise punchline. Personally I liked this approach, but the unconventional style might have proved confusing to certain audience members who didn’t know what genre to place it in and may have been the reason for the poor box office returns, which is shame as the production overall is excellent and intriguing.

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My Rating: 7 out of 10

Released: December 21, 1972

Runtime: 1Hour 37Minutes

Rated R

Director: Irvin Kerschner

Studio: National General Pictures

Available: VHS, DVD