[Originally published in Movietone News 34, August 1974]
The title sequence of John Frankenheimer’s new film utilizes Lichtenstein-like pop art images which ultimately prove to have been inappropriate and misleading indicators of what might follow. Whereas Lichtenstein and other pop artists use conventional symbols and forms (e.g., the comic strip) as a means of commenting upon those forms and upon the social and intellectual atmosphere from which they arise, Frankenheimer appears to be bound by the very conventions he wants to parody. Thus, the ingredients of 99 and 44/100% Dead include basic gangster genre stuff, ”romantic interest,” western overtones, a lot of violence, and a hush-hush attitude toward sex coupled strangely with 1960-type Hollywood male dominance themes. And the problem comes from Frankenheimer’s failure to demonstrate decisively that all, or at least some, of these elements are not to be taken at face value. By the time the predictable climax comes along and everyone bad is dead and the girls are saved, we have a strong suspicion that this is no parody at all, but rather, that Frankenheimer is actually out to elicit genuine emotions from his audience. And this simply will not do. It is like a comedian going through his act and then, at the end, telling a sad story and expecting us to take him seriously.