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Lelia Goldoni

Review: Day of the Locust

[Originally published in Movietone News 43, September 1975]

Maybe one of the reasons I don’t much care for the John Schlesinger film of Day of the Locust is an attitude towards his characters—Nathanael West’s characters in this case—which he has avoided in other films. In Sunday Bloody Sunday there was no overt judgment, no condescension towards his people, and in fact the film’s openness was a way of questioning the successfulness and validity of relationships between people whose strengths were admirable and whose weaknesses were sympathetically portrayed. Even in Midnight Cowboy there was the redeeming love and friendship between Joe Buck and Ratso Rizzo that gave some value to an ugly world. But in Day of the Locust Schlesinger handles his characters as though at the end of a long stick, turning irony into a cruel form of entrapment by making them seem so bereft of normally human characteristics that we wonder how they could ever possibly rise above their bathetic gropings and mutual fear and hatred of each other.

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Review: ‘Alice Doesn’t Live Here Anymore’

[Originally published in Movietone News 42, July 1975]

In Mean Streets Scorsese used a relatively unknown but near-perfectly cast group of actors to play out his sort-of-autobiographical story of smalltime gangsters enmeshed in the violence, death, and deadendedness of a grotto in the New York underworld. In Alice Doesn’t Live Here Anymore he has peopled the screen with a warm little community of transient characters whose slightly better-known faces communicate a greater sense of familiarity. Long before Kris Kristofferson edges his way almost imperceptibly into the corner of a frame, we’ve already been treated to a number of vivid character portrayals and bit-part niceties including Billy Green Bush’s role as Alice’s first husband, Harvey Keitel’s as Ben, Harry Northup’s brief appearance as the gosh-and-golly yokel bartender in Joe and Jim’s Café, to name but a few. No one’s around for very long—just long enough—and of course transience is one of the things with which Alice is concerned, just as Mean Streets was preoccupied with identity, fear, and mortality.

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