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Stevan Larner

Review: Steelyard Blues

[Originally published in Movietone News 22, April 1973]

Steelyard Blues has occasioned the most dramatic instance of critical backlash in recent memory. Reviewers of contrary political persuasions (to the extent that political bent can be determined from film reviews) have proved to be up to here with the agitprop antics of Jane Fonda and, perhaps, her FTA compatriot Donald Sutherland. At any rate, Steelyard Blues has been pelted with the sort of abusive notice all those pointyhead libberulls once visited on The Green Berets. To one who took a look at the film anyway, the phenomenon is more than a little appalling. For, if Steelyard Blues is indeed, as Molly Haskell observed, so cinematically inept that one feels compelled to pick it up and take care of it, it’s nevertheless a thoroughly likeable, enjoyable, goodnatured event of a highly positive nature.

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Review: Badlands

[Originally published in Movietone News 33, July 1974]

Art, because it creates its own reality, can’t be self-deluding, no matter how “unreal” it may seem. What it can do is distort reality by rearranging life’s subject matter into new and unfamiliar forms. Thus, in Badlands, Terrence Malick’s first directorial project, Kit Carruthers’ personal fantasy is distinct from Malick’s artistic fantasy, although the two run closely parallel and indeed often seem inseparable. Kit (played by Martin Sheen) insulates himself within the brash shield of a James Dean tough-guy image to the point where, by the end of the movie, all he is concerned with is going out in style. Reality, for Kit, ultimately becomes irrelevant, just as, in a similar sense, our normal conceptions of what goes on in the world apply less and less to what we are seeing on the screen as the movie progresses.

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