Posted in: Film Reviews

Review: The Deer Hunter

[Originally published in Movietone News 62-63, December 1979]

Terry Curtis Fox, writing in Film Comment, seems to have been the only one to point out the rather obvious fact that The Deer Hunter isn’t really about the Vietnam War. Director Michael Cimino is much more interested in how change comes to the safe, closed world that protects and justifies both the commonest and the most eccentric behavior of its inhabitants. Indeed, how these people face change, and whether or not it really succeeds in taking over their world, are questions the film asks much more readily than the obvious moral and psychological questions about the Vietnam War that shallow reviewers have attributed to the film. The closed community, with whose solidarity and survival Cimino is concerned, is built on the foundation of ethnic pride. In this respect the film is reminiscent of The Godfather in its epic length and pace, and its focus on an ethnic subculture. It is Cimino’s debt to Coppola’s debt to Ford that the structural burden of this parable of a closed society is borne by the recurrence of rituals that lend a sense of continuity to the story as well as to the lives of its characters: drinks at the tavern, the hunting trip, the wedding and reception, the funeral, and that most disturbing ritual of all, Russian roulette.

Read More “Review: The Deer Hunter”

Posted in: Film Reviews

Review: The Onion Field

[Originally published in Movietone News 64-65, March 1980]

Truth may be stranger than fiction, but it is almost always less interesting. The challenge facing Wambaugh in bringing his novelized “true story” to the screen was to preserve the interest and intensity that the actual events held for those who participated in them—to try to make the headline story as immediate for the viewer as for the subject. All of Wambaugh’s police bestsellers are based on fact to one extent or another; and the story goes that Wambaugh, fed up with the inadequacy of the film versions of his other books (The New Centurions, The Blue Knight, The Choirboys), decided to appoint his own producer and director, and write his own screenplay the way he wanted it done. Though the cops come off as saintly and the criminal element as irredeemable—unlike the more ambiguous characterization of the earlier Wambaugh-based films—The Onion Field is a qualified success, and probably actually is the best Wambaugh movie yet.

Read More “Review: The Onion Field”