[Originally published in Movietone News 36, October 1974]
It’s come to be almost a given that American communal life is pervaded with violence, contained or at large. Those filmmakers who aren’t examining contemporary urban jungles from vantage points of nihilistic glee or despair turn to the American rural past to disprove any vestigial illusions we might have had about the noble savage or the pastoral innocent. From Mean Streets to Badlands, from Bad Company to Thieves like Us, from Payday to Buster and Billie, the lay of the land remains the same: brave new worlds gone wrong, gone brutal, gone back from innocence either by accident or in cold blood. America, the home of hillbilly and ghetto crazies, killers pure in heart, traveling city streets and country backroads, dwarfed by skyscrapers or the prairie, always caught, mostly dead—the last American heroes.
