Haskell Wexler Movies

The Savage Eye opens by introducing the camera lens as a "character" who will follow the leading lady (Barbara Baxley) throughout her day. The woman is a recent divorcee who moves to Los Angeles in hopes of jump-starting her life. As she weaves her way through the LA, we share her observations on the various denizens of the street, from religious fanatics to faddists. Except for a smattering of professionals like Baxley, Gary Merrill and Herschel Bernardi, most of the characters in Savage Eye are the genuine article, though they're all too aware they're being photographed and thus can't be taken as completely "real." A mixed-bag attempt at cinema verite, Savage Eye was cocreated by Joseph Strick, the entrepreneur who later tried to film James Joyce's unfilmable slice-of-life novel Ulysses. ~ Hal Erickson, All Movie Guide

Based on author James T. Farrell's trilogy written between 1932 and 1935 and later combined into a one-volume Studs Lonigan book, this less than two-hour film does not quite do justice to the literary whole. Studs (Christopher Knight) is raised on Chicago's infamous South Side, an Irish kid when prejudice against the Irish was still around and hanging tough was the norm in impoverished neighborhoods. Once he leaves grade school behind and enters high school, a world of "wenching," fights, drinking, and wild parties starts to open up. By 1929, Studs is trapped into a marriage he comes to hate and as the decade of the '30s begins, he is still trying to be as tough as he can. But as he learns, no one can out-tough the Great Depression. At times confusing and histrionic and wordy (not to mention censored to fit a 1960s unspoken coda), Studs Lonigan falls short of the pithy, emotional, rugged world of Farrell's Irish hoodlum. ~ Eleanor Mannikka, All Movie Guide

Director Irvin Kershner, better known for his big-budget films like The Empire Strikes Back, joins with scripters and lead Don Murray to create this moving and effective docudrama. The story is based on the experiences of real-life Rev. Charles Dismas Clark (played here by Murray), a Jesuit priest devoted to working with young ex-convicts who face uphill battles in trying to re-integrate into a society that discriminates against them. At focus is the struggle of Billy Lee Jackson (Keir Dullea) with his personal demons as he gets involved in crimes which are not of his doing alone. His case illustrates the nature of the majority of cases, and like the majority, he pays in spades for his "mistakes." A powerful argument for looking at the horror of the death penalty and society's responsibility for crime, this well-wrought story is compelling and consistently effective. ~ Eleanor Mannikka, All Movie Guide

In this melodrama, set in German-occupied Italy during WW II, a Yankee spy is concealed in the attic of an underground contact's house. The contact's wife does not want him there as she is having an affair with the German Officer who is looking for him. He remains in the attic, hidden by the woman's son. Trouble ensues when the American is seen by the woman and her lover. He must escape across the slippery rain-soaked tile roof tops. The German troops are in hot pursuit. They are also after the woman who stands accused of sheltering the spy. Her lover, the German officer, realizing that he could lose it all for consorting with a local, shoots and kills the woman. ~ Sandra Brennan, All Movie Guide

In this crime drama, naive Lonnie allows a Spanish revolutionary and his henchman to rent his car. Unfortuantely, the duo use the car to escape after pulling off a diamond heist (the money will be used help support the Spaniard's cause). Lonnie begins investigating and along the way learns that his long-lost love has also joined the cause and works as a hooker to make her own financial contributions. Later, the Spaniard captures Lonnie and makes him drive the boat they commandeered. Also on board is the former owner's lovely daughter, with whom Lonnie falls in love. Together, Lonnie and the girl manage to stop the criminal activities of the "revolutionary" for good. ~ Sandra Brennan, All Movie Guide

This documentary covers the trip made by San Francisco civil-rights activists to the March on Washington. The passengers relate their own experiences in the ongoing, pacifistic fight for their rights under the Constitution. A black man relates his story about the march in Gadsden, Alabama in which the police were called and used brutal tactics in an attempt to disburse the peaceful demonstration. The sound recording is uneven, but the feature does get the message across. ~ Dan Pavlides, All Movie Guide

"You are cordially invited to George and Martha's for an evening of fun and games." Thus read the ad copy for Who's Afraid of Virginia Woolf, which in 1966 went farther than any previous big-studio film in its use of profanity and sexual implication. George (Richard Burton) is an alcoholic college professor; Martha (Oscar-winner Elizabeth Taylor) is his virago of a wife. George and Martha know just how to push each other's buttons, with George having a special advantage: he need only mention the couple's son to send Martha into orbit. This evening, the couple's guests are Nick (George Segal), a junior professor, and Honey (Sandy Dennis), Nick's child-like wife. After an evening of sadistic (and sometimes perversely hilarious) "fun and games," the truth about George and Martha's son comes to light. First staged on Broadway in 1962 with Uta Hagen and Arthur Hill, Edward Albee's play was adapted for the screen by Ernest Lehman, who managed to retain virtually all of Albee's scatological epithets (this was the first American film to feature the expletive "goddamn"). Lehman opened up the play by staging one of George's speeches in the backyard, and by relocating the film's second act to a roadside inn (he also added four lines--"all bad," according to Albee). Thanks to the box-office clout of stars Taylor and Burton, not to mention the titilation factor of hearing all those naughty words on the big screen, Who's Afraid of Virginia Woolf was a hit, and it won 5 Oscars, including awards for Taylor and Dennis, though it lost Best Picture to A Man for All Seasons. First-time director Mike Nichols lost the Oscar, but this movie gave him a perfect transition from his stage work and established him as a hot young Hollywood director, leading to his acclaimed (and Oscar-winning) work on his next movie, The Graduate. ~ Hal Erickson, All Movie Guide

"I love to shoot film" is the sanguine motto of TV lensman John Cassellis (Robert Forster) in Haskell Wexler's 1969 Medium Cool, a semi-documentary investigation of image-making and politics. With his soundman, Gus (Peter Bonerz), John films such events as gruesome car wrecks with frosty detachment, considering himself a mere recorder of circumstances, his only responsibility to get his film in on time. Even his girlfriend, Ruth (Marianna Hill), cannot understand or penetrate John's complacency. Encounters with signs of the late '60s times, however, raise John's consciousness about the implications of his job, as he films a verbal attack by black militants on the media's racism, gets fired after he objects to having that footage turned over to the FBI, and meets Vietnam War widow Eileen (Verna Bloom). John witnesses the violence of the state firsthand as he and Eileen search for her son amidst the real-life demonstrations and riots at the 1968 Chicago Democratic Convention. Even though he realizes the political power of pointing a camera at anything, John finally cannot extricate himself or his loved ones from a culture obsessed with recording any sensational, gory incident. Scripted (from a novel by Jack Couffer), directed, and shot by Oscar-winning cinematographer and political activist Wexler, Medium Cool systematically questions the ideological power of images by combining documentary techniques such as "talking heads" and cinéma vérité with staged scenes between the actors. By the time Wexler and his crew start filming Forster and Bloom among the actual events at the convention, all barriers between fiction and fact are broken down, as Wexler's assistant can be heard warning, "Watch out, Haskell, it's real," when tear gas is thrown. The footage of cops clubbing people in the crowd is real, but Wexler's presence also turns it into part of a fictional story, revealing filmed "reality" to be as artificially constructed as any other fiction, subject to the interpretation of whoever holds the camera and, perhaps, to larger institutions of power.

Funding Medium Cool partly out of his own resources, Wexler had free reign during production, but when the execs at Paramount saw the result, they were not pleased. Despite the timely subject matter, Paramount delayed and then curtailed the film's release, tempering its impact on critics and audiences. Regardless of that record, Medium Cool stands as a vital late-'60s film for its incisive narrative and formal dissection of the visual politics of "truth," and its awareness of how coolly seductive televised violence might be as entertainment, especially in a historical moment marked by incendiary images of political assassinations, the Vietnam War, the civil rights movement, and counterculture protests. ~ Lucia Bozzola, All Movie Guide

It's the last night of summer 1962, and the teenagers of Modesto, California, want to have some fun before adult responsibilities close in. Among them are Steve (Ron Howard) and Curt (Richard Dreyfuss), college-bound with mixed feelings about leaving home; nerdy Terry "The Toad" (Charles Martin Smith), who scores a dream date with blonde Debbie (Candy Clark); and John (Paul Le Mat ), a 22-year-old drag racer who wonders how much longer he can stay champion and how he got stuck with 13-year-old Carol (Mackenzie Phillips) in his deuce coupe. As D. J. Wolfman Jack spins 41 vintage tunes on the radio throughout the night, Steve ponders a future with girlfriend Laurie (Cindy Williams), Curt chases a mystery blonde, Terry tries to act cool, and Paul prepares for a race against Bob Falfa (Harrison Ford), but nothing can stop the next day from coming, and with it the vastly different future ushered in by the 1960s. Fresh off The Godfather (1972), producer Francis Ford Coppola had the clout to get his friend George Lucas's project made, but only for $750,000 on a 28-day shooting schedule. Despite technical obstacles, and having to shoot at night, cinematographer Haskell Wexler gave the film the neon-lit aura that Lucas wanted, evoking the authentic look of a suburban strip to go with the authentic sound of rock-n-roll. Universal, which wanted to call the film Another Slow Night in Modesto, thought it was unreleasable. But Lucas' period detail, co-writers Willard Huyck's and Gloria Katz's realistic dialogue, and the film's nostalgia for the pre-Vietnam years apparently appealed to a 1973 audience embroiled in cultural chaos: American Graffiti became the third most popular movie of 1973 (after The Exorcist and The Sting), establishing the reputations of Lucas (whose next film would be Star Wars) and his young cast, and furthering the onset of soundtrack-driven, youth-oriented movies. Although the film helped spark 1970s nostalgia for the 1950s, nothing else would capture the flavor of the era with the same humorous candor and latent sense of foreboding. ~ Lucia Bozzola, All Movie Guide

Since most of the members of the Weather Underground interviewed in this film were fugitives at the time it was made in 1974, the FBI attempted to impound it as evidence. After several years of legal battles, it was finally released. These radicals, deeply dissatisfied with the American political culture of the time, discuss their views and the reasons for their actions which resulted in criminal charges and their fugitive status. ~ Clarke Fountain, All Movie Guide