Haskell Wexler Movies

Another of Disney's Touchstone Pictures rehashes of a lightweight French farce, Three Fugitives goes the trend one better by importing French director Frances Veber to supervise a shot-for-shot remake of his French original Les Fugitifs. Nick Nolte stars as a bank robber named Lucas, recently released from prison, who ambles into a bank to open up a checking account. Into the bank enters the inept Ned (Martin Short), who tries to rob the place and takes Lucas hostage. The police, knowing Lucas's criminal history, assume Lucas and Ned are pulling the heist together. With no choice in the matter, Lucas is compelled to engineer their getaway. Complicating the situation further is Ned's six-year-old daughter Meg (Sarah Rowland Doroff), who has been mute since the death of her mother. With his bank account depleted, Ned has robbed the bank to get money to send Meg to a special school. Meg loves her father, but finds herself drawn to the gruff Lucas. As the three go on the lam from the cops, the trio of misfits bond as a makeshift family. ~ Paul Brenner, All Movie Guide

Independent filmmaker John Sayles creates one of his more artistic works with this period feature about a volatile 1920s labor dispute in the town of Matewan, West Virginia. Matewan is a coal town where the local miners' lives are controlled by the powerful Stone Mountain Coal Company. The company practically owns the town, reducing workers' wages while raising prices at the company-owned supply and grocery. The citizens' land and homes are not their own, and the future seems dim. When the coal company brings immigrants and minorities to Matewan as cheaper labor, union organizer Joe Kenehan (Chris Cooper) scours the town to unite all miners in a strike. As the crisis grows, strikers and their families are removed from their homes by two coal company mercenaries (Kevin Tighe and Gordon Clapp, both also featured in Sayles' Eight Men Out (1988)), and the situation heads toward a final shootout on Matewan's main street . Sayles' simple but telling screenplay brings to light the treatment of immigrants and minorities in the early 20th century South, and it draws sharp parallels between the Matewan labor battle and the Civil War some 50 years earlier. The visual feel of the film is real West Virginia backwoods, with much of the credit going to legendary cinematographer Haskell Wexler, whose warm, rustic lighting belies the anxiety and terror felt by the oppressed townspeople. ~ Norm Schrager, All Movie Guide

This remake of François Truffaut's 1977 comedy misses out on Truffaut's subtext that delves into the nature of love and instead simply recounts the sexual and romantic exploits of David, a sculptor who is an incurable womanizer (Burt Reynolds). In order to come to grips with his obsession for women, David goes to see a psychiatrist, Marianna (Julie Andrews), and sure enough, she later joins him on the couch. His tale is told by Marianna, as flashbacks reveal their relationship and other loves of David's life, most notably Louise (Kim Basinger), a married woman hooked on intimacy in odd, if not dangerous, places. In all these relationships, David is as much attracted to the women as they are to him. Unfortunately, with flat dialogue and uninspired comedy, David fares better than the film as a whole. ~ Eleanor Mannikka, All Movie Guide

Jon Voight starred and co-wrote the script for this comedy (directed by Hal Ashby) concerning two gamblers on the run from their debts who try to score big in Las Vegas. When Alex Kovas (Jon Voight) loses $10,000 to local New York City hoods Joey (Allen Keller) and Harry (Jude Farese) in a poker game, he hightails it to Vegas with his pal Jerry Feldman (Burt Young). In Vegas they make friends with Patti Warner (Ann-Margret), a former call girl, and move into the MGM Grand Hotel after winning big in the casino. But word gets out and Joey and Harry take a trip out West to pay the boys a surprise visit. ~ Paul Brenner, All Movie Guide

The Kid From Nowhere is built around the talents of Ricky Wittman, a remarkable young actor afflicted with Down's Syndrome who appeared in several TV programs during the early 1980s. Judy Farrell's script traces the efforts of a California mother (Susan Saint James) to curb the sudden energy outbursts of her retarded son. The boy is entered in a school athletic program, attaining confidence and achievement through his participation the Special Olympics. Director Beau Bridges has a supporting role as the boy's coach. Kid From Nowhere offers no easy solutions, but it does point out the importance of stressing self-value when dealing with children of special needs. ~ Hal Erickson, All Movie Guide

Also known as The Muse Concert: No Nukes, this rock-concert film offers a good representative cross-section of old-line show business liberalism. Bruce Springsteen and Bonnie Raitt are the "newest" members of the aggregation by default. They're okay if not brilliant, which can also be said for their fellow troubadours Jackson Browne, Crosby, Stills, and Nash, James Taylor and the Doobie Brothers. The anti-nuke theme of the concert isn't as overbearing as it might have been under the circumstances (even "special guest" Jane Fonda is comparatively benign). The best sequences in the film are comprised of misleading government-propaganda clips from the old TV series "The Big Picture" (love those uniformed piglets!) The graininess of the film stock is the only real detriment of No Nukes. ~ Hal Erickson, All Movie Guide

Terrence Malick's Days of Heaven, the long-awaited follow-up to his 1973 debut Badlands, confirmed his reputation as a visual poet and narrative iconoclast with a story of love and murder told through the jaded voice of a child and expressive images of nature. In 1916, Chicago steelworker Bill (Richard Gere, stepping in for John Travolta) flees to Texas with his little sister Linda (Linda Manz) and girlfriend Abby (Brooke Adams) after fatally erupting at his boss. Along with other itinerant laborers, they work the harvest at a wealthy, ailing farmer's ranch, but the farmer (playwright Sam Shepard) falls in love with Abby, and, believing her to be Bill's sister, asks the three to stay on at his elysian spread. Seeing it as his one real chance to escape perpetual poverty, Bill urges Abby to marry the sick man. Marriage, however, has more restorative powers, and the farmer has more magnetism, than Bill had planned. "Nobody's perfect," Linda impassively observes in one of her many voiceovers, after their brief paradise is erased by plagues of locusts, fire, and lethal jealousy. ~ Lucia Bozzola, All Movie Guide

Adapted by Robert Getchell from Woody Guthrie's autobiography, Hal Ashby's biopic portrays a few pivotal years in the life of the celebrated folk singer and social activist. In the Depression 1930s, Midwesterner Guthrie (David Carradine) plays music locally but cannot make enough as a sign painter to support his wife (Melinda Dillon) and children. With only his paintbrushes, Woody joins the migration westward from the Dust Bowl to supposedly greener California pastures via boxcar and hitchhiking. When penniless Woody is turned back from the California border, he sneaks into the state alone and meets Luther (Randy Quaid), who takes Woody to a farm where hundreds of workers scrounge for a few ill-paid harvesting jobs. When singer Ozark Bole (Ronny Cox) arrives both to entertain and to urge the workers to unionize, Woody joins Ozark in song, fleeing with him after thugs break up the assembly. He lands a job singing with Ozark on the radio, and the two become partners in union agitation. Unable to commit in his personal life as he finds his political voice, Woody brings his family west, but his wife can't tolerate Woody's wandering ways. Reluctant to sell out his ideals for a lucrative career, Woody hits the road again, bringing his songs of freedom and protest to a nationwide audience on his own terms. Opting for atmospheric story-telling over strident polemic, the filmmakers present Guthrie as a complex individual with contradictory virtues and faults. Despite critical praise and nominations for several Oscars, including Best Picture, Bound for Glory proved less than glorious at the box office. ~ Lucia Bozzola, All Movie Guide

This documentary was made during the most intense period of fighting in the Vietnam War. U.S. participation in that conflict lasted from 1956 (approximately) until 1975. Here Jane Fonda and Tom Hayden travel to North Vietnam in order to show the North Vietnamese as actual human beings with legitimate needs and concerns. Their suffering from American and allied bombing attacks is clearly shown, along with interviews with Le Duc Tho (a Viet Cong peace negotiator) and others. Fonda was extremely active in the antiwar movement, and organized concerts and films supporting antiwar activities; this documentary was only a small part of her efforts in that period. This film, and the trip which made it possible, earned her the derisive epithet "Hanoi Jane." ~ Clarke Fountain, 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

"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

Thomas Crown (Steve McQueen) is a self-made Boston millionaire who masterminds a bank heist in hopes of leaving it all behind. Tired of being part of the Establishment, he has hopes of pulling off the caper and flying to Rio. Erwin Weaver (Jack Weston) leads the cast of crooks who never actually meet Crown but manage to pull off the robbery without a hitch. Crown deposits 3 million in a Swiss bank account, pays off the crooks, and waits for the insurance company to repay the bank for the loss. Eddy Malone (Paul Burke) is the savvy detective who helps insurance investigator Vicky Anderson (Faye Dunaway) find the mastermind behind the heist. Thomas Crown Affair became one of the first films to employ many split-screen images throughout its running time, as devised by editor Hal Ashby. Michel Legrand's score was nominated for an Academy Award, and the song The Windmills Of Your Mind, written by Legrand with Alan and Marilyn Bergman took home the coveted Oscar. ~ Dan Pavlides, All Movie Guide