The Films of John Schlesinger
A Kind of Loving
Billy Liar
Darling (July 19/14)
Darling follows Julie Christie's Diana Scott as she embarks upon a series of affairs with a variety of men, with the plodding narrative exploring the impact that Diana's cavalier behavior ultimately has on her fragile psyche. Filmmaker John Schlesinger has infused Darling with a meandering, plotless feel that is, at the outset, not as problematic as one might've feared, as the director does a superb job of establishing both the swinging protagonist and her posh environs - with, in terms of the former, Christie's superb performance heightening the movie's distinctive atmosphere. But as appealing as the character-study vibe initially is, Darling starts morphing into a seriously trying piece of work as it progresses into its deliberately-paced and repetitive midsection - with Schlesinger offering up a series of sequences that couldn't possibly be less interesting (ie there's a stretch here that seems to literally consist of one dinner party after another). The ensuing lack of momentum ensures that one's efforts at working up any sympathy for the central character's problems fall increasingly flat, and it's worth noting, too, that the emotional impact of the movie's final few scenes is diminished significantly by Schlesinger's padded-out sensibilities. And although the film boasts a handful of compelling sequences - eg Diana and a paramour engage in a vicious argument within London's tube system - Darling is, in the end, unable to establish itself as anything more than a time-capsule curiosity that thoroughly squanders a fine performance from its talented star.
out of
Far from the Madding Crowd
Midnight Cowboy
Sunday Bloody Sunday
The Day of the Locust
Marathon Man (July 16/18)
Based on the book by William Goldman, Marathon Man follows Dustin Hoffman's Thomas "Babe" Levy as he finds himself pursued by a vicious Nazi (Laurence Olivier's Szell) for unknown reasons - with the movie detailing Babe's efforts at discerning the basis of Szell's intent pursuit (and, eventually, his attempts at fighting back). Filmmaker John Schlesinger delivers a slow-moving first half that admittedly requires a fair degree of patience from the viewer, with Goldman's screenplay places an initial emphasis on a series of seemingly irrelevant subplots that wreak havoc on the movie's momentum (although, to be fair, said subplots eventually prove themselves to be quite important to the narrative). It's clear, then, that Marathon Man is, at the outset, at its best when focused on Hoffman's smug yet affable central character, as the actor's strong turn ensures that Babe's inevitable encounters with Olivier's Szell (and his various henchmen) are far more intense and riveting than one might've anticipated - with, of course, the film peaking during the now-infamous and completely electrifying dental-torture sequence. The briskly-paced third act ensures that Marathon Man concludes on a decidedly positive and memorable note, which ultimately does secure its place as an erratic but rewarding thriller (and to be fair, Goldman's novel suffers from a very similar hit-and-miss feel).
out of
Yanks
Honky Tonk Freeway
Separate Tables
An Englishman Abroad
The Falcon and the Snowman
The Believers
Madame Sousatzka
Pacific Heights
The Innocent
Cold Comfort Farm
Eye for an Eye
The Tale of Sweeney Todd
The Next Best Thing