Simon is a student at a college in San Francisco. He is content to be on the rowing team and remain as just a casual observer to the on-campus unrest, demonstrations and protests. However, ... See full summary »
Bill, a wealthy businessman, confronts his junkie daughter's drug-dealing boyfriend; in the ensuing argument, Bill kills him. Panic-stricken, he wanders the streets and eventually stops at ... See full summary »
John G. Avildsen
Documentary film-maker Bob Sanders and his wife Carol attend a group therapy session that serves as the backdrop for the opening scenes of the film. Returning to their Los Angeles home, the... See full summary »
It's the mid 1970s and the Weather Underground Organization (WUO), a radical (and violent) offshoot of the Students for a Democratic Society, explains to leftist filmmakers the difficulties... See full summary »
A criminal known as Thunderbolt is imprisoned and facing execution. Into the next cell is placed Bob Moran, an innocent man who has been framed and who is in love with Thunderbolt's girl. ... See full summary »
John Cassellis is the toughest TV-news reporter around. His area of interest is reporting about violence in the ghetto and racial tensions. But he discovers that his network helps the FBI by letting it look at his tapes to find suspects. When he protests, he is fired and goes to the 1968 Democratic National Convention in Chicago, Illinois. Written by
A rare directorial outing by all-time great cinematographer Wexler, this is generally acknowledged as the most politically radical film ever produced by a major studio. In freewheeling, semi-improvised, ideologically calculated scene after scene, it depicts an apolitical television cameraman's awakening of consciousness and abandonment of the role of passive observer. The class and race politics are four notches up on any comparable contemporary studio feature, that's for sure - with the surprisingly patient explanation of how 6-o-clock-news ideology oppresses minority communities, leading in to a love affair with a working-class single mother instead of some vanguard hippie, you could even argue that this Americanization of Godard has better ideological legs than the master himself. Sure it meanders a tad, and the stylistics can date, but there's nothing else in any movie ever that compares with the climax, as the actors make their way through actual documentary footage of the 1968 Democratic convention and attendant street battles. I mean, how did such a finely balanced mix of integrated narrative, Euro-tics, American underground film and straight-up documentary even occur to them? And how did they then manage to actually pull it off with honors? Pretty damned impressive.
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