Set in the context of the Sandinista government in Nicaragua and their battle with the U.S. backed Contra rebels. Eddie Guerrero (Robert Beltran) is a Vietnam vet sent to help U.S. Special ... See full summary »
The struggle for civil rights has been one of the most important issues of American life for the last fifty years. In August of 1963, groups from all over the country journeyed to ... 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 »
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
When the film was released on video, Paramount was sued by the copyright holders of the song "Merry-Go-Round". Under their 1969 agreement, Paramount had rights to the song for showing the film in theatres and on television. Paramount argued that video release was the same as television broadcast. The courts ruled that the copyright holder in 1969 could not have considered videocassettes to be like television broadcast, as home videocassettes were not invented. See more »
Superb integration of the political and social aspects inherent in the film medium.
Haskell Wexler's film generated much debate on just where American Cinema was headed upon its release in 1969. Its narrative revolves loosely around the relationship of a TV cameraman and a lower-class widow living in Chicago during the summer of 1968. The true focus of the film is on the Democratic National Convention and its devastating effects on that city during the "long hot summer" it was subjected to. With the care of an expert social journalist Wexler films the riot caused by the civil authority in that city with an unfaltering naturalism that Soviet Realists would kill for. His cinematographic gifts are never called into question as he edits the body of the film with patches of documentary and staged scenes. It's to the credit of the filmmaker that in one section a fellow cameraman has to admonish him as to the danger he is apparently embroiled in as he shoots a sequence. This wonderful play on the reflexivity so rarely admitted in film is reason enough to give this challenging but brilliant work of art a chance to leave its mark on you.
9 of 12 people found this review helpful.
Was this review helpful to you?