7.4/10
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Medium Cool (1969)

R | | Drama | 1970 (Japan)
A TV news reporter finds himself becoming personally involved in the violence that erupts around the 1968 Democratic National Convention.

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2 wins & 4 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
...
Eileen
...
Gus
...
Ruth
Harold Blankenship ...
Harold
Charles Geary ...
Harold's Father
Sid McCoy ...
Frank Baker
Christine Bergstrom ...
Dede
William Sickingen ...
News Director
Robert McAndrew ...
Pennybaker
Marrian Walters ...
Social Worker
Beverly Younger ...
Rich Lady
Edward Croke ...
Plain-clothesman
Doug Kimball ...
Newscaster
...
Gun Clinic Manager
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Storyline

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 Mattias Thuresson

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Dateline: Chicago August '68 See more »

Genres:

Drama

Certificate:

R | See all certifications »
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Details

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Release Date:

1970 (Japan)  »

Also Known As:

The Concrete Wilderness  »

Filming Locations:

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Box Office

Budget:

$800,000 (estimated)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The white television station news vehicle is a 1968 Chevrolet Impala station wagon. See more »

Quotes

Gus: Hey, what's in the basket?
John Cassellis: Dinner.
See more »

Crazy Credits

Studs Terkel is credited as "Our Man in Chicago". See more »

Connections

Featured in Tell Them Who You Are (2004) See more »

Soundtracks

Who Needs the Peace Corps?
(uncredited)
Written by Frank Zappa
Performed by Frank Zappa & The Mothers of Invention
Played in nightclub scene while the band The Litter is on screen
See more »

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User Reviews

 
MEDIUM COOL (Haskell Wexler, 1969) ***1/2
23 August 2006 | by (Naxxar, Malta) – See all my reviews

A brilliant film and a seminal one - a product by a major Hollywood studio handled in cinema-verite' style; besides, the various issues it raises - social, political and media-related - have scarcely been treated with such directness and power. The lack of star names in the cast (Peter Boyle, who appears briefly, was not yet established and, even if he had debuted in John Huston's REFLECTIONS IN A GOLDEN EYE [1967], lead Robert Forster's role was originally intended for John Cassavetes) certainly helps sell its inherent documentary feel.

Though, understandably, most meaningful to people who witnessed these turbulent times first-hand, and Americans in particular, despite its specific time-setting - Chicago 1968 (partly shot at the actual Democrats convention site, the film proved prophetic because the script involved riots breaking out...which is what actually happened!) - many of its concerns are still very much with us!! Fascinating therefore if slightly overlong - the subplot involving Verna Bloom and Harold Blankenship feels a bit like padding at first (and was actually what remained of a proposed film, with animal interest, about a poor country boy's adjustment to city life!)...but, ultimately, its point is made during the film's latter stages when Bloom goes to look for her missing son - creating an indelible image of a perplexed figure (incongruously dressed in a bright yellow outfit) getting embroiled in all the commotion hitting the streets at that same moment. This, however, results in a goof involving the unexplained presence very early on of Bloom (already wearing the yellow dress but whose introduction proper in the film takes place quite a bit later!) at a cocktail party for members of the press - a sequence intended to immediately precede the riots but which was then pushed forward during editing, so as to deal straight off with the film's major theme of media responsibility! The tragic yet ironic ending - presented as matter-of-factly as any of the news items covered by dispassionate TV cameraman Forster - is very effective.

This is certainly renowned cinematographer Wexler's most significant directorial effort; his camera-work (some of it hand-held) is simply incredible, as is Paul Golding's editing (which must have been quite a headache and, in fact, he mentions in the Audio Commentary that several scenes remained on the cutting-room floor; pity they weren't available for inclusion on the Paramount DVD - nor, apparently, were the rights to the 2001 documentary about the film, LOOK OUT HASKELL, IT'S REAL: THE MAKING OF 'MEDIUM COOL'!). Also essential to the unique texture of the film is the fantastic soundtrack (mostly by Mike Bloomfield but also featuring songs by Frank Zappa, among others).


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