Lewis Tater writes Wild West dime novels and dreams of actually becoming a cowboy. When he goes west to find his dream he finds himself in possession of the loot box of two crooks who tried... See full summary »
Not until three years after the death of her husband Jolly, Kay dares to move back into their former home, persuaded by her new fiancée Rupert. But soon her worst expectations come true, ... See full summary »
One of the most important images of the Czech New Wave 60s, which was ranked among the top ten domestic films of all time. Feature debut screenwriter and director Ivan Passer is currently ... See full summary »
After being released on parole, a burglar attempts to go straight, get a regular job, and just go by the rules. He soon finds himself back in jail at the hands of a power-hungry parole ... See full summary »
John Heard came back from the war minus an eye, a leg and an arm. He drinks a lot and abuses his wife, who also drinks a lot. Jeff Bridges is a friend who witnesses a murder. From this point John is "after" the killer, along side the diseased sister, while Jeff doesn't really want to get involved in it. Written by
Ivan Passer once said in an article entitled "Passer's Way", published in the July/August 1981 edition of "Film Comment" magazine, "You can assassinate movies as you can assassinate people. I think UA murdered the film. Or at least they tried to murder it". See more »
Just after Bone's car breaks down in the alleyway we see a shot of the second car pulling up behind his and stopping. In the following shot from the inside of Bone's car you can see the the headlights of the second car still moving through the back windscreen. See more »
Cutter's Way cannot be overpraised. This movie is a masterpiece of the first order. Ivan Passer, a compatriot of Milos Forman, came to the USA as an experienced Czech movie director. Not unlike Alfred Hitchcock or some German directors 30 years before him, he seems to have made a thorough analysis of the American social conditions and general manners. He then transformed his findings into movies. Two of them I know deal with New York. They are appropriately gritty. The setting of Cutter's way is a Californian beach community for the rich and beautiful and the movie is appropriately glossy. The whole story takes place in those paradisiac locales. They are presented like an enchanted kingdom, a country of its own.
Under the glossy surface, there is a darker side to the place. There is prostitution, drug abuse and murder. Cutter, living on the fringes of the enchanted kingdom, sees that more clearly than everyone else. He has his own code of chivalry by which he wants to live. He develops conspirational theories and strains to convert them into hard facts. The world around him, populated by indifferent, amoral rich and beautiful people, does not understand him, does not even want to listen, laughs at him. So Cutter mounts a white stallion and rides a charge.
Repeatedly the film slips into surrealistic situations, in which the impression made on the viewers is more relevant than the storyline. This technique was well known in the forties (e.g. in film noir), present day audience are less used to it. In the earlier days of film making, surrealism was created on a soundstage, and the change between reality and "dream" became immediately clear. Passer uses real locations for situations removed from reality a daring experiment that rewards the viewers with hauntingly beautiful pictures but might also confuse many. The director took this risk and we are rewarded with a magnificent picture about a distinguished slice of America. I predict: Cutters way will one day become an honored classic.
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