An idealistic rookie cop joins the L.A.P.D. to make ends meet while finishing law school, and is indoctrinated by a seasoned veteran. As time goes on, he loses his ambitions and family as police work becomes his entire life.
George C. Scott,
In 1913, in Oklahoma, oil derrick owner Lena Doyle (Faye Dunaway), aided by her father (Sir John Mills) and a hobo (George C. Scott), is stubbornly drilling for oil despite the pressure from major oil companies to sell her land.
An accidental nerve gas leak by the military kills not only a rancher's livestock, but also his son. When he tries to hold the military accountable for their actions, he runs up against a wall of silence.
George C. Scott
George C. Scott,
Herbert Bock, the chief of medicine in a New York City teaching hospital, is contemplating suicide; he's impotent, his wife has left him, and his children aren't speaking to him. His hospital is also suffering from a recent spate of inexplicable deaths. In the midst of these setbacks, Bock is romantically drawn to the much younger Barbara, whose father is a patient. As Barbara restores Bock's will to live, it turns out that the hospital deaths are murders.Written by
The only Oscar nominated performance by George C. Scott in a non-Best Picture nominated film. See more »
About ten minutes into the movie, as the characters walk down a hospital hallway, followed by the camera, a technician and his microphone are revealed behind a nurse's cart. The camera then tightens the shot around the actors. See more »
You know, when I say impotent, I don't mean merely limp. When I say impotent, I mean I've lost even my desire to work. That's a hell of a lot more primal passion than sex. I've lost my reason for being... my purpose. The only thing I ever truly loved.
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Although Barnard Hughes played two distinct roles, the end credits lists Hughes as playing the role of Drummond but not Dr. Mallory. See more »
More black than comedy. The only joke is how unfunny this film is.
A hospital, its suicidal boss, and its resident murderer are the focus of this black-as-they-come comedy. More depressing and intense than funny. You've gotta be prepared for some real gallows humour. Plus, Scott is probably one of the most intense people ever to have lived!
It was a curiosity piece, all right. Being that Dr Strangelove is one of my favourite movies, I was curious to see another of George C Scott's comedy roles. Without Kubrick forcing him to go over the top, though, he's just very scary and dark here. He's good, but just too intense to laugh at. In fact, i didn't laugh once the entire movie. The curiosity is Scott's performance: its marvellous, but not effective. He bowls you over with the middle-age depression baking out of him, but its so overwhelming it quashes any chance of laughing at it.
If i'd never seen Dr Strangelove, i would have sworn Scott could not play comedy. Seems like Kubrick had to drag that out of him like he was pulling his spine out through his head.
The whole indian thing was a massively irrelevent tangent... padding... And the woman who takes up the last half of the picture has no screen presence, she's just annoying. And like most movies of this period it attempt to lend more importance to itself by dabbling in the down-with-the-establishment popular politics of the time.
1/5. I can pretty much guarantee you won't enjoy this - unless you take it as a straight drama, and Scott's performance as an example of that Brando-esque holy grail of filmic intensity. Dislaimer: one unexpected rape scene, which is included in the black humour. Only for mature audeinces: anyone too young will be terrified.
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