Unable to deal with her parents, Jeannie Tyne runs away from home. Larry and Lyne Tyne search for her, and in the process meet other people whose children ran away. With their children gone...
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Eight acclaimed filmmakers bring their unique and differing perspectives to the 1972 Summer Olympic Games held in Munich. The segments include Claude Lelouch's take on Olympic losers and ... See full summary »
Unable to deal with her parents, Jeannie Tyne runs away from home. Larry and Lyne Tyne search for her, and in the process meet other people whose children ran away. With their children gone, the parents are now free to rediscover/enjoy life.Written by
Dan Goldwasser <firstname.lastname@example.org>
[to woman who is taking repeated short puffs on her joint]
Hey, lady! Don't cheat!
I have trouble with my windpipe.
Well just *pass it along*.
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Czech director Milos Forman made his American debut with this sweetly-zonked look at the generation gap, circa 1971. Straight, tightly-wound suburban married couple just outside New York City panic when their teenage daughter runs away...but eventually they tire of looking for her ("She's probably out there having fun," the kid's father says, "so why shouldn't we have some fun, goddammit!"). Scenes of the grown-ups letting loose with marijuana experimentation and strip poker are intercut with teenagers auditioning for a musical, and this is where Forman's true talent comes to the fore (he's mad about faces, and passionate about eccentrics and talent). The well-chosen cast (including Buck Henry, Lynn Carlin, Audra Lindley, Paul Benedict, Georgia Engel and Allen Garfield, with music performances from Ike and Tina Turner, Kathy Bates and Carly Simon) is uniformly excellent, though the thin screenplay (penned by Forman with John Guare, Jean-Claude Carrière and John Klein) doesn't give the actors much to work with--they're all flying high on the exuberance of collaboration. Forman's vision is predictably cockeyed, though his pacing is slow and his staging is sometimes puzzling. For instance, is he holding the singers at the audition in esteem with his camera or using them satirically? The blank faces of the judges are probably meant to get a laugh, but their dumbfounded reactions shouldn't dictate what we're experiencing watching them for ourselves. The movie does take off on occasion, but it isn't from energy (Forman doesn't display a temperament, he's of the low-keyed school of filmmaking); the sheer intrinsic delight of showcased talent gives the picture its charge, ultimately making it a unique, quirky bird all its own. **1/2 from ****
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