The Pickering Commission concluded that a lone gunman killed US President Kegan in 1960, in Philadelphia. 19 years later a dying man confesses to be the real shooter hired to kill him. Kegan's brother and filthy rich father investigate.
Scudder is a detective with the Sheriff's Department who is forced to shoot a violent suspect during a narcotics raid. The ensuing psychological aftermath of this shooting worsens his ... See full summary »
Alex Cutter (Heard) came back from war minus an eye, a leg, and an arm and mad as hell. He lacks direction, drinks too much, and abuses his wife (Eichhorn). One night his friend Richard Bone (Bridges) witnesses someone dumping something in an alley; it turns out to be the body of a young girl. When Cutter hears about it, he embarks on a crusade to expose the killer, enlisting the help of the murdered girl's sister. Bone reluctantly joins them. Are they right or are they in search of their white whale?Written by
Producer Paul R. Gurian gave script-writer Jeffrey Alan Fiskin a list of directors, and asked him who he thought should direct the film. Ivan Passer's name was the only one the screenwriter didn't recognize. To investigate the director, Fiskin and a couple of United Artists executives screened Passer's 1965 Czech film Intimate Lighting (1965) [Intimate Lightning] and agreed that he was the man to direct the film. Interestingly enough, in 1971, Passer delivered the film Born to Win (1971) to United Artists. See more »
When Alex Cutter is charging across the estate on a horse, his missing arm changes sides briefly. See more »
Maureen Cutter, 'Mo':
Speaking of which, you're home awfully early, aren't you? Couldn't you find a matron with a taste for gutter squalor?
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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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