Norman Mailer's first feature filmmaking effort stars the director and his two longtime collaborators Buzz Farbar and Mickey Knox as a trio of gangsters holed up in a ramshackle New York apartment, drinking, braying, and fighting.
Writer, ex-con and 40-something bottle-baby Tim Madden, who is prone to black-outs, awakens from a two-week bender to discover a pool of blood in his car, a blond woman's severed head in ... See full summary »
While I am sympathetic to this project, and the actors appear to be doing interesting things, this sounds like it was recorded on a < $100 small tape machine with a cheap microphone located (and its location was the most crucial variable), for inexplicable reasons, in the back of the room. It boggles my mind how Mailer can be so savvy and perfectionistic about some things (he was a trained engineer, and discoursed easily in technical matters--see his book on Apollo 11) could oversee such horrible sound. If I listen with headphones and jack the treble up, I still can only occasionally understand the dialogue in this strange film. Maybe it is "supposed" exist in some borderland of intelligibility.
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