Word: film
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Dates: during 1970-1970
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Pulling the Wool. Not if much of the public can help it. "The midi is all right in its place, like in a dungeon," muttered Los Angeles Film Maker Michael Huemmer. "It makes women look like tea cosies," said a Chicago housewife. "Instant age," sniffed a Boston fashion writer. "If God wanted women to go around all covered up that way," says Atlanta TV Reporter Tom Loughney, "they'd be born like that." Still, such protests rarely reach farther than across a bar or a park bench. What the midi mania clearly calls for is mass resistance...
...hundreds of miles away on the evening, two years later, when her husband poisoned, shot and bludgeoned to death the Mad Monk. Soon afterward the couple fled to England, where in 1934 Irina made world headlines by winning a $125,000 libel suit against Metro-Goldwyn-Mayer for the film Rasputin and the Empress, which depicted her as having been raped by Rasputin...
...first New York preview, The Liberation of L.B. Jones provoked a brief fistfight between a Negro youth and a white man. This response - which could echo at theaters around the country - accurately reflects the film: frustrating, morally ugly, and in the end as banal as evil itself...
...that sounds like Sam Sheppard and F. Lee Bailey in Easy Rider, it is un ashamedly supposed to. A modestly budgeted film without a name star, The Lawyer has magnificent pretensions. It seeks to analyze the dilemma of freedom of the press v. a defendant's pretrial rights, probe the personality of an ambitious young trial lawyer and lay bare the smug, self-righteous rural soul (which suffers from overexposure anyway). The result is a demolition derby that threatens to wreck everyone in sight...
...wonder is that a few emerge unscathed. Director Sidney Furie (The Leather Boys, The Ipcress File) uses film gimcracks that have become pure convention: oblique camera angles, elliptical scene shifts, blinding lights to denote oppressive authority. Still, he maintains an even pace that helps tone down the film's giddy aspirations. As Petrocelli, Newcomer Barry Newman must cope with the staggering improbability of the lawyer's very presence in the town. But he approaches the role with cheerful pugnacity instead of that air of insufferable concern that overlays most screen lawyers. The master craftsman in this melange, though...