Word: scenarists
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Peckinpah and Scenarist Rudolph Wurlitzer (Two Lane Blacktop) transform Garrett and the Kid into the kind of uneasy antagonists who test and challenge each other with every inflection. Garrett and the Kid have become estranged by ungovernable coincidence, made enemies by the intervention of impersonal circumstances...
...hands of Bogdanovich and his scenarist, the material is gutted of charm. It becomes a sort of attenuated general-store yarn about a bunko artist named Moses Pray (Ryan O'Neal) and a nine-year-old girl, Addie (played by O'Neal's daughter Tatum), who team up to fleece the citizens of Kansas and Missouri. The relationship between the older man and the girl, who may or may not be father and daughter, is grudgingly respectful and guardedly affectionate. They start off trying to fox and swindle each other, and the girl actually runs an elaborate...
...supposed to be very folksy and good-natured and wise. But neither Bogdanovich nor Scenarist Alvin Sargent (Love and Pain and the Whole Damn Thing) seems to understand that the tutoring Moses gives Addie is not so much sentimental education as congenial corruption. We are supposed to smile and blink back a tear when Addie decides she would rather remain with Moses, bilking the suckers, than settle down to a stifling middle-class life...
Marion joined the fledgling film industry shortly after World War I, quickly graduated from $15-a-week secretary to $17,000-a-week scenarist. She scripted Greta Garbo's first talkie (Anna Christie), Clark Gable's first romantic film (The Secret Six), and in 1930 and '31 won successive Oscars for two Wallace Beery movies (The Big House, The Champ). Just last fall Marion published her sentimental memoirs of Hollywood, Off With Their Heads...
...adolescent dewiness turns damp, his confusion becomes less consistently comic than congealed into mannerism. Of course, he is burdened with a role that is rather too severely sentimentalized. His Walter is blood kin to Pookie Adams of The Sterile Cuckoo (which represents the previous collaboration of Director Pakula and Scenarist Sargent), with none of Pookie's surface brashness and vigor. As played and as written, Walter never sheds the tentativeness and the fear that his relationship with Miss Fisher ought to have changed. He begins to act a good deal more assured, but like the film's peculiar...