Word: shootouts
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Dates: during 1970-1979
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After the robbery. Patty escaped the holocaust of May 17, 1974, when six S.L.A. members died in the shootout with Los Angeles police. Along with millions of other Americans, she watched the death struggle live on television-the macabre media event of the year. There followed the 16-month chase as the FBI searched for her across the country while she traveled from the West Coast to a farmhouse in rural Pennsylvania and back again. Then, on Sept. 18, 1975, two lawmen crept up the stairs of a small house in San Francisco and knocked on the door, which swung...
...issue-by dangling in front of the jury a small, stone figurine of a monkey. Patty was carrying the object in her purse on the day she was arrested last September. The prosecution claimed it was a gift from S.L.A. Member William Wolfe, who was killed during the shootout with police in Los Angeles. "She couldn't stand Willie Wolfe," said Browning, but she carried that stone with her to the day she was arrested. "Yet there is the little stone face that can't say anything but, I submit to you, can tell...
...revolutionary ("I have chosen to stay and fight"). After studying S.L.A. tapes and writings, Singer decided that these particular messages were probably read by Patty from scripts prepared by Angela Atwood, an S.L.A. ideologue fond of bombast and complex phrasing, who was killed in the fiery Los Angeles Shootout...
...subject overwhelmed any possibility of creating a tightly structured movie of sustained interest. Instead, he presented us fistfight after gunbattle after fistfight ad infinitum, and the final effect was to numb rather than involve us. Because the flow of passion had been so steady during the movie, the "climactic" shootout was hardly cathartic at all--it merely appeared a degree or two more intense than what had preceded...
...trifle slick, a sort of cinematic illustration of the old Rolling Stones lyric about "just as every cop is a criminal and all the sinners saints..." But if Scorsese teases us through the body of the movie with latent violence, he more than compensates for it in the final shootout--a rapid, graphic sequence of knives, bullets and blood, followed by a perversely loving, achingly detailed pan over the scene of the massacre. In this and in the epilogue, Scorsese achieves a near-perfect identification between his hero and his audience; like Travis, we have been aching for this release...