Word: wyatt
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Dates: during 1960-1969
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...With a detailed reconstruction of the fight at the O. K. Corral, there is a brightening in the eyes of the crowd. The theme in Dallas's history is evident. The winning of the West was a struggle. "That's Wyatt Earp cuttin those other guys down," someone says to a child. In the wax, Earp's side is coming out on top. There are four men on his side and three on the other. One of the others is already dead. One of them is wounded and about to get it again as he tries to shoot from...
LOVE, AMERICAN STYLE (ABC, 10-11 p.m.). A compendium on the subject, with stories of various lengths and guest stars in each. Flip Wilson in "Love and the Hustler," Robert Cummings and Jane Wyatt in "Love and the Pill," Michael Callan, Penny Fuller and Yvonne Craig in "Love and a Couple of Couples." Premiere...
...free of what? Certainly not of American yahoo aspirations-Billy intends to buy a home in Florida with his share of the loot. This is what Hopper insists on in his interviews: that when Wyatt says to Billy "We blew it" what they're really saying is that they're no different from the two guys in the truck. That's true, but that's not what the film says at all. The good guys are portrayed as sensitive loner types: they know grass isn't addictive: they're nice to girls: they wouldn't hurt anybody. The bad guys...
...given us known songs by top rock artists. Attempting no structural integration between sound and image, his musical allusions are literary: Hoyt Axton's "The Pusher" after they make their connection. Steppenwolf's "Born to Be Wild" as they hit the road on their bikes. Billy and Wyatt travel through these pulsating songs the way they do the countryside-the Band, the Byrds, Dylan, Jimi Hendrix et al are employed as a musical landscape, part of the backdrop of the youth subculture, but hardly integral or necessary. Hopper doesn't explore or celebrate rock the way that Peter Whitchead...
...darling gonna make it happen / Take the world in a love embrace / Fire all of our guns at once and explode into space") and these disjunct moods clash to disengage the viewer. And isn't there something obscene in playing Jimi Hendrix's "If 6 was 9" while Wyatt and Billy shoot past the shacks of the Deep South's black population ("If the sun refuse to shine / I don't mind. I don't mind / If the mountains fell in the sea / Let it be, it ain't me / All right, 'cos I got my own world to look...