At what other time could a mediocre looking middle-aged scruffy convict like Max Dembo hook up with a twenty something hottie, who would visit him in prison after one date? It appears that a man could make serious traction with these babes if they projected a margin-of-society edginess. Nowadays, well, you need money. Dembo wouldn't have a chance.
(for a more egregious example see Walter Matthau in Charley Varrick)
Even more impressive, get a half-decent full-time job in about a day.
The advantage guys had in the 70s with hotties was that the only thing you could get from sex at the time (or so popular wisdom said) was tired. The pill eliminated pregnancy, AIDS wasn't a problem, and the only way you got syphilis or gonorrhea was screwing whores from the very wrong side of the tracks. And nobody needed to do that because pretty much everyone was up for a one night stand.
[deleted]
I enjoyed watching this movie just as a wayback machine.
In one scene when Hoffman goes into a restaurant, hanging on the wall is a Heineken bar mirror that I, and many others, had hanging on our apartment walls (when they didn't come down once in awhile, wink, wink) back in the day.
And, as portrayed, you could smoke in most restaurants back then. Maybe some object to that then and now, but it was a reminder to me of one more thing that has changed since back then.
Gary Busey, in his mannerisms and his hair style, was almost a dead ringer for my first husband, again back in the day (except my husband was more 'fit' looking than Busey was in this).
And, all those great cars!
It is not just nostalgia -- things were more freewheeling back then.
It also reminded me how people would sit and talk more, without the distraction of computers and cellphones and such, buzzing in the background.
And, at least where I lived, it was fairly easy to pick up a job in a factory or cannery that fast.
"I can't stand a naked light bulb, any more than..a rude remark or a vulgar action" Blanche DuBois
The Seventies.....the last decade before the "Reagan Revolution" began transforming the country into what it has become today.
The cars......huge, stylish gas guzzlers that actually sound the way an automobile should. Even Theresa Russel's cute little baby-blue Mustang sounded throaty with Max Dembo behind the wheel. Max pulls into a gas station and says "Fill it up and check the oil. I think it's a little low". How quaint, a society that actually provided "service".
The cigarettes.....even the one redeemimg character in the movie and certainly one of the most naturally beautiful actresses of the era (she was only 20 years old at the time of the shoot and appears "fresh as a daisy") smokes. Dembo and Harry Dean light-up as often as any character one would see in a noir film from the classic period. (Apparently Hoffman "kicked" after the movie wrapped)
The cast....each of the actors were chosen, not by some casting agency, but by Dustin Hoffman himself who had planned to direct the film when he bought the rights to the book. As some reviewers have noted, Max Dembo may be the least well known character Hoffman has ever played but he is certainly at his very best in this barely remembered film. It is difficult to take one's eyes off of Theresa Russel in each of her scenes. Both Walsh and Stanton are consummate professionals. This movie lover usually enjoys Gary Busey's work and even his real life son was perfect in his bit part.
The locations...watching the film is like entering a time warp for those of us that lived and loved during the 70's. As Max exits the bus in front of an LA shopping mall, the main store is Montgomery Ward! Fortunately for us, Ulu Grosbard stayed away from the soundstage as much as possible and provided an almost documentary-style look at mid to late 70's Los Angeles.
The score....the haunting bluesy melody of David Shire's composition is the perfect accompaniment. The music serves to flesh out the world of Max Dembo as he views it. The soundtrack also embellishes the sense of gloom and foreboding, the realization early on that what is in store for Max is not likely to lead to a typical Hollywood-style, feel-good ending. On a good sound system, one can't help but notice the excellent transfer to DVD of the mono soundtrack. Warners allowed Hoffman and Grosbard complete artistic freedom, which is what helps makes the film a cult classic.
The script.....How can it get anymore realistic when the script is based on a novel by an intellectual ex-con, Edward Bunker, which is based on his own life experience who also serves as the technical adviser. He even makes a cameo appearance in the flick!
The editing....Sam O'Steen is one of the greatest, if not the greatest film editors of all time. Don't take the word of this observer, check out his credits. The modern day movie goer is, in many instances, subjected to the MTV style of quick cuts. How abhorrent!!! Grosbard sets up his camera and allows the actors to perform their craft. Mr. O'Steen retrieves all of the footage and performs his own special magic in the cutting room. He may be the one undisputed genius of the crew.
By the way, I really enjoyed the decade of the Seventies, what I can remember of it anyway, and I really liked "Straight Time" as well.
Yep it was a great time.
shareIndeed , it was a great time ... the clothes and the music .. The music was magical ... I wouldn't trade my teenage years in the late 60's and 70's for anything .
"A man that wouldn't cheat for a poke don't want one bad enough".
yes the films were great.
shareThe 70s were great, if only in retrospect.
share