The new Hollywood movement Since the late 1960s and 1970s, they have given talented young writers and directors to work unexpected variations of the most uneven genres of the media. Almost every week it brought something new and confusing to the nation's cinema (provided you live in a big city). As this cultural revolution raging during the tumultuous 1970s, the old guardian of film stars were replaced by Warren Beatty's likes, Jay Danaway, Jackack Nicholson, Meryl Streep and the late Robert Redford.

An actor who appeared intended for the Major of the Movie Stardom was Effef Bridges; He possessed sex appeal as a great importance as Duan in Peter Bogdanovic's "Last Show", but the co-captain of his high school football team is a deeply vulnerable young man with dubious prospects. There is something for Duan, and this strange quality would refer to the revival of the most best bridges.

Fresh from "The Last Picture Show", Bridges gave two of his best performances in 1972. One was in the "fat city" of Johnon Hoston, where he shone like Ernie Munger, a promising young boxer who, quickly clear, will not come out. The other arrived at "Bad Company", Robert Benton's directorial debut (Co-writer of Bonnie and Clide Both the director of "Kramer vs. Kramer" and "No one is a fool"), where he challenged our sympathy as opportunistic, incompetent young Western illegal by the name Akeejk Rummi. Both are rough, well-made gems, but Fat City is practically a canonical new Hollywood masterpiece so far. "Bad Company" does not get the same degree of respect (Although Roger Ebert was an early fan). Why is the revisionist western still considered a small thing?

When Robert Benton died five months ago at the age of 92, I fought to think of his career. He played with genres of conventions early in his career with subversive likes of Bonnie and Clide, "Bad Company" and "Late Show", but then bitten by the prestige bug. "Kramer v.

I continued to go back to the "bad company", expressively shot by the great Gordon Willis, and dominated Bridges as a legend of Vanabe, which was constantly undermined by his fresh naive. Akeeke is not a young man he is afraid of; He is a child with a head clapping behind his ear and telling him that he has a very honest job there for a capable beard like him. Yes, Akeeke and his Frenemia Drew (Barry Brown) survived, but they are not wicked enough or sufficiently calculated to last long. With the conclusion of "bad company", that final phrase for freezing in Wales Fargo Bank is like The end of "Butch Cassidi and the Sundance Child" in the opposite direction. Gete get the money, but it's hard to believe that there will be no deputies lined with a rifle because they are trying to make their escape. These boys dance around the collapse of their graves. They may get a shot or two, but no one will spread their legend because there is no story. And that's why it's so cool Benton and Manuman chose to make this funky -in -law classic.