Director:
Ivan PasserGuión:
Jeffrey Alan FiskinCámara:
Jordan CronenwethMúsica:
Jack NitzscheReparto:
Jeff Bridges, John Heard, Lisa Eichhorn, Stephen Elliott, Arthur Rosenberg, Nina van Pallandt, Ann Dusenberry, Patricia Donahue, Francis X. McCarthy (más)Sinopsis(1)
Durante una noche lluviosa, el coche de Richard Bone se avería en un callejón. En su entorno siente la presencia de un coche lejano y a un vagabundo escarbando en unos cubos de basura. Nada de esto le resulta extraño, así que decide seguir su travesía para ir al encuentro de su amigo Alex Cutter. A la mañana siguiente, una joven aparece brutalmente asesinada en el mismo callejón en el que Bone dejó su coche. Y así, de repente, se convierte en sospechoso de asesinato. Ese mismo día descubrirá entre la multitud que acude a un desfile la identidad de quien él cree que es el asesino. Responde a la identidad de J.J. Cord, un magnate local. Su amigo comenzará a interesarse por el caso y ambos empezarán a inmiscuirse en la que parece ser una extraña conspiración. (Filmin)
(más)Reseñas (3)
It is not worth looking at Passer's film as a usual film from the crime genre. The crime is pushed into the background and traditional investigation of the perpetrator does not play a crucial role in the film. It is rather a starting point for the development of a psychological drama about coming to terms with the consequences of the Vietnam War and the critical atmosphere of the 70s in the USA. The main driver of events is not the main character Bone, but his disabled friend Cutter, who exchanges the stagnation of survival for an effort to catch the suspect of the crime, who is a local rich man. This level could work, but I had problems accepting both male characters - neither of them was sympathetic to me, despite both actors doing a decent job. The core problem is in the screenplay and when you don't cheer for the film's protagonist, it is difficult to do something about it. Overall impression: 60%.
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Although I'm not particularly fond of Jeff Bridges (outside of The Fabulous Baker Boys) or John Heard, I have to admit that, forgetting the shards Passer left behind in Czechoslovakia, his exile work is probably most reminiscent of Miloš Forman's rebirth. While Forman went within himself, assimilated, and made it to the Oscars, he never suppressed his own perception of the world. Passer, on the other hand, assimilated and fortunately put the New Wave cries completely behind him, and his films in exile can be considered films, not the various attempts and experiments of most of his migrant contemporaries and their family members.
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Ivan Passer has not been a director that I have been significantly following, but I have to say that after the movie "Cutter's Way", I might find some time to pay a little more attention to him. It's a bit of a detective movie, a bit of an action spectacle, but it still has a social depth to it. That's what I liked about the film.
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