Films for Us Voyeurs of Violence
Jan Dawson
Monthly Film Bulletin, March 1970
America’s history over the past few years has provided a convincing demonstration of the principle that nothing is impossible. But this same principle operates rather dangerously on the artistic level, when improbabilities of plot or character (the photographer’s attraction to the emphatically dowdy Eileen, Harold’s choice of the Convention eve for his escapade in the park, of the car crash which provides an abrupt but rather pat solution to the hero’s moral crisis) gain credence from the contiguous improbability of the reality in which they are placed.
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