The Sticking Place

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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