Movies-TV

THE MECCA OF BROKEN DREAMS....

In the 1970's, a slew of films set in the 30's came out---evidently a vogue at the time. Two stand out in my mind. "They Shoot Horses Don't They?" and "Day of the Locust". "Locust" is a particularly corrosive portrait of 30's Hollywood based on the Nathaniel West novel. A young artist (William Atherton) comes to Hollywood and finds success as a scenarist for Paramount. He watches as people sell their souls for the Dream (whatever it is to them) and finally sees Hollywood turn into Hell. "Day of the Locust" won Oscars for Burgess Meredith (as a washed up vaudvillian) and the cinematography. But I thought John Schlesinger should have won for director as well. He paints such a nightmarish picture of a debauched and decadent 1930's Hollywood that you can almost smell and taste it. Donald Sutherland also should have won for his portrayel of Homer Simpson (yes, that's the name), a frighteningly insecure simpleton who becomes Karen Black's benefactor and lives to regret it. He's also the catalyst for the horrifying climax. Black is excellent as Faye Greener (the daughter of Meredith's character)---a callous, hopelessly star struck extra in films using anyone to get ahead...or to just buy her a Dream. Many familiar faces populate the film including Natalie Schafer as a Madam, Geraldine Page as Big Sister (an Aimee McPherson type evangelist), 70's disco artist Paul Jabara as a drag entertainer performing the Dietrich song "Hot Voodoo" and Billy Barty as...a midget. Atherton is superb as the artist and should have been a bigger star after this. Many disturbing images are here including a disgusting cock fight and the brutal murder of a child but even these upsetting scenes contribute to the fabric of the film...their impact is intentional. The DVD print is beautiful, you can see how this won for cinematography. The film is a bit long (144 min.) but not a scene is wasted. Highly recommended viewing all the way.

This movie will tear you up...

If you are an avid movie fan, then you probably know how it is to no longer have the ability to be tremendously affected by great movies, although you can still recognize their greatness. An example would be All About Eve. I have overwhelming respect for this film, but it has always left me relatively unmoved. Another example would be Dogville. I definitely could not bring myself to say that about The Day of the Locust, which is a massive artistic achievement, which speaks the truth, and speaks it directly to the heart. Truth is so rare today that when it hits you, it hits hard, and that is exactly what this film has to offer.

The Day of the Locust is inherently ambitious, and that is commendable regardless of how effective the final piece is. It is fortunate that all the artistic elements combined so seemlessly and movingly. The film, although it may not be readily apparent, is extremely well casted. Karen Black gives a career-best performance as Faye Greener, a creature so messed up inside that it is easy to love her in spite of her flaws, and that was just the mistake Todd (Donald Sutherland) made. In an ideal world, people meet and fall in love. But this is the dark, seamy, loveless side of Hollywood and the ability to love is all but forgotten (one could see parallels in our world today, that our world has in fact fallen prey to these loveless creatures, making the film ever more relavent), except in the heart of Todd who seems to be the hero of this rather tragic film.

There are many, many moments and lines that will make a kind of jarring imprint on your memory. One of the most horrific, nightmarish scenes occurs at the end of the film, when Faye is finally burned from Todd's memory forever, but, as we soon find, that loss is not too much of a bother for Faye...and that may just be the one great flaw of her character, and of Hollywood. There are no emotional attachments. There is no sincerity or truth. It is an illusion, a fantasy. Faye's heart was part of the illusion, for where it should have been was just empty space, compensated by an appearance that was all flashy and tinsel.

Sorry that is the best I can do to describe a film that defies accurate description or criticism--masterpieces always do, except by masterful writers. The DVD quality? Well, there are no extra features to speak of, but for the price I am very satisfied. The picture and sound quality are both excellent, and that is all that really matters.

Like another reviewer said, seeing this movie will leave you as emotional wreckage and you would be well-advised to take a day off to think about it. However, I disagree with the reviewer who urged depressed people not to see this. On the contrary, that this movie is depressing is only consequently, for it provides truth and, maybe if you look deep enough, answers.

A Great Movie but 3 Stars for DVD Transfer

Well, it is finally out! After years of habitual checking on-line and in the shops and repeated requests to the studio to release this on DVD, I picked up an advance copy of this DVD just yesterday (about 4 days before the official release). So, I figured that I should review it for those of you who will be purchasing it as soon as it is out. By the way, I ran into Donald Sutherland here in NY a few months back and told him about how this one of my all time favorite movies (he was taken aback that people remembered the movie and was glad to hear that a DVD release had been scheduled). Here it goes....

I will not repeat what I and other fans of the movie think of it (you can read some of the other reviews below, suffice it to say that it is a favorite of mine). I will concentrate on the DVD edition's quality and such.

Firstly, the picture quality is very average (infact disappointing for DVD). Obviously this is a budget transfer not a high end digitally restored release. The picture is grainy. But then again, the are offering it for a pretty low price to start with (you get what you pay for). This release reminds me of the much anticipated (and more disappointing release of the movie 1984 - that release on DVD was in Mono, without the celebrated Eurythmics soundtrack even though the back cover credited them)!

This DVD release fares a bit better than 1984. Atleast you get a choice of Dolby 5.1 and restored non-surround sound audio. However, I found the volume to be somewhat low - it seems I have to turn the volume up higher than on other DVDs. You have a few choices of subtitles and that's about it. Besides a basic scene selection menu you have nothing else. No mini documentary, no behind the scenes tid-bits, no original movie trailer. I have been pushing the folks at Criterion Collection to look into this move and think of doing one of their high quality releases but I don't know whether they have looked into it or not. Perhaps they were told by the studio to wait until after this budget release had come out and run its course before being given permission to do so. So this is my suggestion to those who have waited for this to come out on DVD. Buy it, it may not be perfect but atleast it is on a better format than VHS and I think it is fairly priced. Then go to Criterion Collection's website (www.criterionco.com) and lobby them for a release!

FINALLY!!!! Can't wait......

I'm so glad that Paramount has finally decided to release this often-overlooked masterpiece on DVD. Genuinely one of the most affecting films I've ever seen- tragic, dark, boisterous, everything the mind conjures about Hollywood in its heyday is presented here. I guarantee that the last 10-15 minutes of this film will leave your mouth agape, shocked at how this film concludes itself. Amazing.

Wonderful, often-overlooked modern classic- but no DVD?

This multi-faceted film is so rich with texture and characters, so effective in invoking Hollywood of the 1930's; but I'm shocked that Paramount hasn't spruced this up for a DVD release. The film itself gets "5 stars" from this avid viewer, while Paramount gets "1" for allowing this to languish in a faded, horrible pan 'n scan VHS version.

This film deserves more than the "3 star average" Paramount bestows on it.

Not quite on target

I purchased the video because I am teaching Nathanael West's novel this term and wanted to see what Hollywood did with West's view of Hollywood. Well, there were pluses, serious pluses: Burgess Meredith was a great Harry Greener; the cockfight scene was well-played; Karen Black was a good Faye Greener, except on those occasions when the director or script misguided the character into moments of sincerity.

And that misguidance highlights the weaknesses of the film. There is no sincerity in Hollywood; there is no reality beneath the plywood sets; if they collapse, there is nothing beneath: that is the tone of the West book. Hollywood is 99 & 44/100 percent image, and as such represents a human society which is likewise a combination of glitter, misdirection, and pointless desire. The book is a trip into existential despair. The movie fails to wallow deeply enough.

The other big disappointment -- well, more than a disappointment, is the filming of the concluding riot scene. The filming is too 70ish -- gore mixed with psychedelic flashing between scene and imagination. The horror thus communicated is an individual horror. It is strong (part of the scene made my spouse physically ill). It is not, however, universal and despairing. Subtlety and selection leaves a longer impression than spectacle (that, of course, is a lesson Hollywood never has learned; and that is part of West's story).

Overall, some very good moments, some good acting, but the tone does not quite do justice to West's book.

unknown and neglected masterpiece

the day of the locust is a fascinating look at the people who go to hollywood and dont make it. it is brilliantly directed by the great john schlesinger ( midnight cowboy) but it was hated by the hollywood community itself for showing the seamy side of hollywood. when the acadamy awards presented the nominations that year this film was nominated for only one category (burgess merideth in a supporting actor role). the movie was clearly snubbed because it dared to show hollywood in this light and what a horrible light indeed. witness the disaster that takes place on a stage set that collapses because of shody materials or the incredible ending thats is one of the most night marish sequences ever filmed. richard atherton whom i thought would be a super star after this role is great as the new comer to hollywood who wants to be a set designer. he falls for a ditzy blond played very well by karen black whos carachter is so despicable and hatefull that we dont wether to be sorry for her or just hate her. donald sutherland is magnificent as the shy almost retarded rich man who holds in so much of his hate that your just waiting for it to explode ( of course it does). each scene unfolds so brilliantly under the direction of schlesinger that i would recommend it alone as a directors training guide on " how to direct a movie". why this film is not on dvd is beyond me. the film is a dark,brooding sad and powerfull story on human failure and dreams that can go wrong. it reminds me of something eric von stroheim would have done. in fact it is very much like his silent masterpiece GREED filmed in 1924. i have this movie on vhs but i cant wait for a dvd

One of the very best...

So why isn't this out on DVD???? I bought the Laserdisc years ago but even it has shortcomings because it's only a full-screen version. I remember reading & re-reading Nathanael West's book many times in the 1960s when it was almost as big a cult literary item as Steppenwolf (the book not the group). It's a brilliant book and it's a brilliant movie. Piercing, biting, bitter, outrageous & funny, projecting a grotesque vision of America's biggest claim to world culture: Hollywood! The Movies! It should be required viewing (& analysing & discussing) in schools.

ADDENDUM AS OF 2005. I WENT OUT & BOUGHT THE DVD & IT IS NO BETTER THAN THE VHS. WHAT A TRAVESTY!

An ugly look at realism

Hard to review a movie that leaves you kind of dead inside. A fantastic movie about the uglier side of the glamour and glitter of the Hollywood we seem to idolize. Don't watch this if you are depressed or alone, but don't miss it.

True to the Book

Not many film adaptations of great novels are so eloquently realized as this. Clearly, Schlesinger and Waldo Salt strove to be true to their source. I've never been a big fan of Karen Black's and couldn't fathom the reason for her success in 70's movies, but she turns in a workmanlike performance in this film. She's still miscast, in my opinion. I would have envisioned Faye Dunaway in the role, personally. Everyone else is perfect, particularly Burgess Meredith, who delivers his swan song in the role of a down-on-his luck huckster, who performs unitl he keels over (much like Red Button's Sailor in "They Shoot Horses, Don't They?). The cock fight is nearly as memorable on film as it was in the novel. Yes, there really is a character named Homer Simpson (Matt Groening obviously was a Nathaniel West fan). Donald Sutherland, who turned in his best efforts in the 70's in my opinion (Mash, Klute, etc) is wonderful as the catatonic Homer. I'm not sure of the young actor's name who plays the obnoxious child star, but he was absolutely brilliant (or Schlesinger elicited the perfect perfomance from him - take your pick). The film, like the book, depicts the dark underbelly of the Hollywood dream, the reality that so many who are lured by notions of fame and riches ultimitately face. The only element the film doesn't succeed in capturing is the storyline featuring the Mary Baker Eddy evangalist character who represents all the false, utopian theology California is famous for. She is one of the central figures that direct the novel towards its apocalyptic climax. I can understand how such a subplot would have been awkward for the screewriter, but it is an important element to the overall plot and was not given the treatment it warranted. All in all though, a faithful rendering, heartfelt and honest. It is another film that one can not find in video stores, so it will remain neglected, while an endless succession of tripe is snatched up by the viewing masses.

The Day of the Locust

I've often wondered how accurately Hollywood portrays the desperation of those who seek to live in it's world. I believe in most cases that there is a great deal of exaggeration used in order to drive a weak story. I didn't feel that way when I watched "The Day of the Locust". I felt extremely uncomfortable throughout most of this movie because I knew within five minutes that this story wouldn't have a happy ending. I commend the great job that was done in casting this project because I can't imagine anyone else other than Donald Sutherland and Karen Black playing the roles of Homer Simpson and Faye Greener. Burgess Meredith, Bo Hopkins, and William Atherton also delivered strong supporting efforts. This was a very disturbing movie, and at times quite violent. What has haunted me the most about this film was how much emotional damage human beings will inflict on those that are closest to them. I recommend this movie, but be prepared to maybe take the rest of the day off after you see it, cause it'll wreck you for sure.

This movie is weird but very well done.

I saw this movie back in the seventies and Donald Sutherland became my most admired and favorite actor. He played a pathetic man, and played it very well. The end of the movie really made me just sit there for a few minutes in shock. It is one of my all time favorites. All the actors are fantastic!

Before its time

The Day of the Locust was made in the mid-seventies, a time where honesty and the nature of people was celebrated, unfortunately Hollywood did not want to celebrate this in itself--for I remember upon its release very little publicity and marketing. It was viewed as a major film but marketed under a "nostalgic entertainment" with a big glossy poster. In reality it is probably the best movie ever made of the Hollywood movie making machine, complete with extras never to be seen or heard from again, set design flaws that may result in injury yet ones that go unreported, the need for the studio bosses to socialize with the high life and the low life. All of it real, sad, exhilirating and ultimately tragic and incomprehensible. John Schlesigner's direction is superb, as is every performance. The pathetic "Revival" sequence will be unforgettable to those who remember them. So many gems onscreen, I hope it gets a rebirth on DVD.

Permanently on my "10-best" list!

Superb film about depression-era Hollywood and about losers and wannabes of all time. Donald Sutherland at his best, in a riveting performance. Is this what the human animal is about?? Unfortunately, Probably, Yes.

"...a forgotten masterpiece of 70's cinema"

Many critics consider The Day of the Locust by Nathaniel West to be the best novel ever written about Hollywood. The screen version directed by John Schlesinger and written by Waldo Salt is one of the most faithful adaptations of a book to film ever made. Initially overlooked upon it's release in 1975 (to mixed reviews), it has since developed a huge cult following and is now considered to be a forgotten masterpiece of 70's cinema.It tells the story of Todd Hackett who comes to Hollywood in the 1930's (but it might as well take place in the present) hoping for a career in set design, he soon finds that the road to success in the film industry is a difficult one and his journey takes a downward spiral as he falls in with the users and abusers of Hollywood, the desperate, disillusioned souls who, consumed by boredom and their own emptiness, search out any abnormality in their insatiable lust for excitement - drugs, perversion, crime. In the end only unreasoned, undirected violence will feed their appetites. Aside from top-notch direction, the film boasts gorgeous (Oscar nominated) cinematography by Conrad Hall, a haunting score by John Barry, authentic period costume design and art direction, and outstanding performances from the entire cast. Notably: William Atherton as Todd, Karen Black (her finest role) as Faye Greener, a selfish wannabe actress and extra, Burgess Meredith (also Oscar nominated) as her alcoholic father and former vaudeville star, and an almost unrecognizable Donald Sutherland as Homer, the sensitive, socially retarded misfit who is literally torn apart by those around him and triggers the films much talked about finale.One thing is for certain, anyone who has seen the last 20 minutes of this disturbing film will never forget it. A must-see for film students, art directors, and anyone interested in the "golden" age of Hollywood.Related reading:Hollywood Babylon by Kenneth AngerPlay it as it Lays by Joan DidionLess than Zero by Brett Easton Ellis

Loved the movie

This has always been a favorite and I am thrilled to have found it at such a great price.

Homer Simpson: "...sometimes I wish I could tear it all down!"

John Schlesinger's DAY OF THE LOCUST impeccably recreates the sleaziest elements of 1930s Hollywood. In this world, dreams are dashed simply because they're -meant- to be destroyed, and happy endings don't even exist in the movies.


All primary actors (plus many of the film's minors) turn in excellent portrayals, and yet this one can be a mixed bag.

The rather unusual-looking Karen Black is at her best here. Donald Sutherland's Homer Simpson is a tragic, unforgettable character. William Atherton as thwarted artist Tod Hackett is quite good, as is little Billy Barty's drunken, foul-mouthed Abe Kusich-- he's masterful in that coçkfight scene.

The best performance though has to be Burgess Meredith's Harry Greener. The struggling ex-vaudevillian's illness-induced strangulation is so believeable.

Jackie Earle Haley ('Adore') is now Freddy Kreuger in the brand new Elm St. remake! He's amazing at age 13 as a much younger Shirley Temple clone. Adore is a curly-haired tap-dancing mimic of a brat who accidentally sets off this movie's grippingly surreal final sequence. So intense on the big screen, the effect of such complete and unexpected chaos is quite disorienting. It's also the fulfillment of Homer's wish.

(Watch for fright film director William Castle's typecast-cameo as a movie director, also Dick Powell Jr., who's a dead-ringer for his dad.)


Parenthetical number precedng title is a 1 to 10 viewer poll rating found at a film resource website.

(7.1) Day of the Locust (1975) - Donald Sutherland/Karen Black/Burgess Meredith/William Atherton/Geraldine Page/Richard Dysart/Bo Hopkins/Pepe Serna/Billy Barty/Jackie Earle Haley/Norman Leavitt/Madge Kennedy/Natalie Schafer/William Castle/Queenie Smith/Dick Powell Jr.

Great performances, okay movie...

The nuanced performances of Sutherland, Meredith, Black -- and an exceptional little Jackie Haley as an androgynous child star -- are the true reasons to invest your time in this classic. Too little story to justify its length of 2hrs and 24mins, but it looks great, has stellar moments, captures the period of 1930's Hollywood most extraordinarily, and has an almost surreal and disturbing conclusion that will make you glad you labored-through to it. I too likened it to "They Shoot Horses, Don't They?" - though I found TSHDT? an overall much more satisfying cinematic experience.

Tightrope Act

This film is a tightrope act which mostly succeeds. Nathaniel West's novel is an original meld of sardonic satire and touching emotional realism about working stiffs in Hollywood of the Depression era. Various men revolve around the orbit of a beautiful but empty minor starlet, superbly brought to life by Karen Black. The social realism is gritty, buoyed by the surreal atmosphere of Hollywood fakery and weirdness. It all works toward an apocalyptic conclusion, as the social chaos of the era, just barely under the surface, erupts in the finale.

The film is extremely well directed, superbly photographed, has a first rate period sountrack, and several fine performances. But West's tightrope act on the written page is uncannily resistant to replication, apparently. The film's end, while generally faithful to the book, edges too far into surrealism and leaves one wondering what happened to one of the main characters, Todd. The end of the novel, to the contrary, is hard edged realism. The film is such a first rate slice of life, however, that it is not wholly spoiled. Well worth seeing and seeing again, it conveys the unique genius of West's vision -- both lighter and darker, in varying aspects, than the older F. Scott Fitzgerald's Hollywood portrayals of this era.

Horror in Hollyweird

[This review is part of my 31 Days of Hallowen series.]

I first saw this movie an aeon ago after reading the book. I don't think I appreciated it so much back then--but I do now. In order to really appreciate the ending, I suggest not reading the book first (if you haven't already.)


One of the reasons I appreciate the film more today is that at the time of the initial viewing, I hadn't seen Karen Black's work as an actor. In hindsight now I can really appreciate what a great actress she is. The horror/suspense movies she participated in during the 70's earned her the position of (at least) Princess of Horror (Betty Davis being the Queen--deserving the title for Whatever Happened to Baby Jane?--not to mention the string of B Horror Flicks she is also remembered for.)


The movie is all about the decadence of Hollywood--and it was pretty damn decadent--much more so than today. People didn't bother to go to rehab in those days & the studios controlled the media (Elsa Maxwell & Hedda Harper were to change all that in the 40's & 50's--and the 60's gave rise to the paparazzi.)

The characters include producers, writers, actors...and all the people who catered to their every need & whim. There's even a group of Mexican toughs who run an illegal chicken fight racket. It looked to me that this particular scene was for real--and it was pretty darn graphic. It did "artistically" fit into the plot--and the movie was made prior to any humane oversight--but I can't defend the nauseating inclusion in the film. It is what it is & I closed my eyes--and deducted a star in response.


Burgess Meredith turns in an outstanding performance as Black's door-to-door salesman/vaudevillian father. This is one of the few times I've actually seen Meredith's full stature in a movie & it came as a surprise to me to see how short he was (and I'm not confusing him with the actor Billy Barty who actually is a midget--and is powerful in this film.) One of the most striking scenes in the movie is Meredith's funeral. The wax like figure in the casket is such a shocking contrast to Meredith's almost maniacal portrayal of the living person. Even in death the character makes a rather frightening statement.

Donald Sutherland plays Homer Simpson (that's right, namesake of The Simpson's dad--and the similarity ends there.) His character is so bottled up & repressed, that it's gotta break out--and it does in an incident of graphic homicide.


The most striking scene for me is the one where Karen Black's aspiring actress character is arguing with her father over something--it really doesn't matter what. The full damaged, schizophrenic nature of her character comes into play: She simultaneously shakes her boobs at her father, cries, screams and laughingly leers. It is a grotesque display of a woman coming apart at the seams--and Karen Black plays it to the hilt.


This film is definitely NOT for the kiddies.

Here's a little tip: Keep your eyes on the gender-bending, professional "child" actor.

I will not give the ending away--I just couldn't be that cruel.


Heh-heh...