Here’s the latest from The Magnificent 60s
The one where Burt Reynolds suddenly alights on his screen persona. At the outset he’s just another B-picture dude hoping to get by on macho posturing. Then, as though his brain has sparked into silver screen intelligence, the cocky grin appears. And we’re off.
If any director was skewered by his insistence on retaining his artistic vision, it’s Samuel Fuller (The Naked Kiss, 1964). He wasn’t one for good guys and bad guys. Everybody’s up to something, if good deeds occur it’s by accident. Such realism would make him catnip for today’s disillusioned generation…
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