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July-August 1988

Robert Zemeckis’s Who Framed Roger Rabbit; James Dearden interviewed; Patty Hearst; special midsection on the ’60s featuring Cassavetes, Costa-Gavras, Hopper, and Wexler; Dean Stockwell interviewed; Norman Stone; Israeli filmmakers; François Truffaut’s letters

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By David Chute
First you read the book…well, no, you didn’t; you waited till the ’toon came out and went to that instead. Chute toons into Who Framed Roger Rabbit
But that’s not all, folks: Charles Solomon sketches Richard Williams in ’Toontown

James Dearden interviewed by Harlan Kennedy
Hoo! Fatal Attraction did harum-scarum on feminists, and scripter James Dearden shrugs “Who me?” So, Kennedy chats him up about his directorial debut on Pascali’s Island, the latest in the pawn’s eye view of the Empire Goes Blooey genre

By Karen Jaehne
Hold the presses! This heiress is hot. You remember Patty. As in Citizen Hearst? Tania? As in Cinque (you velqum)? You forgot our Patty? Yeeks. She’s back with the real poop in A Tale That Wouldn’t Die (but lived on in a coma) till our Karen Jaehne kidnapped Paul Schrader in Cannes

If you were there in the Sixties, it was the wildest party society gave since Caligula. So 20 years later, the Sixties are so far out they’re in. To wit: Sidney Lumet and Naomi Foner put the Sixties on the lam in Running on Empty, and tell Gavin Smith and Anne Thompson why
Paul Kerr dopes out the Sixties effect on Brit-cinema
Andreas Kilb sacks German film
Philippe J. Maarek routs the French
Peter Wollen checks out Film Theory country
Marcia Pally roasts the American rewrite of the era but sees signs of life in some quarters
Marlaine Glicksman finds the perfect Sixties Woman: Sylvia Miles (!)
And for the benefit of Mr. Kite, with 20/20 hindsight a score of film seers—Peter Boyle, John Cassavetes, Constantin Costa-Gavras, Bruce Dern, Peter Fonda, Dennis Hopper, Bob Rafelson, Andrew Sarris, Haskell Wexler, etc. (the usual suspects)—ponder all

Dean Stockwell interviewed by Pat McGilligan
Once was not enough, so here’s two helpings of the same story, told from two points of view. Long is an understatement, but Christine Edzard’s Dickensian epic is the epitome of faithful, detailed narrative construction

By Graham Fuller
It started as Oxford don Norman Stone’s carp at the decline of Western Civilization, meaning movies show rotten things. But, as Graham Fuller reports, Stone’s attack was emblematic of deep resentment in the press and Parliament

By Dan Yakir
Israeli filmmakers struggle with the effects of the battle to survive, or is that supervise?

Outrageous Conduct: Art, Ego, and “The Twilight Zone” reviewed by Gregg Kilday
Directors fight for cash, credit, and final cut—unless you’re John Landis on trial for manslaughter on the set.

By Tom Carson
Carson tunes in, turns off, and drops the bomb on two Sixties shows, China Beach and The Wonder Years

Armond White listens into a panel from the “Young, British, and Black” film series
Mary Corliss reports on Lean times in Cannes
Gavin Smith sat rapt as Sidney Lumet, Marty Scorsese, Arthur Penn and Chen Kaige rapped on movies, uh film, uh art

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