The Panic in Needle Park - Wikipedia
Panic in Needle Park was so horrifying to me, so real, that I remember it feeling like a documentary. I felt I But you also know he's on a Dead End Street. inappropriate about her relationship with her fiance (Henry Fonda). The Panic in Needle Park is a shiny example of what emerged with the fall of Their relationship deteriorates as their addictions worsen and There's no score to speak of (though one was composed but ended up unused). "Did our ads blow it for 'The Panic in Needle Park'!" the studio says. The quality I found fascinating about the movie was the relationship between not to kill them off at the end just because that's so fashionable these days.
Sherman Square aka 'Needle Park' during a severe panic, which, in the business jargon, refers to a period where there's no supply. Schatzberg's direction is austere: The camera works as the eye of the viewer and I challenge those who'd doubt the authenticity of the images not to cover their eyes during the close-ups, where you can witness a needle piercing a vein and injecting the stuff and all the immediate effects: To answer this question, the movie needed to detach itself from its own tone, and provides a story; it did even better with a romance, and quite a poignant and realistic one.
The characterization of Bobby and Helen is admirably handled by both Kitty Winn and Al Pacino, in his first starring role: Bobby is so cocky and fun, you know he overacts his own personality in order to seduce Helen, and he's so over the top, Helen can't resist. And whenever you doubt Helen's feelings, just look at her eyes, they tell everything and Al's eyes don't say less: A long and powerful silence follows and his reaction is a love gesture that definitely places these two characters in a warm place inside our hearts.
Bobby understands Helen's act less as curiosity than a deliberate will to join his way of life, so both could be in the same wavelength.
It's a tragic declaration of love, in the same vein than the booze-driven romance between Jack Lemmon and Lee Remick in "Days of Wine and Roses", another great film about addiction. Of course, the romance takes a sordid course, leading us to the discover the junkies' underworld and get all its tricks. And you know the realism works when it mirrors some of your own experiences.
Bobby and Helen are already together at the start of the film, but Bobby drags Helen down with him into his decay of addiction, but what's interesting is how it doesn't feel like much of a gradual slip.
There are events that occur that certainly shake the foundation of their relationships and themselves, but it's always up and down with them, one day could be great and the next could be miserable. It felt like a much more accurate way to depict their lives than if the film had shown a gradual descent for either character.
The performances help tremendously in servicing what Schatzberg attempts to achieve, as both actors deliver some fine work. Pacino, in his first leading role and right on the cusp of superstardom as The Godfather would come next year, gives one of his finest performances on screen.
He has a natural charisma that he utilizes well, making it even more heartbreaking when Bobby eventually pulls Helen down with him. He seems like a genuinely decent guy who has let his dependency on drugs turn him into this kind of poison, a poison that runs so deep that he doesn't realize the consequences of his actions. I agree with some of what he says, and I think my feeling about the film is certainly colored by the fact that I saw it at age 13 and it lived on in nightmare-fashion in my mind until pretty much this day.
But he is right to point out that perhaps the most extraordinary aspect of Panic in Needle Park is that this was a film put out by a major studio.
Amazing to consider how much the world has changed. The drug-taking scenes are realistic to the point of being unwatchable.
The film is filled with close-ups of needles going into infected scabby veins. I could have done without the whole puppy side-plot that comes in late through the film.
‘The Panic in Needle Park’ review by Mitchell Beaupre • Letterboxd
It would work better in a short story. But Pacino owns the screen. Only a year later The Godfather would come out and he would become a giant star. This is not at all a surprise, seeing his work in Panic in Needle Park. You feel no effort in her performance. Oh, and look for a young Paul Sorvino, shame-faced and annoyed in the police station, busted for sleeping with a prostitute. Pacino and Schatzberg would work together again in Scarecrow, a far superior film, I think.
Even crazier, and even less dependent on normal storytelling devices like plot.
The scene gives the feeling that she has a communicable disease which, considering where the film goes and how it ends, is appropriate. So what is it with Julie? She lives by her own rules, which basically means showing up late to parties, entering snooty rooms still wearing her riding clothes. The pre-Civil-War Southern society in which she has been raised is rigidly hierarchical, although they have far more serious problems underlying the situation than whether or not a virgin chooses to wear a red dress.
She represents the silliness of Southern society, the old order that is going to be torched to make room for change and growth.
Al Pacino Retrospective – The Panic in Needle Park
She is engaged to be married to Preston Fondaa lawyer, and she has been toying with him mercilessly for probably years. He puts up with it, until finally Red Dress Alert he has had enough. The film is actually quite sophisticated about sexual politics, and is a great portrait of a woman who treats flirtation like a vicious game.
- Subscribe To
- Navigation menu
Not weak — that would be a mischaracterization of what the film is saying. Preston is a grown man. He really does have a point. Julie decides to wear a red dress to tease Preston and to also punish him for not going on a dress-making jaunt with her.
He had to work. But she does care. She has Missed the Memo: She pays a huge price. Meanwhile, the tensions between the North and South start heating up. Henry Fonda returns from the North, with a wife, and warns his fellow Southerners that big industry is coming, that the agrarian lifestyle on which the South is based is on the road to being Dunzo.
He encounters resistance to these warnings, and Julie, who is heartbroken that he has gotten married, decides to defend the South against Yankee interference, and Yankee sneers.
She does so by goading the wife who is from the Northand goading two gentlemen into a duel. Her aunt calls her a Jezebel.
Banishment is nearly complete. So Julie will be made to suffer for her actions. And when Yellow Fever breaks out, she finds the means to redeem herself, not only in the eyes of her family and friends, but in the eyes of God. Blanche Dubois in her final scene in Streetcar. There are great details throughout: Her taken aback reaction to the two black butlers who open the door for her.
Slavery right in her face. But this is the Bette Davis Show and it looks like she had the time of her life. As always, her work is detailed to the utmost. Her behavior with flower arranging, how she moves the vase from table to table to table … She has the ability to both broad and specific, in the same moment.
She was once married to Nathan Jon Lovitzwho has since married a much younger woman and now dresses in track suits and backwards baseball caps, to try to seem young. The comedy is often quite broad, but it requires that underlying sharp social commentary as well as a grounding in realism to make it work. Rosie and Nathan have a year-old daughter named Izzy, played by Saoirse Ronan, who is extremely touching here.
There is an irony that Rosie has a daughter who is almost a teenager, and the almost-teen seems more like a little girl than a grownup, and Rosie is filming a TV show with grown adults cast as teenagers. Rosie has a treacherous competitive secretary named Jeannie, played by Sarah Alexander. But then, during a casting session for a new character on the show, an Erkel-type nerd, a guy walks in and makes them all roar with laughter. This is Adam, played by Paul Rudd. Naturally, too, she looks at him and something inside her thuds: The power dynamic is all off, because she is basically in charge of his career.
But they go out for a date, and sparks fly, but she puts on the brakes. If you think these cultural norms are easily ignored, then bully for you.