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Medium Cool (1969)
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Reviews Counted:17
Fresh:16
Rotten:1
Average Rating:8/10
Synopsis: One of the landmarks of independent film, as well as one of the primary celluloid artifacts of the 1960s, MEDIUM COOL (based on Thomas Couffer's THE CONCRETE WILDERNESS) stars Robert Forster as... One of the landmarks of independent film, as well as one of the primary celluloid artifacts of the 1960s, MEDIUM COOL (based on Thomas Couffer's THE CONCRETE WILDERNESS) stars Robert Forster as John Cassellis, a television cameraman in Chicago. John is so proud of his detached professionalism that he and soundman Gus (Peter Bonerz) even go so far as to stop and film a car crash before calling an ambulance. However, after John films a protest by black activists about racism in the media, the film is seized by the FBI, and his resistance to handing over the footage gets him fired from his job at the television station. While idle, John becomes better acquainted with 13-year-old Harold (Harold Blankenship) and Harold's mother, Eileen Horton (Verna Bloom), a West Virginia native whose husband is in Vietnam. As the 1968 convention approaches, John picks up a freelance assignment and is thrust headlong into the anarchy of the Chicago streets and the convention floor. His prized detachment falls away as he watches Mayor Daley's cops clubbing unarmed protestors. Shooting with handheld cameras, Wexler's unerring eye moves seamlessly between the actors and the unplanned events exploding in front of them. His pitiless dissection of the media's role in the shaping of reality spares no one. MEDIUM COOL remains one of the seminal films of the 1960s and 1970s. [More]
Starring: Robert Forster, Verna Bloom, Marianna Hill, Peter Bonerz
Starring: Robert Forster, Verna Bloom, Marianna Hill, Peter Bonerz, Harold Blankenship, Peter Boyle, Felton Perry, Robert Paige
Director: Haskell Wexler
Director: Haskell Wexler
Producer: Jerry Wexler, Haskell Wexler, Tully Friedman
Screenwriter: Haskell Wexler
Composer: Michael Bloomfield
Reviews for Medium Cool
An interesting time capsule essay film that takes us back to the infamous 1968 Democratic National Convention in Chicago and its police riot.
Blending fact and fiction, Wexler's seminal zeitgeist docu-drama, shot during the Chicago riots of 1968, raises intriguing questions, just like Antonioni's Blow-Up, about viewing, involvement, complicity, and political participation.
Medium Cool is an awkward and even pretentious movie, but, like the report of the President's National Advisory Commission on Civil Disorders, it has an importance that has nothing to do with literature.
Moviemakers have at last figured out how bright the average moviegoer is. By that I don't mean they're making more 'intelligent' pictures. I mean they understand how quickly we can catch onto things.
Skillfully manipulates viewer expectations of fiction and nonfiction.
Whatever its weaknesses, they are easy to forgive since Medium Cool represents a pioneering slice of cinematic history.
a powerful, utterly unique film, one of the few that truly captured the turbulent late-'60s zeitgeist in all its fury
Latest News for Medium Cool
January 20, 2007:
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