- 4/12/2000 12:00:00 AM by nurebel887 ([email protected])
While it would be easy for many to catagorize "Getting Straight" as aperiodfilm,it nonetheless is a timeless homage to those poor souls who are casualvictims of circumstance.
From the beginning of the movie we see as protagonist Harry Bailey is setupon by all of his much younger and very politically naive fellow collegestudents who think that if only Harry would join up with them,then theircauses of the moment would be complete.It doesn't dawn upon these peoplethat Harry is much older,with a completely different set of priorities thanhe had before going off to fight in the Vietnam war.
At this time in Harrys life,he wants to finish his masters degree in orderto be given a teaching credential.Once he gets this,he can go about thebusiness of molding future system challengers and left-wing bannercarriers.
The only thing that stands in his way is his own naivite and egalitarianmind-set that he has reserved for all but himself.
"Getting Straight" shows us all the inevitable complications offence-sitting and ignoring our potential in life.
- 1/17/2006 12:00:00 AM by clocke1
one of my favorite oldies.Candice had just left the University ofPennsylvania where she literally stopped traffic on campus because ofher beauty (I actually saw it happen!).She never looked as good infilms as she did in real life at that time.I believe that the lineEliot Gould uses when he's had enough of the professor's comments aboutFitzgerald's homosexuality is that yes it could be possible that he wasa homosexual but that it sure would be news to Sheila Graham (notZelda) with whom he had an apparently scandalous affair when he was inHollywood trying to make money.I was in college during that era andthere its a fairly good representation of the way things were then andindicative of the nuttiness of that era
- 8/31/2000 12:00:00 AM by (peaches 'n' cream)
Too bad Richard Rush doesn't make more movies. He's got a fantastic style,as can be seen in the more recent "The Stunt Man" and this movie shouldhaveretained a "classic" status. Set in the campus riot era, Harry Bailey onlyseeks to fulfill his dream of becoming a teacher, molding another Salingerand making enough to live on. He can't be bothered with the idealisticravings of his younger friends and fellow students until he see "it's notwhat you do that counts, it's what you are". Check out this totally superbperformance of Elliot Gould's. Even if you find the movie dated andsomewhatsilly, Gould is extraordinary. Unfortunately Candy Bergen has about onedecent scene, the rest of the time her acting is very trying. The rest ofthe actors are right on though, especially a very young HarrisonFord.
- 1/4/2000 12:00:00 AM by Joe Coleman
Just to say that this is one of the good movies that still holds up well.Richard Rush (director) didn't make many movies, but he did well with manyof them. The screenplay is often excellent and Elliot Gould is usuallyexcellent. There aren't many other good roles or performances, but thatdoesn't in my opinion bring the film very far down belowgood.
Gould's acting in this story about student protests and "riots" in the late60s is about as good as he got (gets?) - and that is verygood.
Technically the movie's first rate. Photography, cutting, timing. Allgood.
I hope this show gets more credit as time goes on.
- 7/9/2004 12:00:00 AM by shepardjessica
This so-called exploitive campus revolt film from 1970 actually has somewonderful things going on in it. (I can't believe I still have thesoundtrack and recently got the video). Elliott Gould was at the peak ofwhatever powers he had as leading man, without Donald Sutherland to play off(M.A.S.H.) or Dyan Cannon(B&C&T&A - supporting role), and he's perfect asHarry (who I think is in every scene). Candice Bergen was never morebeautiful (still learning to act after five years in film - and right beforeCarnal Knowledge), and throw in Jeannie Berlin, Harrison Ford (not boringfor a change), and a host of other young up-and-comers at the time, alongwith Jeff Corey (James Dean's acting teacher, who played elder Hickock in InCold Blood, and Wild Bill Hickock in Little Big Man) as Gould's semi-mentor,with campus revolt in a frenetic, casual (until later) sort ofway.
I know a lot of people worship The Stunt Man directed by the same man,Richard Rush ten years later ( and that film is better than this; but notthat great), but he did have his own style (I'm not sure what happened tohis sensibilities or career). Throw in Robert F. Lyons as Gould's buddy(does anybody remember that guy?) and there's real possibilities, notpolitically, but in those areas of film that carry over into thought andheart and hope. This is not even close to being a definitive campus revoltflick from that time, but it has aspects (every other scene almost) thathave stature ABOUT real topics with semi-interesting characters along theway, without taking SIDES about Viet Nam or rebellion. If you come acrossit, you'll find some other actresses and actors that were well on their way(if yo're interested in that) and the ending is strange, but somehowappropriate in an uplifting and yet depressing way. It's worth anyone'stime who is, at all, interested in that time period (concerning youth vs.establishment). To make a long story short, it's not some dopey, campuscomedy with nudity and platitudes and wise-cracks (except for a few scenesconcerning Gould's car and landlady).
It's nothing important to convey the ideals, emotions, and contemporary feelof that era, but it hits some spaces and is also funny in a human way thatis appropriately not cynical (even for then).