input: Never cast models and Playboy bunnies in your films! Bob Fosse's "Star 80" about Dorothy Stratten, of whom Bogdanovich was obsessed enough to have married her SISTER after her murder at the hands of her low-life husband, is a zillion times more interesting than Dorothy herself on the silver screen. Patty Hansen is no actress either..I expected to see some sort of lost masterpiece a la Orson Welles but instead got Audrey Hepburn cavorting in jeans and a god-awful "poodlesque" hair-do....Very disappointing...."Paper Moon" and "The Last Picture Show" I could watch again and again. This clunker I could barely sit through once. This movie was reputedly not released because of the brouhaha surrounding Ms. Stratten's tawdry death; I think the real reason was because it was so bad!

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pos/neg ans: negative

input: This film is a travesty, and isn't fit to keep company with the superior original. The plot is an absolute mess, and the film is way too long. Everytime they're struggling, they desperately inject a sentimental reminder from the first film.

"Gregory's Girl" is one of the top 10 British films of all time, this one is awful.

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pos/neg ans: negative

input: Like his elder brothers, Claude Sautet and Jean-Pierre Melville, Alain Corneau began to cut his teeth in French cinema with a series of fine thrillers: "la Menace" (1977) and "Serie Noire" (1979) among others. "Police Python 357" is a good example of how Corneau conceived and shot his works at this time of his career. They had a splendid cinematography, painstaking screenplays and a sophisticated directing elaborated for efficiency's sake.

The police superintendent Ferrot (Yves Montand) is a cop with unconventional methods who usually works all alone. He makes the acquaintance of a young woman Sylvia Leopardi (Stefania Sandrelli) and becomes her lover while ignoring that she has another lover: his superior Ganay (Francois Perier). When the latter learns it, he kills her in a fit of anger. Ferrot has to investigate the murder and all the clues are inexorably against him...

One could deem that this kind of far-fetched story isn't exempt from glitches and sometimes, one can see right through it but Corneau's pedantic directorial style helps to conjure up a stifling, dusky atmosphere. The first part of the film before the night of the murder might seem uninteresting and however, it is crucial for what will follow this key-moment. Corneau falls back on a sober treatment with rather sparse moments and short appearances by secondary, minor characters whom the viewer will see again during the investigation. In spite of drawbacks, Corneau and his scenarist Daniel Boulanger penned a deft story. Menard (Mathieu Carriere) who sometimes expresses his surprise because Ferrot keeps a relatively low profile during the investigation. But his superior knows that he usually works alone. Actually, Ferrot has to find solid tricks to muddy the waters and so to exonerate himself. Eventually, the chief idea of the film concerns Ferrot himself. He's a cop who bit by bit loses his identity and finds himself in the heart of a terrible depersonalization. It is epitomized by the moment when he throws himself acid on his face so that witnesses won't recognize him when he is brought face to face with them.

The backdrop of this thriller, Orleans is efficiently enhanced by Corneau's camera and helps to inspire this eerie thriller its pernicious charm.

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pos/neg ans: positive

input: It does not seem that this movie managed to please a lot of people. First off, not many seem to have seen it in the first place (I just bumped into it by accident), and then judging by the reviews and the rating, of those that did many did not enjoy it very much.

Well, I did. I usually tolerate Gere for his looks and his charm, and even though I did not consider him a great actor, I know he can do crazy pretty well (I liked his Mr Jones). But this performance is all different. He is not pretty in this one, and he is not charming. His character is completely different from anything I had seen from him up to that point---old, ugly, broken, determined. And Gere, in what to me is so far his best performance ever, pulls it off beautifully. I guess it is a sign of how well an actor does his job if you cannot imagine anyone else doing it instead---think Hopkins as Hannibal Lecter, or Washington as Alonzo in Training Day. That is how good Gere was here.

The rest of the cast were fine by me, too. I guess I would not have cast Danes in this role, mostly because I think she is too good-looking for it. But she actually does an excellent job, holding her own with a Gere in top form, which is no small feat. Strickland easily delivers the best supporting act, in a part that requires a considerable range from her. I actually think she owns the key scene with Gere and Danes, and that is quite an achievement.

So what about the rest of the movie, apart from some excellent acting? The story is perhaps not hugely surprising, some 8mm-ish aspects to it, but adding the "veteran breaks in rookie" storyline to the who-dunnit, and also (like Silence of the Lambs) adding a sense of urgency through trying to save the girl and the impending retirement of Gere's character. All that is a backdrop to the development of the two main characters, as they help each other settle into their respective new stations in life. That's a lot to accomplish in a 100 minutes, but it is done well, and we end up caring for the characters and what happens to them.

Direction and photography were adequate. I could have done without the modern music-video camera movements and cutting, but then I am an old curmudgeon, and it really wasn't all that bad, in fact I think it did help with the atmosphere of the movie, which as you might have guessed, by and large isn't a happy one.

Worth seeing.

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pos/neg ans:
positive