Let's talk a moment to appreciate the screenwriting prowess of Alvin Sargent.
is a raw and painfully on-the-level dissection of how hard it is for ex-cons to reenter society and “go straight” within a system that seems designed for immediate relapse.is at his hopeless and battered ’70s best as Max, a recently released robber trying to play by the rules and avoid a return to prison. Sargent isn’t interested in a clearly redemptive moral journey for the character, nor is he particularly concerned whether or not the audience likes Max.
This approach extends to other characters, such as Conrad’s emotionally distant mother, Beth , who seems to show clear disdain and resentment towards her only remaining child at a time when he needs a mother’s compassion the most. In a more traditional drama, Beth would have been written as a clear antagonist, the heartless mother who pushes the innocent teenager further into suicidal tendencies. Yet Sargent shows immense empathy towards Beth.
As the truth begins to unfold while the homeless man is put on a pedestal as an inspirational American folk hero, the media is faced with a tough decision: Does the real identity of who actually did the heroic deed, regardless of his lack of moral character, matter, or does the moral of—“When legend becomes fact, print the legend”—apply tenfold to our media-saturated culture? In true Sargent fashion,does not have easy answers for this dilemma, wisely choosing instead to turn a mirror to the...
roots, since this underrated drama also examines what it truly means to be a family unit within a contentious and emotionally disconnected parent-child relationship. Adele is a divorcee who moves to Beverly Hills in search of her idealized and more than slightly delusional piece of the glamorous American dream.
Oktay Ege Kozak is a screenwriter, script coach and film critic. He lives near Portland, Ore., with his wife, daughter, and two King Charles Spaniels.
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