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Reviews
Billy Jack (1971)
An under-appreciated masterwork
It is true that Tom Laughlin does not look like an Indian, half-breed or otherwise. It is true that some of the scenes, particularly the scenes improvised by the committee, are unnecessary (though extremely funny) and the film itself is too long. It is true that the martial arts scenes in this film are few and far between. However: The film is not a martial arts film and it deals more with the spirit of being an Indian, a true American, than it is about the looks of one. Often dismissed as a cheesy karate movie, BILLY JACK is in fact an excellent study of conflicting idealogies, of violence as a quick but by no means correct solution, and of the different varieties of love. Though it is much too long a film, the sheer enthusiasm and love for the children that Jean (Dolores Taylor) expresses gets the viewer involved on an emotional level. While we cannot justify Billy Jack's (Tom Laughlin) actions, we know he is doing it out of love for Jean. We feel the rage he feels towards Bernard, a character that is surprisingly deftly acted. At the start of the film, we sympathize with him; by the time he has raped Jean we, like Billy, want to rip him a couple of new orifices. His well-deserved death is quick and pathetic, like the shooting of the dog. Billy Jack himself is an American icon, the true definition of a hero, presented in such a way that the audience questions their own ideas about heroism. The characters are well-drawn, the cinematography breath-taking, the improvised scenes much funnier than anything to hit SNL in a long time. So why is it that this film, the most financially-successful independent film to EVER exist, is so often dismissed as nothing more than a bad karate movie? Because of bad marketing, for one thing; the other is the way it's often described: "A half-breed Indian Vietnam Vet played by a white guy protects a 'hippie' school from bigotry." Much like the Freedom School that Billy seeks to protect, the film itself is marred by such bigotry and misconceptions.
His Majesty, the Scarecrow of Oz (1914)
Inept
Baum's inept adaptation of a couple of his Oz books is a sad sight indeed. Shots are poorly framed, often excluding some of the actor's faces from view. The plot is moronic and the acting stale. The cast is much too large and he seems to throw in characters just to throw them in. The special effects are cheesy, especially when the Tin Woodsman chops off the Witch's head.
However, this silent film does feature an excellent performance by the man playing the Wizard and the young woman playing the Princess Ozma. There's a good, melodramatic concept, this young woman walking around with everyone left and right falling in love with her, and she being incapable of loving them back-- it makes for a good visual. But the rest of the film is just so incompetent that's it obscures its good points.