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Straight Time 1978 123movies

Straight Time 1978 123movies

Please God, don't let him get caught.Mar. 18, 1978114 Min.
Your rating: 0
5 1 vote


#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – After many juvenile detentions and six years in prison, the small time thief and burglar Max Dembo is released on parole. Max has an initial friction with his nasty parole officer Earl Frank, but the officer agrees to let him live in a hotel room if he gets a job within a week. Max goes to an employment agency and the attendant Jenny Mercer helps him to get a job in a can industry. Max decides to go straight and visits his old friend Willy Darin and his family. When Willy brings Max home, he injects heroin and leaves his spoon under Max’s bed. Max dates Jenny, and on the next day after hours, he finds Frank waiting for him snooping around his room. Frank finds the spoon and sends Max to prison for tests to prove whether he had a fix or not. Despite the negative result, Frank leaves Max for a week imprisoned. When Max is released again, Frank gives a ride and presses him to tell who had a fix in his room. Max hits Frank, steals his car, and seeks out his former friends to restart his life of crime. Jenny lodges Max at her place and has a love affair with him. Max and his best friend Jerry Schue successfully rob a bank; but after a jewelry heist in Beverly Hills, where Max loses Jerry and Willy, he leaves California and Jenny and heads alone elsewhere.
Plot: After being released on parole, a burglar attempts to go straight, get a regular job, and just go by the rules. He soon finds himself back in jail at the hands of a power-hungry parole officer.
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Straight Time 1978 123movies 1 Straight Time 1978 123movies 27.4/10 Votes: 8,408
Straight Time 1978 123movies 3 Straight Time 1978 123movies 282%
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Straight Time 1978 123movies 7 Straight Time 1978 123movies 27.1 Votes: 104 Popularity: 7.21


Dustin Destined for Crime
Or…how to humiliate your detestable creep of a parole officer like no one else in only a matter of seconds.

Beginning with “The Graduate”, I have seen many Dustin Hoffman movies in which he excels as an actor playing a very wide range of roles, but there is something about this part as lifetime criminal Max Dembo that stands out in my mind. Contrary to what some reviewers write, this is a grossly underrated film, and I am very surprised that it was never even nominated for an Oscar in any category. When I examine the names of productions that actually won in that year, I am even more disappointed.

What truly strikes me is how passionate Mr. Hoffman was in making this movie. At some point, he realized that he could not fully develop as Dembo if he directed himself at the same time. That was a good decision, and choosing his friend Ulu Grosbard was an even better one. I have only seen Grosbard’s “The Subject Was Roses”, a stage play that was very successfully brought to the screen with the assistance of a stellar three person cast. The direction here was brilliant as well, especially the handling of the dramatic heist scenes, the escape sequences, the captivating ending, and much that transpired in between. As a viewer, I was engrossed by the action from start to finish. Hoffman also wisely chose David Shire to compose the mood setting, melancholic musical score.

The entire supporting cast, without exception, was first-rate as well. How M. Emmett Walsh missed at least an Oscar nomination for his extraordinary portrayal of Earl Frank, the sleazy scoundrel of a parole officer, is totally beyond my comprehension.

I’ve read many overly simplistic interpretations of Max Dembo’s character on this page. Unlike other reviewers, I believe that Dembo does at first demonstrate a good attitude to his parole officer, often pushing the limits of his ability, but he may be incapable of handling his prison release, with or without an extremely abusive, sadistic parole officer. At times I wondered whether “Dembo” was a play on “Dumbo”, the baby elephant who was treated so cruelly by the world from the very start. Even if Max weren’t assigned to a creep like Frank, how long would it have been before he became restless on the assembly line of a can factory and in urgent need of a daring, dramatic caper or two? Aside from the seriously flawed criminal system, Max Dembo seems to be destined for a life of crime.

The typing test, early in the film, is a critical sign to the viewers of at least one very damaging flaw in Max’s personality–the inability to abide by social parameters of any kind. This leads to disastrous consequences along the road. By the way, Jenny, the employment counselor who becomes his lover, is obviously dissatisfied with her unfulfilled life at the personnel agency, and, yes, even good looking people get lonely and bored. Why would so many reviewers believe that looks alone automatically guarantee satisfaction with life? The list of tragic celebrity examples alone is very long and sad. Jenny is more than ready for action and even appears lost when the excitement abruptly comes to a close.

This is a gritty and often depressing view of a man who seems to be destined to lead a life of crime, regardless of the specific circumstances. The compelling story, the fine script, the wonderful acting, the skillful direction, and the stirring musical composition combine to create a fascinating film.

Review By: frankwiener Rating: 8 Date: 2018-10-21
Fine Film
Spoilers. There are so many things that seem (to a viewer, anyway, if not an ex-inmate) exactly right. I won’t go over the story, since that’s been adequately limned. But let me mention the makeup and wardrobe. What unspeakable sleaze. Hoffman’s mustache looks like it belong on some grubneck posing for a mug shot. And Gary Busey’s long hair is combed straight back in a most unkempt way. And — this is splendid — his KID’S hair is cut and groomed exactly the same way! The wardrobe reeks of those kinds of stores one finds in the tenderloin sections of LA, where the cheap colorful shirt, made in Thailand or Ceylon or someplace, hang from a wheeled bar out on the sidewalk, and the shop window has a sign taped on it in red letters — SALE 99 CENTS. The locations were equally well chosen. Hoffman finds a room in a kind of single-room-occupany place that passes for a dump in LA. (It would be a mansion in New York.) The room is neat and sparsely furnished and the sheets are clean, but you can practically smell the stale odor of peeling paint and aging varnish, and everyone who lives there is a loser. One imagines a lot of bottles of cheap vodka stashed in a lot of bureau drawers in this place, and the bathroom is always down the hall.

The performances are uniformly first rate, with the possible exception of Theresa Russel, who is a hottie, no doubt about it, but doesn’t bring much in the way of expressiveness to her role. Hoffman is superb as a slightly dumb, impulsive, but street smart thief. Gary Busey couldn’t be better as his well-meaning but unreliable friend. And Harry Dean Stanton is equally good, as usual, as the poor guy whose soul cries out to be illegal while he soldiers on in his bland Southern California upper-prole simulacrum of a home, eating the most unappetizing grilled hamburgers you can dream up, and wistfully playing his guitar and signing, “Hand me down…my walkin’ cane.” Oh, how desperately he needs that cane. “I gotta get outta here,” he moans. I’ve always kind of like Emmet Walsh’s performances, whether he’s a heavy or not. He comes through quite well here as a P.O. whose surface friendliness conceals, not the mean streak we might expect, but a “just business” attitude towards his clients. The writers must have disliked his character because they have him humiliated by winding up handcuffed bareassed to a freeway fence, a fate he didn’t deserve. What do you expect from a parole officer, Father Flannagan?

Iconography and performances aside, the movie has interesting points and an interesting theme. There are basically two family scenes: first, when Hoffman visits Busy, and second when Hoffman visits Stanton. Both exude a sense of ordinary everyday life — routine and boring. Busey’s family is the more interesting. He apologizes to his little boy for something he said or did earlier. We don’t find out what he’s apologizing for; we’re left to think it over. Nice touch. A more barbaric writer and director would have spelled it out. “Remember last night when I whupped you and called you a wuss? Well, I didn’t really mean it.” Of course that’s not the way life works. Hoffman, like the rest of us, enters a family in medias res, walks into an ongoing domestic play somewhere maybe in the middle of Act Two, Scene Three, without knowing what’s preceded the current goings on. Kathy Bates, her weight more closely approximating the ideal that our narcissistic culture now demands, has a sensitive and nicely executed exchange with Hoffman while her husband is out of the room, telling Hoffman it would be better if he didn’t come around anymore, and showing genuine regret while saying so.

But the more dramatic moments are well done too. Hoffman trying to hold up a Korean grocer with an old faulty revolver that is falling apart while he holds the owners at bay. (The thing looks more like a cap pistol than a real gun, about as threatening as an angora pussycat.) Hoffman smashing and smashing and continuing to smash glass cases in a jewelry store while Stanton throws up his hands in disgust and shouts about how unprofessional Hoffman is. The backyard chase after the robbery and Hoffman shooting blindly through a wooden fence. I can’t think offhand of any other movie that has made me feel quite so thoroughly sucked into a life of thievery and murder, that has made the progression from ex-con trying to hold a straight job, to fugitive murderer, seem so inexorable.

And yet we never feel exactly sympathetic towards Hoffman’s character, except at the very end when, before the end credits, we see a succession of mug shots of Hoffman, a half dozen or so dissolving into one another, each face looking younger and more innocent than the last, but each equally without hope. I think one of the reasons we don’t feel sorry for Hoffman is that the whole botched affair is really his own fault. Asked earnestly not to visit Busey again, he nevertheless not only contact him but draws him into the final robbery, without informing his partner Stanton. And, after all, if Hoffman had adhered to the original plan of the robbery, he and Stanton would in all likelihood have gotten away with it, even in the face of Busey’s failure. Hoffman sees none of this. He blames Busey for everything, including the Stanton’s death, and murders him coldly. And for all his street smarts, he’s not very clever in dealing with secondary institutions like the Bureau of Parole. On the freeway, Walsh is trying to wheedle some information out of him, and Hoffman suddenly turns with a feral rage and begins punching Walsh in the head and forcing the car off the freeway. That’s no way to treat people.

This is a good crime story. It isn’t a simple caper flick. There is a good deal of character built into the people we see here. Grosbard hasn’t directed in a flashy, gory style, either. There is virtually no blood. No trick shots. No car chases. No stunts. No exploding fireballs. And no automatic weapons. There is only Hoffman, emerging from the prison shower after being booked for violation of his parole, one pink naked body in a line of unpleasant pink naked bodies, waiting to be deloused with a powder spray, everybody’s privates now made public. That one scene of the prison shower tells us volumes more about the world Hoffman calls home than any number of squib charges could.

Review By: rmax304823 Rating: 9 Date: 2002-11-17

Other Information:

Original Title Straight Time
Release Date 1978-03-18
Release Year 1978

Original Language en
Runtime 1 hr 54 min (114 min)
Budget 0
Revenue 9900000
Status Released
Rated R
Genre Crime, Drama
Director Ulu Grosbard, Dustin Hoffman
Writer Edward Bunker, Alvin Sargent, Jeffrey Boam
Actors Dustin Hoffman, Theresa Russell, Gary Busey
Country United States
Awards N/A
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 1.85 : 1
Camera Panavision Panaflex
Laboratory Technicolor, Hollywood (CA), USA
Film Length 3,130 m (Sweden)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm

Straight Time 1978 123movies
Straight Time 1978 123movies
Straight Time 1978 123movies
Straight Time 1978 123movies
Straight Time 1978 123movies
Straight Time 1978 123movies
Original title Straight Time
TMDb Rating 7.1 104 votes

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