Vivi con rabbia

Uneasily straddling the ways of the old Hollywood and the coming openness of the late 60s and 1970s, Studs Lonigan is neither fish nor fowl and is simply hard to watch. The main attraction for contemporary audiences is the cast, but the most interesting aspect of the film is Haskell Wexler's cinematography. At times overly busy--his use of noirish angles gets annoying at times, and isn't aided by poor editing by Verna Fields--Wexler nonetheless leaves a great impression and hints at the great work to come in films like Bound For Glory. When he gets it right, the photography is simply stunning, channeling elements of the French New Wave and the outside-the-studio naturalism that was soon to be the norm. Unfortunately these moments only comprise about ten minutes of total screen time, the rest of the film consisting of a hackneyed tale of youth in revolt during the Roaring Twenties. Even Jack Nicholson and Frank Gorshin can't do much to render Philip Yordan' s screenplay particularly appetising.