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The Day of the Locust

Catalog Number
8579
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The Day of the Locust (1975)

Additional Information

Additional Information
Hollywood in the Golden Age. That age of glamour of Gable and Garbo. odf wild parties and even wilder scandals. When all the blondes were platinum and every girl dreamed of being discovered.

The Day of the Locust is anything but a cheerful, light look at Hollywood in the '30s. It recreates both the town as well as the filmmaking world around which much of the town revolved with devastating accuracy. The movie tells the twin tales of talentless wannabe actress Faye Greener (Karen Black) and Homer Simpson (Donald Sutherland), a lovelorn accountant who couldn't care less about movies. Around this framework, a huge and intricate social network is tellingly revealed, until the film's gruesome and tragic ending. Not for those who prefer to hang onto their illusions about the glory days of Hollywood, The Day of the Locust, based on the novel by Nathanael West, is a must-see for serious film buffs.


The Day of the Locust is a 1975 American drama film directed by John Schlesinger, and starring William Atherton, Karen Black, and Donald Sutherland. The screenplay by Waldo Salt is based on the 1939 novel of the same title by Nathanael West. Set in Hollywood, California just prior to World War II, it depicts the alienation and desperation of a disparate group of individuals whose dreams of success have failed to come true.


In his review in the New York Times, Vincent Canby called it "less a conventional film than it is a gargantuan panorama, a spectacle that illustrates West's dispassionate prose with a fidelity to detail more often found in a gimcracky Biblical epic than in something that so relentlessly ridicules American civilization . . . The movie is far from subtle, but it doesn't matter. It seems that much more material was shot than could be easily fitted into the movie, even at 144 minutes . . . It is reality projected as fantasy. Its grossness — its bigger-than-life quality — is so much a part of its style (and what West was writing about) that one respects the extravagances, the almost lunatic scale on which Mr. Schlesinger has filmed its key sequences."[1]
Jay Cocks of Time said, "The Day of the Locust looks puffy and overdrawn, sounds shrill because it is made with a combination of self-loathing and tenuous moral superiority. This is a movie turned out by the sort of mentality that West was mocking. Salt's adaptation . . . misses what is most crucial: West's tone of level rage and tilted compassion, his ability to make human even the most grotesque mockery."[2]
Roger Ebert of the Chicago Sun-Times called it a "daring, epic film . . . a brilliant one at times, and with a wealth of sharp-edged performances," citing that of Donald Sutherland as "one of the movie's wonders," although he expressed some reservations, noting, "Somewhere on the way to its final vast metaphors, The Day of the Locust misplaces its concern with its characters. We begin to sense that they're marching around in response to the requirements of the story, instead of leading lives of their own. And so we stop worrying about them, because they're doomed anyway and not always because of their own shortcoming."[3]
In the Chicago Reader, Jonathan Rosenbaum described the film as "a painfully misconceived reduction and simplification . . . of the great Nathanael West novel about Hollywood . . . It misses crucial aspects of the book's surrealism and satire, though it has a fair number of compensations if you don't care about what's being ground underfoot - among them, Conrad Hall's cinematography and . . . one of Donald Sutherland's better performances."[4]
Channel 4 calls it "fascinating, if flawed" and "by turns gaudy, bitter and occasionally just plain weird," adding "great performances and magnificent design make this a spectacular and highly entertaining film."[5]
The film was shown at the 1975 Cannes Film Festival, but wasn't entered into the main competition.


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