It's an easy film to criticize, but as Gene Siskel once stated, it invites criticism only at the highest level. The second half is preachy, but only because the screenwriter feels a rightful and righteous anger about television's depravity. The tone varies between drama and farce, but this is quite deliberate, and some of the farce is hilarious (as when a group of radical leftists negotiate with studio executives over percentages and distribution rights). The romance between Holden and Dunaway is unconvincing only because the performances are otherwise authentic. The Dunaway with the schoolgirl crush is inconsistent with a sassy woman full of scatty and manic ambition. Holden's older man in search of an Autumn romance conflicts with his intelligence and idealism.
|Peter Finch almost shushing|