Harry Dean Stanton (PARIS TEXAS etc...)
La critique de Monsters & Critic (suite)
This could very well describe the American New Wave films of the 70s, precisely the reason why it will be the greatest decade ever for American cinema. This was a time in Hollywood where filmmakers dared to make films without heroes, without romance, broke taboos of language, sexuality and behavior and dared to end them unhappily. These were films that were CHARACTER rather than PLOT driven.
Straight Time IS the epitome of this mentality. The film and Dembo speeds full ahead to a shattering,self-destructive end that while uncomfortable to watch, is impossible to turn away from. Dembo is intelligent enough to know what is coming because deep down inside, he wants to get caught and go back to prison.
You spot signs of it early on but then it becomes more obvious with each score he pulls. He lingers, he spends too much time in the bank, too much time in the jewelry store; he can never follow the time clock that is preset so as to get out before the cops show up. That is one of the most fascinating aspects of this character. He seems to be enjoying his crime, almost showing off as an ultimate “fuck you” to a society that rejected him despite his best intentions while at the same time wanting to be punished and sent back to jail.
Many will not respond to the film. It is definitely a film that is not meant for everyone as was evidenced when it was basically dumped into theaters in 1978. You will probably have trouble relating to or understanding anyone here.
Some may say, “Why does the Theresa Russell character stick with this loser? Why is she so attracted to him and nurturing? Why is she such a masochist?” Maybe you don’t understand why Dembo can’t control his obsessive-compulsive anger and exacts revenge on Frank when he has Jenny and something to live for?
