'It’s enjoyable on its own terms, but it’s exhausting, too: like taking a pack of kids to the circus,” Pauline Kael wrote of “Star Wars,” in 1977. NewYorkerArchive
The loudness, the smash-and-grab editing, the relentless pacing drive every idea from your head; for young audiences “Star Wars” is like getting a box of Cracker Jack which is all prizes. This is the writer-director George Lucas’s own film, subject to no business interference, yet it’s a film that’s totally uninterested in anything that doesn’t connect with the mass audience. There’s no breather in the picture, no lyricism; the only attempt at beauty is in the double sunset.
Her seductive voice prepares us for the unfolding of the action, and when there is a cut from the two figures at the table to a big blue truck moving silently through cold and drizzle in the working-class flatlands west of Paris, we’re eager to see the man and woman inside. But we don’t get close enough to see anyone. The truck crawls along in the exurbanite slum, where housing developments and supermarkets loom up in the void, Pop ruins.
She can take the insults without flinching because she’s completely serious in the story of the despairing hitchhiker. In her method in “The Truck,” she’s a minimalist, like Beckett, stripping her drama down to the bones of monodrama, and her subject is the same as his: going through the last meaningless rites. What “The Truck” doesn’t have is Beckett’s bleak, funny commonness.
Born in Puerto Rico, Piñero was brought to New York at the age of four; within a few years his father deserted the family, and by the time Piñero was eight he was stealing milk and bread to help feed the younger children. The police started to pick him up when he was eleven; he had been a shoplifter, mugger, burglar, addict, and drug pusher and was serving a five-year sentence for armed robbery when he joined a theatre workshop in Sing Sing, where he began to work on this play.
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