Medium Cool (1969) 1080p YIFY Movie

Medium Cool (1969) 1080p

A TV news reporter finds himself becoming personally involved in the violence that erupts around the 1968 Democratic National Convention.

IMDB: 7.44 Likes

  • Genre: Drama |
  • Quality: 1080p
  • Size: 2.11G
  • Resolution: 1920x1040 / 23.976 (23976/1000) FPSfps
  • Language: English
  • Run Time: 111
  • IMDB Rating: 7.4/10 
  • MPR: Normal
  • Peers/Seeds: 4 / 0

The Synopsis for Medium Cool (1969) 1080p

John Cassellis is the toughest TV-news reporter around. His area of interest is reporting about violence in the ghetto and racial tensions. But he discovers that his network helps the FBI by letting it look at his tapes to find suspects. When he protests, he is fired and goes to the 1968 Democratic National Convention in Chicago, Illinois.

The Director and Players for Medium Cool (1969) 1080p

[Director]Haskell Wexler
[Director]Peter Bonerz
[Role:]Verna Bloom
[Role:]Robert Forster

The Reviews for Medium Cool (1969) 1080p

"Medium Cool is an extraordinary piece of cinematic art of the cinema verite-film style by Haskell Wexler".Reviewed byJack KierskiVote: 10/10

I often like to watch films more than once and I recently did that with Medium Cool, which was originally released on August 27, 1969.

The film was directed, written, and cinematography recorded by Haskell Wexler. He invented and used an unforgettable cinema vérité-style documentary filmmaking technique, as well as combining fictional and non-fictional content.

Medium Cool was actor Robert Forster's first film in a lead role. Medium Cool is one of those films that shows cinematic footage of a nonfictional event in the movie - the 1968 Democratic National Convention protest activity. At that convention the protesters and the Chicago Police Department fought in the streets of Chicago while the US Democratic Party met during the convention in the International Amphitheater.

John Cassellis (played by Forster) is a Chicago television news reporter and cameraman. Cassellis and sound man Gus (played by Peter Bonerz) are reporting about the violence and racial tensions in the ghetto. One of people that interviewed is an African American taxi driver who lives in the ghetto. Cassellis later discovers that his network had helped the FBI by providing some of his video footage from the protests in order to aid the FBI in their search for suspects. When Cassellis protests, he is fired at which time he then decides to go to the convention to record more footage.

Cassellis ends up befriending Eileen (played by Vena Bloom), a welfare recipient who'd moved from her West Virginia home when her husband was sent to Vietnam. Eileen has a 13 year old son named Harold (Harold Blankenship).

Ruth (Marianna Hill) is an attractive nurse, who has a relationship with Cassellis.

Medium Cool is an extraordinary piece of cinematic art of the cinema verite-film style by Haskell Wexler. The way that the film combines a fiction and non-fiction story was very well explained and detailed due to Wexler's filmmaking style. The cinema verite genre combines well with a dramatic genre. One example: the argument scenes in the film that involve John Cassellis.

Haskell Wexler did an amazing job with the cinematography. The way that he recorded the 111 minutes of the movie was very well accomplished. I especially found his cinematography style of the film to be influential. Wexler's amazing style of the film could influence other filmmakers. The reason why it could influence filmmakers because the cinema verite style that used was very revolutionized for its time and young filmmakers has never laid eyes on this type of film style before. Wexler's film style mostly influenced documentary film makers.

The plot of the film was excellent and enhanced by the realism of the footage containing political protests of the late 1960s. I loved how the plot well captured and symbolized America in the 1960s and its political protests. One particularly interesting moment to me in the film is showed people setting up for the convention. Then, the black screen appears with the sentence: "America is wonderful". After that, John and Eileen are dancing in a psychedelic rock concert. This matters to me because this moment of the movie could bring back memories for people, who experienced late 1960s political conventions and psychedelic rock music concerts.

Here's my advice: The movie is a definite must see for all generations. I give the film an strong 4 out of 4 stars.

Interesting but flawed depiction of a tumultuous era.Reviewed byLorenzo H.Vote: 7/10

MEDIUM COOL is a documentary-like motion picture that contains actual footage of the Democratic National Convention and anti-war demonstrations, which occurred in Chicago in 1968. This gives the film, which is actually a work of fiction, an ultra-realism not usually found in Hollywood movies. Unfortunately, the excessive use of this footage near the film's somewhat extended conclusion helps distance us to the story of the main characters, which up to that point we had been following with great interest. Quite often in real life, major news events and the inevitable sensationalistic media coverage of them, tend to drown out all individuality and humanity. Perhaps this was the director's point. Still, by concentrating 'too' much on surrounding events, he allowed his characters to become only half-realized, and as a result the viewer only half cares what happens to them.

The movie does have its share of positives, from Robert Forsters thought provoking ghetto interviews with African Americans to the quite jarring and ironic ending. In between, we see the very attractive Mariana Hill in her birthday suit, and are treated to some cool guitar music by "The Mother's of Invention". These aside, my overall reaction to the film is "Medium Cool".

Final Verdict: 6 out of 10.

Maximum BullReviewed byrcraig62Vote: 4/10

Medium Cool is one of those hippie-dippie time capsule pictures that was probably dated by the time they released it. Now it's mostly laughable to watch as an attempt at art; it barely passes as memorabilia. The film was written and directed by cinematographer Haskell Wexler, so the emphasis, understandably, is on the look of the film, the images, and which is why the story and character development are so sadly lacking.

The film centers around a local Chicago cameraman (Robert Forster) and his travails in and around the high-tension scene around the time of the 1968 Democratic Convention, but the general theme that dominates the movie (yes, friends, it's a crusty old message movie) is the way the media controls our lives by controlling what we see and how we see it. Wexler presents this in a variety of ways, none particularly successful. The TV station's assignment editor is shown nixing a proposed feature on inner city suffering in favor of, among other things, baseball, and news events are depicted as staged. When Forster goes into a rant at his white trash girlfriend (Verna Bloom) about media tyranny (the big message scene which is, naturally, the low point of the film), one wonders if she has any idea what the hell he's talking about. A sequence where Forster is hassled in a black neighborhood is riveting, then that devolves into a message scene.

But where the movie fails is that IT looks staged when it's trying to be authentic. We see Verna Bloom's character tiptoeing behind a police barricade looking for her runaway son (by the way, is a political riot normally where a 13-year-old goes for kicks?), but the introduction of a paid actor into what is essentially news footage undercuts the seriousness of what Wexler is trying to sell. The opposite effect takes place, which is that the demonstration takes on the feel of staged drama; the documentary feel is lost. In another scene, two non-actors are heard shouting "Remember Prague" and "Don't forget Budapest" and it has all the legitimacy of a second-grade nature pageant; it was obviously looped on to the soundtrack in post-production. Wexler mixes true convention footage with drama and the hybrid stuff, and it doesn't really work on any level. I commend Wexler on the general look of the picture, it radiates the color of the times while mostly avoiding psychedelia: a shot of a father and son in a wheatfield is terrific, as are the shots of Verna Bloom searching for her son under the city lights, which are spectacular. The editing is curt and keeps the picture moving.

At the end, when Forster and Bloom have the auto accident, Wexler's camera pans over to a shot of another camera filming the wreckage. I guess Wexler's message is that they were just pawns in the game. But they're pawns in the movie too, and when they wipe out, we don't much care, since they were just implements for Wexler to put across his commentary on the state of things. Watching a young Robert Forster, I couldn't help but think how much I enjoyed him as the bail-bondsman in Jackie Brown. Now THERE'S a movie I recommend. With this, you take your chances. 2 ** out of 4

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