![]() highway system, a golden age that it helped in no small way to define: for the truly exceptional fact of Smokey and the Bandit is not that it's a weird time capsule of a niche culture whose moment in the sun has passed. The film was made during the golden age of CB radio usage on the U.S. Hell, more than that - at least the feudal Japanese movie would announce itself as being stylistically and sociologically removed from the present in a fairly clear, immediate way, while Smokey and the Bandit insistently resembles a completely routine late-'70s action comedy, made as the aesthetic lessons from the New Hollywood Cinema broke free of the limitations (if that's the word) of realistic human experience, and started to show up in junky genre fare. ![]() And still, 64 entries on, there hasn't been a film in this series that feels so much like it was made by a totally alien culture as 1977's Smokey and the Bandit, a movie that's barely older than I am, but feels as divorced from any lived experience that I have personally witnessed as a novel from feudal Japan. ![]() The earliest years of the Hollywood feature film found an aesthetic that frequently does not resemble modern filmmaking much at all. We are now in the 64th year of this Hollywood Century project, stretching all the way back to movies which were made in a time before narrative cinema had stumbled into such essential innovations as close-ups, shot-reverse shot, or camera movement. ![]()
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