Harry Bailey has returned from Vietnam and returns to college to earn his masters degree so he can teach English. He is considered a hero among the radical student body, but still sees the absurdity on both sides of the fence.
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Certainly, this is cinematographer Laszlo Kovacs' film, more than anyone else's. Not the masterpiece that THE LONG GOODBYE is (not having the benefit of writers Chandler and Brackett, for starters), but both are important entries from the New Wave of Hungarian cinematographers of 70's American New Wave Cinema, and it is impossible not to compare the two, both with innovative use of post-modern architectural lines to
battlefield of lászló kovács's experiments (exotic camera angles + swift focus/out of focus sequences) / elliott gould's final meltdown caused by the gatsby issue is epic - kaboom / but the rest of the movie sucks badly unfortunately