The Big Fix

The Big Fix is a mystery that does not answer every question that it raises, but it nails the Zeitgeist of the late 60's from a vantage point 10 years later. I have only seen it once, when it first came out and I have looked for it ever since.

The story is slow to develop with Moses Wine (Dreyfuss) having trouble with seemingly every aspect of his life. We learn that he feels displaced in time, and cannot get past the radical time in his life. I and many others have had those same feelings in the 35+ years since.

The sense of confusion and struggle fits exactly the feelings many of us experienced at the time. Taught to respect the police by our Greatest Generation parents, we often found that we were at the top of the police list of suspects for anything from subversion to bad manners and bad dress. The sense of alienation that I felt at the time permeates the viewing. I may have read too much of myself into it; if so, The Big Fix evoked it from my own life.

Best scenes without spoiling the story:

Leon Redbone's "I Wanna Be Seduced" while Moses gets ready for a date with Lila Shay (Anspach).

Moses at the TV station reviewing scenes of past demonstrations; the images are shown projected on his face. No real detail is visible except the tears on his cheeks. Powerful.

The reunion of old friends as they dance around the swimming pool of the house that was built by selling out the old radical values.

Finally, a sense of something incomplete at the end. The mystery solved, but every question not answered. How true to life!

This is not your usual detective story. It also is not your typical conspiracy political thriller either. So I understand if people have their issues with how the movie was made and with the pace it has. But if you like the craziness and down to earth performance by the cast (especially Richard Dreyfuss, Richard being a name that can has a nickname that might remind one of a slang word for detective - just as a side note) ... well you are on to a good start.

Talking of starts, the movie does start with our main character on a stakeout. And he acts a bit childish one might say ... not a wrong observation. While there adult themes and there is a real story to his broken wrist/hand, many things are utilized for the story or the characters purposes.

Not a masterpiece I reckon - but still a very well made movie to say the least. And tension filled from start to finish ... even if it feels a bit uneven.

This movie and John Sayles's "The Return of the Secaucus Seven" are the best movies I know about the post-hippie years.

"The Big Fix" is funny, fast, and smart -- and also touching. The scenes of the old activists in jail and around the swimming pool are touched with aching nostalgia. Richard Dreyfuss plays an adorable, idealistic nebbish who really thought the future was going to hold more than EST trainers and deteriorating VW Beetles. I think it's his best performance (though "Inserts" was also fine).

I have read the book on which this was based, and it is not only nothing like the movie but considerably worse than the movie. This is one case ("Roger Rabbit" is another) in which the Hollywood rewrite was a noticeable improvement over the original.

This is the best movie Richard Dreyfus has been in. Corruption and dirty tricks in a senatorial campaign directed by John Lithgow, an Abbie Hoffman character played by F. Murray Abraham, not a little comedy and a heaping of social commentary a la 60's style make this a highly recommended movie. I hope it comes out on DVD soon.

When it was released in 1978, there was already a distance built into The Big Fix, based on a detective novel set in the ashes of the counterculture. The story had been commissioned by Rolling Stone magazine from Roger L. Simon, who wrote the script. On its release, the film was already drawing on images of the late 60s that had ceased to be memories but had already entered a misty mythology.

Richard Dreyfuss, fresh from the Spielberg hits (Jaws, Close Encounters of the Third Kind) that had made him a star. not to mention his Academy Award for The Goodbye Girl), plays Moses Wine, aonetime rebel who has fallen on hardtimes. His wife, Bonnie Bedelia, has divorced him (though he dotes --rather tiresomely -- on his two sons), and he earns his keep as aprivate investigator when not smoking up and playing solitaire Clue in his -- there's no other word -- "pad."

Operatives of a political campaign sign him on to find out who is waging a dirty-tricks campaign to link their candidate to a legendary radical, now disappeared deep into the underground. The story has some interesting twists, particularly those involving Susan Anspach, John Lithgow and F. Murray Abraham, but the plot tends to disappear into holes here and there, as though told in a marijuana haze.

Viewed in the new millennium, The Big Fix unfolds behind two scrims of nostalgia: The one in the story itself, where 60s has-beens, unhappy with how the world has turned, yearn for barricades and love-ins; and the one revealed by the talents who made the movie, where that yearning for the heady days of the counterculture -- Berkeley! Vietnam! Hash brownies! -- has developed its own, peculiarly fusty period flavor.