Procura Insaciável

This is the first Milos Forman's movie in America. It's still got the European style, a very special way to describe the story. Bourgeois parents tries to find why their quiet teenage girl ran away from home. It's a story about the gap of generation, between the straight parents and the hippies children. Forman present a funny and tender look at the youth of America of the early seventies. While the teenage girl is very gentle and quiet, the parents, who are afraid she will take drugs, get drunk and plays strip poker. The movie is now a little bit of a kind of oldie film! Just a take a look at all those typical seventies long hairs boys and girls, the way they dressed. Kinda funny, like seeing teenagers in a Doris Day movie of the fifties. There are lot of very funny sequences of the young girls singing at an audition for a show. We can see young Carly Simon in it. There is also a sequence with the Ike & Tina Turner Revue. I like it, even if it's a little bit old today. It's strange to say that, because I was a teenager myself when this film was shot by Forman.

I discovered this by accident, and have to wonder why it has been so ignored these last 22 years. Forman's take on the America of the late sixties is a beautiful mood piece, at times amusing, at times moving, but always acted, directed and written with subtlety and wit. I would reccomend this as a definative film about the culture of the Sixties.

I first saw this in 1989. It was old then, but nearly 20 years later its just as fresh and witty. Superb sound editing, great comic set pieces (the how to smoke a joint scene or the black salute), poignant (finding the smokes in the Jeannie's room with "Even the white horses" playing), the music performances (Ode to a Screw) and such acute observation of American Society. Nothing is missed: the comic potential of the fact that there is a "Society for the Parents of Lost Children(SPLC)", the realization that it is the parents who are lost; the lucrative potential of the counter culture and the "establishment's" realization of this (best seen in the hilarious speech by Jeanies boyfriend toward the end). Much of the comedy is drawn from the characters' little crises in their lives and their attempts to solve them, but it is always a warm and affectionate comedy. Forman likes these people, he likes America, he's willing them on, every slightly misguided step of the way.

A wonderful American debut from Milos Forman, who transcends a rather schematic premise ('wayward' daughter is actually quite sensible, while bourgeois parents enter a counterculture of pot-smoking and (nearly) wife-swapping orgies) with his wise European eye, which mixes clear-eyed observation with fantasy, implausibility and farce. The lead couple are acted in such a low key, you're astonished at the emotional power they generate, and while the subject matter is quite depressing, Forman's comic benevolence is always foregrounded: the convention for parents of missing children, and the accompanying lesson in parental empathy, is an American classic.

Czech director Milos Forman made his American debut with this sweetly-zonked look at the generation gap, circa 1971. Straight, tightly-wound suburban married couple just outside New York City panic when their teenage daughter runs away...but eventually they tire of looking for her ("She's probably out there having fun," the kid's father says, "so why shouldn't we have some fun, goddammit!"). Scenes of the grown-ups letting loose with marijuana experimentation and strip poker are intercut with teenagers auditioning for a musical, and this is where Forman's true talent comes to the fore (he's mad about faces, and passionate about eccentrics and talent). The well-chosen cast (including Buck Henry, Lynn Carlin, Audra Lindley, Paul Benedict, Georgia Engel and Allen Garfield, with music performances from Ike and Tina Turner, Kathy Bates and Carly Simon) is uniformly excellent, though the thin screenplay (penned by Forman with John Guare, Jean-Claude Carrière and John Klein) doesn't give the actors much to work with--they're all flying high on the exuberance of collaboration. Forman's vision is predictably cockeyed, though his pacing is slow and his staging is sometimes puzzling. For instance, is he holding the singers at the audition in esteem with his camera or using them satirically? The blank faces of the judges are probably meant to get a laugh, but their dumbfounded reactions shouldn't dictate what we're experiencing watching them for ourselves. The movie does take off on occasion, but it isn't from energy (Forman doesn't display a temperament, he's of the low-keyed school of filmmaking); the sheer intrinsic delight of showcased talent gives the picture its charge, ultimately making it a unique, quirky bird all its own. **1/2 from ****