Né pour vaincre

While low budget filmmakers in California were making films like "Psych-out" and "The Trip" with Fonda and Nicholson and Hopper it was different in New York. Low budget filmmakers on the east coast took a more tougher look at drugs and it usually took place on the streets of New York. This film is about a drug addict named J (George Segal) who has the tattoo "Born to Win" on his arm and he's always doing favors for a local dealer named Vivian (Hector Elizondo) who is becoming annoyed by J. One day J meets Parm (Karen Black) who is a free spirited girl and they both become attracted to each other right away. J is becoming more desperate and he even resorts to robbing some of the people he does favors for. Two dirty cops (Robert Deniro and Ed Madsen) tell J that they want to bust Vivian and they want him to help. They won't bust J because they want to keep him on the streets but they do make his life even worse than it is. This film was directed by Ivan Passer who is a competent director but has only had a mediocre career making movies. But he does a good job here and all the characters are portrayed as lowlifes. Even Paula Prentiss is a drug addict in this film and it's a strange bit of casting to have her in such a role. Good use of New York locations as it was shot right in the middle of downtown and it gives this film that authentic street look. One of the reasons that this is interesting to view is spotting the actors in early roles. Segal had already broke through with an Oscar nomination in 1966 and he obviously was trying new ground as an actor and Black was fresh off an Oscar nomination herself. Early look at Deniro and Elizondo and Burt Young pops up as a thug about midway through. This has that sad and ambiguous ending but that adds to the impact of this tough and gritty little film. All the performances are pretty good and I would have been interested in seeing Prentiss in a larger role. This doesn't get discussed much when people talk of the New York films of the 1970's but it is a well made low budget entry that others should view.

I've seen Karen Black in several roles where I didn't care for the character she portrayed. The thoroughly dependent and constantly whining waitress she played in Five Easy Pieces was a good example. You could understand why Jack Nicholson had trouble committing to a serious relationship with her. In Born to Win, however, she is easily the most likable personality in the film. How many women would start an affair with a man who was attempting to steal her car? Her beauty, her sense of humor, and her spirit shine through immediately and continue throughout. George Segal's unrepentant junkie character, who lost his wife to a sleazy, backstabbing, pimping drug dealer, somehow manages to charm us more than most of the other actors, including the police, who think nothing of planting evidence on anyone they feel like at the moment. There is something hip about this movie, not because it glorifies heroin addiction, which it certainly does not, but because it seems to show a slice of New York life in a fairly realistic manner. The death of JJ's best friend, Billy, from "a hot shot" that was meant for JJ, the armed "take offs" that the dopers pull on one another simply because they really need a fix or are having a bad day (with no offense otherwise intended), the way the corrupt cops are portrayed, the shots of the city, too often grimy yet somehow alluring -- this is interesting cinema. I think I bought this DVD for a buck and have watched it a number of times. It's a good movie.

One of the great joys of being a movie addict is loving unreasonably. There's probably no rational way to convey my adoration for this 1971 Ivan Passer movie, which was made for nothing back in the day when movies like this actually could get made and released--today, it'd be shot on digital video in someone's basement and never see the light of day. George Segal gives one of the performances of his career as J, a hairdresser turned heroin addict who vamps his way through the day with a torrent of improvised Lenny Bruce hipsterisms. Karen Black is the "straight," broken girl who falls in love with him for no good reason except that he's broken too--I can't think of a more haunting moment in a movie romance than the one where she drops him off in midtown Manhattan to score dope and implores, "J--remember to come back home." The movie fleetly conveys the romance, the soft-edgedness and wombiness of heroin--and then in short order takes you all the way down to the bitterest consequences. And it reminds you of the beauties of hard-knuckle, dirty-formica naturalism--pleasures unavailable to more stylized or more conceptual pictures. Has there ever been an actress as free as Karen Black? The way she lifts up ten fingers, over and over again, to count off the number of men she's slept with; or the strange little hair-bite she does when she oaths her love to Segal on the beach--everything is as fresh and unaffected and right as if it were playing out in your living room right this minute. The locations, the smoky, salty, funereal-blues soundtrack--Ivan Passer can't put a foot wrong in this movie. Why is this guy not being given all the work in the world? And why is this movie not acclaimed a masterpiece in a world where rusty chestnuts by Rafelson and Bogdanovich are still held in high esteem?

George Segal's career encompasses a large body of work, spanning decades. I've seen only a few of his movies. "The Hot Rock" was a great ensemble comedy. "Terminal Man", timely and dark, pegs the other end of the spectrum. It's safe to say the 1970s were about challenging the Old Guard. In Hollywood, this meant reinvention and the search for Truth begun anew. From industry insiders all the way down to you and me it's understood "truth in film" is synonymous with or defined as risky and unprofitable, something other than standard fare. And though overused, the phrase 'they don't make 'em like that anymore' is applicable here, because "Born to Win" was produced for reasons other than profit. Its story is roughly drawn and its characters hunger for a pure, painless resolution that you know will never come by the end of the first scene. George Segal is at the center as J, a heroin addict who spends his time visualizing new plans for his next fix. All other characters within his orbit advance his desparation. There's a very palpable truth in the uncertainty the characters feel. They live, but have no lives. Segal's character has never called a shot in his life, yet he knows from years of experience how it will turn out, with him behind the 8-ball. Karen Black plays the love interest who extends to him the hope of salvation, only to be swept under. Hector Elizondo, Robert De Niro, Paula Prentiss and JJ's main junkie pal Billy (Jay Fletcher) exist to keep the downward spiral swirling. A refreshing and enjoyable film for people who feel a nostalgia for challenging, resonant stories that strike a chord as pure as a tuning fork.

I have a great interest in American movies of the 1970s, many of my all time favourites being made during that decade, both within and without Hollywood. Several movies from that period are so well known, and so discussed, especially those of Scorsese and Coppola, that many fine movies are overlooked - 'Hi Mom!', 'Scarecrow', 'The Panic In Needle Park', 'Tracks', 'Fingers',etc.etc. Add 'Born To Win' to that list. Director and co-writer Ivan Passer was a recent Czech immigrant, but he manages to conjure up a very realistic and believable look at the seedy underbelly of NYC. Only 'Midnight Cowboy' and 'The Panic In Needle Park' come close. This isn't the New York of Woody Allen, it's the New York of Lou Reed. Passer displays a lot of talent in this movie, but I know little about his subsequent work apart from his 80s sleeper starring John Heard and Jeff Bridges 'Cutter's Way', which I also highly recommend. George Segal will surprise a lot of people with his performance in 'Born To Win', especially those who only have a one dimensional idea of him from his comedy work. Segal plays JJ, a hairdresser turned junkie hipster, who is, well one has to say it, a born loser. Segal is both funny and cool and sad, and he's just as good in this as Pacino, De Niro or Keitel were in more celebrated roles from this period. De Niro in fact pops up in a small supporting role as a cop, something which is exploited on the DVD cover. He's okay but has a very small role, so fans beware. Hector Elizondo has a much more important part as a drug pusher, and Karen Black, hot off 'Five Easy Pieces', plays JJ's girlfriend, who he meets in a funny scene where he steals her car. Both Elizondo and Black give excellent performances. Also in the supporting cast are Paula Prentiss ('The Parallax View') who plays JJ's junkie wife, and one of the first jobs for character actor Burt Young, who plays a hood. I also liked JJ's pal Billy Dynamite played by Jay Fletcher. If you like gritty and realistic 1970s movies you'll love 'Born To Win', a film which doesn't deserve to languish in such obscurity.