Arthur Penn

Alan Sharp's movies reflected the confusion, failures, and darkness of the 1970s—and maybe that's why no one wanted to see them.

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Star: How Warren Beatty Seduced America By Peter Biskind (Simon & Schuster, 627 pp., $30)   Warren Beatty has not done a lot for us lately. Town and Country, his last movie, was nine years ago. The absence is such that some of his old associates have concluded that he may be happy at last. But I doubt that such a hope lingered more than a few seconds: Beatty’s entire act has been the epitome of dissatisfaction.

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On a Wednesday night in San Francisco, opening night, in a theater no more than half full, the truth was as inescapable as rain at a picnic. Johnny Depp just wasn’t cutting it. He wasn’t even making the attempt. Once again, Michael Mann had poured his nearly liquid talent over a gangster picture without ever thinking to ask himself why. That oddly vague title Public Enemies--why isn’t it called Johnny D. or just Dillinger?--was turning into a startlingly detached and affectless movie.

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