Rent Straight Time (1978)

Underrated 70s Crime Film - Worth Rediscovering - Straight Time review by GI

An underrated 70s crime drama that fits into the wave of American films from this decade that challenged the myth of the 'American Dream'. A big influence on Quentin Tarantino (most especially seen in his debut feature, 1992s Reservoir Dogs) this was a pet project for Dustin Hoffman who was due to direct as well as star but handed the reins to Ulu Grosbard, a friend with whom he'd fall out during the troubled production. Partially scripted by an uncredited Michael Mann you can also see here the seeds of Mann's great crime films such as Thief (1981) and Heat (1995). Allegedly Hoffman wasn't allowed final cut and sued the studio so I'm not sure if the film on general release is his vision for the film or not. Hoffman plays Max Dembo, a career criminal released on parole after a six year stretch for burglary. He wants to go straight and live a normal life but quickly finds that the indifferent system is against him despite his best efforts. The system is represented by the slimy parole officer played by the great M. Emmet Walsh. Realising he's seen as worthless on the outside Max returns to a life of crime with his one chance of redemption with naive girlfriend, Jenny (Theresa Russell). An interesting film viewed today in its look at the life of the criminal and thematically identifying that society and the system is arguably what produces men such as Max. Hoffman gives his usual intense performance even though, on occasion, his screen charisma doesn't always seem to fit the hard man character of Max. Russell is excellent as the girl who takes a chance on max and Harry Dean Stanton and Gary Busey deliver great support. There's two great set piece robberies that Tarantino especially has homaged. A film worth rediscovering.

Plays It Dead Straight - Straight Time review by griggs

There’s a weary, low-key dread running through this. Dustin Hoffman plays Max, a career criminal fresh out of prison, and the film’s real question is why he’d bother going straight when it feels like the deck’s stacked to send him back in anyway. Against type for Hoffman, and it works — no big speeches, just this coiled stillness, like he’s doing sums in his head the whole time.

The supporting cast doesn’t put a foot wrong. Harry Dean Stanton turns up and owns his scenes without seeming to try. A young Gary Busey plays Max’s old partner in crime, trying to stay clean and failing, and it’s sad watching him get dragged back in. Kathy Bates is barely recognisable in an early role. Theresa Russell isn’t given a huge amount to do, but one scene with her tips the whole plot sideways.

Set it against the decade’s other New Hollywood crime pictures — The Friends of Eddie Coyle, Dog Day Afternoon — and it holds its own without needing to shout about it. Hoffman plays it dead straight, and the film doesn’t let him off easy.