Jaws 2

(1978)

Genres: Adventure, Thriller

Classics from the Vault: The Best Films of 1978 (1979)

Transcript for Classics from the Vault: The Best Films of 1978 (1979)

Christy Lemire: 
I'M CHRISTY LEMIRE.


Ignatiy Vishnevetsky: 
AND I'M IGNATIY VISHNEVETSKY, INVITING YOU INTO THE VAULT.


Christy Lemire: 
THE BEST AND THE WORST MOVIES OF 1978.


Gene Siskel: 
THE PUBLIC WAS SENDING A MESSAGE TO HOLLYWOOD AND THE MESSAGE WAS SAYING, PLAY IT LIGHT.


Christy Lemire: 
WE PRESENT CLASSICS FROM THE VAULT.
 
Ignatiy Vishnevetsky: 
HELLO AND WELCOME TO A SPECIAL EDITION OF EBERT PRESENTS AT THE MOVIES, I'M IGNATIY VISHNEVETSKY OF MUBI.COM.


Christy Lemire: 
AND I'M CHRISTY LEMIRE OF THE ASSOCIATED PRESS. WE ARE TAKING A LOOK BACK AT SOME EPISODES OF THE ORIGINAL "SNEAK PREVIEWS" WITH ROGER EBERT AND GENE SISKEL.
HERE'S A LOOK BACK AT 1978, SISKEL AND EBERT'S BEST MOVIES AND WORST MOVIES OF THE YEAR, INCLUDING, "SPOT THE WONDER DOG." 
 
Roger Ebert: 
IN 1978, THE MOVIE INDUSTRY HAD ITS BIGGEST YEAR SINCE WORLD WAR II AND MOVIES FEATURING LIGHTHEARTED ENTERTAINMENT WERE THE TOP GROCERS AT THE BOX OFFICE.
 
>> YOU ARE THE ONE THAT I WANT 
THE ONE THAT I WANT 
THE ONE THAT I WANT 
THE ONE I NEED 
OH, YES, INDEED 

>> THIS SITUATION ABSOLUTELY REQUIRES A REALLY FUTILE AND STUPID GESTURE BE DONE ON SOMEBODY'S PART.
>> WE ARE JUST THE GUYS TO DO IT.
>> LET'S DO IT!
>> LET'S DO IT!
GO, GO, GO!
>> LOOK AT THIS.
THAT'S A SHARK.
LOOK AT THE OUTLINE.
LOOK AT THE MOUTH, THE EYES.
>> IS THAT WHAT IT IS?
SORRY, I JUST DON'T SEE IT.
>> NEITHER DO I.
IT'S NOTHING.
>> BUT I'M TELLING YOU AND I'M TELLING EVERYBODY AT THIS TABLE THAT THAT'S A SHARK AND I KNOW WHAT A SHARK LOOKS LIKE BECAUSE I HAVE SEEN ONE UP CLOSE AND YOU BETTER DO SOMETHING ABOUT THIS ONE BECAUSE I DON'T INTEND TO GO THROUGH THAT HELL AGAIN.


Roger Ebert: 
WHO DO THESE THREE MOVIES HAVE IN COMMON? THEY PLACED, FIRST, SECOND AND THIRD.
 

Gene Siskel: 
OBVIOUSLY THEY WERE SENDING A MESSAGE TO HOLLYWOOD, AND PLAY IT LIGHT. THEY DIDN'T HAVE A SERIOUS THOUGHT IN THEIR HEAD.
 
NOW HERE'S ROGER EBERT OF THE "CHICAGO SUNTIMES."


Roger Ebert: 
AND ACROSS THE AISLE FROM ME IS GENE SISKEL WITH THE "CHICAGO TRIBUNE" AND CBS 2 NEWS. THIS IS A SPECIAL EDITION OF "SNEAK PREVIEWS." INSTEAD OF REVIEWING THE NEW MOVIES WE WILL TAKE A LOOK BACK AT 1978 IN FILM. IT WAS A YEAR WHEN PEOPLE WENT TO THE MOVIE TO ESCAPE AND NOT THINK OR BE CHALLENGED.
 

WE WILL EXPLAIN THE BIG WINNERS AT THE BOX OFFICE AND GENE AND I WILL SELECT OUR CHOICES OF THE YEAR'S BEST FILMS AND OUR DOGS OF THE YEAR, THE VERY WORST FILMS OF THE LAST 12 MONTHS.
GENE WILL START OUT WITH 1978'S TOP MONEY MAKER "GREASE."


Gene Siskel: 
IT FEATURED JOHN TRAVOLTA. THE HOTTEST SINGING AND DANCING STAR SINCE FRED ASTAIRE AND GENE KELLY. THE ALBUM OF "GREASE" WAS ALMOST AS BIG AS THE MOVIE.THE SONGS SOLD THE MOVIE AND THE MOVIE SOLD THE SONGS. LIKE THIS ONE.
 

>> WHAT DID YOU DO THIS SUMMER, SANDY?
>> I SPENT MY SUMMER AT THE BEACH.
I MET A BOY THERE.
>> YOU WENT TO THE BEACH FOR A GUY?
>> HE WAS SORT OF SPECIAL.
>> THERE'S NO SUCH THING.
>> IT WAS REALLY ROMANTIC.
>> COME ON.
YOU DON'T WANT TO HEAR ALL THE GORY DETAILS.
[ SHOUTING ]
SUMMER LOVING, KEPT ME A BLAST 
SUMMER LOVING HAPPENED TO FAST 
I MET A GIRL CRAZY FOR ME 
I MET A BOY, CUTE AS CAN BE 
SUMMER DAYS DRIFTING AWAY 
TO SUMMER NIGHTS 


Gene Siskel: 
WELL, BEAUTIFULLY CHOREOGRAPHED MUSICAL NUMBER. THE FILM WAS AS LIGHT AS A BUBBLE. IT WAS ABOUT TOUGH KIDS ON CHICAGO'S NORTHWEST SIDE. IT WAS A GOLDEN HOLLYWOOD FANTASY ABOUT THE '50s. 
I DIDN'T THINK "GREASE" WAS PARTICULARLY INTERESTING WHEN TRAVOLTA WAS OFF THE SCREEN. SOME OF THE SETS WERE SLOPPY, BUT KIDS LIKED IT ENOUGH TO SEE IT AGAIN AND AGAIN AND AGAIN, AND THE REPEATED VIEWINGS MADE "GREASE" A MONSTER HIT. FRIENDS OF MINE HAD TEENAGED KIDS AND THEY KNEW HOW TO DANCE IT AND TALK IT. THEY HAD TO SEE IT HALF A DOZEN TIMES.


Roger Ebert: 
I SAW IT THREE TIMES. YOU BE OLIVIA NEWTON JOHN.


Gene Siskel: 
NO.


Roger Ebert: 
IT ALMOST AS IF EVERYBODY WAS TRYING TO COLLECTIVELY ESCAPE INTO THE MEMORIES OF INNOCENT SCHOOL DAYS LAST YEAR. "GREASE" RESURRECTED 1950s. AND COLLEGE IN THE 1960s, THE MOVIE WAS NATIONAL LAMPOON'S "ANIMAL HOUSE" WHICH INSPIRED A NATIONAL EPIDEMIC OF TOGA PARTIES AND BUT JOHN BELUSHI ON THE COVER OF "TIME" MAGAZINE.

>> HE'S PLAYING...
I GAVE MY LOVE A CHERRY THAT HAD NO STONE 
I GAVE MY LOVE A CHICKEN THAT HAD NO BONE 
I GAVE MY LOVE A STORY THAT HAD NO END 
I GIVE  
>> SORRY.


Roger Ebert: 
THE MOVIE WAS ABOUT THE MOST ANIMALISTIC FRATERNITY ON CAMPUS AND BELUSHI STOOD SUPREME AMONG THE ANIMALS. THERE ARE A LOT OF MOVIES ABOUT STUDENTS TEN YEARS AGO, BUT IN 1968, THE STUDENTS IN MOVIES WERE STAGING PROTESTS AND DEMONSTRATING AGAINST THE WAR. NOW IN "ANIMAL HOUSE," THE ADMINISTRATION SHOULD HAVE BEEN DEMONSTRATING AGAINST THE STUDENTS.
IF 1978 WAS A YEAR FOR ESCAPISM, THEN "ANIMAL HOUSE" WAS A PERFECT EXAMPLE. IT WAS VULGAR AT TIMES, YES, BUT IT HAD MORE LAUGHS PER MINUTE THAN ANY OTHER FILM LAST YEAR.
 

Gene Siskel: 
THE KEY COULD IT BE THAT LIFE ON CAMPUS IS LIGHT HEARTED LIKE WE SEE IN THE PICTURE, NOT THE LIKE SERIOUS CAMPUS MAYBE 10 YEARS AGO IN '68. "JAWS 2," THE THIRD TOP MONEY MAKER FOR 1978, WAS A CHEAP IMITATION OF THE ORIGINAL" JAWS ."
 
STILL IT WAS MOST INCREDIBLY THE MOST SUCCESSFUL SEQUEL. IT WAS THE SAME STORY AND THE SAME PEOPLE, AND THE SAME SCRIPT. I GUESS PEOPLE LOVED TO SEE THE SHARK EAT OTHER PEOPLE AND IT HAD MORE ATTACK SCENES THAN THE ORIGINAL. MAYBE THAT'S WHY IT WAS SUCH A BIG HIT.

 
>> OVER THERE!
>> SWIM!
[ SHOUTING ]
>> THERE'S A BIG SHARK OUT HERE!
[ SCREAMING ]
>> HOLD ON!
>> GET ME OUT OF THE WATER.
>> SHARK.
WATCH IT!
[ SCREAMING ]


Gene Siskel: 
LOTS OF TEETH, LOTS OF SCREAMS. I THOUGHT IT WAS A SLOPPY FILM BUT APPARENTLY IT WORKED FOR ONE SIMPLE REASON, THE "JAWS" SHARK HAS BECOME A CLASSIC MOVIE VILLAIN THAT RANKS FRANKENSTEIN'S MONSTER. APPARENTLY PEOPLE WILL PAY TO SEE A GREAT WHITE SHARK MOVIE.


Roger Ebert: 
IT WAS PURE TRASH AS A MATTER OF FACT. THE SHARK COMES ON AND STARTS EATING TEENAGERS AND THAT'S IT. SOMETIMES I DON'T LIKE TEENAGERS SO MUCH MYSELF, BUT THAT'S GOING TOO FAR.
FOURTH BIGGEST HIT OF THE YEAR WAS "HEAVEN CAN WAIT" MADE BY WARREN BEATTY. HE CORRECTLY PREDICTED THAT THE PUBLIC WANTED A NIGHT, LIGHT, ROMANTIC FANTASY. THERE WAS, IN FACT, ONLY ONE KISS IN THE WHOLE MOVIE AND IT TAKES PLACE IN THIS SCENE.

NOW, BEATTY PLAYS AN ATHLETE WHO HAS DIED YOUNG. HE'S BEEN RETURNED TO EARTH IN ANOTHER BODY. HE FALLS IN LOVE WITH JULIE CHRISTY AND NOW HE'S TRYING TO HINT TO HER THAT THEY MAY MEET AGAIN IN THE THIRD OR FOURTH REINCARNATION.


>> WE HAVE A GREAT LIFE, YOU AND ME, AND NO ONE WILL TAKE THAT AWAY FROM US.
>> WHY ARE YOU LOOKING AT ME LIKE THAT?
>> MEMORIZING YOUR FACE.
I WANT TO REMEMBER EVERYTHING ABOUT YOU.
I DON'T WANT TO FORGET YOU.
>> WHAT'S GOING TO HAPPEN?
>> NOTHING IS GOING TO HAPPEN?
YOU WILL NEVER FORGET ME EITHER, WILL YOU?
>> OH.   
>> I MEAN THAT THING YOU SAID YOU SAW IN ME.
IT WAS SOMETHING IN MY EYES, REMEMBER?
>> MMHMM.
>> SOME DAY SOMEBODY CAME UP TO YOU, HE MIGHT EVEN BE A FOOTBALL PLAYER AND HE ACTED LIKE HE HAS SEEN YOU BEFORE, YOU WOULD NOTICE THAT SAME THING, WOULDN'T YOU?
OR EVEN IF YOU THOUGHT YOU DID, YOU WOULD GIVE THEM A CHANCE, WOULDN'T YOU?
HE COULD BE A GOOD GUY.
HE COULD BE ANYBODY.
HE COULD EVEN BE A QUARTERBACK.
>> I DON'T UNDERSTAND WHAT YOU ARE SAYING.
>> I'M JUST ACTING CRAZY.
 

Roger Ebert: 
WELL, THAT'S A SWEET SCENE BUT GIVE IT A MOMENT'S THOUGHT. NOW TEN YEARS AGO WITH BONNIE AND CLYDE. WARREN BEATTY, DEVELOPED OUR NATIONAL CONCERN WITH VIOLENCE  HE PREDICTED OUR NATIONAL CONCERN WITH VIOLENCE. AT THE SAME TIME IN 1978, IT SATISFIES A HUNGER THAT WE HAVE BEEN DEVELOPING FOR SWEETNESS AND HUNGER AND ROMANCE.


Gene Siskel: 
HE SAID HE WAS THINKING OF MAKING TWO OTHER MORE SERIOUS PICTURES AND HAD TROUBLE WITH THE PROJECTS AND DECIDED HE WILL MAKE A PICTURE THAT HE WANTS TO SEE. MAYBE THAT'S THE SIGNATURE FOR THE WHOLE YEAR, PICTURES THAT PEOPLE WANT TO SEE.


Roger Ebert: 
MAYBE THEY HAD MORE IN COMMON. TEN YEARS AGO THEY WERE MAKING FILMS ABOUT THINGS THEY OUGHT TO BE EXPLORED WITH THOUGHTS THAT THEY WANTED TO EXPLORE AND LESSONS THAT THEY WANTED TO TEACH AND THAT WASN'T THE CASE. IT WAS MORE OF A GENRE YEAR, MUSICALS AND SCIENCE FICTION, AND EXPLANATION PICTURES.


Gene Siskel: 
I HEARD ONE EXPLANATION OF WHY WE GOT THIS, IT CAME FROM THE DIRECTOR OF "INVASION OF THE BODY SNATCHERS." HE THINKS PEOPLE ARE SIMPLY BORED WITH EVERYDAY LIFE, EVERYTHING, THEY DON'T WANT TO SEE ANYTHING REMOTELY RELATED TO THIS EARTH. WE GET THE SCIENCE FICTION FILMS THAT TAKE US OUT OF SPACE AND "GREASE" WHICH COMES OUT OF NOWHERE.


Roger Ebert: 
WE WERE TALKING THREE OR FOUR YEARS AGO, THIS WAS A TRUISM THAT MUSICAL IS DEAD. LAST YEAR'S PICTURE WAS A MUSICAL, "GREASE." AND THERE WERE HOLD OVERS, YOU HAVE STAR WARS AND CLOSE ENCOUNTERS OF THE THIRD KIND AND SATURDAY NIGHT FEVER AND THESE ARE AN OLD BASIC HOLLYWOOD TRADITION.


Gene Siskel: 
ONE THING THAT CONCERNS ME AS A FILM CRITIC AND PROBABLY YOU TOO, ARE WE EVER GOING TO GET SERIOUS PICTURES? ARE THESE BLOCKBUSTERS GOING TO CROWD US OUT? I HOPE NOT, I HOPE THE HOLLYWOOD CHIEFTAINS DON'T LOOK AT THE GROSS OF THESE PICTURES AND SAY I WILL PLAY IT LIGHT.
 

Roger Ebert: 
NO MORE LITTLE PICTURES. ONE THING THAT BOTHERS ME IS THE MASS, LEMMING SYNDROME. THEY FEEL THAT THEY HAVE TO SEE A PICTURE IF EVERYONE ELSE IS SEEING IT.
 

Gene Siskel: 
WE ARE NOT SAYING DON'T GO TO SEE A PICTURE THAT EVERYONE WANTS TO SEE, YOU HAVE TO TAKE A CHANCE, AND A SMALL PICTURE WILL GET CROWDED OUT. THERE ARE SOME SMALL FILMS, ONE CALLED "THE DEER HUNTER" AND "APOCALYPSE NOW." IF THEY GET BLASTED OUT, WE WILL NEVER SEE A FILM WITH BIG IDEAS AGAIN.
 

Roger Ebert: 
SOME OF THE FILMS WE LIKED LAST YEAR WERE THE SERIOUS ONES THAT DID HAVE SOME IDEA. LET'S GO ON FROM THE BOX OFFICE FAVORITE TO SOME OF OUR OWN FAVORITE MOVIES OF 1978.
NOW GENE AND I HAVE SELECTED TWO FILMS WE THOUGHT WERE THE YEAR'S VERY BEST.
 
Roger Ebert: 
MY FIRST CHOICE IS AN UNMARRIED WOMAN WITH JILL CLAYBURGH AS A HAPPILY MARRIED WHOM WHO IS NOT HAPPILY MARRIED AFTER ALL.
WATCH HER FACE IN THIS SCENE.
 

>> COME ON.
WHAT IS IT, HONEY?
WHAT'S THE MATTER?
[ CRYING ]
>> WHAT IS IT?
WHAT?
TELL ME.
>> I'M IN LOVE WITH SOMEBODY ELSE.
[ CRYING ]
I'M SEEING ANOTHER WOMAN FOR OVER A YEAR.
AT FIRST, YOU KNOW, I THOUGHT IT WAS JUST A FLING, BUT IT ISN'T.
I LOVE HER.
I WANT TO LIVE WITH HER.
OH, GOD.
I DON'T WANT TO HURT YOU.
I DON'T WANT TO HURT PATTI.
SHE'S A TEACHER.
SHE'S 26.
OH, GOD.
I'M SO SORRY.
>> YOU TELL PATTI  YOU TELL PATTI THAT YOU ARE SORRY.
 

Roger Ebert: 
AFTER THAT SCENE, SHE GOES THROUGH A DIVORCE AND A PERIOD OF BEING ALONE, AND THEN A TENTATIVE RETURN TO LIFE. SHE TAKES LOTS OF CHANCES IN HER PERFORMANCE. SHE WAS WAY OUT THERE ON AN EMOTIONAL LIMB AND I WOULD LIKE TO MAKE A FLAT PREDICTION, JILL CLAYBURGH WILL WIN THIS YEAR'S ACADEMY AWARD AS BEST ACTRESS.
WRITE THAT DOWN.
 

Gene Siskel: 
I'M WRITING.
 

Roger Ebert: 
IT WAS DIRECTED BY PAUL MAKERSKI. HE MADE HARRY AND TONTO AND TED AND ALICE. HE NEVER BEFORE MADE A MOVIE AS GOOD AS THIS ONE.
 

Gene Siskel: 
I MIGHT AGREE WITH YOU. I THINK HARRY AND TONTO WERE BETTER. BUT SURELY THIS IS THE KIND OF FILM WE WERE TALKING ABOUT. THE SMALL, SERIOUS, PICTURE THAT WE HOPE IS NOT CROWDED OUT BY A BIG BLOCKBUSTER. 
IT DID PRETTY WELL AT THE BOX OFFICE, UNLIKE MY FILM FROM 1978, I CAN SAFELY SAY THAT ONE OUT OF 50 VIEWERS SAW. THAT MIGHT SUGGEST IT'S A OBSCURE FILM, BUT KNOW, IT'S "STRAIGHT TIME" AN AMERICAN FILM ABOUT ONE OF OUR BEST ACTORS AND POPULAR STARS, DUSTIN HOFFMAN WHO IS PLAYING A RECENTLY PAROLEE. HOFFMAN'S PARTNER SERVES AS TIMEKEEPER SO THEY CAN GET OUT BEFORE THE COPS HAVE TIME TO REACT.
WATCH HIM AS HE CLAWS THROUGH THE JEWELS. HOFFMAN JUST CAN'T STOP.

 
>> GO.
LET'S GO.
LET'S HIT IT.
>> WE'VE GOT TIME.
>> COME.
LET'S GO.
>> HEY.
LET'S GO, MAN.
LET'S GO, MAN!
WE'VE GOT TO GET OUT OF HERE.
>> THERE WAS A PIECE HERE.
THIS WAS ANOTHER PIECE HERE.
I DON'T BELIEVE THIS, MAN.
I REALLY DON'T BELIEVE IT.
THERE'S GOING TO BE AN ARMY OUT THERE, MAN.
>> THERE WAS ANOTHER PIECE HERE.
>> WE'VE GOT TO GET OUT OF HERE!
 

Gene Siskel: 
NOW, THAT SEEMS LIKE A REAL ROBBERY TO ME. VERY EXCITING, UNFORTUNATELY "STRAIGHT TIME" WAS NOT GIVEN VERY WIDE DISTRIBUTION. IF IT COMES BACK, I HOPE YOU SEE IT. IT WAS A SPECIAL MOTION PICTURE.
 

Roger Ebert: 
I THROUGHOUT SO TOO, AND A GREAT PERFORMANCE BY DUSTIN HOFFMAN. MOST CRIMINALS GO OUT IN A HAIL OF GLORY OR REDEEMED IN SOME WAY. THIS ONE HAD A MORE REALISTIC ENDING.


Gene Siskel: 
IT SURE DID.
 

Roger Ebert: 
MY FAVORITE FILM WAS THE YEAR'S MOST BEAUTIFUL FILM "DAYS OF HEAVEN" IT WAS SET IN THE TEXAS PANHANDLE IN THE DAYS BEFORE WORLD WAR I. IT WAS SO WONDERFULLY PHOTOGRAPHED THAT NATURE ITSELF HAD ONE OF THE ROLES IN, FOR EXAMPLE, THIS SCENE ON A RIVERBOAT. THREE OF THE CHARACTERS FLOAT ALONG AND ONE OF THEM A 12 YEAR-OLD GIRL TALKS ABOUT WHAT THEY HAVE BEEN THROUGH AND HOW IT FELT.
 

>> NOBODY IS PERFECT.
THERE WAS NEVER A PERFECT PERSON AROUND.
YOU JUST GOT HALF DEVIL AND HALF ANGEL IN YOU.
 
EVERYTHING IS QUIET.
I NEVER NOTICED BEFORE.
YOU COULD SEE PEOPLE ON THE SHORE, BUT IT WAS FAR OFF, YOU COULDN'T SEE WHAT THEY WERE DOING.
THEY WERE TRYING SOMETHING.
WE HEARD OWLS SQUAWKING.
WE DIDN'T KNOW WHERE THEY WERE GOING OR WHAT WE WERE GOING TO DO.
I HAVE NEVER BEEN IN A BOAT BEFORE.
THAT WAS THE FIRST TIME.
 

Roger Ebert: 
THAT LITTLE GIRL'S VOICE IS HAUNTING. IT'S CHILLING. THE MOVIE WAS ABOUT A LOVE TRIANGLE IN WHICH NO ONE WAS REALLY WRONG BUT EVERYONE GOT HURT AND IT WAS ABOUT POVERTY AND ABOUT WORKING THE LAND, AND ABOUT THE AWESOME LONELINESS OF PEOPLE MAROONED IN A LANDSCAPE SO VAST THEY SEEMED INSIGNIFICANT AND ALMOST PATHETIC AGAINST IT. 

"DAYS OF HEAVEN" WAS WRITTEN AND DIRECTED BY TERRENCE MALICK WHO MADE IT INTO ONE OF THE MOST BEAUTIFUL AND POETIC FILMS I HAVE EVER SEEN.
 

Gene Siskel: 
IT REMINDS ME OF "WEATHER HEIGHTS" AND I THINK THIS WAS A SERIOUS ESCAPE FILM. 
YES, IT TOOK US AWAY TO A FAR AWAY WORLD. AND THAT CAN BE SAID ABOUT MY NEXT FAVORITE FILM "AUTUMN SONATA," I THINK IT WILL BE REMEMBERED AS INGRID BERGMAN'S LAST FILM. SHE ANNOUNCED HER RETIREMENT, APPARENTLY FROM DUE HEALTH. SHE GIVES A RIVETING PERFORMANCE AS AN INTERNATIONALLY KNOWN CONCERT PIANIST WHO VISITS HER DAUGHTER FOR THE FIRST TIME IN SEVEN YEARS BUT NOW THERE'S ONLY RESENTMENT LEFT BETWEEN THEM AND AN ARGUMENT THAT LASTS DEEP INTO THE NIGHT.
THEY BITTERLY RECALL THE PAST.
 

Gene Siskel: 
AGAIN, SOME REAL PAIN THERE. THE FILM IS AT ITS BEST WHEN HE DOES A CLOSEUP ON INGRID BERGMAN. THE CONFLICT IS HOW DO YOU RECONCILE YOUR PUBLIC CAREER WITH YOUR PERSONAL RESPONSIBILITIES TO YOUR FAMILY? I THINK NOW AT A TIME WHEN MORE AND MORE WOMEN WITH CHILDREN ARE BEGINNING TO HAVE CAREERS, THAT'S A VERY PROVOCATIVE QUESTION.
 

Roger Ebert: 
THAT'S A QUESTION THAT BERGMAN HAS ASKED HIMSELF YEARS AND YEARS. HOW DOES ANY COUPLE, HUSBAND AND WIFE, BROTHER AND SISTER, HOW DO THEY GET TOGETHER? I HAVE A QUESTION FOR YOU. I GOT A CALL. SHE SAW "AUTUMN SONATA." WHY IS IT THAT MILLIONS OF PEOPLE GO TO SEE "GREASE" AND NOBODY SEES OUR BEST FILMS OR MANY VIEWER PEOPLE, ANYWAY?


Gene Siskel: 
I DON'T KNOW. I THINK WE REALLY LOVE THE PICTURES THAT WE ARE TALKING ABOUT. THESE ARE PICTURES THAT WE CARE ABOUT. I DON'T HOLD ANY RESENTMENT AGAINST A FILM THAT IS SUCCESSFUL. WE LIKE THOSE, BUT, LISTEN WE SEE A LOT OF PICTURES AND WE WANT TO SEE THE SERIOUS STUFF TOO.


Roger Ebert: 
I THINK YOU PUT YOUR FINGER ON IT. I LOVED "GREASE" TOO. I LIKED "ANIMAL HOUSE" BUT WE SEE 200, 300 MOVIES A YEAR. MAYBE WE ARE OVER EXPOSED. WE WANT TO SEE SOMETHING DIFFERENT. WE APPRECIATE IT WHEN SOMETHING IS DIFFERENT. PEOPLE WHO GO FOUR OR FIVE TIMES A YEAR, THEY WANT TO SEE THINGS THAT THEY EXPECT TO SEE.


Gene Siskel: 
I ALWAYS WANTED TO SEE JOHN WAYNE PLAY A WEAKLING ONCE IN A WHILE. I DON'T WANT TO SEE THE SAME STUFF OVER AND OVER. MAYBE THAT'S THE ONE TIME WHEN THE CRITIC IS A LITTLE BIT DIFFERENT FROM THE GENERAL AUDIENCE.


Roger Ebert: 
MAYBE WE ARE TRYING TO STRETCH THINGS OUT SAYING GO SEE "GREASE AND" AND INGRID BERGMAN. NOW LOOK WHO IS HERE, SPOT THE WONDER DOG, OUR OLD PAL WHO LIKES BAD MOVIES AS MUCH AS WE DO. WE HAVE THE DOGS OF THE YEAR, THE TWO WORST MOVIES OF 1978. MY CHOICE IS "THE MEDUSA TOUCH" WHICH STARRED RICHARD BURTON A MAN WITH STRANGE OUT OF THE CONTROL PSYCHIC POWERS. BURTON MAKES A PLANE FALL OUT OF THE SKY.
 
>> SOMETHING IS WRONG.
>> YOU'VE GOT FULL POWER, CAPTAIN.


Roger Ebert: 
GREAT SPECIAL EFFECTS. YOU CAN SEE THE CITY AND THE PLANE ARE TOY MODELS THAT CAME OUT OF THE HOBBY SHOT. WHAT IS HE DOING STARING AT AN AIRPLANE ANYWAY? IT HAS GONE HAYWIRE, "THE MEDUSA TOUCH" NOT JUST BAD AND NOT JUST AWFUL, BUT THE DOG OF THE YEAR MAKING A CONVINCING CASE FOR THE POSSIBILITY THAT RICHARD BURTON IS NOT ONLY ONE OF THE BEST ACTORS OF OUR TIME BUT ALSO ON HIS BAD DAYS ONE OF THE WORST.
 

Gene Siskel: 
I AGREE, ROGER AND MY DOG OF THE YEAR ALSO STARS RICHARD BURTON.
THIS TIME IN A WOULD-BE ADVENTURE FILM ABOUT MERCENARY WHITE SOLDIERS IN BLACK AFRICA. IT'S CALLED "THE WILD GEESE" AND IT WAS PRETTY FOWL. FOR EXAMPLE, TAKE A LOOK AT THIS SCENE WHICH SHOULD HAVE BEEN A HIGH POINT. RICHARD BURTON, AND A BAND OF 50th MERCENARIES STORM AN AFRICAN PRISON WHERE THEY HOPE TO LIBERATE A PRISONER. THEY GET THIS OH, SO EASY TAKE OVER, WHEN WE WERE EXPECTING A GREAT JAIL BREAK.
 

Gene Siskel: 
WOW! THAT WAS THE JAIL BREAK! ISN'T THAT A THRILL? EVERYBODY MUST HAVE BEEN STONED IN THAT SCENE. YOU KNOW, WE HAVE BEEN TOLD THAT BRITISH ACTORS HAVE HIGHER ARTISTIC ACTORS THAN AMERICAN ACTORS? OH, YEAH? THAT'S RIDICULOUS! THE ONLY REASON HE MADE THIS PICTURE WAS FOR THE MONEY. THE SAME GOES FOR RICHARD HARRIS AND ROGER MOORE WHO ALSO APPEAR IN THIS FILM. "THE WILD GEESE" EXPLOITS RACISM AS SOME SORT OF SPORTING ENTERTAINMENT AND WORST OF ALL, IT'S DULL. DULL. DEADLY DULL.
 

Roger Ebert: 
YOU ARE RIGHT, GENE, BUT THINGS WERE NOT ALL THAT BAD DURING 1978.
AS A MATTER OF FACT, THERE WERE A LOT OF GOOD MOVIES LAST YEAR AND AT THE END OF THE YEAR, IT'S TRADITIONAL FOR MOVIE CRITICS TO PICK THE YEAR'S TEN BEST. NOW, GENE AND I RECENTLY WROTE ARTICLES FOR THE TWO NEWSPAPERS WE WORK FOR, ABOUT OUR TOP TEN FAVORITES AND OUR REASONS FOR CHOOSING THEM AND AS UNUSUAL WE DISAGREE.


Gene Siskel: 
ABOUT HALF THE TIME.


Christy Lemire: 
IT'S AMAZING WHEN YOU LOOK BACK AT HOW ENDURING THE FILMS ARE, GREASE AND ANIMAL HOUSE.
THERE ARE GREASE SING ALONGS AT MOVIE HOUSES ALL OVER THE PLACE AND ANIMAL HOUSE IS THE RAUNCHY GUY COMEDY. EVERY COLLEGE GUY WANTS TO BE THAT WILD AND INSUBORDINATE.
 

Ignatiy Vishnevetsky: 
AND TWO OF MY FAVORITE SCENES FROM '78, HALLOWEEN AND DAWN OF THE DEAD, FILMS WHOSE INFLUENCE YOU STILL SEE.


Christy Lemire: 
I'M REALLY STRUCK BY GENE'S COMMENT THAT HE'S SO AFRAID THAT THE BLOCKBUSTER IS GOING TO OVERWHELM AND CROWD OUT LITTLE INTELLIGENT FILMS AND, YES, THE BLOCKBUSTER IS STILL KING WHEN YOU LOOK AT TRANSFORMERS HAS MADE MORE THAN A HALF BILLION DOLLARS BUT THERE ARE SO MANY MORE OPPORTUNITIES TO SEE SMALL INTELLIGENT FILMS BETWEEN NETFLIX AND SMALL INDEPENDENT DISTRIBUTORS. THERE'S HOPE.


Ignatiy Vishnevetsky: 
THERE IS HOPE. IT'S EASIER TO NAME ONE OF MY FAVORITE FILMS OF '78, KILLER OF SHEEP. IT'S EASIER TO SEE IT ON DVD THAN IT WAS BACK THEN WHICH IT WAS ACTUALLY MADE.


Christy Lemire: 
THAT'S IRONIC. JOIN US NEXT WEEK FOR A SPECIAL LOOK BACK AT "SNEAK PREVIEWS." YOU CAN FOLLOW THE DISCUSSION ON FACEBOOK AND ON TWITTER. UNTIL THEN, THE BALCONY IS CLOSED. 
 

Ignatiy Vishnevetsky: 
FOR MORE REVIEWS AND MORE FROM ROGER'S OFFICE, VISIT OUR WEB SITE AT EBERTPRESENTS.COM.