Punishment Park


1h 28m 1971

Brief Synopsis

"Punishment Park" is a pseudo-documentary purporting to be a film crews's news coverage of the team of soldiers escorting a group of hippies, draft dodgers, and anti-establishment types across the desert in a type of capture the flag game. The soldiers vow not to interfere with the rebels' progress and merely shepherd them along to their destination. At that point, having obtained their goal, they will be released. The film crew's coverage is meant to insure that the military's intentions are honorable. As the representatives of the 60's counter-culture get nearer to passing this arbitrary test, the soldiers become increasingly hostile, attempting to force the hippies out of their pacifist behavior. A lot of this film appears improvised and in several scene real tempers seem to flare as some of the "acting" got overaggressive. This is a interesting exercise in situational ethics. The cinema-veritie style, hand-held camera, and ambiguous demands of the director - would the actors be able to maintain their roles given the hazing they were taking - pushed some to the brink. The cast's emotions are clearly on the surface. Unfortunately this film has gone completely underground and is next to impossible to find. It would offer a captivating document of the distrust that existed between soldiers willfully serving in the military and those persons who opposed the war peacefully.

Film Details

MPAA Rating
Genre
Action
Crime
Drama
Fantasy
Release Date
Jan 1971
Premiere Information
Melbourne [Australia] Film Festival screening: 18 Jun 1971; New York Film Festival screening: 11 Oct 1971
Production Company
Chartwell Films, Ltd.; Françoise Films, Ltd.
Distribution Company
Chartwell Films, Ltd.; Françoise Films, Ltd.; Sherpix, Inc.
Country
Great Britain and United States
Location
El Mirage Dry Lake, California, United States; Mojave Desert, California, United States; Shadow Mountains, California, United States

Technical Specs

Duration
1h 28m
Color
Color

Synopsis

In the Mojave Desert, television crews from the British Broadcasting Corporation, an American network and a West German network document the proceedings surrounding the tribunal of Corrective Group 638 and the punishment of Corrective Group 637. As described by the BBC presenter, the United States has resurrected the 1950 Internal Security Act, also known as the McCarran Act, giving the president extensive powers to declare an internal security emergency. Because the country is experiencing turmoil over the Vietnam War and the rights of blacks, women and the underprivileged, the president has proclaimed that any suspicious person can be arrested and held without bail. With so many citizens being arrested, jails are overflowing, and so the Senate Subcommittee on Law and Order has established "Punishment Parks" as an alternative to imprisonment in federal penitentiaries. At the Bear Mountain Punishment Park in the Mojave, prisoners are given three days and two nights in which to run a brutal course of fifty-three miles, at the end of which is an American flag. If they reach the flag within the allotted time, the prisoners are freed, but if they do not, they must serve their full sentences. During the three-day period, no food or shelter is provided to the prisoners, and they will be pursued by members of local sheriff and police departments, as well as members of the National Guard, who use the course for training. Presiding over the tribunal of Corrective Group 638 is William C. Hoeger, who overrules the motion of defense attorney James Daly to have the trial dismissed on grounds of unconstitutionality. Daly also asks for a jury and bail for the defendants, some of whom have been held for months without knowing the charges against them, but Hoeger overrules him again. While the defendants¿Lee Robert Brown, Jay Kaufman, James Arthur Kohler, Allison Michener, Charles Robbins, Nancy Jane Smith and William Luke Valerio¿are told that they have been charged with conspiracy to undermine the national security, in addition to various separate charges, the already convicted members of Group 637 are led into the desert. There, where the temperature is already 89 degrees at 9:00 a.m., Sheriff Edwards describes the course to the prisoners, who are told that there is a water station halfway through. He informs them that they must stay within the boundaries and that they will be given a two-hour head start before the pursuit begins. If they are approached by an official, they must surrender immediately, and if they react violently, force will be used against them. As the course begins, the group begins bickering among themselves, with some members determined to attempt the arduous trek, while others proclaim that "the pigs" will kill them no matter what. While the pacifists split off from the militants and begin their journey, in the tribunal, Robbins, a well-known author and black activist, sits handcuffed and verbally wrangles with the tribunal members. The members¿Senator Brinley J. Harris, American Legionnaire Leonard Keagan, sociology professor Charles Hazlett, housewife Mary Jurgens, journalist Alfred J. Sully and union steward Paul Reynolds¿are of varying ages but are all proudly conservative and antagonistic to the young prisoners, whom they regard as unpatriotic, dangerous revolutionaries. When Harris asserts that black people in America enjoy a standard of living higher than that of anywhere else in the world, Robbins retorts that the same thing can be said of any animal in the zoo. While Kaufman, the cofounder of the National Committee Against War and Repression, is questioned next about his opposition to the Vietnam War, the police and soldiers outside prepare their arsenal of weapons. Kaufman tells his accusers that he is more concerned about caring for the underprivileged in America than fighting a foreign war, but they rebuke him for thinking that the government is corrupt and accuse him of taking drugs. The infuriated Kaufman is carried from the room, while in the desert, the militant group plans on ambushing their pursuers. Soon after, the dead body of a deputy is discovered, and the BBC crew interviews Edwards, who states that after the dead man was stabbed with the spires of a Joshua tree, his guns and patrol car were stolen. Edwards admits that the murder will cause his men to feel even more antagonistic toward their prey. Meanwhile, the pacifist group becomes divided over differing opinions about the necessity of fighting back. The temperature rises to 103 as the day progresses, and while the pacifists struggle on, Valerio, a draft dodger, is the next defendant questioned. As the British interviewer becomes exhausted by the heat outside, a patrol car drives up and some members of the pacifist group are captured. On the morning of the second day, Smith, a popular teenage singer, is questioned about her songs that call for overthrow of the government, and she accuses the tribunal members of hypocrisy when they state that her incendiary lyrics are responsible for the deaths of other young people stirred to revolution. Out in the desert, the camera crew films the bodies of the dead militants, who were found and shot by the police, supposedly after they refused to surrender. Two of the militants remain at large with a shotgun, but Edwards remarks that if his men do not "get them," the desert will. Later, Group 637 is elated to find the water station but then is outraged to discover that the tap does not work, and probably never did. Believing that they have been deceived and have no chance to complete the course, a semi-militant faction of the group splinters off. While Kohler, an intellectual activist, is interrogated, the five remaining pacifists stagger along the remaining 27 miles to the finish line. Kohler debates the ethics of war with the senator and after Kohler is dismissed, Robbins, a militant member of The People's Army, is brought in. The vocal Robbins, who advocates violent revolution for blacks, as no other means are effective, is defending himself while on the course, the remaining two militants hold a West German sound technician hostage. The two prisoners are shot dead and the soundman freed while in the courtroom, the debate grows so heated that Hoeger orders Robbins gagged. Daly protests, stating that it is clear that the administration has chosen to exploit the division within the country to further its own agenda. On the morning of the third day, while the pacifists tend to Harold, one of their members who is gravely ill, Michener, an organizer of women's union, testifies. As she is stating that all people will resort to violence if their basic human needs are not satisfied, the semi-militant group is lured into range of their pursuers. Although the five prisoners surrender and willingly trudge up a hill with their hands over their heads, they cannot hear the soldier's orders to remain still. As the British newsman screams at the advancing prisoners to sit down, the soldier panics and shoots one of them. The others, believing that they have been betrayed, rush the man and kill him. In the courtroom, Michener accuses the committee of "putting radicals on trial as scapegoats for problems that stem from your own system," while in the desert, the pacifists mourn Harold's death. Hoeger reads an amnesty pledge that Michener can sign in order to obtain her freedom, but the oath, requiring her never to participate in any activity deemed subversive, disgusts her. In the desert, the remaining four semi-militants panic as they are surrounded by law enforcement, and even though the interviewer begs for their safety, when one prisoner throws a rock at an advancing soldier, the young soldier shoots and kills him. After the other three are shot, the outraged interviewer berates Edwards, who shrugs off his accusations. When the teenaged National Guardsman is questioned, he tearfully asserts that his weapon went off accidentally and that he did not intend to kill anyone. At the tribunal, the defendants are sentenced to long prison terms, despite an angry speech by Daly, who compares the committee's actions to those of Hitler. The pacifists, meanwhile, catch sight of the flag and happily approach it. As each of the defendants in Group 638 agrees to accept Punishment Park in lieu of prison time, the pacifists of Group 637 are prevented from reaching the flag by a line of police and soldiers, who brutally bludgeon them when they rush toward the goal. The camera is turned off for ten minutes, after which the police and soldiers yell that the prisoners "had it coming to them," despite the fact that the group beaten was not responsible for the earlier deaths of the two officers. When the interviewer accuses the police of "cheating" and never having any intention of letting the prisoners complete the course, they retort that the television crew has not offered any humanitarian aid to the prisoners and is interested only in the money to be made from the sale of their film. When the newsman then complains that this type of brutal treatment has been repeated all over America, Edwards replies that it will happen again, "as long as we've got this type of element to deal with."

Film Details

MPAA Rating
Genre
Action
Crime
Drama
Fantasy
Release Date
Jan 1971
Premiere Information
Melbourne [Australia] Film Festival screening: 18 Jun 1971; New York Film Festival screening: 11 Oct 1971
Production Company
Chartwell Films, Ltd.; Françoise Films, Ltd.
Distribution Company
Chartwell Films, Ltd.; Françoise Films, Ltd.; Sherpix, Inc.
Country
Great Britain and United States
Location
El Mirage Dry Lake, California, United States; Mojave Desert, California, United States; Shadow Mountains, California, United States

Technical Specs

Duration
1h 28m
Color
Color

Articles

Punishment Park - Could It Happen Here?


English writer-director Peter Watkins has toyed with the documentary format since the 1960s, from Culloden, in which Watkins' crew "covered" a decisive battle in the 1740s English Civil War as a modern-day TV crew would, through his most recent movie, La Commune (Paris, 1871). In between, among such standouts as Privilege, The War Game and Edvard Munch, is one of Watkins' most provocative movies, 1971's Punishment Park. Like much of Watkins' work, it's another fiction film that gains power from the way in which it convincingly stretches real situations to extremes.

Punishment Park, the first in New Yorker Video's The Cinema of Peter Watkins series of DVDs, may be the boldest cinematic depiction of the polarization within American society during the Vietnam War. With conservative Richard Nixon in the White House, the liberal anti-war movement continuing to gather strength and both sides turning to more desperate measures (the secret bombing of Cambodia from the Nixon administration, the political bombings by the radical Weathermen at home), there was no end in sight to the cultural and political wars at home, nor to the war in Vietnam. As he often has, Watkins came up with a potent sometime-in-the-near-future premise with which to examine the dangerous direction in which he saw the world heading.

The premise is this: fearful of rising dissent, the president invokes an old law that allows him to declare an "internal security emergency." The president can then authorize the arrest of any individuals who might carry out future acts against the government. Anyone arrested under this law can be held without the right of bail or the right to see or hear the evidence against them. Those sentenced to jail terms are, however, given the option of being guinea pigs in exercises designed to train law-enforcement officers in combating dissidents. If they survive three days in one of the punishment parks, in which the law-enforcement officers hunt for them, they will go free.

Watkins' movie unfurls as a European-TV documentary about what happens at Bear Mountain National Punishment Park in southern California. The story in Punishment Park proceeds on two tracks it rapidly cuts between. On one, it follows "corrective group #637," the members of which have already been convicted, sentenced and elected the punishment park option rather than a sure prison term. They are being taken out to the open desert as the movie opens. At the same time, on the other track, "corrective group #638" is being brought before the tribunal at the park, in a makeshift tent where their cases will be heard. The members of each group are invariably young and critical of the government.

As he often has, Watkins did not use a professional cast in Punishment Park. Instead, he usually cast people similar to the characters they portrayed. Instead of giving his cast lines of dialogue, the performers were given a basic outline of what was to happen in a given scene and then turned loose. Maybe this is why the scenes in which the #638 defendants individually debate the tribunal feel so real. The animosity apparently was real. The fictional tribunal includes such pillars of society as a senator (Sanford Golden), a business executive (Mark Keats), an American Legion member (George Gregory), a union shop steward (Paul Rosenstein), a housewife who chairs the "Silent Majority for a Unified America" (Gladys Golden) and so on (almost all of these characters are also identified as draft-board members). The anti-oppression rhetoric of the seven #638 defendants, who include a singer-songwriter (Catherine Quittner), a pacifist (Scott Turner) and a black militant (Stan Armsted), burns with passion, as do the law-and-order rebuttals of the tribunal members. The hearings of this kangaroo court sometimes riff on real events, as when an FBI agent reads the singer's lyrics (a la cops stiffly "doing" Lenny Bruce's act during the comic's obscenity trials) or when the tribunal leader has court officers bind and gag the black militant (as happened to Black Panther Bobby Seale at the trial of activists following the riots at the 1968 Democratic convention in Chicago).

If the goings-on inside the tent feel like the most perfunctory exercise in legal process, in which the defendants have no chance of winning their case or getting off with only, say, probation, the events out in the desert show the real goal of the "punishment park" program: to abuse the dissidents, toy with their minds and, if given a chance, kill them. The approximately 15 members of corrective group #637 are told that, if they reach an American flag 53 miles from their starting point, they won't have to serve their prison terms. Before they're given a two-hour head start, they're also told that they'll find water halfway to the flag. The #637 members soon break up into factions: one that wants to stand and fight, another of pacifists and a third that's somewhere in between. It's soon clear that nothing good is going to come of this exercise for any of them. They're ill-equipped for the ordeal, overmatched by the cops and soldiers pursuing them (who have police cruisers, jeeps and weapons) and, ultimately, double-crossed about the "fairness" of the rules. While we experience the characters in the tent through their participation in the tribunal, the documentary crews in the desert interview the #637 members on the fly, allowing us to get to know several of them, as well.

Although Punishment Park is hardly objective, with one of the desert cameraman (played offscreen by Watkins) lashing out verbally after a deadly encounter between one of the #637 factions and reservists, audience reaction during the movie's very limited early-1970s exposure reportedly broke down along the same lines as the characters in the movie. Audience reaction and the movie's inability to reach audiences is a major topic in the extras on the Punishment Park disc. It's referred to in reprints of articles by Scott McDonald and Joseph Gomez, in Gomez's audio commentary and in Watkins' own newly-filmed "introduction" to the movie (an unfortunately-named 28-minute extra that should not be watched before experiencing the movie). The challenges facing unconventional movies are also at the heart of the Watkins-written text from the movie's originally press kit (included as onscreen bonus). The kit reads like a passionate rant from Watkins for all the distribution difficulties his movies had faced up to that time (it hasn't been much better for his movies since).

Suffice to say that, in 2006, the battle between national security and civil liberties that rages in Punishment Park does not seem dated at all, something to which Watkins speaks to this during his "introduction." Then again, most of Watkins' movies are eerily prescient and still totally relevant.

For more information about Punishment Park, visit New Yorker Films. To order Punishment Park, go to TCM Shopping.

by Paul Sherman
Punishment Park - Could It Happen Here?

Punishment Park - Could It Happen Here?

English writer-director Peter Watkins has toyed with the documentary format since the 1960s, from Culloden, in which Watkins' crew "covered" a decisive battle in the 1740s English Civil War as a modern-day TV crew would, through his most recent movie, La Commune (Paris, 1871). In between, among such standouts as Privilege, The War Game and Edvard Munch, is one of Watkins' most provocative movies, 1971's Punishment Park. Like much of Watkins' work, it's another fiction film that gains power from the way in which it convincingly stretches real situations to extremes. Punishment Park, the first in New Yorker Video's The Cinema of Peter Watkins series of DVDs, may be the boldest cinematic depiction of the polarization within American society during the Vietnam War. With conservative Richard Nixon in the White House, the liberal anti-war movement continuing to gather strength and both sides turning to more desperate measures (the secret bombing of Cambodia from the Nixon administration, the political bombings by the radical Weathermen at home), there was no end in sight to the cultural and political wars at home, nor to the war in Vietnam. As he often has, Watkins came up with a potent sometime-in-the-near-future premise with which to examine the dangerous direction in which he saw the world heading. The premise is this: fearful of rising dissent, the president invokes an old law that allows him to declare an "internal security emergency." The president can then authorize the arrest of any individuals who might carry out future acts against the government. Anyone arrested under this law can be held without the right of bail or the right to see or hear the evidence against them. Those sentenced to jail terms are, however, given the option of being guinea pigs in exercises designed to train law-enforcement officers in combating dissidents. If they survive three days in one of the punishment parks, in which the law-enforcement officers hunt for them, they will go free. Watkins' movie unfurls as a European-TV documentary about what happens at Bear Mountain National Punishment Park in southern California. The story in Punishment Park proceeds on two tracks it rapidly cuts between. On one, it follows "corrective group #637," the members of which have already been convicted, sentenced and elected the punishment park option rather than a sure prison term. They are being taken out to the open desert as the movie opens. At the same time, on the other track, "corrective group #638" is being brought before the tribunal at the park, in a makeshift tent where their cases will be heard. The members of each group are invariably young and critical of the government. As he often has, Watkins did not use a professional cast in Punishment Park. Instead, he usually cast people similar to the characters they portrayed. Instead of giving his cast lines of dialogue, the performers were given a basic outline of what was to happen in a given scene and then turned loose. Maybe this is why the scenes in which the #638 defendants individually debate the tribunal feel so real. The animosity apparently was real. The fictional tribunal includes such pillars of society as a senator (Sanford Golden), a business executive (Mark Keats), an American Legion member (George Gregory), a union shop steward (Paul Rosenstein), a housewife who chairs the "Silent Majority for a Unified America" (Gladys Golden) and so on (almost all of these characters are also identified as draft-board members). The anti-oppression rhetoric of the seven #638 defendants, who include a singer-songwriter (Catherine Quittner), a pacifist (Scott Turner) and a black militant (Stan Armsted), burns with passion, as do the law-and-order rebuttals of the tribunal members. The hearings of this kangaroo court sometimes riff on real events, as when an FBI agent reads the singer's lyrics (a la cops stiffly "doing" Lenny Bruce's act during the comic's obscenity trials) or when the tribunal leader has court officers bind and gag the black militant (as happened to Black Panther Bobby Seale at the trial of activists following the riots at the 1968 Democratic convention in Chicago). If the goings-on inside the tent feel like the most perfunctory exercise in legal process, in which the defendants have no chance of winning their case or getting off with only, say, probation, the events out in the desert show the real goal of the "punishment park" program: to abuse the dissidents, toy with their minds and, if given a chance, kill them. The approximately 15 members of corrective group #637 are told that, if they reach an American flag 53 miles from their starting point, they won't have to serve their prison terms. Before they're given a two-hour head start, they're also told that they'll find water halfway to the flag. The #637 members soon break up into factions: one that wants to stand and fight, another of pacifists and a third that's somewhere in between. It's soon clear that nothing good is going to come of this exercise for any of them. They're ill-equipped for the ordeal, overmatched by the cops and soldiers pursuing them (who have police cruisers, jeeps and weapons) and, ultimately, double-crossed about the "fairness" of the rules. While we experience the characters in the tent through their participation in the tribunal, the documentary crews in the desert interview the #637 members on the fly, allowing us to get to know several of them, as well. Although Punishment Park is hardly objective, with one of the desert cameraman (played offscreen by Watkins) lashing out verbally after a deadly encounter between one of the #637 factions and reservists, audience reaction during the movie's very limited early-1970s exposure reportedly broke down along the same lines as the characters in the movie. Audience reaction and the movie's inability to reach audiences is a major topic in the extras on the Punishment Park disc. It's referred to in reprints of articles by Scott McDonald and Joseph Gomez, in Gomez's audio commentary and in Watkins' own newly-filmed "introduction" to the movie (an unfortunately-named 28-minute extra that should not be watched before experiencing the movie). The challenges facing unconventional movies are also at the heart of the Watkins-written text from the movie's originally press kit (included as onscreen bonus). The kit reads like a passionate rant from Watkins for all the distribution difficulties his movies had faced up to that time (it hasn't been much better for his movies since). Suffice to say that, in 2006, the battle between national security and civil liberties that rages in Punishment Park does not seem dated at all, something to which Watkins speaks to this during his "introduction." Then again, most of Watkins' movies are eerily prescient and still totally relevant. For more information about Punishment Park, visit New Yorker Films. To order Punishment Park, go to TCM Shopping. by Paul Sherman

Quotes

I will tell what happened to people who are poor and uneducated and automated out of a job and who stand in long fucking lines talking to little people like you with delusions of power, and unemployment lines all day long, to be fucked off because your old man didn't ball you right last night or you got a case of crabs.
- Defendant Lee Robert Brown
You don't wanna hear my message. You spent fifty years evolving a propaganda system that'll take the truth and change it into what you wanna hear. You don't wanna hear shit that's gonna mean you might have to give up something. You don't want it. All you wanna do is sit on your fat, dividend-drawing ass and draw dividends.
- Defendant Lee Robert Brown
Would you like for me to define what a politician is? A politician is nothing but a debater. All that you do is debate issues, you fat pig, you meathead. That's all that you are, because you are lying, sucker, you're lying to the camera, you're lying to your mama, you're lying to everybody, but every time I hear you open up your mouth, all I hear is oink, you pig. That's all I hear, oink. 'Cause you ain't got no humanity in you, 'cause you're a pig, you lying punk.
- Charles Robbins

Trivia

Notes

All of the onscreen credits appear at the end of the film, with the cast credits all listed above the title. The onscreen credits include written acknowledgments for the residents of El Mirage Dry Lake Area in California, "especially, Mr. & Mrs. Dick Hoar and Mr. & Mrs. M. B. Hoar," and Churchill Films. In the cast and character credits, marshal is spelled "marshall," and for the group of the pacifists in the desert, the word defendants is misspelled as "defendents." The spelling of several onscreen cast and crew names differ from those given in reviews. Within the film, the character played by Mary Ellen Kleinhall is called both "Allison Michener" and "Mary Ellen Michener." Scott Turner's character is referred to as "James Arthur Kohler" in the picture, but reviews list him as "Janus Kohler."
       Although American reviews of Punishment Park listed it as unrated, according to MPAA records, in 1971 the picture received an R rating, which was also the rating of the 2005 DVD release viewed. Upon the picture's theatrical release in Great Britain, it was given a certificate X rating, probably because of its substantial amount of profanity and violence, thus restricting it to viewers 18 or older.
       Punishment Park is presented in documentary style, as if the action is being captured by a British Broadcasting Corporation (BBC) television crew, along with other filming crews. An offscreen, British narrator (played by Peter Watkins) provides details such as the time, temperature in the desert, names and ages of the defendants in the tribunal and locations of the participants in the course. He also interviews various participants in the tribunal and accompanies and questions those on the Punishment Park course. The action cuts back and forth between the tribunal of Corrective Group 638 and the running of the course by Corrective Group 637, with interviews of law enforcement personnel and the tribunal members interspersed. Also heard periodically are radio reports with weather updates and news about the United States' involvement in foreign wars. During the tribunal of Corrective Group 638, the interrogators are identified by superimposed titles listing their names and occupations.
       At the end of the film, over the crew credits, the narrator reports that since completion of the production, actor Stan Armstead, who plays defendant "Charles Robbins," had been arrested on a charge of "conspiracy to bomb." The narrator continues that although Armstead had not yet been sentenced on that charge, he had been sentenced to three years in a federal penitentiary for assaulting a police officer. According to a modern source, Armstead was also convicted of the bombing charge.
       The Internal Security Act of 1950, also known as the McCarran Act, mentioned in the film was legislation initiated by Nevada senator Pat McCarran. The act required that Communist party members and organizations register with law enforcement officials and that suspected subversive peoples could be investigated, arrested, incarcerated and deported without access to the usual protections available to citizens of the United States. Most of the act's provisions were declared unconstitutional, and it was repealed in 1993.
       As noted in the onscreen credits and contemporary sources, the picture was shot on location in the El Mirage Dry Lake Area, located in the Mojave Desert in Southern California as well as the adjoining Shadow Mountains area. The October 1971 New York review stated that the picture had been "made a year ago in three weeks of filming in the Mojave Desert with young California technicians and a predominantly amateur cast." Several contemporary sources reported that Watkins used mostly amateur actors, including activists professing their real beliefs, National Guardsmen and police officers, and encouraged them to improvise. According to modern sources, the picture, which cost under $100,000 to produce, was shot using one, 16mm hand-held camera, then was enlarged to 35mm for distribution. Punishment Park was the only film produced by Susan Martin.
       According to Filmfacts the picture was originally produced for the BBC but after production was "rejected by that government-owned network presumably because of its political content." Filmfacts further noted: "Additional contention arose when Sherpix, Inc. picked up the movie for U.S. distribution, and then dropped it following a screening at the 1971 New York Film Festival." According to modern sources, the film was withdrawn a few days after its New York opening, although it enjoyed a wide international distribution.
       The film received mixed reviews, with some critics rebuking Watkins for his theatricality and strident, one-sided politics, while others saw it as a chilling, well-made foretelling of possible events. The picture received a limited theatrical re-release in Great Britain in 2005, with modern critics commenting that the film's subject matter was extremely relevant and timely.

Miscellaneous Notes

Released in United States 1971

Released in United States August 1971

Released in United States October 11, 1971

Shown at 1971 Atlanta Film Festival.

Shown at Edinburgh Festival August 1971.

Shown at New York Film Festival October 11, 1971.

Released in United States 1971

Released in United States 1971 (Shown at 1971 Atlanta Film Festival.)

Released in United States August 1971 (Shown at Edinburgh Festival August 1971.)

Released in United States October 11, 1971 (Shown at New York Film Festival October 11, 1971.)