MICKEY ONE (1965) *** What a brilliant career move by Warren Beatty. It's an American black and white existential surrealistic non-linear French film with gaps where the plot could be. Beatty is brilliant, his mannerisms are perfect for the wary comedian who cracks jokes on the side but gets serious when the spotlight goes on and runs more often than not. Like Jeremiah he awaits Word from God. Meanwhile he gets into trouble that he can't understand, he only knows that he's guilty, with the mob. This drives him underground to Chicago where he promises to vote after a politician grants his wish to know how to contact a mobster. Only a mobster named Ruby can clear things up, but he shows up unexpectedly dead. There's fire and foam performance art called "Yes," exotic bars including the end-of-the-line "Kismet," pianos everywhere and of course the Word in a blink of the spotlight that moves him from the stage outside to a night of windows shining in the sky. Arthur Penn has studied the French masters and learned his lessons well.
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