The Day of the Locust Original Trailer (John Schlesinger, 1975)

Academy Award-winner John Schlesinger (Marathon Man) reunites with Midnight Cowboy screenwriter Waldo Salt (Coming Home), a victim of the 1950s McCarthy-era blacklist, to adapt Nathanael West's acid satire of Hollywood decadence and broken dreams.
Painter Tod Hackett (William Atherton, Looking For Mr. Goodbar), working in the art department of a movie studio during the 1930s 'golden age' of Hollywood, falls in unrequited love with aspiring starlet Faye Greener (Karen Black, Five Easy Pieces). He competes for her affections against other men: a pair of cowboys (Bo Hopkins, American Graffiti and Pepe Serna, Scarface), and a forlorn accountant (Donald Sutherland, Invasion of the Body Snatchers). As Faye's career fails to take her beyond roles as an extra, her life becomes increasingly desperate and her relationships with men take a darker turn, reaching fever pitch at a red-carpet movie premiere that explodes into barbaric chaos.
A bitter critique of tinsel-town's empty promises and the lost souls cheated by them, featuring lush, dreamlike cinematography by Conrad Hall (In Cold Blood), and stunning performances by its talented cast, The Day of the Locust remains a relevant and shattering experience.
#thedayofthelocust #johnschlesinger #arrowvideo #karenblack

[@ArttuTheCat]

"Donald Sutherland is Homer Simpson."
D'OH 😹!

[@MonkeyspankO]

What? What? WHAT? Oh, there's a story here!

[@hudson3838]

it's before he went yellow : }

[@user-ok1el9mg4h]

Hold my Duff!

[@purpleivory2]

Karen Black was dangerously gorgeous in this, per usual.

[@jimmyl324]

An excellent movie

[@johndavis-yj5df]

Donald Sutherland must do the voice of Homer Simpson from an alternative universe

[@garrison6863]

This was a really poor adaptation of a very good novel. In fact its West's best. There was no attempt by Schlesinger or his screenwriter to catch the symbolic style of the book, and the acting was simply not very good. Therefore all the metaphorical overtones of the book are lost. It was the beginning of the end of Schlesinger's movie career.