Panico a Needle Park

This movie is not for people with sensitive nerves. Its harsh realism is very breathtaking, at times almost overwhelming. It concentrates in showing what drug addiction does to people in a relationship and succeeds in doing that. That's also the reason for its timelessness and artistic value.

Al Pacino and Kitty Winn, who plays the two main characters, Bobby and Helen, are very realistic in showing the ups and mostly the downs in the life of a drug addict. Especially the way they at times put their craving for drugs above each others needs.

The first time I saw the film I was 15. It was shown at my school and it made a very strong impression on me, especially its portrayal in the miserable life of a drug addict. I can therefore, among other things, recommend it as a preventive film for young people.

This is one of the most disturbing films I have ever seen. It is very real and grisly looking, not polished with the horrible artificial lighting you see nowadays in films. Bobby and Helen are addicts whose lives are going nowhere, they just can't get out of their destructive lifestyle. The scenes of the characters shooting up, tricking, and hanging in the brutal streets of 1970's New York are very realistic. Makes "Trainspotting" look like a Disney cartoon.

This is probably one of Al Pacino's best films. I would say that it is even better then "The Godfather" because you almost want to reach out and help the characters but you can't. They all have the same problem. That problem is heroin addiction and it has caused a multitude of problems in their lives. This is a great film. It is usually not shown on television (I did see it on PBS a few years ago but I think that was a rare exception) I think however, because of its realistic content most stations try not to air it. If you can find it on video I highly recommend it.

Sherman Square is in NYC on the West Side at the intersection of Broadway and 72nd Street. It is known as Needle Park for its heroin addicts. Petty criminal addict Bobby (Al Pacino) is a friend to artist Marco (Raul Julia). Helen (Kitty Winn) is in the hospital after a bad abortion from relations with Marco. She is homeless and looking to go back to Indiana. She moves in with Bobby and slowly drifts into the dark world of drugs.

This is very 70's. It's indie. It's grim and it's grimy. The two leads are compelling. It doesn't flinch away from the needle work. It's not pretty Hollywood but rather an ugly closeup vision. It is a bit slow and the plot meanders. There is a grinding inevitability to their predicament. It wallows in the gutter.

Until the mid-Fifties, the taboo theme of drug addiction in films was either fleetingly mentioned - as in MYSTERY OF THE WAX MUSEUM (1933) - or ridiculously overblown as in the REEFER MADNESS (1936) school of movies but, with the appearance of films like Otto Preminger's THE MAN WITH THE GOLDEN ARM (1955) and Nicholas Ray's BIGGER THAN LIFE (1956), Hollywood producers showed that they had learned to treat it in an objective, mature and sensitive way. But, with the the runaway box office success of EASY RIDER (1969), the subject got its own unexpected little niche and the general public was for the first time allowed to wallow in a no-holds-barred view of the junkie lifestyle; of course, I am discounting films like Shirley Clarke's THE CONNECTION (1961; which I've never watched myself) and the Andy Warhol Factory movies which are anything but mainstream Hollywood products.

I can't say I've watched many of those 1970s drug-related movies and, off hand, only John G. Avildsen's JOE (1970; with Peter Boyle and Susan Sarandon) and Ivan Passer's BORN TO WIN (1971; with George Segal and a young Robert De Niro) come to mind. Even so, I'd say that THE PANIC IN NEEDLE PARK is arguably the bleakest, grittiest and most realistic screen portrayal of drug addiction I've ever watched - at least, until Darren Aronofsky's REQUIEM FOR A DREAM (2000); for one thing, while most films of the era made extensive use of the contemporaneous rock scene, this one has no musical underscoring at all.

Frankly, I've had the film on VHS recorded off Cable TV for over 10 years and only now managed to catch up with it because my father rented it on DVD (and, subsequently, turned it off before long)! Indeed, the scrappy first half-hour is rather off-putting and dreary and it wasn't until the main protagonists - Al Pacino (already superb in just his second movie) and Kitty Winn (who would go on to win the Best Actress Award at the Cannes Film festival for her work here) - really got together that I started to genuinely care about their plight; perhaps the most moving scene they share is their short-lived idyll in the country where the couple even purchase a dog with the little money they have (but lose it almost immediately through negligence when the urge for the drug habit kicks in once again). Subsequently reduced to prostitution, Winn is watched over by a sympathetic young cop but soon he's demanding that she turn Pacino over to the law. At the end of the film the couple are reunited, but it looks like their relationship has nowhere to go.