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.
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.