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| Introduction | |
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| Movies, the Desperate Art | |
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| I Lost it at the Movies | |
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| The Glamour of Delinquency | |
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| The Golden Coach | |
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| Shoeshine | |
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| Breathless, and the Daisy Miller Doll | |
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| West Side Story | |
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| Lolita | |
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| Jules and Jim | |
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| Billy Budd | |
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| Yojimbo | |
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| Devi | |
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| Hud, Deep in the Divided Heart of Hollywood | |
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| Kiss Kiss Bang Bang | |
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| Laurence Olivier as Othello | |
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| Marlon Brando: An American Hero | |
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| Movie Brutalists | |
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| Tourist in the City of Youth [Blow-Up] | |
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| Movies on Television | |
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| Orson Welles: There Ain't No Way [Falstaff/Chimes at Midnight] | |
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| Bonnie and Clyde | |
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| Going Steady | |
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| Movies as Opera [China Is Near] | |
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| A Minority Movie [La Chinoise] | |
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| Faces | |
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| A Sign of Life [Shame] | |
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| Trash, Art, and the Movies | |
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| Saintliness [Simon of the Desert] | |
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| Deeper into Movies | |
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| The Bottom of the Pit [Butch Cassidy and the Sundance Kid] | |
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| High School | |
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| Fellini's "Mondo Trasho" [Fellini Satyricon] | |
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| Notes on Heart and Mind | |
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| The Poetry of Images [The Conformist] | |
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| Pipe Dream [McCabe & Mrs. Miller] | |
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| Helen of Troy, Sexual Warrior [The Trojan Women] | |
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| Louis Malle's Portrait of the Artist as a Young Dog [Murmur of the Heart] | |
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| Urban Gothic [The French Connection] | |
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| The Fall and Rise of Vittorio De Sica [The Garden of the Finzi-Continis] | |
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| Stanley Strangelove [A Clockwork Orange] | |
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| Alchemy [The Godfather] | |
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| Collaboration and Resistance [The Sorrow and the Pity] | |
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| Reeling | |
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| Tango [Last Tango in Paris] | |
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| Pop Versus Jazz [Lady Sings the Blues] | |
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| The Fred Astaire & Ginger Rogers Book | |
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| Days and Nights in the Forest | |
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| A Rip-off with Genius [Marilyn] | |
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| After Innocence [The Last American Hero] | |
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| Everyday Inferno [Mean Streets] | |
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| Movieland - The Bums' Paradise [The Long Goodbye] | |
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| Moments of Truth [The Iceman Cometh] | |
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| Politics and Thrills | |
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| Survivor [Sleeper] | |
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| Killing Time [Magnum Force] | |
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| Cicely Tyson Goes to the Fountain [The Autobiography of Miss Jane Pittman] | |
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| The Used Madonna [The Mother and the Whore] | |
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| When the Saints Come Marching In [Lenny] | |
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| Fathers and Sons [The Godfather, Part II] | |
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| Beverly Hills as a Big Bed [Shampoo] | |
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| Coming: Nashville | |
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| When the Lights Go Down | |
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| The Man from Dream City [Cary Grant] | |
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| All for Love [The Story of Adele H.] | |
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| Walking into Your Childhood [The Magic Flute] | |
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| Notes on the Nihilist Poetry of Sam Peckinpah [The Killer Elite] | |
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| The Artist as a Young Comedian [Next Stop, Greenwich Village] | |
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| Underground Man [Taxi Driver] | |
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| Sparkle | |
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| Notes on Evolving Heroes, Morals, Audiences | |
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| Hot Air [Network] | |
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| Marguerite Duras [The Truck] | |
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| A Woman for All Seasons? [Julia] | |
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| Shivers [The Fury] | |
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| Fear of Movies | |
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| Bertrand Blier | |
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| The God-Bless-America Symphony [The Deer Hunter] | |
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| Pods [Invasion of the Body Snatchers] | |
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| Taking It All In | |
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| Why Are Movies So Bad? or, The Numbers | |
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| The Chant of Jimmie Blacksmith | |
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| The Man Who Made Howard Hughes Sing [Melvin and Howard] | |
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| Used Cars | |
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| Religious Pulp, or The Incredible Hulk [Raging Bull] | |
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| Atlantic City | |
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| Hey, Torquemada [History of the World-Part I] | |
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| Portrait of the Artist as a Young Gadgeteer [Blow Out] | |
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| Pennies from Heaven | |
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| Shoot the Moon | |
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| Richard Pryor Live on the Sunset Strip | |
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| E.T. The Extra-Terrestrial | |
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| Up the River [Fitzcarraldo, Burden of Dreams] | |
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| Tootsie | |
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| Memory [The Night of the Shooting Stars] | |
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| State of the Art | |
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| A Masterpiece [The Leopard] | |
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| The Perfectionist [Yentl] | |
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| Golden Kimonos [The Makioka Sisters] | |
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| Hooked | |
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| Out There and In Here [Blue Velvet] | |
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| Irish Voices [The Dead] | |
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| The Lady From the Sea [High Tide] | |
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| Movie Love | |
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| Unreal [Women on the Verge of a Nervous Breakdown] | |
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| A Wounded Apparition [Casualties of War] | |
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| Satyr [My Left Foot] | |
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| The Grifters | |
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| Sources and Acknowledgments | |
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| Index | |