David Hockney at work, and at a romantic crossroads with his lover and model, Peter Schlesinger. The balance is quite the reverse of what it is in most movies on artists: the details of his evolving art are far more gripping than those of his personal life, though of course the personal life still takes up more time. And the decision by director Jack Hazan to mimic periodically Hockney's pictorial style, and sometimes his exact compositions, seems rather more belittling than flattering, as if to suggest these sorts of visions just fall into his lap. (1974) — Duncan Shepherd
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