It’s not often that we so definitively know an artist’s last project will, in fact, be their last.
The world isn’t as clean and tidy as that, and oftentimes, it’s tragic to find that a piece of art is the last bastion of a truly great mind.
So examining William Friedkin’s final film, The Caine Mutiny Court-Martial, feels like no easy task after his passing in August of this year — one as gargantuan as determining whether or not someone committed a mutiny, it seems.
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