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As movie critics, Gene Siskel and Roger Ebert had power, and in Chicago, that made them more than local celebrities. It made them competitors. Before they went on TV together, the two men had barely spoken to each other, even when they were at the same screening. They lived in the same city, but operated in different worlds. Gene Siskel was born in Chicago in Both of his parents died before he was 10 years old, so he was raised by an aunt and uncle, as part of a large extended family.
When the weekend rolled around, Siskel headed straight to his local movie theater. Siskel later enrolled at Yale University, where he studied philosophy. Those conversations stuck with him.
After graduating from college, Siskel spent some time in the Army Reserve before landing a job in the local news section of the Chicago Tribune. He was 23 years old. Talk about timing.
The big studios were losing steam, and movie execs were desperate to connect with young audiences. Within a few years, Hollywood was taken over by a new generation of cocky upstarts who kind of did whatever they wanted—filmmakers like George Lucas, Francis Ford Coppola, Melvin Van Peebles, Dennis Hopper. And Siskel was covering them for one of the biggest papers in the country.
He wrote raves of future classics like The French Connection and Z. He interviewed Alfred Hitchcock over lunch and spent a boozy lost weekend in Palm Springs with Cary Grant—an adventure that could probably be a podcast on its own.
As a critic, Siskel made some calls that were unorthodox at the time and remain strange decades later. He described Butch Cassidy and the Sundance Kid as laughable but not very memorable. As for Roger Ebert, he effectively began his writing career while he was still a. Roger grew up in Urbana, Illinois, a small city outside Chicago, where he published a neighborhood newsletter, along with sci-fi stories. He covered sports.
World affairs. All while still in his 20s.
Ebert spent long weekends at his local theater, watching Westerns, cartoons, Marx brothers comedies, and newsreels. But when he got to college, he was exposed to movies that wound up having a deeper impact. He went on to review low-budget movies and visit the occasional film set. He was 24 years old. He covered low-budget skin flicks and the French new-wave movement.
He once got stranded in a Pennsylvania snowstorm while writing about Robert Mitchum. But he was transfixed.
But connected him with the rest of the universe. Now he was watching a film that opened up the possibilities of what those far-off galaxies might really be like.
It must have felt as though were made just for him. Gene also loved He once asked Stanley Kubrick if he could buy the giant monolith prop from the movie. If took Roger into an imaginary future, Saturday Night Fever transported Gene to an imaginary past. They were young men trying to figure out the world, and the movies of that era offered some clues.
They were stories about love, sex, war, death, and everything in between.
And their excitement over what they were seeing came across in their reviews—at least the ones they wrote in the newspaper. TV, it turned out, would provide a different set of challenges for Gene and Roger. Dallas features some of the best playmakers in the sport and an overhauled defense. The only question is whether offseason hype can finally turn into regular-season wins.
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Optimism Is in the Air at Cowboys Training Camp Dallas features some of the best playmakers in the sport and an overhauled defense. By Kaelen Jones. By Alison Herman. By Micah Peters. By Rodger Sherman. The Hometown Four, Andrew S. Share this story Twitter Facebook.