Not lousy, but rather heavy-handed and didactic play on political morality, allegedly set in the modern age. Paul Newman is an indifferent drifter in New Orleans who finds employment at a local radio station whose broadcasts double strictly as a platform for right-wing political beliefs; soon, the extremists for which Newman works have the city riled up in a hotbed of political tension. Adapting his novel "A Hall of Mirrors", Robert Stone writes dialogue and situations which feel curiously dated or clichéd, like the leftover pickings from a movie made some twenty years prior; as a result, the characters fail to emerge. Newman, at one point in his career, cited this picture as his very best, though he's not very good in it, and neither is co-star Joanne Woodward (working hard at feigning low-class). "WUSA" has an excellent sense of its location, due to Richard Moore's solid cinematography, yet its high-flown aims to be a controversial rabble-rouser drown in the din of over-exaggerated grandstanding. *1/2 from ****

Alcoholic ex-musician Paul Newman (as Rheinhardt) drifts into sweaty New Orleans, where he collects a $100 debt owed by bearded preacher Laurence Harvey (as Farley). The swindling pastor Harvey amusingly notes, "Ministers run a terrible risk with neurotic old women," and guides Mr. Newman to work at right-wing radio station "WUSA". For female companionship, Newman manages to pick up scar-faced barfly Joanne Woodward (as Geraldine), as she tries to peddle her wares for a square meal. The couple become acquainted with social worker Anthony Perkins (as Rainey), who unwittingly becomes involved in a welfare scheme.With good, almost prescient subject matter, writer Robert Stone's "A Hall of Mirrors" (1967) reads like it should have been a great counterculture film for 1970's #1 "Box Office Star" (then Newman's position, according to "Quigley Publications"). But, Newman and favored director Stuart Rosenberg fail to put "WUSA" over. Things start off well, with great New Orleans locations; and, the film is littered with terrific supporting performances. But, frankly, the real-life married Newmans drag it down. Everyone else is terrific, but they seem inauthentic as boozy pseudo-hippies. Hey Joe, loved seeing the (just deceased) Jimi Hendrix wall poster.***** WUSA (8/19/70) Stuart Rosenberg ~ Paul Newman, Joanne Woodward, Anthony Perkins, Laurence Harvey

Ok, first of all, I definately do not see why all of you don't like this movie!!! I absolutely loved it. I was mesmerized by Joanne Woodward performance....WOW! Paul Newman, I'll admit, wasn't at his greatest. Tony Perkins and Joanne Woodward, however, made up for it! And those scenes between Woodward and Newman! The chemistry that comes with being married (as they are in real life) just comes right through the scene!Great movie! Very moving.

A drifter comes to Louisiana and gets a job as a DJ at a ultra conservative radio station. Despite being a professed liberal Newman decides to just go along with it's right wing rhetoric because he has grown apathetic with things and now just wants to 'blend in'. The idea has a lot of potential, but is never able to take off. Part of the problem is that instead of trying to play it like satire (ala NETWORK) it instead works it with almost pinpoint seriousness. The film seems intent of saturating the viewer with it's gloom and doom message. It becomes such a long and winding stream of social complexities that the viewer, as with the main character, just grows apathetic with it all. It's 'powerful' statements are simply redundant. It is just too engulfed with the politics of it's day to give anything that is broadly insightful. It is easy to see why this is probably Newman's most forgettable film. There is just nothing unique or even slightly diverting about it. It meanders badly and there is absolutely no action. The 'exciting' mob scene at the end looks staged and unconvincing. The film looks to have leanings of a character study, but even they are weak. Newman's angry loner role is simply a less intense version of his HUD character. Woodward as the prostitute with a 'heart of gold' is cliched and dull. Perkins is the only one that comes off as interesting, but it's not enough to save it. This is truly a limp and lifeless picture. It would be amazing if there was ANYONE who would like it.