Showing posts with label Peter Fonda. Show all posts
Showing posts with label Peter Fonda. Show all posts

Friday, 6 April 2012

Corman's World: Exploits of a Hollywood Rebel (2011)




One of these documentaries for which many of us have been sharpening their teeth and ticking days off as DVD release date was coming closer. Although it premiered on Sundance Festival a year ago, not all folks from around the globe could have attended, so instead they were forced to sit on their asses impatiently! As a big fan of Corman I need to say it's value lays mainly in high rollers of Hollywood uttering words of praise for the man, who let them literally be... who's been often their lifeblood. You have to check out Jack Nicholson, Bruce Dern or Martin Scorsese who finally confirm, what we've all known but very rarely got admitted loud – Corman's film school has been the main link between 60's exploitation cinema and 70's auteur fireworks being the ground of new artistic forms developed in family environment.

As far as Corman's career is concerned, Alex Stapleton's movie speaks of few facts I wasn't aware. Documentary builds at large upon the story comprehensively told by Corman himself in his great book How I Made Hundred Movies In Hollywood and Never Lost A Dime, which tells you everything you need to know, hence those ones, who've read the book, might find a history of his career (revealed once again) a bit boring. But let's not forget, that there is still a lot of people outside the fandom, who've never heard of Corman or they've just drifted once or twice toward these regions and never really bothered to grab any solid book about the exploitation pope! "Corman's World..." seems to serve this purpose just fine mixing a biographical side with New Horizons office footage and very inspiring interviews with mentioned above and many others like David Carradine, Ron Howard, Joe Dante, Allan Arkush, Polly Platt, Peter Bogdanovich, Robert De Niro, Peter Fonda and many more. This list is very impressive itself!

On technical side it's a good job – maybe not ravishing, but all right – and it ticks all the boxes of modern documentary. Posters, trailers and press clipppings are being mixed with cinematic part and laid in simple manner, while narration heads toward tension build-up and eventually brings a climax. The movie seems longer than it really is, but that's due to compact construction. Corman's professional and private life in a pill was definitely a challenge, that's why screen time needed to be sped up multiple times, which reasonably trimmed his legendary 380 productions to 50 essential ones in a flash. Director also opted for leaving off Filipino chapter as that's been nicely exposed in another recent documentary - "Machete Maidens" (2010). Apart of that, we get basic treatment, from Corman's mythical schlock entries like "The Monster From the Ocean Floor" and "The Fast and the Furious", through unforgettable Poe flicks like "House Of Usher" or "Tomb Of Ligeia" (favourite Poe movie of Martin Scorsese) and then "The Terror", "The Wild Angels", "The Trip", and finally to New World Pictures period, when Corman made a fortune on such exploitation classics like "Big Doll House", "Grand Theft Auto", "White Line Fever" or "Death Race 2000" (to name only few).



But it wasn't exactly simplest task to do – covering a story of the guy, who has had three production/distribution companies, discovered 50% of Hollywood's biggest names, totally revolutionized production side of filmmaking, invented a new way of budgeting it, created dozen of exploitation sub-genres from a scratch giving a root to the modern action movie, improved and mastered the art of entertainment marketing (including these famous sticky trailers), took over distribution of European art films on US market in the 70's with profits and on the top directed more than 300 movies himself! Not all of these achievements have been discussed in "Corman's World...", but the most important were licked with clear sense of understanding, many to the credit of former Corman's collaborators and workers.

Saying that we need to stress once again, that Total Documentary on any topic is virtually impossible to score – the more extensive the subject, the more you need to shave it off as pedantic exploration of every single pocket carries a danger of down-playing or even losing the storyline completely. Grabbing all these threads together is hard enough and still it rarely happens on the screen! Making of an excellent documentary is very difficult as it needs a perfect insight! Besides, I'm deeply convinced, that no documentary can match a biography book as the latter one doesn't have time limitations and as a verbal medium cuts the distance to the analytical, left side of your brain. A film is a magic powder and it either turns you on or not – connection is more crucial than fishing it all out!

However, "Corman's World..." does one thing nicely. It creates a sense of slight disappointment in viewer's consciousness by picking the bits of actors talk as far as Corman's critical acclaim is concerned. Above all histories of life with their tutor, they spontaneously come up with one justified question, why he never got Lifetime Achievement Academy Award? And then it goes, smoke disperses while director shows Roger Corman tying his bow tie and heading to the L.A. ceremony, where Quentin Tarantino thanks him in the name of fans from around the world for making such a lot of great movies. He finally gets his official recognition, which he maybe didn't give a shit about, but it instantly cements his life-of-film-art status lifting him up from an underground phenomenon to acknowledged filmmaker of undeniable prestige. The thing is, he never chased for awards as money from his operations was smoothly flowing in, but in the end there are not many guys in this business with similar film score and such a massive worldwide cult. Along the line, this documentary should be treated as a cherry on the top!



Saturday, 21 January 2012

The Trip (1967)




If you never heard about "The Trip", but psychedelic drugs are something you understand and you’ve been into, it’s definitely a movie for you – checking it out it will be like getting a proper flashback (lucky you). If you occupy the other side of the barricade thinking that drugs are bad, that you have to be a degenerate to mess with them, that people taking LSD get loco and hear voices, which make them jump from the nearest roof, don’t watch it, it’s not gonna be funny for you. After all to fully appreciate this cult movie, you need to get heavily loaded. How else are you gonna watch a movie about LSD trip, which is supposed to be real fun? Stone cold sober? Forget it!

Basically, this movie carries a real legend, which breaks down like that. One day Jack Nicholson approached Roger Corman suggesting him shooting a picture dealing exclusively with LSD experience, for which he even managed to cut a screenplay. Corman accepted it objecting only against it’s length, thus quickly rewrote it to make the film easier to produce. As he didn’t know anything about acid at this point, he promptly dropped a sugar cube in Big Sur to check it out – it’s hard to imagine that he didn’t do it before, isn’t it. It gave him a brilliant insight as "The Trip" is one of his best movies ever and could be definitely classified as drugsploitation or hippiesploitation classic.

Not everyone thought it was that awesome in the beginning though! Original cut (85 min.) has never seen the world due to AIP mongers, who messed with Corman's version cutting out the beautiful, transgressive ending! However, even this safe cut was never classified by the MPAA, which means that distribution has become impossible and the print itself was shelved. Then UK film office has followed banning a movie till 2002, which as we might expect totally cut it’s wings in Europe. But what was irreparably wrong in this picture? No violence, no even rough sex… just the fact that a character drops some acid and starts rediscovering the world around him. However, it was seen as drug culture manifesto back then – a hedonistic statement, which potentially might have corrupted the youth. As a matter of fact, due to AIP helping hand it contains one of the funniest disclaimers in film history, but even that didn’t convince the censorship unfortunately. Almost 40 years later it’s been finally released on DVD and got to live a second life.



I personally love this flick, it’s a beautiful work with a whole bunch of surreal scenes, in which main character - Paul Grove sees everything around being totally zonked out of his mind – it almost induces the acid experience itself. Worth mentioning is that the character does not do it recreationally, but as a way of feeling out where to go next (it was a part of the sales pitch back then). He faces a divorce with his wife (Susan Strasberg) and he’s not satisfied with his professional life either while all around his friends freak out and discover their inner child. A movie itself is a showcase of hallucinogenic effects! We get lens flare (the same used later in "Easy Rider" by Dennis Hopper), fantasy sequences, whirling lights and whatnot. Jerky shots of Sunset Strip were directed by Hopper (he plays Max character in the movie) and Fonda definitely knows what he’s doing as an actor. It’s a real sweetness that came our way from Corman!

As a bonus for watching "The Trip" comes fantastic, obscure soundtrack by The Electric Flag (originally released on Sidewalk Records), who recorded it as their first album in ten days session. It can be considered a masterpiece of San Francisco sound! 18 tracks cut were swinging around psychedelic rock, blues, various moods of free jazz and soul. It’s here, where Mike Bloomfield unveiled himself as a genius composer, arranger and one of the up-and-coming guitar talents in USA. The music leads a viewer through all Peter’s acid trip, from the first kick-in through blows of euphoria, paranoia, searching to be saved from bad trip and "circus court" to final wear-off. To imitate peculiar vibe of the acid trip, band used whole set of weird effects including lines played by Paul Beaver on one of the first Moog synthesizers, which were quickly to possess an American psychedelic sound.

Full movie


Friday, 20 January 2012

The Wild Angels (1966)




How corny a Corman’s movie may be, you can go and figure yourself by watching couple of his worst pictures. Did you see "Naked Paradise" (1956), "The Terror" (1963) or "Gas-s-s" (1970)? No? Well, don’t try if you’re not a die-hard fan. As Dennis Hopper said, Corman was never a good director, but he was great to discover talent in other people. At least you cannot go wrong by claiming that to be true as his disciples grew tall with time and their pictures beat Corman’s efforts to death. What can we say then about The Wild Angels (1966), a movie made in fifteen days for $360.000, which grossed about $10.000.000 in the box office? A picture invited to a screening at 27th Venice International Film Festival, which eventually won an award in Cannes? Cheap piece of trash that started a completely new class of B-movie – biker flick, which proved to be the most profitable exploitation genre ever?

Frankly, I have a little problem with all these golden letters as The Wild Angels stands for me as one of the worst movies Corman ever made. It’s supposed to be a gruesome story of a biker gang getting their kicks from violence and torture – as the trailer sings – but divorced from the moral stiffness of the middle 60’s, when it was seen as a strong statement, it comes now as a laughing pot. In a whole movie there are only two moments, which even now might seem interesting. First one is the beginning, when Blues takes his chopper out… while next door mom is chasing her small child on a bicycle frightened for it’s life. And there it goes, we hear frenetic riffs of Blues Theme by Davie Allan & The Arrows while Blues is hitting the highway (to be honest, you need to check the soundtrack better than film)! When he finally gets off his bike, the magic moment ends! Second one is the church bash in the end of the movie, nice mash-up of flying legs and religious blasphemy. Other than that, we watch mainly a cheesy biker melodrama with swastikas and subpar acting… yeah, the acting, I almost forgot!



We definitely have to check the acting and the other work behind the movie. Screenplay written by Chuck Griffith, eventually rewritten by Peter Bogdanovich is a piece of garbage pulp – you can hardly come across so poorly drawned characters in any exploitation movie. It practically abandons any idea of personality at all proposing instead a comic strip Blues character (played by Peter Fonda) and his barbie girlfriend (played by Nancy Sinatra). None of these acting creations are worth longer review – they suck as hell! In fact, the worst comes when we have to see them speaking as Fonda is pretty all right just sitting there and getting tanned. But when he gets to make a speech like the one in the church: We wanna be free to ride, we wanna be free to do our own thing… you feel like caught between a talking dog and door-to-door salesman, which makes it pretty hard to handle.

The Wild Angels is one of these bad AIP exploitation flicks and I’m not making a sales pitch here for the diggers – pure form without a meaning (bravo Roger, you’ve made it again). In fact the only worse biker movies I saw in my life are: "The Hellcats" (1967) and "Rebel Rousers" (1970), can you imagine? Anyway, let’s not argue with the box office as the movie was a storm back then and it made Peter Fonda a star giving him basic concept of the "Easy Rider" as well. However, if you really want to dig into some nice biker matter, go for "Hell’s Belles" (1969), "The Born Losers" (1967) or "The Glory Stompers" (1968) instead of losing your time on this one.


Monday, 3 May 2010

American International Pictures - przeglad zwiastunow!



We wpisie na temat filmu "Riot On Sunset Strip" po raz pierwszy pisalem na tym blogu o legendarnej wytworni filmow typu exploitation - American International Pictures, ktora pojawila sie w latach 50'w Kalifornii, by az do lat 70' siac postrach w glowach nastolakow swoimi niskobudzetowymi obrazami.

Oprocz wyzej wspomnianego filmu pisalem jeszcze o kultowym "The Trip", ale katalog tej wytworni liczy znacznie, znacznie wiecej. AIP realizowala filmy rozne, czasami tak dziwne, ze az ciezko sobie wyobrazic w jaki sposob powstaly. Wsrod nich sa zas obrazy dziwaczne w swojej obskurnosci i rozkosznie smieszne w swojej bezpretensjonalnosci. W najblizszych dniach zaczne wam przyblizac nieco wiecej z tych zapomnianych przez czas perel, tymczasem podrzucam wam garsc old skulowych zwiastunow filmowych, ktore dobrze pokazuja z czym mamy do czynienia.

"Wild In The Streets" (1968)



"The Wild Angels" (1966)



"The Born Losers" (1967)



"Psych-Out" (1968)



"The Trip" (1968)





ion

Friday, 12 February 2010

Najlepszy film o LSD?

Jakiś czas temu pisałem na blogu o "Riot on Sunset Strip" - kultowym filmie z gatunku hippiesploitation, który od czasu swojej premiery kinowej w 1967 nie został ponownie wydany na VHS czy DVD.

Dzieło to zostało wyprodukowane przez otoczona na Zachodzie nimbem undergroundowej legendy, wytwórnie American International Pictures lub po prostu American International.

Jednym z najwybitniejszych reżyserów, związanych z ta masowa stajnia filmów klasy B był sam Roger Corman. Jego podopiecznymi byli zaś min. Jack Nicholson, Peter Fonda i Dennis Hopper. Swoje ostrogi zbierał tam także Laszlo Kovacs.

To przede wszystkim Corman był odpowiedzialny za sukcesy finansowe firmy kręcąc swoje filmy na spartanskich budżetach, co pozwolilo niemal wszystkim z nich zarabic kasę w młodzieżowych drive-inach!

Około roku 1966 American International postanowiło spieniezyc kolejna działkę kultury, tym razem były to kluby motocyklowe. Wypuszczenie filmu "The Wild Angels" z Peterem Fonda okazało się wielkim sukcesem finansowym i pozwoliło na dokrecenie kilkunastu innych. Tak narodził się gatunek "biker movie", który został kolejnym dzieckiem Cormana i AIP po serii horrorów gotyckich.

Rok później do Cormana przychodzi Jack Nicholson proponując mu zrobienie filmu koncentrujacego się wyłącznie na jednym motywie - tripie na LSD. Ten akceptuje scenariusz Nicholsona skracajac go tylko ze wzgledu na budzet, po czym sam wrzuca kwasa, żeby bardziej wczuć się w klimat głównego bohatera. W roli głównej obsadzona zostaje gwiazda "The Wild Angels", Peter Fonda.

Film nazwano po prostu "The Trip" i zrealizowano bardzo szybko, oczywiście krecac większość scen w plenerze. Oryginalna wersja liczyła 85 min. i pomimo wprowadzenia, mającego odeprzeć zarzuty apologii kultury narkotykowej, film nie doczekał się klasyfikacji wieku w Stanach Zjednoczonych (co praktycznie podcięlo dystrybucję) oraz został z miejsca zbanowany w Wielkiej Brytanii, co trwało do 2002 roku. Reedycja na DVD z 2005 liczy 76 min. i jest pierwsza po niemal 40 latach okazja zmierzenia się z tym żelaznym klasykiem drugsploitation.

Glowny bohater filmu, Paul Groves, to młody reżyser filmów reklamowych, który stoi na granicy rozwodu ze swoją żona. Jego przyjaciel John oferuje mu jednak sprobowanie nowego środka psychedelicznego - LSD, który może mu pomoc uporać się z trudna sytuacja.

Namowiony przez przyjaciela, Paul bierze LSD w hippisowskiej komunie, prowadzonej przez ziomala Johna - Maxa (Dennis Hopper), który funkcjonuje także jako diler i guru. W psychedelicznym otoczeniu Paul przeżywa oświecenie dostrzegając po raz pierwszy promieniowanie pomarańczy, a także mierząc się z wewnętrznym strachem przed śmiercią, demonami i kryzysem przed rozwodowym.

Wstrząśnięty przez wirujacy w mózgu kwas, wywołujący silne halucynacje, Paul ucieka jednak w koncu z komuny będąc przekonany, że jego przyjaciel nie zyje i walesajac się samotnie po centrum Los Angeles, a także wchodząc do napotkanego domu, gdzie nawiązuje dialog z mała dziewczynka.

W końcu udaje mu się w strachu przed policja odnaleźć komune, gdzie odzywa się nagle wielkie pożądanie do jednej z kobiet Maxa. Nie potrafiący otrząsnąć się z bad tripu Paul ucieka jednak ponownie, by natknąć się na inna kobietę, z która miał wcześniej wzrokowy kontakt. Spotkanie w barze zamienia się w seksualną przygode, która ustawia mu lot. Paul budzi sie rano, by odkryć ze stał się zupełnie innym człowiekiem.

"The Trip" to niezwykle tour de force Cormana, które graniczy z estetyka filmów Kennetha Angera, będąc także jednym z najbardziej osobistych filmów papieża kina klasy B. Niezwykle realistyczne odegranie przez Fonde przeżycia tripowania bardzo czesto sklanialo mnie do odkrywczego śmiechu (szczególnie, ze sam byłem trochę porobiony), ze ktoś mógł zrobić taki film. Niezwykle są tu także efekty świetlne i wizualne, a pokazanie tego co sie dzieje z Paulem przez wprowadzenie elementów fantasy i groteski, nadaje obrazowi niezwykłego klimatu. Poza warstwa filmowa to takze niezwykła "kapsuła czasu", która daje nam istotny wgląd w Zlote Lata kwasu.

Jeśli lubicie Cormana, Hoppera i Fonde, to film dla was obowiązkowy. Polecany oczywiście wszystkim tym, którym bliskie są wysokie loty na kwasie.

[Nowa recenzje filmu znajdziecie na lamach MGV]