Pub Date : 2019-06-15DOI: 10.1515/9781501736117-011
Phillip Lopate
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Pub Date : 2019-06-15DOI: 10.1515/9781501736117-004
J. Kirshner
{"title":"3. “Jason’s No Businessman . . . I Think He’s an Artist”: BBS and the New Hollywood Dream","authors":"J. Kirshner","doi":"10.1515/9781501736117-004","DOIUrl":"https://doi.org/10.1515/9781501736117-004","url":null,"abstract":"","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"126 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131920353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-15DOI: 10.7591/cornell/9781501736094.003.0011
Phillip Lopate
In this chapter Phillip Lopate offers a dissent from the main themes of The New Hollywood Revisited, suggesting that the movement did not live up to the standards set by the best of the classic studio era and foreign art cinemas. The New Hollywood, in Lopate’s estimation, tapped into a zeitgeist dominated by the anti-war movement and the counter-culture that too often surrendered to a didactic, simplistic moralism. He acknowledges that there were wonderful passages in these films, with an energetic, cinematic daring. But the films were as well mired in a willful confusion and irresolution. In this introspective essay, Lopate assesses the styles of Cassavetes, Lumet and Altman, among others, and finds much to praise, despite his enduring wariness of New Hollywood cinema.
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Pub Date : 2019-06-15DOI: 10.7591/cornell/9781501736094.003.0003
Jon E. Lewis
In January 1967 executives from MGM contracted with European New-Wave icon Michelangelo Antonioni to distribute his Palm d’Or-winning picture Blow-Up in the United States. With the commercial success of that picture, MGM entered into a second contract with Antonioni giving him carte blanche to make an American studio movie about the youth counterculture eventually titled, Zabriskie Point. This chapter evaluates the MGM-Antonioni interlude, emphasizing its historical importance as an early and fraught attempt at an American studio auteur picture revealing an industry on the verge of some very big changes.
{"title":"Antonioni’s America","authors":"Jon E. Lewis","doi":"10.7591/cornell/9781501736094.003.0003","DOIUrl":"https://doi.org/10.7591/cornell/9781501736094.003.0003","url":null,"abstract":"In January 1967 executives from MGM contracted with European New-Wave icon Michelangelo Antonioni to distribute his Palm d’Or-winning picture Blow-Up in the United States. With the commercial success of that picture, MGM entered into a second contract with Antonioni giving him carte blanche to make an American studio movie about the youth counterculture eventually titled, Zabriskie Point. This chapter evaluates the MGM-Antonioni interlude, emphasizing its historical importance as an early and fraught attempt at an American studio auteur picture revealing an industry on the verge of some very big changes.","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132752527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-15DOI: 10.7591/cornell/9781501736094.003.0009
George Kouvaros
The Killing of a Chinese Bookie is not a gangster film, writer-director John Cassavetes insists, but the precise rendition of a world—both everyday and larger than life. This chapter will consider what The Killing of a Chinese Bookie reveals about Cassavetes’ place in the New Hollywood. If one of the distinguishing features of this period is its filmmakers’ willingness to question motivations and suspend narrative causality, then how does Cassavetes’ rendition of the entanglements of a small-time strip club owner complicate or confirm this interpretation? In pursuing this and other questions, this chapter will consider the connections between The Killing of Chinese Bookie and other films in the director’s oeuvre as well as its affiliation to one of the era’s most important re-workings of the gangster film: Elaine May’s Mikey and Nicky (1976).
{"title":"“I Don’t Know What to Do With my Hands”","authors":"George Kouvaros","doi":"10.7591/cornell/9781501736094.003.0009","DOIUrl":"https://doi.org/10.7591/cornell/9781501736094.003.0009","url":null,"abstract":"\u0000 The Killing of a Chinese Bookie is not a gangster film, writer-director John Cassavetes insists, but the precise rendition of a world—both everyday and larger than life. This chapter will consider what The Killing of a Chinese Bookie reveals about Cassavetes’ place in the New Hollywood. If one of the distinguishing features of this period is its filmmakers’ willingness to question motivations and suspend narrative causality, then how does Cassavetes’ rendition of the entanglements of a small-time strip club owner complicate or confirm this interpretation? In pursuing this and other questions, this chapter will consider the connections between The Killing of Chinese Bookie and other films in the director’s oeuvre as well as its affiliation to one of the era’s most important re-workings of the gangster film: Elaine May’s Mikey and Nicky (1976).","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133813871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-15DOI: 10.7591/cornell/9781501736094.003.0010
J. Hoberman
In this chapter the legendary New York film critic J Hoberman revisits the Bicentennial, 1976, a year characterized by a longing for rebirth and a search for new heroes, in Hollywood and in politics. The nihilistic Taxi Driver, opened in February 1976; it featured the decade’s most compelling anti-hero Travis Bickle, who can be seen as the ultimate expression of the New Hollywood (not least in its critical and popular success). Bickle’s antipode arrived in the person of Sylvester Stallone’s Rocky, protagonist of an even more successful movie that, retrograde in every way, was the first major expression of a reborn Hollywood—a narrative paralleled in the political realm by Jimmy Carter’s “Cinderella” ascension to the White House.
{"title":"The Spirit of ’76","authors":"J. Hoberman","doi":"10.7591/cornell/9781501736094.003.0010","DOIUrl":"https://doi.org/10.7591/cornell/9781501736094.003.0010","url":null,"abstract":"In this chapter the legendary New York film critic J Hoberman revisits the Bicentennial, 1976, a year characterized by a longing for rebirth and a search for new heroes, in Hollywood and in politics. The nihilistic Taxi Driver, opened in February 1976; it featured the decade’s most compelling anti-hero Travis Bickle, who can be seen as the ultimate expression of the New Hollywood (not least in its critical and popular success). Bickle’s antipode arrived in the person of Sylvester Stallone’s Rocky, protagonist of an even more successful movie that, retrograde in every way, was the first major expression of a reborn Hollywood—a narrative paralleled in the political realm by Jimmy Carter’s “Cinderella” ascension to the White House.","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124713919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-15DOI: 10.1515/9781501736117-003
Jon E. Lewis
{"title":"2. Antonioni’s America: Blow-Up, Zabriskie Point, and the Making of a New Hollywood","authors":"Jon E. Lewis","doi":"10.1515/9781501736117-003","DOIUrl":"https://doi.org/10.1515/9781501736117-003","url":null,"abstract":"","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125029579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-15DOI: 10.7591/cornell/9781501736094.003.0004
J. Kirshner
In 1969 a struggling Columbia Pictures, seeking to connect with a generation that the old studio hands little understood and seemed unable to reach, signed a contract with producers Bob Rafelson, Bert Schneider, and Steve Blauner. The six-picture deal with their newly-formed production company, BBS, which traded low budgets in exchange for no studio interference over content, represented the New Hollywood dream: the opportunity to make movies that aspired to be both commercially viable and serious expressions of a more personal cinema. The BBS deal yielded some of the landmarks of the New Hollywood—films that likely would not otherwise have been possible to produce. This chapter considers the BBS phenomenon through a close reading of its films and their contribution to the New Hollywood.
{"title":"“Jason’s no Businessman … I Think He’s an Artist”","authors":"J. Kirshner","doi":"10.7591/cornell/9781501736094.003.0004","DOIUrl":"https://doi.org/10.7591/cornell/9781501736094.003.0004","url":null,"abstract":"In 1969 a struggling Columbia Pictures, seeking to connect with a generation that the old studio hands little understood and seemed unable to reach, signed a contract with producers Bob Rafelson, Bert Schneider, and Steve Blauner. The six-picture deal with their newly-formed production company, BBS, which traded low budgets in exchange for no studio interference over content, represented the New Hollywood dream: the opportunity to make movies that aspired to be both commercially viable and serious expressions of a more personal cinema. The BBS deal yielded some of the landmarks of the New Hollywood—films that likely would not otherwise have been possible to produce. This chapter considers the BBS phenomenon through a close reading of its films and their contribution to the New Hollywood.","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125525455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-15DOI: 10.7591/cornell/9781501736094.003.0005
D. Sterritt
Robert Altman helped define New Hollywood cinema with the dark comedy film MASH in 1970 and helped close out the era with the surreal 3 Women in 1977. But Altman was an unlikely New Hollywood icon; New Hollywood auteurs were supposed to be young movie brats straight from film school, whereas Altman was a forty-something autodidact who had learned his craft making industrial and educational pictures. This chapter focuses on three of Altman’s most important and influential films: the 1971 western McCabe & Mrs. Miller, which builds extraordinary emotional power while radically revising both the myth of the frontier and a key Hollywood genre; the 1975 musical Nashville, a large-canvas portrait of modern-day American politics, patriotism, popular culture, and celebrity; and the oneiric 3 Women, a small-canvas dreamscape that marks the outer limits of New Hollywood iconoclasm.
{"title":"Robert Altman","authors":"D. Sterritt","doi":"10.7591/cornell/9781501736094.003.0005","DOIUrl":"https://doi.org/10.7591/cornell/9781501736094.003.0005","url":null,"abstract":"Robert Altman helped define New Hollywood cinema with the dark comedy film MASH in 1970 and helped close out the era with the surreal 3 Women in 1977. But Altman was an unlikely New Hollywood icon; New Hollywood auteurs were supposed to be young movie brats straight from film school, whereas Altman was a forty-something autodidact who had learned his craft making industrial and educational pictures. This chapter focuses on three of Altman’s most important and influential films: the 1971 western McCabe & Mrs. Miller, which builds extraordinary emotional power while radically revising both the myth of the frontier and a key Hollywood genre; the 1975 musical Nashville, a large-canvas portrait of modern-day American politics, patriotism, popular culture, and celebrity; and the oneiric 3 Women, a small-canvas dreamscape that marks the outer limits of New Hollywood iconoclasm.","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"909 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133946277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-15DOI: 10.7591/cornell/9781501736094.003.0007
D. Thomson
In this chapter, legendary critic David Thomson revisits Alan J. Pakula's The Parallax View, one of the signature “paranoid thrillers” of the 1970s—a film that offers itself as a color film noir for the 70s. According to Thomson, Pakula's exploration of paranoia was as filled with delight as dread. Looking back, we can see the film as a step in the progress of Warren Beatty (the star you dare not trust), as Pakula painted a portrait of the spreading unease of the era with an evocation of the anti-social killer personality - a type that would be terribly fulfilled in the years to come.
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