A huge collection of films by “other cinema” pioneer Lutz Mommartz is available at the Internet Archive. Music in the first clip is by a group called The Iceni about whom I can find no further info. Anybody ?
“I’m perfect, but nobody in this shithole gets me, ‘cause I don’t put out!” So snarls Diane Lane’s Corinne “Third Degree” Burns in that great undersung grrrl-group movie from 1980, Ladies And Gentlemen, The Fabulous Stains. And that’s just one of many memorable lines in a film that manages to stitch together an immensely satisfying, angsty whole from such disparate elements as the Tubes’ Fee Waybill, LA’s late great (and equally undersung) Black Randy, and, as a Sexy (but babyfaced) Beast in leather, British actor Ray Winstone. Oh yeah, and it’s got Laura Dern, some Sex Pistols, and The Clash‘s Paul Simonon in there to boot.
The hero in all this—mine, anyway—is screenwriter Nancy Dowd, who, in a mere three year span, put her fingerprints on not only the Stains screenplay, but the ones for both Hal Ashby’s Coming Home and George Roy Hill’s Slapshot.
But despite her Academy Award for Coming Home, Dowd fought sexual harassment on the set and later struck her name from the picture. Fortunately, Dowd’s given her due in the wonderful find below. Made to coincide with the film’s 2000 VHS release, it’s a two-part Split Screen documentary on the making of LAG, TFS. Check it out, then, if you haven’t already, go check out the movie.
Master archivist of music from the depths of oblivion and WFMU DJ/ blogger Tony Coulter has been unearthing these delightful early 70’s homemade 8mm art/ psychedelic drug/ comedy films as of late. I have a feeling this is the tip of the iceberg for this kind of stuff as the baby boomers have fully taken to the youtubes and the facebooks and are presently posting the contents of their closets for all to see.
Orson Welles has been back in the news lately. First British director Michael Lindsay-Hogg (Brideshead Revisited, Let it Be, The Rolling Stones’ Rock and Roll Circus) will be taking a paternity test to either prove or disprove that he is the only son of the famed director. Lindsay-Hogg is writing an autobiography and wants to put the matter—which has dogged him his entire life to rest one way or the other. Welles’ daughter, Chris Welles Feder has recently published her autobiography, In My Father’s Shadow (which I have, but have not yet read), about growing up with such a monumental, larger-than-life figure as Welles. She told the Guardian newspaper that she has long suspected LIndsay-Hogg might be her brother, “If it does turn out that Michael is my half-brother, it would be delightful. We used to play on the beaches of Santa Monica together all the time and he was my favorite playmate, and I have the fondest memories of him,”
Lindsay-Hogg’s mother was the Irish actress Geraldine Fitzgerald, a star of the Broadway stage who appeared in Wuthering Heights with Laurence Olivier and died in 2005. Married to Sir Edward Lindsay-Hogg, she had begun a relationship with Welles in America during his marriage to Chris Welles Feder’s mother, the Chicago-born actress Virginia Nicholson. The families continued to live side-by-side for some time and the two children became close.
“My memory is that nobody knows for sure whether Orson was Michael’s father. My mother told me that even Geraldine Fitzgerald didn’t know,” said Welles Feder.
And then there is this new documentary, which is a must-see in this Welles-obsessed household. From the Wellesnet website:
In Prodigal Sons, we discover that Welles second daughter, Rebecca, the child of Rita Hayworth (beauty) and Welles (brains), actually had the grandson Welles would have been happy over, but apparently never knew about! Marc was quickly put up for adoption in 1966, shortly after he was born.
The family who adopted Marc were the McKerrow’s of Montana. The father was a doctor (like Welles’ own guardian, Dr. Bernstein) and the mother, a schoolteacher (like Roger Hill). Later Mr. and Mrs. McKerrow had two sons of their own, Paul and Todd.
Paul becomes an accomplished athlete, who later shows an interest in movies, (including a love for the work of Orson Welles). Then, in a bizarre twist that no screenwriter could ever imagine, Paul decides to become a trans-sexual. As Kimberly Reed, she goes on to make movies, her most recent being this documentary!
Meanwhile, Paul/Kim’s natural brother Todd turns out to be gay. Of course while the three brothers, Marc, Paul and Todd are growing up, none of them know that Marc is actually the grandson of Orson Welles. Marc himself only finds out that his real mother is Rebecca Welles, shortly after Rebecca dies, and he then finds out the truth about his famous grandparents.
The ‘only son’ of Orson Welles to take DNA test (Guardian)
There’s not a lot of actual Frank Herbert footage floating around online. The below publicity interview, audio with pictures, hardly remedies that. It does, though, offer an opportunity to hear Herbert discussing Dune with David Lynch, director of the film version that nowadays seems equally loathed and loved. I tend to fall into the later camp. Script-wise, Dune the movie certainly plods, but there’s no denying Lynch’s visual achievement was as fantastic as it was faithful.
It’s always a happy thing to come across some hitherto unknown (to me, anyways) fragements of seriously demented vintage psychedelia. In this case it’s these clips from Pierre Clémenti‘s (shot in ‘67, released in ‘75) “Visa de censure no. X” with a stunning score by the catchily named Delired Cameleon Family. Dig the low-rent quasi -Jodorowsky stylings !
* You really need to watch “Birth of a Nation”. A 1915 movie that was so powerful that millions of White Americans joined the Klan. And the President of the United States, Woodrow Wilson called it “history written with lightening”.
* All the ‘racist’ movies I’ve ever seen like Mississippi Burning always depict the whites as bad so I’ve given up watching them. The underlying message in these movies is always “Those evil Klan in the deep south are at it again and should leave the ‘innocent’ black man alone”.
* I’m not trying to flame here, but I don’t see how any pro-white person would like American History X. It was NOT made to make us look good. It was made by New Line Cinemas, total Jewish filth. I mean, they guy changed his beliefs, left “the movement”, betrayed his people in the end - what kind of message is that? And I know not everyone on here is a skinhead, but as a former byrd and somone who has mostly skinhead friends - that movie was a VERY inaccurate portrayal of what a REAL skinhead is. Real skinheads do not play coloreds for the right to a basketball court.
* Aliens [jew promoted race-mixing and the terrible results…]
* Tropic Thunder. Makes fun of blacks and retards!
What if Paris Hilton and Nicole Richie’s The Simple Life was directed by Jean Luc Godard? Well, it might come out looking something like Věra Chytilová‘s ‘66 Czech gem, Daisies. If you’ve never seen it on the small screen (it makes a great, Sunday afternoon pairing with another favorite Czech film of mine, 1970’s Valerie and Her Week Of Wonders), Angelenos can skip right to the big screen experience this Saturday night at Cinefamily. Playing as part of their “Czech Your Head” series,
Daisies is a bubbling and buoyant spring of irrepressible female creativity; it is an overflowing audio-visual bouquet of color, music, and texture; it is a freewheeling and effervescent farce, a formal free-for-all, a paradoxical mixture of bourgeois indulgence and cultural critique, and it’s your next favorite movie. Two young Czech girls (both named Marie) decide that the world is so corrupt that they might as well join in, and they do so with wild abandon—prancing, food-fighting, pranking old men, carousing in nightclubs, and creating anarchy everywhere they go.
Given that the financing of Daisies was furnished by the Czech government, it probably came as no surprise that the film was promptly banned upon its release—and not solely for reasons of content. With its blatant wasting of food, serious objection was made to the “food orgy” that ends the film.
Daisies screens at Cinefamily, Saturday, 02.06 @ 7:30pm.
Quirky French director Michel Gondry’s new music video Open Your Heart for L.A.-based musician Mia Doi Todd. Shot in various Los Angeles locations with a small army of extras, including Dangerous Minds pal Erica Krumpl (she’s Mia’s main dance partner throughout the piece).
Wonderful, yes, in that signature Gondry style, and colorful too. Make that muy colorful.