Word: filming
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Dates: during 1960-1969
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MARRY ME, MARRY ME. Claude Berri (The Two of Us) has directed another wistful, undemonstrative film, this one about courtship, love and marriage in a French Jewish family...
Wald also said yesterday that another of his speeches, given in May before a Washington meeting of a group called Business Executives Move for Vietnam Peace, had been made into a film...
...share of the loot. This is what Hopper insists on in his interviews: that when Wyatt says to Billy "We blew it" what they're really saying is that they're no different from the two guys in the truck. That's true, but that's not what the film says at all. The good guys are portrayed as sensitive loner types: they know grass isn't addictive: they're nice to girls: they wouldn't hurt anybody. The bad guys are resentful barbarians, who pick on the good guys for no reason and make stupid jokes ("They look like...
...wide-angle shots of the two motorcycles crossing the Southwest are quite marvelous; but the LSD sequence is predictable-lots of fish-eye shots, weeping, and intimation of death-and boring, and doesn't do justice to the drug (compare Conrad Rooks' sublime hallucinations in Chappaqua or in any film by Jordan Belson). Hopper also has an irritating editing affectation: when indicating the passage of time he'll cut two frames of the next sequence in twice at the end of the preceding scene. Real avant-garde...
...view the film is poorer for it. Nothing in Easy Rider's endless shots of motorcycles (stolen, as was some of Roger Corona's work in Wild Angels-in which Fonda also starred-from Kenneth Anger's incantatory Scorpio Rising ) matches the groaning ferocity of Steppenwolf's lyrics ("Get the motor running/Shoot out on the highway / Looking for adventure / And whatever comes our way / Hey darling gonna make it happen / Take the world in a love embrace / Fire all of our guns at once and explode into space") and these disjunct moods clash to disengage the viewer...