Word: films
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Dates: during 1960-1969
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MOVIES OR BOOKS about youth culture (and a host of other things, for that matter, like polities and social reality) can often be fairly judged by the crates they keep. When Stanley Kauffman seizes on The Graduate as one of the most significant films ever made, you know something is amiss. Similarly when the press does chorus kicks for James Simon Kunen. Or when Pauline Kael hails Wild in the Streets. Scorecards or who likes what are less important when dealing with art works with little contemporary social content. Time thinks Persona is a masterpiece, but doesn't know...
...Easy Rider "is a bold, courageous statement of life seldom matched in motion pictures." The current WBCN ad (BCN moves closer and closer to Krackerjacks every day) for Easy Rider starts with quotes from Life and moves on to include forty other crates who feel that Rider is the film you can't afford to miss. This review is dedicated to all those who expected a shuck...
...upon by Mississippi rednecks and Hanson is bludgeoned to death. Billy and Wyatt proceed on to Mardi Gras, make a sentimental trip to the whorehouse, and drop acid with their hookers. But this is, as they say, unsatisfying; they leave New Orleans for some unknown destination. In the film's best sequence, a pick-up truck overtakes them on a Louisiana highway, and some lout, hoping merely to scare Billy, shoots him, and then kills Wyatt...
...photography and writing have steadily improved. The Mole does a good job educating the community it covers culturally as well as politically. "Zans", "Happenings", and the film and book reviews make the paper worth reading in themselves. The Mole has gradually moved away from its original Harvard emphasis. It is much more the radical community newspaper now than at its inception...
Coppola's other films (You're a Big Boy Now, Finian's Rainbow) have been overloaded with a kind of lighter-than-air dramaturgy, and The Rain People sadly falls victim to similar sentimental pretentions. The relationship between Natalie and Kilgannon derives from Of Mice and Men, and much of the dialogue is sophomoric Salinger, as when Kilgannon explains that "the rain people are people made of rain. When they cry, they disappear altogether because they cry themselves away." Still, the geography is simply splendid. Coppola seems to sense that lying between the Hudson River...