Word: films
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Dates: during 1960-1969
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MARRY ME, MARRY ME. This wistful French comedy is the story of the trials of a courtship. Although Claude Berri (The Two of Us) wrote, directed and stars in the film, it is not a one-man show but a commanding display of ensemble acting...
...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...
...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...
...explore or celebrate rock the way that Peter Whitehead did with the Pink Floyd in Tonight Let's All Make Love in London or as Robert Nelson did in The Grateful Dead; rather he sticks it in and lets it lay there, guaranteeing large audiences. In my view the film is poorer for it. Nothing in Easy Rider's endless shots of motorcycles (stolen, as was some of Roger Corman'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...