FOR IMMEDIATE RELEASE

May 4, 2000

Contact: Margot Gerber

323. 461 2020 ext. 115

THE AMERICAN CINEMATHEQUE PRESENTS

A CELEBRATION OF THE NEW HOLLYWOOD OF THE 1960’s AND 1970’s WITH A 43 FILM, 16 NIGHT RETROSPECTIVE FEATURING EARLY FILMS BY STEVEN SPIELBERG, MARTIN SCORSESE, GEORGE LUCAS, FRANCIS FORD COPPOLA AND MANY OTHER MAJOR AMERICAN DIRECTORS

 

In-person appearances include: directors Michael Cimino, William Friedkin, John Milius, Bob Rafelson, Paul Mazursky, Walter Hill, Haskell Wexler, Michael Ritchie, Monte Hellman, Michael Schultz, Richard Sarafian, Noel Black, Bill Norton, William Richert, and Robert Culp, actors Faye Dunaway, Karen Black, Bruce Dern, Paul LeMat, Timothy Bottoms, Susan Anspach, Barry Newman, Julie Adams, William Katt, Beverly Garland, Peter Bonerz, Lee Purcell, and Allen Garfield, producers Jonathan Taplin, Peter Bart, Gerald Ayres, Tamara Asseyev and Alex Rose, cinematographer John Alonzo, screenwriters Walter Murch and Jerry Belson, production designer Polly Platt and others!.

 

May 18 – June 18, 2000

 

HOLLYWOOD – The American Cinematheque presents CELEBRATING THE NEW HOLLYWOOD OF THE 1960’s & 1970’s (May 18 - June 18, 2000), 43 films from the wild, brilliant, non-conformist generation of directors, writers, actors, producers, and cameramen that redefined the style and content of American cinema. Some of these filmmakers cut their teeth on the Corman/A.I.P. exploitation flicks (Francis Ford Coppola, Martin Scorsese, Peter Bogdanovich, Jack Nicholson, Monte Hellman), while others came from documentary and television (William Friedkin, Steven Spielberg) or film schools (George Lucas, John Milius, Terrence Malick). The New Hollywood filmmakers embraced the counter-culture spirit of the late 60’s with a vengeance, covering everything from intense, social-realist drama (FIVE EASY PIECES, THE LAST DETAIL, PANIC IN NEEDLE PARK) to wickedly offbeat satire (SMILE, HI, MOM!), from existential road movies (VANISHING POINT, TWO-LANE BLACKTOP) to epic American crime films (THE GODFATHER, BONNIE & CLYDE, THE FRENCH CONNECTION, CHINATOWN) and more. Ironically, the New Hollywood gave birth to both the blockbuster mentality of the 1980’s and 1990’s, and to the beginnings of the independent film movement that would help transform American film a decade later.

While this series is the first comprehensive retrospective of the New Hollywood ever mounted, it’s by no means complete – there are simply too many great films (and filmmakers.) Some of the protean directors who influenced the movement (Peckinpah, Kubrick, Cassavetes, Antonioni) are absent, along with a number of talented European filmmakers who worked in Hollywood (John Boorman, John Schlesinger,

Peter Yates and others.) One of the essential directors of the New Hollywood, Robert Altman, will be covered by an in-depth retrospective at the L.A. County Museum of Art from June 23 – July 22nd.

The series is highlighted by in-person appearances by some of the key figures from the New Hollywood era, including: directors Michael Cimino, William Friedkin, John Milius, Bob Rafelson, Paul Mazursky, Walter Hill, Haskell Wexler, Michael Ritchie, Monte Hellman, Michael Schultz, Richard Sarafian, Noel Black, Bill Norton, William Richert, and Robert Culp, actors Faye Dunaway, Karen Black, Bruce Dern, Paul LeMat, Timothy Bottoms, Susan Anspach, Barry Newman, Julie Adams, William Katt, Beverly Garland, Peter Bonerz, Lee Purcell, and Allen Garfield, producers Jonathan Taplin, Peter Bart, Tamara Asseyev and Alex Rose, cinematographer John Alonzo, screenwriters Walter Murch and Jerry Belson, production designer Polly Platt. Other guests will be announced as they are confirmed. (Guests subject to their availability)

All screenings are at the newly renovated Lloyd E. Rigler Theatre at the historic Egyptian (6712 Hollywood Boulevard between Highland and Las Palmas) in Hollywood.

 

Thursday, May 18, 2000

 

The Thursday, May 18th program begins at 7:00 PM, with a screening of a restored 35 mm print of FIVE EASY PIECES (1970, Columbia, 98 min.), a brilliant, sarcastic drama about oil-rig worker Jack Nicholson who is on the run from his former life as a concert pianist (!). He has floozy girlfriend Karen Black in tow. One of the defining films of the New Hollywood, stunningly directed by Bob Rafelson and written by Adrien Joyce. Discussion following with director Bob Rafelson and actresses Karen Black and Susan Anspach (schedules permitting).

Following at 9:30 PM, is SMILE (1975, MGM/UA, 113 min.), Director Michael Ritchie’s savage, Norman Rockwell-in-rehab comedy starring Bruce Dern, Barbara Feldon, Michael Kidd and Geoffrey Lewis as a group of civic boosters desperately trying to stage a teenage beauty pageant in Santa Rosa, California. Annette O’Toole and Melanie Griffith are among the gorgeous, devious and very unlady-like contestants, in this wickedly funny snapshot of the underbelly of mid-70’s America. Discussion following with director Michael Ritchie , actor Bruce Dern, and screenwriter Jerry Belson.

Friday, May 19, 2000

The Friday, May 19th program begins at 7:00 PM with a screening of MEDIUM COOL (1969, Paramount, 110 min.). Photographed in and around the riots at the 1968 Democratic Convention in Chicago, MEDIUM COOL stars Robert Forster (JACKIE BROWN) as a cynical TV reporter trying to maintain his equilibrium amid tear gas, Yippies, black militants, and working-class mother Verna Bloom. Written, directed and photographed by Haskell Wexler, in a raw, unnerving mixture of radical politics, documentary footage and blistering Chicago blues (courtesy of Mike Bloomfield.) Rated X on its initial release. Discussion following with director Haskell Wexler and actor Peter Bonerz (schedules permitting.)

 

Following at 9:45 PM is a double feature. First is Peter Bogdanovich’s first film, TARGETS (1968, Paramount, 90 min.). Deranged sniper Tim O’Kelly hurtles on a collision course with veteran horror film star Boris Karloff at the drive-in premiere of Karloff’s latest fright-fest. Inspired by killer Charles Whitman’s

 

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murder spree at the University of Texas, this film is a nerve-wracking exploration of how our desire to be chilled at the movies can be cut short when real-life horror tragically intrudes. Next on the same bill is George Lucas’ directorial debut, THX 1138 (1971, Warners, 88 min.) George Lucas’ first (and most adult) picture outdoes 1984 and Brave New World in painting a bleak, dehumanized future where every person is given pills to quiet emotions, eliminate sex drive, increase work production and prevent the questioning of authority. With Robert Duvall, Donald Pleasance. Production designer Polly Platt (TARGETS) and co-writer Walter Murch (THX 1138) scheduled to introduce screenings.

Saturday, May 20, 2000

*Please note that there was a mistake on the showtimes for this date in our printed film calendar. The showtimes listed here are correct.

The Saturday, May 20th program begins at 6:00 PM with THE LAST MOVIE (1971, Universal, 108 min.). After EASY RIDER, director/star Dennis Hopper was given carte blanche at Universal and this wild, psychedelic shaggy dog parable was the result. Hopper is a stunt man left behind in a Peruvian village to mingle with the natives and other expatriate stoners (Julie Adams, Peter Fonda, Kris Kristofferson, et. al) after his western film - directed by Sam Fuller! - wraps. A stimulating, inventive and underrated meditation on fantasy vs. reality and cinema as ritual. Discussion following with actress Julie Adams.

Following at 8:45 PM, is a double feature. First is VANISHING POINT (1971, Fox, 107 min.), directed by Richard Sarafian. Ex-stock car driver Kowalski (Barry Newman) drives a turbo-charged white Dodge Challenger into psychedelicized oblivion, pursued by an army of cops and naked motorcyclists. The great Cleavon Little co-stars as "Super Soul", blind disc jockey and visionary madman of the airwaves. Fasten your seatbelts for a high-octane adventure! Next on the same bill is DUEL (1971, Universal, 88 min.), directed by Steven Spielberg. Originally broadcast as a television film (and later expanded for theatrical release), DUEL stars Dennis Weaver as a businessman crossing a stretch of deserted highway, who finds himself terrorized by a malevolent, unseen truck driver. Nerve-wracking suspense and superb, turbo-charged action in the best MAD MAX vein, from 25-year old gunslinger Steven Spielberg - !

 

Discussion between films with VANISHING POINT director Richard Sarafian, actor Barry Newman and cinematographer John Alonzo.

 

Sunday, May 21, 2000

The Saturday, May 21st program begins at 3:30 PM with a screening of BONNIE AND CLYDE (1967, Warners, 111 min.) starring Warren Beatty and Faye Dunaway as star-crossed lovers. Director Arthur Penn’s grittily lyrical 1930’s gangster saga, is a mixture of brash style, pan-sexual eroticism and blood-soaked violence which helped kick-start the entire New Hollywood movement – and boosted producer/actor Beatty to prominence as one of the key figures of the next decade. Written by David Newman and Robert Benton, with dazzling supporting performances by Gene Hackman, Michael J. Pollard and Estelle Parsons. Discussion following with actress Faye Dunaway (schedule permitting).

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Following at 6:15 PM is a double feature beginning with Francis Ford Coppola’s YOU’RE A BIG BOY NOW (1966, Warners, 96 min.). Arguably the first film of the New Hollywood, YOU’RE A BIG BOY NOW was written and directed by 26-year old Francis Ford Coppola, paving the way for Spielberg, Lucas and the other wunderkinds to come. Peter Kastner stars as an assistant librarian in New York who learns about love 60’s-style with the help of a sweet, psychedelic gallery of kooks including Elizabeth Hartman, Geraldine Page, Julie Harris, Rip Torn, Tony Bill and Karen Black. With a wonderful, wistful score by folk-pop heroes the Lovin’ Spoonful.

 

Next on the same bill is HI, MOM! (1970, Sigma III (MGM/UA), 87 min.). Vietnam-vet Robert DeNiro returns to NYC a peeping-tom filmmaker supplying sleazy Allen Garfield with improv porn before finally being radicalized into a bomb planting anarchist, in Brian De Palma’s sidesplitting sequel to his earlier GREETINGS. The send up of educational TV and white liberals -- National Intellectual Television covering "Be Black, Baby" guerrilla theater -- is one of the most hilariously on-target pieces of satire of the era. Discussion following with actor Allen Garfield (HI, MOM!).

 

Friday, May 26, 2000

The Friday, May 26th program begins at 7:00 PM with the essential American road movie TWO-LANE BLACKTOP (1971, Universal, 101 min.), directed by Monte Hellman. Two motorheads in a supercharged Chevy (singer James Taylor and Beach Boy Dennis Wilson) take on Warren Oates and his monstrous Pontiac GTO in a cross-country race. Haunted by the vast, open spaces of the Midwest and an addictive sense of speed, Hellman calls TWO-LANE BLACKTOP "the last movie of the Sixties." Discussion following with director Monte Hellman.

Following at 9:30 PM, is PRETTY POISON (1968, Fox, 89 min.). Compulsive liar and former fire-bug Anthony Perkins is paroled to a small town factory job where his secret-agent fantasy life fuels romance with budding cheerleader (and closet sociopath) Tuesday Weld. Noel Black directs Lorenzo Semple, Jr.’s ferociously dark and funny script, a kind of thriller-cum-twisted love story that anticipates recent films like ELECTION and TO DIE FOR by about, oh, 30 years. With Beverly Garland as Weld’s hilariously-uptight mother. Discussion following with director Noel Black and actress Beverly Garland.

Saturday, May 27, 2000

The Saturday, May 27th program begins at 5:00 PM with Melvin Van Peebles’ SWEET SWEETBACK’S BAAD ASSSS SONG (1971, Direct Cinema, 97 min.) Melvin Van Peebles also stars in his portrait of a Black pimp who murders a policeman and flees to Mexico -- a literal song of revolution (Melvin also wrote the music). Rated X by an all-white jury on its release (a slogan Van Peebles would quickly put on t-shirts!), SWEET SWEETBACK’S exploded like a fragmentation grenade on early-70’s American culture. Shot in verité style with a predominantly black cast.

 

Following at 7:30 PM is a double feature beginning with THE FRENCH CONNECTION (1971, Fox, 104 min.) directed by William Friedkin. Gene Hackman stars as Detective Popeye Doyle, muscling minor hoods in NYC (the "you ever pick your feet in Poughkeepsie?" scene is still a classic) -- when he catches

 

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the trail of a huge shipment of French heroin. With partner Roy Scheider, Hackman dogs drug-kingpin Fernando Rey through the concrete jungle -- highlighted by a brain-jangling car chase that still hasn’t been topped. The film’s 5 Oscars – including Best Picture, Director and Actor – announced that the New Hollywood had arrived in force. Next on the same bill is MEAN STREETS (1973, Warners, 110 min.). Director Martin Scorsese’s shattering, insider’s look at small-time hoods in Little Italy stars Harvey Keitel as a guilt-obsessed Catholic trying to make good, and Robert De Niro as Keitel’s terminal screw-up of a cousin, Johnny Boy. Most of MEAN STREETS was shot – believe it or not – in Los Angeles (only exteriors were filmed in New York); it quickly became Scorsese’s calling-card as director, and a stunning prequel to the awesome TAXI DRIVER.

 

Discussion between films with THE FRENCH CONNECTION director William Friedkin and MEAN STREETS producer Jonathan Taplin.

 

Sunday, May 28, 2000

The Sunday, May 28th program begins at 3:30 PM with THE LAST PICTURE SHOW (1971, Columbia, 126 min.). Based on Larry McMurtry’s elegiac, autobiographical novel of north Texas in the late 1950’s, LAST PICTURE SHOW stars Jeff Bridges, Timothy Bottoms and (in her first role) Cybill Shepherd as a trio of sexually-confused teens trapped in a dying, dust-blown town. Flawlessly directed by Peter Bogdanovich and photographed by Robert Surtees, with a letter-perfect supporting cast led by Ben Johnson, Cloris Leachman and Ellen Burstyn. Discussion following with actor Timothy Bottoms and production designer Polly Platt.

Following at 8:15 PM, is a double feature beginning with a screening of a New 35 mm Print of THE LAST DETAIL (1973, Columbia, 105 min.). A scathing, hilariously-foulmouthed indictment of military discipline starring Jack Nicholson and Otis Young as a pair of hard-headed sailors escorting harmless Randy Quaid to prison for a petty crime. Stunningly written by CHINATOWN scribe Robert Towne (based on Daryl Ponicsan’s novel), THE LAST DETAIL is one of the great subversive gems of the decade, from maverick director Hal Ashby (HAROLD & MAUDE, SHAMPOO.) Discussion following with producer Gerald Ayres.

Next on the same bill is PANIC IN NEEDLE PARK (1971, 20th Century Fox, 110 min.) Then-newcomers Al Pacino and Kitty Winn are a junkie Romeo and Juliet in director Jerry Schatzberg’s harrowing, near-documentary study of heroin addiction on the streets of New York City. Joan Didion and John Gregory Dunne’s economic, compassionate screenplay plots the couple’s self-destructive spiral with relentless logic that is neither patronizing nor preachy. A gut-wrenching, surprisingly overlooked classic that would never find major studio release today.

 

Wednesday, June 7, 2000

The Wednesday, June 7th program begins at 7:00 PM with Steven Spielberg’s THE SUGARLAND EXPRESS (1974, Universal, 109 min.), an ambitious blend of madcap slapstick and downbeat social commentary starring Goldie Hawn and William Atherton as a latter-day Bonnie & Clyde, on the run from

 

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the police with their soon-to-be adopted baby (the real-life son of producer Richard Zanuck - !) If you think you know Spielberg from JAWS, CLOSE ENCOUNTERS, etc., then you haven’t seen SUGARLAND EXPRESS – a heartbreaking gem from the most influential American filmmaker of the past two decades. With Ben Johnson, Michael Sacks and Gregory Walcott.

 

Following at 9:45 PM is THUNDERBOLT & LIGHTFOOT (1974, MGM/UA, 114 min.) Writer/director Michael Cimino’s first film is a terrific, offbeat heist film/modern-day Western, with pro thief Clint Eastwood trying to elude murderous ex-partners George Kennedy and Geoffrey Lewis with aid from gentle-souled drifter Jeff Bridges. THUNDERBOLT constantly surprises with ingenious plot twists, character-driven humor and a wistful sweetness that is all too rare in most action films. Writer/director Michael Cimino to introduce screening (schedule permitting.)

Friday, June 9, 2000

The Friday, June 9th program begins at 7:00 PM with a screening of a Rare I.B. Technicolor Print of AMERICAN GRAFFITI (1973, Universal, 110 min.) In the middle of the Vietnam and Nixon-obsessed days of the early 70’s, director George Lucas and producer Francis Ford Coppola switched gears radically with this tender, nostalgic look at drive-ins, drag-races and the death of doo-wop in a northern California town in 1962. Richard Dreyfuss, Ron Howard, Paul LeMat, Charles Martin Smith, Cindy Williams, Candy Clark, MacKenzie Phillips and Harrison Ford head a cast of almost complete newcomers, in one of the most purely personal (and phenomenally successful) films of the entire New Hollywood.

 

Following at 9:45 PM is an L.A. Country-Rock double feature beginning with CISCO PIKE (1971, Columbia, 94 min.) directed by Bill Norton. One of the great lost films of the 1970’s, the film depicts has-been folk-rock star Kris Kristofferson trying to put his drug-dealing days behind him so he can get back to his music roots – but corrupt cop Gene Hackman blackmails him into selling a hundred stolen kilos of marijuana over one weekend. Both a fast-moving modern noir and a perceptive look at a songwriter with integrity trying to survive on the pop mainstream fringe. With Harry Dean Stanton, Karen Black, Viva and views of a since-disappeared L.A. you’ll never see again. Next on the same bill is PAYDAY (1972, Fantasy Films, 103 min.). Rip Torn gives one of the wildest performances of the New Hollywood as Maury Dann, a rising country singer in the Merle Haggard/Waylon Jennings vein, plagued by inner demons as he beds groupies, feeds his mother amphetamines, and brawls with all comers. He’s also a talented songwriter totally unaware that his express joyride is headed straight to hell, in director Daryl Duke’s blistering, rarely-seen portrait of country music in the early 70’s. Discussion between films with CISCO PIKE director Bill Norton.

Saturday, June 10, 2000

The Saturday, June 10th program begins at 5:00 PM with a screening of CHINATOWN (1974, Paramount, 131 min.) directed by Roman Polanski. Jack Nicholson gives his greatest performance as 1930’s private eye J.J. Gittes, maneuvering through a nightmarish L.A. netherworld of cheating husbands, stolen water rights, incest, murder and more, as he desperately tries to save beautiful Faye Dunaway from her raptor-

 

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like father John Huston. Writer Robert Towne’s magnificent, labyrinthine script has been widely hailed as the best of the decade. Discussion following with actress Faye Dunaway and cinematographer John Alonzo (schedules permitting.)

Following at 8:00 PM is Francis Ford Coppola’s THE CONVERSATION (1974, American Zoetrope, 113 min.). Sandwiched between THE GODFATHER and GODFATHER II, THE CONVERSATION is Coppola at his very best, a sinister, unstoppable portrait of moral (and physical) violence and the sheer paranoia of living in the modern world. Gene Hackman is tremendous as fly-on-the-wall surveillance expert Harry Caul, drawn into a murderous whirlpool when he’s hired to bug lovers Frederic Forrest and Cindy Williams. Co-starring John Cazale, Allen Garfield, Teri Garr and Harrison Ford.

 

Next on the same bill is NIGHT MOVES (1975, Warner Bros., 95 min.), directed by Arthur Penn. Gene Hackman plays an ex-football star-turned-private eye whose life unravels when he finds his wife Susan Clark has been unfaithful. A job finding a missing teenager (Melanie Griffith in her first real role) goes suddenly sour in a nightmarish labyrinth of betrayals and sudden death. One of the best modern noirs, NIGHT MOVES builds to a bone-chilling, awesomely orchestrated climax. With Jennifer Warren and James Woods. Discussion between films with actor Allen Garfield and journalist/former studio executive Peter Bart (THE CONVERSATION).

Sunday, June 11, 2000

The Sunday, June 11th program begins at 3:30 PM with THE GODFATHER (1972, Paramount, 175 min.), directed by Francis Ford Coppola. Coppola transformed author Mario Puzo’s sprawling Mafia saga into the Great American Movie of the 1970’s, a towering, cinematically-stunning portrait of darkness and violence overwhelming every level of American society like a monstrous tidal wave. Marlon Brando, Al Pacino, James Caan, Diane Keaton, Talia Shire and Robert Duvall head one of the best casts assembled since CITIZEN KANE.

Following at 7:30 PM is THE GODFATHER, Part II (1974, Paramount, 200 min.), Francis Ford Coppola’s near-perfect sequel to the original GODFATHER. Mob chieftain Al Pacino ruthlessly consolidates power in the Las Vegas gambling world of the late 1950’s, while simultaneously flashing back to father Robert De Niro’s brutal induction into the Mafia in 1900’s Sicily and New York. Most of the cast returned from the first film, with superb help from Gaston Moschin, Leopoldo Trieste and Lee Strasberg as Jewish crime boss Hyman Roth.

 

Wednesday, June 14 , 2000

The Wednesday, June 14th program begins at 7:00 PM with a screening of MIKEY & NICKY (1977, Castle Hill, 116 min.). From one of the great, idiosyncratic voices in American film, writer/director Elaine May, MIKEY & NICKY is a glorious, rambling, shaggy-dog study of two low-life hoods – John Cassavetes and Peter Falk -- who may (or may not) be trying to kill each other during one long night in Philadelphia. Notorious for its production problems (May shot more footage than GONE WITH THE WIND and was eventually fired from the editing), MIKEY & NICKY still shows her oddball comic genius and terrific flair for improvisation.

 

 

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(Wednesday, June 14 double feature cont’d)

Following at 9:45 PM is a screening of BLUME IN LOVE (1973, Warners, 117 min.), one of director/writer Paul Mazursky’s most rewarding films. Divorce lawyer George Segal and social-worker wife Susan Anspach grow apart as Sixties counterculture makes them increasingly aware of their shallow lifestyle. However, Segal refuses to give up on winning back Anspach from new, easygoing hippie beau Kris Kristofferson (in a gentle, hilarious performance). A warmly funny, insightful reflection on the nature of conjugal bonds, true love and spousal devotion. Writer/director Paul Mazursky and actress Susan Anspach scheduled to introduce screening.

 

Thursday, June 15, 2000

The Thursday, June 15th program begins at 7:00 PM with a screening of BADLANDS (1974, Warners, 95 min.), the first feature from visionary maverick Terrence Malick. Based on the Charles Starkweather-Carol Fugate murder spree of the late 1950’s, BADLANDS stars Martin Sheen and Sissy Spacek as a pair of innocent, amoral young killers flashing across the desolate American landscape like brushfire. A violent folk-tale for the modern age, brilliantly written and directed by Malick, and photographed by Brian Probyn, Tak Fujimoto and Stevan Larner.

 

Following at 9:30 PM is a Frank Perry double feature beginning with a Brand-New 35 mm print of THE SWIMMER (1968, Columbia, 94 min.) One of the most unjustly neglected figures of the New Hollywood, director Frank Perry (who died in 1995) made 10 low-key, razor-sharp dissections of modern morals and relationships between 1962 and 1975. Based on John Cheever’s acclaimed novel, THE SWIMMER follows vigorous, middle-aged Burt Lancaster on a metaphoric journey swimming from backyard pool to backyard pool, headed towards a "home" that may no longer exist. An aching, bittersweet portrait of regret and despair lying beneath the gemlike surface of suburbia, featuring one of Lancaster’s finest performances.

 

Next on the same bill is RANCHO DELUXE (1975, MGM/UA, 93 min.), directed by Frank Perry. Raucous counter-culture Western of two modern cattle rustlers – Jeff Bridges and Sam Waterston – on the loose in Montana, surrounded by ranchers in helicopters, video games and stoned country girls singing "Have You Seen Your Mother, Baby (Standing In The Shadows)?" A lovely, oddball gem, scripted by acclaimed writer Thomas McGuane and co-starring Slim Pickens, Harry Dean Stanton and Elizabeth Ashley.

 

Friday, June 16, 2000

The Friday, June 16th program begins at 7:00 PM with a screening of CAR WASH (1976, Universal, 97 min.). A hilariously tasteless day in the life of a black-owned L.A. car wash, as a non-stop parade of streetwalkers, mad bombers, black militants and ghetto preacher "Daddy Rich" (Richard Pryor at his insane, elastic best) stream in to get their cars (and souls) scrubbed clean. Directed with maximum humor

by Michael Schultz and written by future action-guru Joel Schumacher (!), CAR WASH was one of the few New Hollywood films to look at black culture in the 70’s. Discussion following with director Michael Schultz.

 

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Following at 9:15 PM is a Super-70’s Conspiracy Theory Blow-Out double feature which begins with THE PARALLAX VIEW (1974, Paramount, 102 min.) directed by Alan Pakula. Impetuous reporter Warren Beatty’s hunt for a political assassin turns more and more terrifying as each successive layer of corruption and right-wing insanity is revealed. When he enlists in a program to recruit social misfits as political killers-for-hire, the narrative assumes cosmically paranoid dimensions. A daringly downbeat, uncompromising speculation on how far the advocates of repression will go. With Paula Prentiss, William Daniels and Hume Cronyn. Next on the same bill is WINTER KILLS (1979, Avco-Embassy (Canal+), 97 min.). Director William Richert fashions a fierce lampoon of events surrounding the JFK assassination from Richard Condon’s (MANCHURIAN CANDIDATE, PRIZZI’S HONOR) already bitingly satirical novel. Jeff Bridges, idealistic brother of a slain president, has his life turned topsy-turvy when he’s handed newly-uncovered evidence of a conspiracy. With John Huston as the amoral robber-baron patriarch and a totally tweaked Anthony Perkins as the certifiable Head of National Security - !! Discussion between films with WINTER KILLS director William Richert and journalist/former studio executive Peter Bart.

Saturday, June 17, 2000

The Saturday, June 17th program begins at 5:00 PM with a screening of BIG WEDNESDAY (1978, Warners, 120 min.). Easily the greatest surfing movie ever made – and one of the finest portraits of innocence lost during the Vietnam era – BIG WEDNESDAY stars Gary Busey, Jan-Michel Vincent and William Katt – as a trio of L.A. surfers who ride the big waves while dodging girlfriends, maturity and the draft board. Eventually, painfully, the three are forced to grow up, in director/writer John Milius’ most personal and evocative film, featuring astounding surf footage by Greg MacGillivray (IMAX’s EVEREST). Discussion following with writer/director John Milius, actors William Katt and Lee Purcell, and producers Alex Rose and Tamara Asseyev.

Following at 8:00 PM is a double feature beginning with a screening of HICKEY & BOGGS (1972, MGM/UA, 111 min.) directed by Robert Culp. Uncompromisingly realistic detective noir with two world-weary private eyes -- Robert Culp and Bill Cosby – whose search for a missing girl opens a Pandora’s box of death and destruction in smoggy, sun-baked L.A. Sharp, sardonic dialogue peppers Walter Hill’s violent screenplay. Look for young Michael Moriarty and James Woods as particularly slimy villains. Discussion following with directors Walter Hill and Robert Culp.

Next on the same bill is THE DRIVER (1978, Fox, 90 min.), an extremely tough, pared-to-the-bone noir. Vastly underrated on its initial release, THE DRIVER pits existential getaway driver Ryan O’Neal against pit bull detective Bruce Dern in a cat-and-mouse pursuit through the wasted underbelly of mid-70’s Los Angeles. Walter Hill’s homage to Jean-Pierre Melville and the Euro crime film sports car chases to rival BULLITT and THE FRENCH CONNECTION. With Isabelle Adjani.

Sunday, June 18, 2000

The Sunday, June 18th program begins at 3:30 PM with a screening of CITIZEN’S BAND (1977, Paramount, 98 min.), based on a script by Paul Brickman and directed by Jonathan Demme. This

 

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wonderfully screwball look at lost and lonely souls riding the highways, stars Paul Le Mat as an intense CB-radio hound determined to clean up the airwaves, with AMERICAN GRAFFITI co-star Candy Clark as his long-suffering girlfriend. Russ Meyer regular Charles Napier delivers outrageous support as a bigamist trucker with two wives – Portland Angel and Dallas Angel – and a hooker girlfriend named Hot Coffee - ! A crazed, colorful look at alternative subcultures in America, from the director of MELVIN & HOWARD and SILENCE OF THE LAMBS. Discussion following with actor Paul LeMat.

Following at 6:00 PM is THE DEER HUNTER (1978, Universal, 183 min.). From the opening scenes of hunter Robert De Niro and friends Christopher Walken, John Savage and John Cazale stalking deer in the mist-shrouded Pennsylvania hills, to the shattering prisoner-of-war games in the Vietnam jungles, director Michael Cimino’s masterwork is a sprawling, ambitious epic of men wounded by pride, country and friendship, struggling to drag each other back to a place of safety. Winner of 5 Oscars, including Best Picture and Director. Discussion following with director Michael Cimino (schedule permitting.)

Double features include both films for one admission price. There is a 5 minute intermission between films. Running times are provided to figure out the approximate start time of the second film in the double bill. Discussions between films in a double feature are generally about 20 minutes long.

 

k BLACK & WHITE PHOTOS ARE AVAILABLE UPON REQUEST k

WE DO NOT HAVE GUARANTEED PRESS PASSES TO PUBLIC SCREENINGS. IT IS RECOMMENDED THAT YOU TAKE ADVANTAGE OF THE ADVANCE PRESS SCREENINGS ON TAPE.

 

A complete calendar/flyer listing of these films has been mailed to you.

 

MOST FILMS WILL BE AVAILABLE ON VIDEOTAPE (NTSC) IN OUR OFFICES. CALL TO SCHEDULE AN APPOINTMENT TO SEE THEM. LOCAL VIDEO STORES LISTED BELOW MAY ALSO HAVE SOME TITLES. FOR FURTHER INFORMATION CALL MARGOT GERBER 323.461.2020, ext. 115. MAY 10-26, MARGOT WILL BE OUT OF TOWN. PLEASE CALL x-116 TO SPEAK TO JASMINE ONG OR x-118 TO SPEAK TO GWEN DEGLISE IN PROGRAMMING. THANK YOU.

AMERICAN GRAFFITI (1973) V,C

BADLANDS (1974) V,C

BIG WEDNESDAY (1978) V

BLUME IN LOVE (1973) V

BONNIE AND CLYDE (1967) V,C

CAR WASH (1976) V,C

CHINATOWN (1974) V,C

CISCO PIKE (1971) *

CITIZEN'S BAND (1977) V,C

CONVERSATION, THE (1974) V,C

DEER HUNTER, THE (1978) V,C

DRIVER, THE (1978) V,C

DUEL (1971) V,C

FIVE EASY PIECES (1970) V,C

FRENCH CONNECTION, THE (1971) V,C

GODFATHER, THE (1972) V,C

GODFATHER, THE, PART II (1974) V,C

HI, MOM! (1970) V

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(video list cont’d)

HICKEY & BOGGS (1972)**

LAST DETAIL, THE (1973) V,C

LAST MOVIE, THE (1971) V

LAST PICTURE SHOW, THE (1971) V,C

MEAN STREETS (1973) V,C

MEDIUM COOL (1969) V, C

MIKEY & NICKY (1977) V,C

NIGHT MOVES (1975) V,C

PANIC IN NEEDLE PARK (1971) V,C

PARALLAX VIEW, THE (1974) V,C

PAYDAY (1972) V,C

PRETTY POISON (1968)*

RANCHO DELUXE (1975) V

SMILE (1975) V,C

SUGARLAND EXPRESS, THE (1974) C

SWEET SWEETBACK'S BAAD ASSSS SONG (1971) V,C

SWIMMER, THE (1968) V

TARGETS (1968) V,C

THUNDERBOLT & LIGHTFOOT (1974) V

THX 1138 (1971) V,C

TWO-LANE BLACKTOP (1971) V,C

VANISHING POINT (1971) V,C

WINTER KILLS (1979) V,C

YOU'RE A BIG BOY NOW (1966) V

V= available at Vidiots

C= available at Cinefile

* = available by request from the Cinematheque

**= not available

Eddie Brandt’s Saturday Matinee (Burbank) Walk in only no phone.

Jerry’s Video (1904 Hillhurst, Los Feliz - 323.666.7471)

Rocket Video (726 N. La Brea - 323.965.1100)

Cinefile (11280 Santa Monica Blvd. - Corner of Sawtelle Ave. - 310.312.8836)

Vidiots (302 Pico Blvd, Santa Monica - 310/392-8508)

 

REQUESTS FOR PRESS TICKETS TO PUBLIC SCREENINGS MUST BE IN WRITING. FAX TO 323.461.9737 ATTN: MARGOT GERBER, 24 HOURS PRIOR TO SHOW TIME. FRIDAY AT NOON IS THE ABSOLUTE DEADLINE FOR WEEKEND OR HOLIDAY SCREENINGS. JOURNALISTS WISHING TO AUDIO OR VIDEOTAPE DISCUSSIONS MUST ALSO SEND A WRITTEN REQUEST. YOUR NAME WILL THEN BE ON A LIST AT

THE BOX OFFICE.

 

THE PROGRAM IS SUBJECT TO CHANGE WITHOUT NOTICE.

 

 

 

Our permanent daily attraction film FOREVER HOLLYWOOD is now open. For press passes to see it for review purposes, please call Margot Gerber at 323.461.2020, ext. 115.

 

Egyptian Theatre

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