Tag Archives: 1970s

J’irai comme un cheval fou / I Will Walk Like a Crazy Horse (1973) Fernando Arrabal

J'irai comme un cheval fou (1973)
When his mother dies, the police want to talk to Aden Rey, but Aden, a guilt-ridden epileptic, has left for the desert. There he comes upon Marvel, a noble savage. Aden, Marvel, and Marvel’s goat become companions through travels, a wedding, an examination of Aden’s role in his mother’s passing, a trial, additional deaths, and various meals. There are also flashbacks to Aden’s childhood and his relationship to his mother. Meanwhile, the police step up their efforts to find Aden.
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The Driller Killer (1979) Abel Ferrara, Carolyn Marz, Baybi Day, Horror, Thriller

The Driller Killer (1979)
Reno is an artist struggling to survive in NYC. He draws inspiration from scenes of daily street life and occasional random violence. Under pressure to finish his oft-delayed grand masterpiece, his psychotic alter-ego takes over and he begins killing random vagrants to boost his creativity, not quite realizing that it is happening in reality. When an art dealer grimly rejects Reno’s finished masterpiece, Reno’s mental condition quickly deteriorates.
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Ciao! Manhattan (1972) John Palmer, David Weisman, Edie Sedgwick, Wesley Hayes, Isabel Jewell, Biography, Drama, Romance

Ciao! Manhattan (1972)
Ciao! Manhattan is the semi-biographical tale of 1960s counterculture icon Edie Sedgwick. Ciao! follows young Susan Superstar (Sedgwick) through her tumultuous party years in Manhattan as one of Warhol’s Superstars. Through actual audio recordings of Sedgwick’s account of her time in Warhol’s Factory in New York City, paired with clips from the original unfinished script started in 1967, Ciao! captures the complete deterioration of Sedgwick’s fictional alter-ego. The striking similarities between Sedgwick and Susan’s life story, especially when recounted by Sedgwick in the midst of drug-induced audio interviews, make the film’s candid depiction of excess and celebrity especially haunting. The film is dedicated to the memory of Sedgwick and ends with the actual headlines announcing Sedgwick’s (not Susan Superstar’s) death, thus inseparably associating the fictional and the genuine figure.
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Welcome to L.A. (1976) Alan Rudolph, Keith Carradine, Sally Kellerman, Geraldine Chaplin, Drama, Music, Romance

Welcome to L.A. (1976)
This mosaic comedy-drama tells the story of a La Ronde-like circle of romantic adventures and failed affairs centered around a songwriter named Carroll Barber and his father Carl Barber. There is a trail of Carroll’s past relationship spread throughout the city of Los Angeles. Barber is an aloof womanizer who cannot commit to any relationship, and is used to illustrate the loneliness of Los Angeles big-city life. Among the women in his life are Ann Goode, a lonely real estate agent, Karen Hood, a Valley housewife addicted to taxi rides, Linda Murray, a woman prone to vacuuming in the nude and Nona Bruce, the snapshot-taking mistress of a wealthy man.
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The Other Side of the Mountain (1975) Larry Peerce, Marilyn Hassett, Beau Bridges, Belinda Montgomery, Biography, Drama, Romance

The Other Side of the Mountain (1975)
Based on the true story of Jill Kinmont. In 1955, eighteen-year-old Jill is a truly talented, gifted skier and a shoo-in for the 1956 Winter Olympics. But Jill comes close to losing everything when she takes a near fatal fall off a mountain during the last race of the season. Paralyzed from the shoulders down, Jill now has to climb another kind of mountain-working her way up from total helplessness to leading a fulfilling life. With the help of family, friends, and an extraordinary man, Jill begins the quest up that mountain.
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Tüzoltó utca 25. / 25 Fireman’s Street (1973) István Szabó, Lucyna Winnicka, Margit Makay, Károly Kovács, Drama, History, Romance, Erotic

Tuzolto utca 25 (1973)
On one hot summer night, the residents of a Hungarian apartment house slated for demolition restlessly revisit their haunted pasts as they face an uncertain future. In a gently turning kaleidoscope of dream imagery, regret-laden nostalgia and painstakingly intimate detail, the looming wrecking ball pales in significance to the accumulated experiences each dreamer revisits. Pre-war prejudice, occupying Nazis and Stalinist deprivations all come and go as each tenant’s backward glance yields moments of aching sensuality, infectious exuberance and catastrophic loss.
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