Stream Easy Rider Movie Online
January 27, 2010
“Easy Rider” directed by Dennis Hopper, produced by Peter Fonda and written by Peter Fonda, Dennis Hopper and Terry Southern was a vulgar budget film ($340 vast) that surprisingly became a box office break. The anecdote is about two hippys (Fonda & Hopper) who grasp choppers with cash they’ve gotten from a drug deal. They straggle foul country heading to Louisianna (to Mardi Gras) and on their procedure meeting different people, visiting a commune of hippys, ending up in jail, going to a brothel, taking acid etc. The ending was disturbing in 1969 and unexcited is, even in these days of non-stop violence in our country. This 35th Anniversary Edition is identical to the regular dvd version of “Easy Rider” with the staunch same bonus material “The Making-Of Documentary “Easy Rider: Shaking The Cage” (feat. interviews with Fonda, Hopper, etc.) and an audio commentary by Dennis Hopper plus production notes. The bonuses for this 35th Anniversary Edition are a cd which includes eight songs (do not confuse this cd with the right “Easy Rider Soundtrack” as it is not) . The songs are “Born To Be Wild” – Steppenwolf, “The Weight” – Smith, “Nights In White Satin” – The Irritable Blues, “Wasn’t Born To Follow” – The Byrds, “San Francisco Nights” – Eric Burden And The Animals, “The Pusher” – Steppenwolf, “It’s Alright Ma (I’m Only Bleeding) ” – Roger McGuinn and “Pick Up Together” – The Youngbloods. The 80 page book “Easy Rider” by Lee Hill is spicy and includes all you’ll ever want to know about the film. The bottom line is, if you already fill the regular dvd of “Easy Rider” I’d pass on this 35th Anniversary Edition. Of course, if you don’t occupy this classic film it may be worth the extra cash for the bonus cd and book.
I bought this title because I am a motorcyclist. If you have never ridden one and want to know what it is like, this movie will acquire you on a virtual road trek from Los Angeles through gorgeous mountain scenery down to Mardi Gras in Current Orleans. The two stars, Peter Fonda (Wyatt) and Dennis Hopper (Billy), head out on the highway to the motorcycle anthem, “Born to Be Wild” by Steppenwolf, and there are some improbable camera shots of them crossing the Colorado River. If that scene doesn’t come by your blood pumping, then you can be assured that motorcycling isn’t for you.
There’s a lot more to this movie than honest scenic motorcycling and sixties music. A typical biker movie has a old area, usually consuming some gang terrorizing the local community. Before creating this movie, Fonda and Jack Nicholson (George), as well as some of the other cast members all appeared in such flicks. By dissimilarity, “Easy Rider” is really a mold-breaker for its type, because it involves a lot of social commentary.
Early in the movie, Billy and Wyatt hold up a stranger along the highway, who turns out to be the leader of a commune. He is a uninteresting ringer for John Lennon, when he had his Sgt. Pepper peruse. Wyatt and the stranger earn along well, but Billy is suspicious of the hitchhiker. They bewitch him assist to his commune and hang out for awhile there with the people. Wyatt fits in OK, but Billy is not generally respected. Many of them gain fun of Billy. For some time, this was very hard for me to memoir for, since Billy is a freak.
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I did not salvage any insights into this until I read the book, “Riders On the Storm” by Doors’ drummer, John Densmore. In it, he explains how the Doors, who were from Los Angeles, were not invited to play the Monterey Pop Festival. San Francisco flower power was about peace and savor, and Jim Morrison, the lead singer, gave off an aggressive vibe. Densmore also said that some notorious flower power musicians did not want to be publicly associated with The Doors. For instance, John Sebastian agreed to play harmonica on “Roadhouse Blues,” but he would not allow his valid name to be old-fashioned in the credits. I contain that the contrast in values between Los Angeles and San Francisco is crucial to opinion why Billy was rejected by the commune members.
Wyatt and Billy are not from San Francisco, and they do not wear psychedelic clothing. They hail from Los Angeles, and they are preoccupied with freedom–not peace and fancy. Billy has a true aggressive vibe to him. He is very confrontational, and he doesn’t bag along well with others. Wyatt is more of a seeker. He is open-minded and enthusiastic in what other people have to offer. They’re both rich, but not through good or reputable means. They smuggled some cocaine across the border from Baja, Mexico, and then they sold it for a immense profit. The two are friends, and they seem to have current each others strengths and weaknesses.
The movie makes some certain statements about sixties social values and morals. In other cases, it brings up issues, but doesn’t advance any firm conclusions. The movie ends tragically, but it isn’t an indictment of flower power. Billy had rejected peace and treasure, and had he not reacted in the confrontational manner that he did, things might have turned out differently. This movie is about the tradgedy and failure of hate–and the need for peace, appreciate, and plan. I give this movie a five-star rating because it documents the issues of the times so effectively. As a motorcycle movie, this production is practically unbeatable because it has captured the spirit of motorcycling so well.
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Streaming Flesh for Frankenstein Online
January 16, 2010
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I happened to study director Paul Morrissey’s “Blood for Dracula” before indulging in “Flesh for Frankenstein.” After having seen both films, I can unequivocally set I preferred “Blood for Dracula,” which is somewhat of a surprise considering “Flesh” was made first with “Blood” coming as almost an afterthought. By the time Morrissey and company started “Blood,” the cast and crew were exhausted from the non-stop schedule of making two films encourage to serve. If you have minute familiarity with these films, they were made under the auspices of Andy Warhol’s Factory, a time when the creator of Op Art decided to branch out into other artistic mediums. If you are like me, you cringed when you heard that Warhol had an influence on Morrissey’s films. I could never bring myself to indulge in anything associated with Andy Warhol; I always considered him and his associates talentless hacks of the lowest order. Not to anxiety here, though. While the titles often carry Warhol’s imprimatur, he apparently had puny to do with any aspect of the production of either film.
“Flesh for Frankenstein” is a extraordinary retelling of Mary Shelley’s classic 1818 modern. The favorable Baron Frankenstein and his sister, in this instance also his wife, bring up the kiddies in a nice, creepy castle somewhere in Europe. The hardworking Baron spends most of his time mucking around in his laboratory attempting to originate a human being from scratch. Often toiling alone or with his creepy assistant Otto in tow, Frankenstein is on the verge of success when he finally puts the finishing touches on his female creature. The Baron has quite an affection for his experiment, as seen in a few extremely tasteless scenes, but he realizes he has a dilemma. What pleasurable is a woman without a man? Frankenstein like a flash decides to accomplish a complimentary male figure so he can have a second family completely subservient to his maintain whims. Why would the edifying Baron wish to have a second family? Perhaps because he doesn’t seem to catch along with his occupy family all that well.
Meanwhile, Baron Frankenstein’s wife tires of her husband/brother’s heavy workload and his tendency to neglect his children. Being lonely in a immense castle in Europe wears on a person, so Baroness Frankenstein turns to the hired support for consolation. Her sight falls on the newly arrived Nicholas, a full stable boy who promises to alleviate the Baroness’s solitude. Nicholas came into the castle after he and his friend, a Serbian planning to devote his life to the priesthood, fell victim to a depraved crime on the road outside of the castle. Nicholas woke up from the assault to peruse the attackers decapitated his friend. Angered by the senseless brutality of the crime, Nicholas soon comes to suspect Baron Frankenstein and Otto had something to do with the atrocity. While the stable boy entertains the Baroness, he starts poking his nose around the castle in an exertion to figure out what is going on in the Baron’s laboratory. Everything comes to a head (no pun intended) when Baron Frankenstein introduces his two creations to the family at dinner, and Nicholas notices with anxiety that his friend’s head rests on the neck of one of Frankenstein’s “visitors.” The servent swears to bring the unpleasant Frankenstein and his sick experiments to an slay, which he does in a finale both cheesy and gory in its execution.
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In “Blood for Dracula,” Morrissey turned Stoker’s anecdote of the undead into an examination of class conflict between the decaying European aristocracy and the emerging proletariat. There is a bit of that class emphasis in “Flesh for Frankenstein,” but this movie also deals with the current themes of Shelley’s myth. The arrogance of man to interfere in territory strictly reserved to God, and the subsequent nightmares resulting from such arrogance, appears throughout the film. Of course, Morrissey also throws in tons of erotica, stomach curdling violence and gore, and the cheesiest dialogue and performances in the history of cinema. You haven’t lived until you peek Arno Juerging (Otto), Udo Kier (Baron Frankenstein), Joe Dallesandro (Nicholas), and Monique van Vooren (Baroness Frankenstein) ham their device through the movie. Dallesandro makes no anxiety to cloak his thick Recent York accent even though the film is ostensibly station in 18th century Europe. Arno Juerging and Udo Kier say camp dialogue at eardrum shattering levels, often with hilarious facial expressions and exaggerated motions. If you relish and savor truly wicked performances, you will esteem “Flesh for Frankenstein.” I know I did, although I believe “Blood for Dracula” was mighty funnier in terms of the campiness of Kier’s and Juerging’s performances. Further enjoyment comes from director Morrissey, who shot the film using lavish costumes, titanic place pieces, and trustworthy cinematography. On the surface, you would contemplate “Flesh” is a expedient production until you peer how sleazy Kier, Juerging, van Vooren, and Dallesandro gape and act. A movie like this must have ticked off some serious film aficionados.
The Criterion Collection decided to release this film, as they did with “Blood for Dracula,” with all of the trimmings. Included on this disc are a widescreen presentation of the film, a stills gallery, and a commentary track with Kier, Morrissey, and film critic Maurice Yacowar. I didn’t listen to the commentary in its entirety because I couldn’t stand Yacowar’s nasally insights into the film. If I planned on writing and publishing something about this film I would listen to such overblown pap, but I wanted to accomplish my have impressions of the film. Lovers of cheesy films should gain “Flesh for Frankenstein” and “Blood for Dracula” required viewing. Heck, scrutinize them as a double feature and indulge in.
One would be well-advised to sign my warning. This is one of the most violent, perverse, and laugh-out-loud (intentionally) amusing versions of the Frankenstein record. It’s also one of my current movies (I like it better than its sister production BLOOD FOR DRACULA, though most tend to rate that one a bit higher) and, as far as I’m concerned, the best film to approach out of the Andy Warhol-Paul Morrisey collaborations of the 60s and 70s. Udo Kier is amazing as the enraged Baron Frankenstein, Arno Juerging is expansive as his idiot assistant Otto, and Monique Van Vooren holds her beget as Frankenstein’s wife-sister, whose insatiable sexual appetite is fed by hunky Joe Dallesandro. Dreadful Mary Shelley could never have imagined that one day her Gothic apprehension current would one day evolve into something as terrifying as this. But it’s all in sterling fun, as the Baron and Otto sew up magnificent corpses and talk science in the lab. One of the Baron’s hobbies is to produce worship to his female zombie (Morrisey mercifully spares us the more graphic details in this scene) . He and Otto go to a bordello for the perfect male “whose overriding urges are sensual”. But – oops! – they consume the rank stud to behead. Instead of Dallesandro, they hold his friend, an aspiring monk who really didn’t want to be at a bordello in the first residence. When the Baron and Otto rep that their male creature is cool, the spot thickens. This film is NOT for people who are squeamish. The sex and violence is all of such a perverse nature that it isn’t the kind of thing you want to sit down and search for with grandma. It’s filled with campy humor and super-gory FX (imagine it as it premiered in 3-D!) . But, in spite of the usual Warhol-crowd tomfoolery, there is a very sincere sense of quality to the proceedings. Gorgeously photographed, with a sumptuous acquire and radiant period detail, this is a slight too well-mounted to be written off as simply “a camp comedy”. Ironically, the final scene is genuinely tragic! Consuming bit of film-buff trivia: This film (as well as DRACULA) was shot at the same time, in the same residence (Italy), and with great of the same crew as Polanski’s little-known sex comedy WHAT? . Polanski, who has a brief but hilarious cameo in DRACULA, let Warhol’s crowd fade into his Italian villa, but their eccentricities eventually drove him off. (As he has it in his autobiography: “They were a nice enough bunch, if a bit camp…”)
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Buy Teletubbies – Christmas in the Snow DVD
January 6, 2010
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My child owns 4 teletubbies DVDS. Most are 55 -60 minutes long(this one is 100 minutes long!), and maintain his attention enough so that he either plays with his toys while watching or sits quietly and watches. I utilize these DVDS only when I want to empty the dishwasher, or gain things done while watching him at the same time (and so he’s not climbing in the dishwasher or come the stove while i’m cooking) .
So far, he seems to savor watching the various kids from different countries and peep how they celebrate christmas. He also loves seeing snow, since we don’t have any here!
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Picked up this video to aid suppose our 18-month extinct son about Christmas and Santa. It was a mammoth hit and he watched it almost daily! It lickety-split became his accepted video from our library of Teletubbies and Baby Einstein DVD’s.
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