![America Lost and Found: The BBS Story[Blu-ray]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_u8ybAUupEAEJFIcJyxAYHgm6YtzgJstM8r1BRpAzTxdeS87daNNsqQgN9qeHPalQRTqXu06iyps_ejaMX_kjQclVbnIsLvg4H37nl_tJxNxIljppd3cB4V8rGawVM9SNg=s0-d)
The film opens with Nicholson in a tight shot talking to someone. We aren't sure at first to whom he's talking or why. From that opening scene I was hooked. Nicholson is a radio personality (David) who one day gets a phone call from his brother Jason (Bruce Dern) who is in jail. Jason is basically a big-time loser who has been trying all his life to make something big happen. His latest scheme is to encourage his brother to join him and his female companions (played by Ellyn Burstyn and Julia Anne Robinson) in Atlantic City while contemplating the purchase of an island near Hawaii. Many strange events happen along the way, not the least of which finds the two women competing for Jason's affection. A very strange scene occurs involving a fire on the beach. Without giving too much away, I will say that this is a turning point that has tremendous impact later in the story. So few films today have even slightly interesting characters. These characters are so vivid and interesting that you can't help but be intrigued, wondering what's going to happen next. Each scene seems to have no rhyme or reason, until finally the pieces fall into place. When the pieces do come together, you realize that you've witnessed something very unique, original, and haunting. The four leading actors are all at the top of their form. I have never seen Nicholson timid, unsure, or at a loss for words before. Dern is hopelessly reckless. Robinson is an innocent in an evil environment. Burstyn is perfect as the key to the whole story, which is one that I'll never forget. You'll think about this quiet little film long after the credits are over.
Head was a lost gem I first saw on the CBS Late Movie in the early 1970s. To understand it, it helps to have some background about the Monkees and the myths surrounding them, as well as their desire to be taken seriously as a 1960s rock group. I already owned the Rhino DVD version, which professed that the 1:33 to 1 aspect ratio was original intended version. Nothing could be further from the truth; here it is presented in its original 1:78 to 1 aspect ratio (16:9 in the parlance of our times). The extras are very informative as is the commentary by Michael Nesmith, Peter Tork, Davy Jones and Micky Dolenz. Finally, an honorable version of this wonderful cult film!
I have seen Easy Rider several times over the years; the last time I saw it was a DVD presentation and I found it to be somewhat dated. However, due to the excellent HD transfer I was less focused on the lingo of the day and more on Laszlo Kovac's excellent cinematography. It's amazing how great the film looks with a proper transfer and it gave me a greatly renewed interest. Again, the extras are top-notch and very informative. It's equally impressive how much "bang for the buck" BBS got from all their films.
Five Easy Pieces was another film I already owned on DVD but again, this version looks wonderful.
The Last Picture Show is one of my favorite 1970s films and I never owned it before now. Again, the extras are excellent and the transfer is impeccable.
I had never seen the remaining films. A Safe Place and Drive, He Said were my least favorites though they are certainly interesting curious from the era. Sometimes films like these require repeated viewings to be fully appreciated though the acting in each were superb and both were original and imaginative. The King of Marvin Gardens was excellent and I'm surprised it didn't do well in its theatrical release years ago. Still, Criterion gave all the Class A treatment with high quality HD transfers and informative, interesting extras.
Criterion must be commended for their great efforts on this set. It's well worth purchasing and will provide several hours of viewing pleasure.With so many surprising and great releases, I've come to take Criterion for granted. But then comes the announcement of "America Lost and Found: The BBS Story" and I'm like an excited kid on Christmas morning. Amazon has done a comprehensive job listing the contents of this impressive set, so I'm going to direct my comments at the eclectic mix of films provided. The BBS story is no less than a film revolution that occurred in the late sixties to try to foster younger artists to the industry and cultivate younger, more adventurous film goers. All films within "America Lost and Found" were produced between 1968 and 1972 and represent a challenge to the conventional film narrative of that period. In retrospect, some of the films have been proclaimed classics while others have become somewhat obsolete. But all are fascinating examples of an artistic rebellion that influenced the film industry for years to come (all the more astounding as much of the company's financing came from the funds generated by the Monkees).
My personal favorite within "America Lost and Found" is Peter Bogdanovich's "The Last Picture Show" which has been begging for a better DVD release. An evocative look at a dying small town, this gorgeous black and white film is supremely entertaining and boasts a spectacular cast. Desolate and spare, the film tells the story of Sonny and Duane who as they approach manhood must face the harsh realities of life, love, and friendship. Nominated for eight Oscars including Best Picture, the film won supporting statuettes for Ben Johnson (a career high) and Cloris Leachman. Jeff Bridges and Ellen Burstyn also received nods as did Bogdanovich for Directing and Screenplay (which he co-wrote with the incredible Larry McMurtry).
Two other undeniable classics in counterculture are Dennis Hopper's "Easy Rider" and Bob Rafelson's "Five Easy Pieces." "Easy Rider" picked up two Oscar nods (including Jack Nicholson's first) and tells the simple story of two motorcyclists' journey across America. Capturing a specific time so perfectly, the film seems to embrace the anti-establishment freedom of its leads (Hopper and Peter Fonda) while making the compelling argument that ultimate freedom is an illusion and that choosing to challenge societal norms thus becomes the norm. And "Five Easy Pieces," another of my all time favorites, was nominated for 4 Oscars (including Jack Nicholson and Karen Black). Another journey picture (both in physical travels as well as in the spiritual/psychological realm), Rafelson's landmark has one of Nicholson's most iconic performances in a film that is immensely angry and riotously funny by turn. The chicken salad sandwich scene is an undisputed classic in American cinema!
Bob Rafelson's well regarded "The King of Marvin Gardens" is also included. An underrated gem set in Atlantic City, this tale of brotherhood and dreaming big casts a realistic light on a get-rich-quick scam gone wrong. Nicholson and Burstyn are on hand, as is Bruce Dern--and this compelling quasi-masterpiece shows the three on disparate (and times desperate) paths toward redemption. Rafelson also supplies this collection with the bizarre "Head," a meandering and psychedelic excursion into the minds of The Monkees. With a documentary feel, the film follows The Monkees on numerous and random musical encounters and celebrates their celebrity while at the same time seeming to indict the culture who embraces such excesses. Jack Nicholson makes his directorial debut on the uneven "Drive, He Said"--noteworthy mostly for the Nicholson credit. Depicting the college experience in the sixties, "Drive" tells the story of a disaffected basketball player. Introducing many plot threads, the film fails to follow an effective through line and is a fairly disjointed (though interesting) effort. And lastly there is Henry Jaglom's "A Safe Place," another oddity of interior monologue with Tuesday Weld descending into a world of fantasy.
Many of the films in "America Lost and Found" share a thematic connection. The films eschew conventional plot driven narratives in favor of character study. These directors wanted to present a realistic portrait of the era in which they lived and not an idealized film world. And many of the central characters in all the works are seeking to identify their place in the modern world or, indeed, determine if they have a place at all. The BBC story, through film, is an intriguing and progressive one in that it functioned in the studio system. Independent cinema of today still reflects many of the same ideals. A must have collection for film lovers. KGHarris, 10/10.For anyone who loves New Hollywood cinema that kicked off in the late 1960s and ran through most of the 1970s as documented in Peter Biskind's book Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock 'N' Roll Generation Saved Hollywood, this new box set from the Criterion Collection is essential. The extras for this set are something else and will keep you busy for countless hours.
On the Head DVD is an audio commentary by The Monkees Micky Dolenz, Davy Jones, Michael Nesmith, Peter Tork. Rather appropriately, they talk about how they got their own television show and then the film. They are all pretty candid about how badly the film performed at the time and how it was their attempt to trash the image of the band from the show.
"From The Monkees to Head" is an interview with director Bob Rafelson. He talks about the genesis of the T.V. show and how The Beatles influenced it with A Hard Day's Night. He goes on to talk about how the show led to the film and how everyone around him told him not to make it.
"BBS: A Time for Change" is a 30-minute featurette on BBS, an independent production company that existed from the late 1960s to the early 1970s. This is an excellent look at the genesis of this company and its place in cinematic history.
There are screen tests for all four Monkees that were done before the T.V. show. They were integrated into the pilot episode and helped launch the show. Their personalities really come out in this footage. We also see two of The Monkees paired up with two other guys that never made the final cut.
"The Monkees on The Hy Lit Show, 1968" is a rare T.V. appearance by the band to promote Head. It takes place next to a boxing ring (?!) and it is interesting to see them try and explain their film.
"Promotion" includes several theatrical trailers, T.V spots and radio spots for the film. Also included is a collection of stills and behind-the-scenes photographs.
On the Easy Rider disc, there is an audio commentary by co-writer and director Dennis Hopper that was recorded in 2009. He kicks things off by talking about the genesis of the film. He also talks about his motivation for making the film and what he was trying to say with it. He points out bits of dialogue and visual inserts that were improvised. There are several lulls throughout as Hopper tends to get caught up in watching the film.
Also included is a 1995 commentary by Hopper, Peter Fonda and production manager Paul Lewis. This is a much livelier track as everyone shares filming anecdotes like Phil Spector lending his limousine and bodyguard to the film. They also point out where various scenes were shot and how also just how stoned Jack Nicholson was during the famous campfire sequence.
There are two trailers.
The second disc starts off with a 30-minute BBC2 documentary entitled, "Born to be Wild". It features Hopper, Fonda, Karen Black and cinematographer Laszlo Kovacs. Hopper and Fonda talk briefly about how Roger Corman taught them to make a film fast and cheap. Of course, they address the casting of Nicholson and how Hopper didn't see him in the role. Everyone tells some good filming anecdotes in this highly enjoyable extra.
Carried over from the 35th Anniversary Edition is "Easy Rider: Shaking the Cage," an hour-long retrospective documentary featuring new interviews with Fonda, Hopper, Seymour Cassel (who worked on the crew) and Black. Hopper says that the film was an attempt to counter the mainstream fluff like the Frankie and Annette beach party movies that ignored sex, drugs and contemporary rock `n' roll. This is a top-notch look at all the wild stories of filming Easy Rider, including the infamous Mardi Gras shoot.
"Hopper and Fonda at Cannes" features a segment from French T.V. of Fonda and Hopper at the 1969 Cannes Film Festival with their film and they briefly talk about it.
Finally, there is an interview with Steve Blauner, one of the founders of BBS. He talks about the genesis of the company and about their start in T.V., creating The Monkees. He points out that the money from the show paid for Easy Rider.
If you own the Easy Rider (35th Anniversary Deluxe Edition) of the film you might want to hold on to as the commentary that Hopper does on it is not included, nor is the excellent BFI Modern Classics book on Easy Rider by Lee Hill or the bonus CD with select songs from the film.
The Five Easy Pieces disc starts off with an audio commentary by director Bob Rafelson and interior designer Toby Rafelson. Toby points out that the entire film was shot on practical locations. Originally, she didn't want to do the film but Bob convinced her when he told that he was going to use their own furniture (!). By keeping it under budget and on time, he had final cut and could also cast whomever he wanted. Naturally, Bob talks about working with Nicholson on this engaging track.
"Soul Searching in Five Easy Pieces" features an interview with Rafelson where he talks about the film's development. He was nervous about doing Five Easy Pieces because it was the first time he worked with actual, serious actors. He had written two screenplays but didn't like them. He showed them to screenwriter Carol Eastman and she threw them out and wrote her own.
"BBStory" is a 2009, 46-minute documentary about BBS Productions and features the likes of Rafelson, Peter Bogdanovich, Jack Nicholson, Karen Black, and several others. It starts off with the social and political conditions that gave birth to the company. The studio system was collapsing and BBS made films that reflected the times that people were living in.
"Bob Rafelson at AFI" features excerpts from an audio recording of Rafelson speaking at the American Film Institute. He talks about his career and the films he made for BBS.
Finally, there are two teaser trailers and one full-length trailer.
Drive, He Said starts off with "A Cautionary Tale of Campus Revolution and Sexual Freedom," a featurette where Jack Nicholson, Bruce Dern and co-producer Harry Gittes talk about making this film. It was about college campus revolution and at one point during filming a real riot broke out on the campus they were at. They went ahead and filmed it without permission. Nicholson talks about shooting the basketball sequences and how he cast actual players.
Also included is a trailer.
A Safe Place includes an audio commentary by director Henry Jaglom. He points out that the film was originally a play starring Karen Black. By adapting it into a film he wanted to make it more abstract, exploring the internal nature of Tuesday Weld's character. Jaglom is quite eloquent and engaging on this track.
"Henry Jaglom Finds A Safe Place" sees the filmmaker talking about the influence of improvisational theater and the New Wave of European cinema. He was interested in creating stories about the inner lives of women.
"Notes on the New York Film Festival" sees Jaglom and Peter Bogdanovich talk with film critic Molly Haskell about The Last Picture Show and A Safe Place in 1971. It's great to see them all in their prime talking so confidently about their work. The two directors banter playfully with each other in this enjoyable extra.
Also included are outtakes of Orson Welles blowing his lines and four screen tests.
There is a trailer as well.
The Last Picture Show includes an audio commentary by Peter Bogdanovich and actors Cybill Shepherd, Randy Quaid, Cloris Leachman and Frank Marshall. The director explains why he shot the film in black and white and says that the town was divided about them filming there. He goes into the casting choices with some interesting stories. Shepherd says that she never acted before doing that film and gives her impressions of working on it as do the other participants.
Bogdanovich returns for another commentary, this time by himself. There is some overlap from the previous track making it kind of redundant. Not surprisingly, he dwells on the nuts and bolts of filmmaking and discusses its themes.
Also included are two trailers.
The second disc includes "The Last Picture Show: A Look Back," an hour-long documentary made in 1999 with most of the key cast members and Bogdanovich and author Larry McMurtry recalling their experiences of making the film. It takes us through the genesis and filming to its reception. There is a fair amount of crossover of information from the commentaries but if you're not into listening to commentaries then this is for you.
"A Discussion with Filmmaker Peter Bogdanovich" sees him talking about how he got into show business, what directors influenced him and, of course, The Last Picture Show.
"Picture This" is a documentary about Bogdanovich and key cast members reunited to make the sequel, Texasville while also talking about their experiences making the original film. It also paints a fascinating portrait of the people that lived in the town.
Also included are 16mm screen tests of several actors in the film.
There is location footage that Bogdanovich shot while scouting places to shoot for the film.
"Truffaut on the New Hollywood" features filmmaker Francois Truffaut talking briefly about the New Hollywood directors in 1972 on French T.V. He also offers high praise for The Last Picture Show.
For The King of Marvin Gardens, there is a selected-scene commentary by Bob Rafelson. He talks about some of the stylistic choices he made. After Five Easy Pieces, he wanted to make a more abstract film. He talks about the film's style and comments on the characters.
"Reflections of a Philosopher King" sees Rafelson and actress Elle Burstyn talking about the characters in the film and how they came to be and evolved over the course of filming.
"Afterthoughts" features Rafelson, cinematographer Laszlo Kovacs and actor Bruce Dern talking about the style of the film and how it was achieved and why. There is some overlap from the previous extras but Dern and Kovacs' comments are quite good and funny as hell.
"About Bob Rafelson" is brief text biography of the man's career.
Finally, there is a trailer.
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