Samuel Fuller (Cinema one,15)
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1971 Cinema One series. GB. Viking. Extra firm covers. Owner name front free end paper. No other marks. No creases. An excellent copy. Private library. We ship daily.
as we are beginning to realize, other test-beds, other frontiers - China, Cuba, Czechoslovakia. But the United States remains the most potent, and even if the dream is turning into a nightmare that nightmare is part of the experiment and part of our experience. The movies are part of that web of language which defines our culture. To listen to that language is to understand in II part how and why we live. Everything that is said is significant, an expression of ourselves. The channels that lead
weapons. He is dressed in ill-fitting US Army uniform. Tolly becomes a revengemaddened hoodlum; Skip and Candy in Pickup on South Street we feel to be orphans in their prime, baring their fangs at the world to hide their wounds. Helga's brother joins the Werewolf; the orphans in The Nahed Kiss are actually crippled and can act as pirates only in fantasy games. Children, whether orphans or not, are under continual threat: the final shoot-out in House of Bamboo takes place in a children's
and artistically. It was a film into which he put literally everything - it was his first independent production and he used his own money, a very rare sign of commitment in the movie industry. 'My favourite film is the greatest flop of all time, not just a flop, but the great flop. It was Park Row- I loved that project so much I financed it myself. At that time I had some money in the bank, exactly $20I,ooo. I left I,ooo in the bank for cigars, brandy and vodka, I took the other 2oo,ooo and put
interacting images of animal energy and violation; the visual and aural rhythms of the opening sequence present the clash of two sexual drives, a mutual rape. As Jessica Drummond and her forty horsemen sweep past the Bonnell brothers in their wagon, hooves pound, dust swirls, horses rear and whinny, and the whole is tied together by a crucial phallic crane shot as the wagon appears to plunge up between the two lines of horses. Then the camera sinks until it is we, the audience, who are tearing
Row'. Her art is equated with Fuller's. They both share the I5 J Writing Park Row same setting and the same concerns. Mac, like Moe in Pickup on South Street, is an informer. She reveals truths. This she can only do because she is fully involved with the seamy side of life. She rightly diagnoses the weakness of Chris's art as due to lack of experience. This view of the artist is another aspect of Fuller's reiterated contention that society is saved by its outcasts. The artist, like the