Hacking away at some legends and then hastily constructing others,īiskind's book is a self-conscious feather-ruffler, a scandal sheet in which film and sex and ego and drugs keep colliding and recombining.Ĭall it a guilty pleasure, but isn't most pleasure guilty? The Myth-making that will enrage only those who take it too seriously. Like the Americanįilm Institute's instantly irritating list of the 100 greatestįilms of all time, this book is a serviceable enough piece of mainstream Mostly, Biskind wants to tell some wild stories. These movies managed to get made in Hollywood, and then how the dreamĭied. Pp.), Peter Biskind wants to tell us exactly how it all went down, how In Easy Riders, Raging Bulls (Simon & Schuster, 506 Or the lunatics took over the asylum, or young filmmaking lunaticsĮventually flew too close to the sun and crashed into a sea of cocaineĪnd celluloid. Young filmmakers were given the keys to the kingdom, And there are so many moreĪttempts at understanding this mini-renaissance often turn intoĬliche festivals. Is in the pictures: A not-so-random sampling includes two Godfathers,įive Easy Pieces, The Last Picture Show, Badlands, Mean Streets, AĬlockwork Orange, Chinatown, Nashville, Dog Day Afternoon, Taxi Driver and Network. Represented the last great period of moviemaking in America. Most cinephiles would agree that the early-to-mid-'70s Easy Riders, Raging Bulls." Retrieved from
MLA style: "Easy Riders, Raging Bulls." The Free Library.
0 kommentar(er)
