Documentary film-maker Bob Sanders and his wife Carol attend a group therapy session that serves as the backdrop for the opening scenes of the film. Returning to their Los Angeles home, the... See full summary »
Gilbert Ivy and his wife Jewell are farmers. They seem to be working against the odds, producing no financial surplus. Gilbert has lost hope of ever becoming prosperous, but his wife ... See full summary »
Bohemian Alex Morrison has just finished directing his first feature length movie. In its previews, the movie is considered a critical, artistic and surefire commercial success. As such, ... See full summary »
An aspiring Jewish actor moves out of his parents' Brooklyn apartment to seek his fortune in the bohemian life of Greenwich Village in 1953. He struggles to come to terms with his feelings about his mother's overbearing nature, while also trying to maintain his relationship with his girlfriend. Written by
The interior of Larry's apartment was the only set built for this film. See more »
Larry's father is always reading newspapers that are clearly props printed on stiffer white paper than cheap pulp newsprint actually in use in 1953. See more »
Hi. Buenas noches, señor. Senñorita.
How are you?
Who is that?
It's Nick Kessler. He's a crazy guy. He saved up all his money to go to Mexico. Wanted to see the ruins. You know, get into the primitive thing. So, he quit his job and everything, and he took off for Mexico City on Monday. Two beers, Ray.
Right. So he got off the plane, and he ate a taco... and he got a terrible case of the shits... so he took the next plane back. He spent two and a half hours in Mexico. He ...
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When I think of this film, I think of my older brother's generation, graduating from high school about 1956, and from college about 1960. Mazursky catches the look of a certain kind of young people of that era, their fashions, their expressions, their masks and identities. There's a sense of confusion and discovery, or rejection of the restrictions of middle class culture and their embracing of a murkily-defined bohemian alternative, and the disruption that brings to their lives, culturally, socially, sexually.
The film also reminds me of my years spent living near and wandering around Greenwich Village, 1966-70. Some of the kinds of people Mazursky shows were still there, ten years older, either mystified or amused or annoyed by the hippie hoards invading them. Honky-tonk, high rents, and mass culture bohemianism had arrived.
Mazursky gets this right. I don't know how this picture would play to those not interested or affected by the sociology time capsule, but I think it still would play.
And hats off to Shelly Winters, once again playing an impossible mother.
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