Steven Prince Movies
Richard Linklater returned to the semi-improvised approach and philosophical themes of his debut feature Slacker while embracing a new and groundbreaking visual technology in his sixth feature film, Waking Life. Linklater and cameraman Tommy Pallotta shot the film on location in Austin, TX, using digital video equipment. Linklater and digital animator Bob Sabiston then used newly developed computer software to transform the images through a process called "interpolated rotoscoping"; the result merges the naturalism of live action with a stylized look that resembles a cartoon or a painting in motion. Waking Life's flexible, non-narrative approach follows a young man (Wiley Wiggins) who arrives in Austin and hitches a ride with a stranger, who engages him in a conversation about rarely considered facets of existentialism. As the visitor drifts through the city, he encounters a variety of people and finds himself absorbing their views on art, philosophy, society, and numerous other issues of contemporary life. Linklater's cast is dotted with well-known actors (Ethan Hawke, Julie Delpy, Adam Goldberg, Nicky Katt) and pop-culture notables (filmmaker Steven Soderbergh, Martin Scorsese associate Steven Prince, comic Louis Black), alongside a large number of relatively little-known players. Waking Life received its world premiere at the 2001 Sundance Film Festival; Linklater's next film, Tape, was also screened at the same festival. ~ Mark Deming, All Movie Guide
- Starring:
- Wiley Wiggins
Akira Kurosawa was arguably the most important Japanese filmmaker who ever lived; he was certainly among the most revered and most influential. His award-winning feature Rashomon was one of the first major international successes in Japanese filmmaking, convincing many western cineastes for the first time that Japan had a national cinema worth investigating, and his subsequent body of work -- including Ikiru, The Seven Samurai, The Hidden Fortress, Throne of Blood, Yojimbo, and Ran -- is emotionally rich and esthetically compelling in a way few filmmakers can match. Kurosawa is a documentary which explores the personal and professional lives of this giant of world cinema, including interviews with his friends, family, contemporaries, actors, fellow filmmakers, and noted cinema historians -- and in archival clips, Kurosawa himself. ~ Mark Deming, All Movie Guide
- Starring:
- Sam Shepard, Paul Scofield, (more)
- 1996
This fact-based TV movie takes place in Richmond, Virginia, the home of single mother Jody Shaffell (Valerie Bertinelli). Appalled by the fact that Jody has come out of the closet and is living in an openly gay relationship with her female lover, Jody's mother Nancy (Vanessa Redgrave) sues to gain custody of her grandson Zachary (Adam Rehman). A homophobic judge arranges for Zachary to be taken out of Jody's home, whereupon Nancy sets about to thoroughly wipe her grandson's memory clean of his previous "immoral" lifestyle--even unto demanding that the boy refer to her as Momma. The film's script is careful to weigh both sides of the argument equally, demonstrating that for most of her life, Jody was hardly a paragon of responsible motherhood, having supped full of booze and promiscuity before realizing she was gay and promptly cleaning herself up; nor is Nancy depicted as a cold-hearted villain, merely a concerned grandmother who wants what she thinks is best for Zachary. Indeed, if there are truly any "heavies" in the piece, they are the best friend and brother of the beleagured Jody, who callously testify against her in court. Originally seen over the ABC network, Two Mothers for Zachary debuted September 22, 1996. ~ Hal Erickson, All Movie Guide
- 1994
Creative casting sets this made-for-television movie slightly ahead of the pack, despite the somewhat familiar story found often in 1980s tough love movies. Jennie Garth stars as Laura Mills, an apathetic teen who's more of an aggravation to her parents than genuine threat. After some stern warnings prove fruitless and culminate with a drunk-driving accident, Laura's tired parents (Jill Eikenberry, Tom Irwin) send her off to a teen psychiatric center for some counseling. Soon after her arrival, Laura finds herself amongst drugged and restrained kids, admitted only for the value of their health insurance coverage. Paul Sorvino is effective as the cold hospital director and Helen Shaver is endearing in her small but memorable role as teen advocate. ~ Bernadette McCallion, All Movie Guide
- Starring:
- Jennie Garth, Jill Eikenberry, (more)
Susan Seidelman directed this loose adaptation of Fay Weldon's novel The Life and Loves of a She-Devil concerning the extreme revenge exacted by a dumpy housewife on her philandering husband. Mary Fisher (Meryl Streep) is a best-selling romance novelist of the manner of Danielle Steel or Jackie Collins. One night at a glamorous dinner party, Ruth (Roseanne Barr), the frumpy housewife of Bob (Ed Begley Jr.), accidentally spills wine over Mary's pink evening gown. Bob rushes to Mary's assistance, they look into each other's eyes, and it is lust at first sight. After a few clandestine interludes, Bob abandons his wife and his two smart-aleck kids to live with Mary at her palace by the seaside. As a result, Ruth goes into high gear to seek vengeance. She deposits her kids with Bob and then, with the help of a collection of other abused women -- including Ruth's mother (Sylvia Miles), nursing home attendant Hopper (Linda Hunt), and dim-witted secretary Olivia Honey (Maria Pitillo) -- she systematically sets out to destroy Bob's life. Bob calls Ruth a she-devil, and Ruth plays the role to the hilt; first she destroys his home life, then his career, then his freedom. And when he has nothing left, she proceeds to haunt and stalk him, bringing Bob to his knees. ~ Paul Brenner, All Movie Guide
- Starring:
- Meryl Streep, Roseanne, (more)
Martin Scorsese's documentary of the 1976 final performance of the legendary Sixties rock group The Band is at once a show featuring some of the greatest rock performers of their generation and a bittersweet look back at an era that was just beginning to fade. As Scorsese guides the group through interview segments discussing their 15 years together, these relatively young men sound like battle-weary survivors. But The Band were in splendid form for this show, and their multiple guest stars pulled out all the stops, especially Muddy Waters, whose "Mannish Boy" is so powerful it nearly burns a hole in the screen; Van Morrison, with a rousing performance of "Caravan;" and Bob Dylan, whose "Baby Let Me Follow You Down" displays the brilliant cockiness of his barnstorming days with this band. The all-star camera crew and superb stereo sound mix create what is considered to be of the best-looking and sounding rock films ever (as the opening credit says, play this movie loud!), and two studio-shot sequences with Emmylou Harris and The Staple Singers stand on their own. ~ Mark Deming, All Movie Guide
- Starring:
- Bob Dylan, Joni Mitchell, (more)
- 1978
Martin Scorsese's American Boy: A Profile of Steven Prince is both a documentary and a tragicomedy, in which the personal experiences of one twentysomething Jewish gay man are rendered universal. Surrounded by friends in a cozy living room, the sensitive and humorous Prince (Taxi Driver's gun salesman, Handy Andy) recounts his personal history, from his run-in with a gorilla, to his relationship with his parents, his childhood bagel delivery business, his coming out, his addiction to drugs, his job as Neil Diamond's road manager, and his father's falling ill. One of Prince's most exciting tales, an account of his reviving a friend's overdosing girlfriend by injecting stimulant into her heart, was re-created almost to a tee by director Quentin Tarantino in Pulp Fiction. As wild and theatrical as the young man's accounts are, Scorsese intersperses them with childhood pictures of Prince that could be of any American, quickly reminding the entire audience of their common humanity. ~ Aubry Anne D'Arminio, All Movie Guide
Martin Scorsese combined the splashy atmosphere of the old studio musical with an unromanticized marriage story in his valentine to Hollywood and the Big Band era. On V-J Day 1945, newly minted civilian saxophonist Jimmy Doyle (Robert De Niro) meets USO singer Francine Evans (Liza Minnelli) at a dance, but she rebuffs every advance that he makes. A day and a hotel lobby meeting later, Jimmy finally wins Francine over after she uses her pop instincts to save his too-jazzy audition at a nightclub. When she goes on tour with Frankie Harte (Georgie Auld) and his Orchestra, Jimmy tracks her down, taking a job with the orchestra to be with her. Together on stage, they make beautiful music; off stage they marry, but the struggle between two artists begins to take its toll. Unable to understand that Francine's needs and talents are just as important as his, and unwilling to compromise his music for security, Jimmy abandons Francine after their baby is born. Separately, the two succeed even more, as Francine becomes a music and movie star, while Jimmy has a top hit and opens a jazz club. When they are reunited several years later, the pair must decide if their relationship is worth another try. ~ Lucia Bozzola, All Movie Guide
- Starring:
- Liza Minnelli, Robert De Niro, (more)
"All the animals come out at night" -- and one of them is a cabby about to snap. In Martin Scorsese's classic 1970s drama, insomniac ex-Marine Travis Bickle (Robert De Niro) works the nightshift, driving his cab throughout decaying mid-'70s New York City, wishing for a "real rain" to wash the "scum" off the neon-lit streets. Chronically alone, Travis cannot connect with anyone, not even with such other cabbies as blowhard Wizard (Peter Boyle). He becomes infatuated with vapid blonde presidential campaign worker Betsy (Cybill Shepherd), who agrees to a date and then spurns Travis when he cluelessly takes her to a porno movie. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Travis begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating Betsy's candidate, Charles Palatine (Leonard Harris), to violently "saving" teen hooker Iris (Jodie Foster) from her pimp, Sport (Harvey Keitel). Travis' bloodbath turns him into a media hero; but has it truly calmed his mind?
Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era. Scorsese and Schrader structure Travis' mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings. Yet Travis' military record and assassination attempt, as well as Palatine's political platitudes, also ground Taxi Driver in its historical moment of American in the 1970s. Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis' point-of-view, where De Niro's now-famous "You talkin' to me" improv becomes one more sign of Travis' madness. Shot during a New York summer heat wave and garbage strike, Taxi Driver got into trouble with the MPAA for its violence. Scorsese desaturated the color in the final shoot-out and got an R, and Taxi Driver surprised its unenthusiastic studio by becoming a box-office hit. Released in the Bicentennial year, after Vietnam, Watergate, and attention-getting attempts on President Ford's life, Taxi Driver's intense portrait of a man and a society unhinged spoke resonantly to the mid-'70s audience -- too resonantly in the case of attempted Reagan assassin and Foster fan John W. Hinckley. Taxi Driver went on to win the Palme d'Or at the Cannes Film Festival, but it lost the Best Picture Oscar to the more comforting Rocky. Anchored by De Niro's disturbing embodiment of "God's lonely man," Taxi Driver remains a striking milestone of both Scorsese's career and 1970s Hollywood. ~ Lucia Bozzola, All Movie Guide
Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era. Scorsese and Schrader structure Travis' mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings. Yet Travis' military record and assassination attempt, as well as Palatine's political platitudes, also ground Taxi Driver in its historical moment of American in the 1970s. Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis' point-of-view, where De Niro's now-famous "You talkin' to me" improv becomes one more sign of Travis' madness. Shot during a New York summer heat wave and garbage strike, Taxi Driver got into trouble with the MPAA for its violence. Scorsese desaturated the color in the final shoot-out and got an R, and Taxi Driver surprised its unenthusiastic studio by becoming a box-office hit. Released in the Bicentennial year, after Vietnam, Watergate, and attention-getting attempts on President Ford's life, Taxi Driver's intense portrait of a man and a society unhinged spoke resonantly to the mid-'70s audience -- too resonantly in the case of attempted Reagan assassin and Foster fan John W. Hinckley. Taxi Driver went on to win the Palme d'Or at the Cannes Film Festival, but it lost the Best Picture Oscar to the more comforting Rocky. Anchored by De Niro's disturbing embodiment of "God's lonely man," Taxi Driver remains a striking milestone of both Scorsese's career and 1970s Hollywood. ~ Lucia Bozzola, All Movie Guide
- Starring:
- Robert De Niro, Cybill Shepherd, (more)
