Carl Gottlieb Movies

Based upon Peter Biskind's book of the same name, this BBC-produced documentary traces the rise of a generation of Hollywood filmmakers who briefly changed the face of movies with a more personal approach that pushed the boundaries of what was acceptable onscreen. Influenced by such European directors as Jean-Luc Godard, François Truffaut, and Federico Fellini, the movement kicked off in the mid-'60s with two films directed by Arthur Penn: Mickey One and Bonnie and Clyde. (The latter had been offered to both Godard and Truffaut before it wound up with producer/star Warren Beatty and Penn.) What really kicked it into gear was the unexpected success of Easy Rider, a biker-road movie that became that rare film phenomenon: acclaimed at the Cannes Film Festival and a huge commercial success. Film school graduates, the first generation brought up with movies as their main cultural reference, flooded the studios (whose own regimes were changing) with production chieftains such as Robert Evans of Paramount and David Picker at United Artists; they approved risky-looking projects and allowed relatively untested filmmakers like Francis Ford Coppola to take on heavyweight movies such as The Godfather or Hollywood newcomers like Britain's John Schlesinger to make quirky stories like Midnight Cowboy. Enriched by success with their TV show The Monkees, producer Bert Schneider and director Bob Rafelson formed a company that produced not only Easy Rider but seminal '70s films such as Five Easy Pieces and the Oscar-winning Vietnam War documentary Hearts and Minds. Another godfather to the new movement was producer Roger Corman, who gave early career opportunities to Coppola, Martin Scorsese, Peter Bogdanovich, and Jonathan Demme on low-budget projects that allowed them to learn their craft.

Two things brought this movement to an end: Some individual filmmakers' personal excesses (such disastrous flops as Dennis Hopper's follow-up to Easy Rider, appropriately titled The Last Movie, and Scorsese's New York, New York), and the studios growing fascination with special effects-driven B-movies. An outgrowth of two box-office and marketing juggernauts -- Jaws and Star Wars -- the resulting films became entertainments rather than personal statements of the directors. Narrated by William H. Macy, Easy Riders, Raging Bulls features vintage clips of Coppola, Scorsese, Beatty, George Lucas, Sam Peckinpah, Roman Polanski, Robert Altman, and Pauline Kael. It also includes original interview material with Penn; Corman; Bogdanovich; Hopper; Picker; writer/directors John Milius and Paul Schrader; actresses Karen Black, Cybill Shepherd, Margot Kidder, and Jennifer Salt (the latter two shared a house in Malibu, a social center for young filmmakers); actors Peter Fonda, Kris Kristofferson, and Richard Dreyfuss; producers Jerome Hellman, Michael Phillips, and Jonathan Taplin; editor Dede Allen; production designer Polly Platt; writers David Newman, Joan Tewksbury, Gloria Katz, and Willard Huyck; cinematographers Laszlo Kovacs and Vilmos Zsigmond; agent Mike Medavoy; and former production executive Peter Bart. Among the films discussed are Rosemary's Baby, The Wild Bunch, Mean Streets, American Graffiti, The Rain People, Midnight Cowboy, M*A*S*H, McCabe and Mrs. Miller, The Last Picture Show, Shampoo, Taxi Driver, and Raging Bull. (Three interviewees -- cinematographer Gordon Willis, critic Andrew Sarris, and writer-director Monte Hellman -- listed in the Variety review of this film, were not included in this version from a screening on Bravo.) ~ Tom Wiener, Rovi

Paul Reiser was still the star of the TV sitcom My Two Dads when he headlined this 60-minute video. Instead of the standard live-before-an-audience approach, Out on a Whim tells a self-contained story. Reiser, playing himself, is from time to time approached by an ethereal lady who wants to know all about "the real thing." Helping Reiser locate this mystery woman are such guest stars as Elliot Gould, Carrie Fisher, Terri Garr and Carol Kane. Out on a Whim was directed by Carl Gottleib, the actor/writer/director who penned the screenplay of Jaws. ~ Hal Erickson, Rovi

Filled with enough cameos to keep film buffs entertained, this otherwise routine action-comedy by John Landis boasts Michelle Pfeiffer as one of its major attractions. She plays Diana, a woman prone to having affairs with some very dangerous men, and Jeff Goldblum is Ed Okin, an aerospace engineer whose lot is thrown in with Diana's when the woman is caught in a bind at the airport. The beautiful Diana is an airhead on the scale of the Hindenberg, her only concerns are clothes and men -- which she either most attractively wears or wears out, depending. While Ed is at the airport one day trying to sort out his life, Diana arrives with six smuggled emeralds in tow and is immediately welcomed by several hired assassins. Fear and expediency propel her into Ed's car, and the two are off on a series of narrow escapes that has them pursued by everyone from Iranians to baddies played by well-known international directors (Roger Vadim) or singers (David Bowie) or comedians (Dan Aykroyd). ~ Eleanor Mannikka, Rovi

Director John Landis helmed this Cold War farce starring Dan Aykroyd and Chevy Chase as Austin Millbarge and Emmett Fitz-Hume -- two loser misfits who dwell in the lower ranks of the Central Intelligence Agency. Convinced despite much evidence to the contrary that they're prime secret agent material, both men keep taking service exams in an effort to win promotion. Caught cheating on their latest round of tests, Austin and Emmett expect to be fired but are instead made full field agents and ushered into intense training. Little do they know that it's all a ruse and that they're about to be dumped in Pakistan to throw Russian spies off the scent of two real agents with an important clandestine assignment. A spoof of the "road" pictures popularized by Bing Crosby and Bob Hope, the film features a cameo by the latter as his golf-playing self. ~ Karl Williams, Rovi

An ocean-themed Florida amusement park comes under attack from an angry Great White shark in this third installment of the horror series. The film maintains only a loose relationship to the original Steven Spielberg hit, centering on Mike (Dennis Quaid) and Sean (John Putch), the sons of police chief Martin Brody (originally played by Roy Scheider). Mike works at Sea World, where a baby Great White shark has accidentially been let into the park. Soon, the baby's vicious and extremely powerful mother comes in search of her child. The film focuses most of its attention on the series of tense shark attacks that follow, as tourists run for their lives while the park workers struggle to destroy the sharp-toothed beast. The suspense sequences were made somewhat more memorable during the film's original release with 3-D photography, an attribute lost on video, thereby removing the most distinctive element of an otherwise run-of-the-mill sequel. ~ Judd Blaise, Rovi

A college professor named Clifford Skridlow (Dan Aykroyd goes undercover as a Chicago pimp disguised by a bushy wig in this comedy from director Michael Pressman. When Smooth Walker (Howard Hesseman gets hunted by his gangster rival, Mom (Kate Murtagh), he foists his bevy of hookers on the professor. Among the four hookers who are suddenly in his undercover life are Fran Drescher in an early role as an archetypal Jewish princess, and Donna Dixon as another of the high-class call-girls (Dixon and Aykroyd were later married). ~ Eleanor Mannikka, Rovi

Former Beatles drummer Ringo Starr plays a prehistoric, social outcast who, along with other misfits, forms his own tribe and finds various comic adventures. This spoof is mostly without dialogue besides the expected neanthropic grunt. ~ Kristie Hassen, All Movie Guide

Culled from a 1979 comedy concert, this sampling of the Wild and Crazy Guy at his wildest and craziest may be familiar to his older fans, but is well worth another go-round. "Happy Feet," "King Tut," the arrows and the bunny ears are all in attendance; by this time, Martin's catchphrase and stock routines were so familiar that audiences began laughing before they even occurred, sometimes shouting the lines in unison just as Martin opens his mouth. The video is rounded out with Martin's Oscar-nominated short subject, The Absent Minded Waiter. Steve Martin Live was directed by Carl Gottleib, an associate of Martin's since his days on the Smothers Brothers Comedy Hour writing staff. ~ Hal Erickson, Rovi

Enchanted by a pair of medical students, Laverne and Shirley agree to rendezvous with the new men in their life in a faraway city. Upon arrival, however, the girls are jilted--and stranded in a lonely bus depot. Featured in the supporting cast are future This is Spinal Tap collaborators Harry Shearer and Christopher Guest, as well as Jaws scriptwriter Carl Gottleib. Song: "Milwaukee Moon", written by series regular Michael McKean (Lenny). ~ Hal Erickson, Rovi

This made-for-TV ancestor to When Harry Met Sally stars the then-married Rob Reiner and Penny Marshall in what was essentially a replay of their own courtship. Covering a timespan from 1958 to 1971, the teleplay (written by Reiner and his frequent collaborator Phil Mishkin) asks the musical question "Should would-be novelist Alan Corkus (Reiner) and aspiring actress Maddy Pearlman (Marshall) become lovers, or merely remain good friends?" The whimsical nature of the plotline was carried over into the ABC network's ad campaign for the film, which was touted as "A Like Story." More Than Friends first aired on October 20, 1978. ~ Hal Erickson, Rovi

This Americanized remake of Lina Wertmuller's The Seduction of Mimi offered audiences the novelty of seeing Richard Pryor performing three different roles in the same film. Which Way Is Up? tells the tale of Leroy Jones (Pryor), a poor orange picker who gets fired from his job when he accidentally joins a worker's union during a demonstration. He is forced to travel to Los Angeles and abandon his family, which includes his wife, Annie Mae (Margaret Avery), and his perpetually randy father, Rufus (also Pryor). While there, he falls in love with labor organizer Vanetta (Lonette McKee), but is soon rehired by his former employers when they realize he is easily manipulated. Back home, Leroy discovers his new managerial role alienates him from his former friends as he tries to divide his time between Annie Mae and Vanetta. When he discovers Annie Mae has been impregnated by the Reverend Lennox Thomas (Pryor's 3rd role) during his absence, Leroy sets his sights on seducing Lennox's wife. The resulting film had ambition to spare, but was generally panned as an inferior remake by the critics and failed to find a mass audience. However, Which Way Is Up? gained a second lease on life via cable and home video and has become a cult favorite with Pryor's fans. ~ Donald Guarisco, Rovi

Paul Bartel rips off his own Death Race 2000 in this mindless car-crash saga, containing more twisted metal than a bombed-out steel mill. The nominal storyline concerns an illegal auto race from Los Angeles to New York that promises the winner 100,000 dollars. David Carradine is Coy "Cannonball" Buckman, the race leader who drags his girlfriend, Linda (Veronica Hamel), along for the ride. Cade Redman (Bill McKinney) tools around in a loud red Trans Am, while Cannonball's nemesis barrels along in a big, black Plymouth, trying to outsmart Cannonball at every turn and exit ramp. The pile-ups keep building, and the cameos (Roger Corman, Martin Scorsese, Sylvester Stallone, Joe Dante, Paul Bartel) keep coming, but Cannonball must make it to New York to collect his winnings. ~ Paul Brenner, Rovi