Monte Hellman 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, All Movie Guide

A woman's greed wreaks havoc on those in her life in this made-for-cable movie. Madchen Amick stars as Lauren Harrington, the seemingly perfect and beautiful wife of Paul (John Lithgow). What Paul doesn't know is that Lauren set up a former boyfriend (Eric Roberts) and sent him to jail as part of a million-dollar scheme -- and he's ready for some payback. ~ Bernadette McCallion, All Movie Guide

Warren Oates was a well-respected American supporting actor who achieved his greatest success during the 1960s and 70s. He chiefly played villains and losers for such innovative directors as Sam Peckinpah. This documentary, narrated by his friend Ned Beatty gives a good picture of the actor as a man, since it was produced with the cooperation of his family. However, the producers were unable to secure rights to screen clips of many of his performance in his most significant films (e.g. Major Dundee and The Wild Bunch), so this tribute is somewhat incomplete. Nonetheless, the film is graced by interviews fellow actors such as Peter Fonda and Robert Culp who offer their insights and fond recollections. ~ Clarke Fountain, All Movie Guide

It is difficult to believe that this wretched sequel was Monte Hellman's first American film since Cockfighter (1974), and even more difficult to believe that it is the work of the man behind cult classics like Two-Lane Blacktop, The Shooting, and Back Door to Hell. The grown-up Ricky (Bill Moseley from The Texas Chainsaw Massacre 2) comes out of the coma in which he ended the last film and goes on another murderous Christmas Eve rampage despite the fact that his brain is exposed under a glass dome after reconstructive surgery. There's a confused subplot about a doctor (Richard Beymer from Twin Peaks) investigating the dreams of a blind psychic girl (Samantha Scully), whose visions have something to do with Ricky's past. The glass-plated killer shows up at the girl's house, pursued by the doctor and a grumpy policeman played by Robert Culp, for the final standoff. The cast includes Eric Da Re, Elizabeth Hoffman, and Leonard Mann, there are flashbacks to part two (which consisted mostly of flashbacks to begin with), and obligatory in-jokes like several scenes from 1963's The Terror (which Hellman co-directed), and an homage to the original Carnival of Souls. There are some interesting camera angles, and one envisions Hellman thinking he was doing something different with the series, but the script and acting are terrible and Ricky's story had pretty much run its course anyway. The next sequel was a completely unrelated gorefest from Brian Yuzna (Society), whose unique vision -- if roundly rejected by series fans -- was at least a change of pace. ~ Robert Firsching, All Movie Guide

Orson Welles made his final screen appearance as, appropriately enough, Orson Welles (or "Danny's Friend") in Henry Jaglom's "emotional vérité" comedy Someone to Love. The film begins as filmmaker Danny (Henry Jaglom) prepares to spend the night at his girlfriend Helen (Andrea Marcovicci)'s apartment. Helen has just adjusted to sleeping alone after the breakup of her previous relationship and tells Danny that if he stays with her, she won't be able to go to sleep. Fascinated by the explanation, Danny sends out telegrams to a bunch of his Hollywood friends to meet on Valentine's Day at a Santa Monica theater, the Mayfair, that is about to be torn down to make way for a shopping mall. Danny figures that he will throw a party for his lonely celebrity friends. He also reasons that he could introduce his brother, real estate developer Mickey (Michael Emil, Jaglom's real-life brother), to some romantic companions. The party would also be a handy way to get some film footage. The day of the party, Danny's friends arrive --a famous movie star (Sally Kellerman); a pop singer named Blue (Stephen Bishop); a jazz pianist (David Frishberg); a sophisticated continental woman named Yelena (Oja Kodar); and, bringing up the rear and ensconced in the back of the theater, Danny's Friend (Orson Welles). With his camera crew in tow, Danny takes to filming his guests as they answer questions about love and loneliness. ~ Paul Brenner, All Movie Guide

China 9, Liberty 37 falls halfway between the Hollywood backlot-western school and the Italian "spaghetti" western genre, borrowing the best elements from both. Fabio Testi plays a gunfighter who is saved at the last moment from a hangman's noose. His liberators are a cartel of railroad men who want Testi to kill farmer (and former hired gun) Warren Oates, who has refused all entreaties to sell his land. As part of the scheme, Testi befriends Oates; on his own volition, he sleeps with Oates' wife Jenny Agutter. When the railroad barons insist that Testi go through with his mission, he refuses, and helps the farmer fight off the train moguls' hired thugs. Also known as Gunfire, China 9 Liberty 37 features a cameo by director Monte Hellman's role model, Sam Peckinpah, who plays a bombastic Ned Buntline-style novelist. And the significance of the title? It's the location of Warren Oates' spread: Nine miles from the town of China, 37 miles from the town of Liberty. ~ Hal Erickson, All Movie Guide

Peter Fonda here gives a studied performance of a man alone against the odds. When he discovers that members of his family are going to be killed because they are standing in the way of a corporate master plan which involves their land, and the local sheriff seems unconcerned about the threat, he must take care of the matter himself. ~ Tana Hobart, All Movie Guide

Frank Mansfield (Warren Oates) is a game cock trainer who has taken a vow of silence; he once bragged too loudly about his cockfighting prowess and ended up losing his best fowl in a drunken, late-night match before an important tournament. To regain his pride after such hubris, Frank refuses to utter a word until he wins the coveted "Cockfighter of the Year" medal. Cockfighter follows his ups and downs as he attempts to succeed in the shadowy, barely legal sport. Frank loses his truck, trailer, and a girlfriend after trying to rig a match with fellow cocksman Jack Burke (Harry Dean Stanton), and has to sell his house to raise funds for stock. Later, Frank wins ten roosters in a private backwoods match and trains them heavily with his partner, Omar Baradinsky (Richard B. Shull), working his way back to the top of his chosen craft. He also attempts to reestablish his relationship with an old girlfriend (Patricia Pearcy) who doesn't know much about cockfighting and is repulsed when she actually witnesses one in the flesh. There is plenty of brutal footage included in Cockfighter that will dismay many animal lovers, so those with qualms about the sport should steer clear. ~ Fred Beldin, All Movie Guide

In this comedy a golden-boy tennis player in search of Life's meaning is corrupted by Hollywood, too much praise, and the temptation to sell out. His life therefore, becomes a metaphor for the morals of Hollywood society. ~ Sandra Brennan, All Movie Guide

The Monkees -- Micky Dolenz, Mike Nesmith, Davy Jones and Peter Tork -- didn't really enjoy being labelled the Prefab Four back when their TV series was all the rage in 1966. With the help and support of Bob Rafaelson (co-producer, co-writer and director) and Jack Nicholson (co-producer, co-writer, and, if you look closely, bit player), the Monkees expressed their displeasure over being packaged for popular consumption in the non sequitur masterpiece Head. At least, it seems that the film is an indictment of the merchandising of pop stars. It's hard to tell at times, because Head literally has no plot; it is instead a patchwork of loopy sight gags, instant parodies, "camp" cutups, musical numbers and wry inside jokes. Clips of such old movies as the 1934 Karloff-Lugosi epic The Black Cat pop up every so often, as does an impressive lineup of pop-culture icons: Victor Mature, Annette Funicello, Sonny Liston, Frank Zappa (he's the one leading a cow) and Ray Nitschke, as well as such movie-trivia "answers" as Timothy Carey, Vito Scotti, Teri Garr, Percy Helton, Logan Ramsey, Carol Doda, and pre-Divine cross-dresser T.C. Jones. The best bits include a lengthy Golden Boy parody which does double duty as a lampoon of the network's efforts to create "personalities" for the individual Monkees, and a psychedelic buck-and-wing performed by Davy Jones. One gag, in which Micky Dolenz blows up a Coca Cola machine, is usually excised from TV showings. Head did zero business when it first came out thanks to poor distribution, but it has since become a fixture of midnight-movie showings and campus cinema classes. ~ Hal Erickson, All Movie Guide

Director Monte Hellman used his beloved "hunter as hunted" theme for his near-existential western The Shooting. Jack Nicholson and Warren Oates are starred in this bare-bones tale of an ex-bounty hunter (Oates) with a price on his head and the cocky young gun (Nicholson) who hopes to collect. The film seems to be exclusively populated by Life's Losers; but even with portents of doom throughout, the ending is still a jaw-dropping experience. Demonstrating the parsimony he'd learned while working with Roger Corman, director Hellman shot The Shooting in Utah simultaneously with another feature, Ride in the Whirlwind, for a combined budget of $150,000. Completed in 1967, The Shooting did not receive widespread release until after Jack Nicholson achieved stardom in the early 1970s. ~ Hal Erickson, All Movie Guide

This adventure is set in the Philippines and chronicles the exploits of two men who survive a plane crash in the jungle. One of the men is an avaricious killer who has come to the islands to search for a fortune in diamonds. The other is an international adventurer. Now they must somehow overcome their vast personal differences and desires to survive in the steamy wilderness ~ Sandra Brennan, All Movie Guide