Arthur Penn

As originally screened at the Tribeca Film Festival, at the Cannes Film Festival, and on Turner Classic Movies, the mammoth, epic-length documentary Brando chronicles in encyclopedic detail (and with a consistently reverent overtone) the life and career of the man widely regarded as the most formidable American actor of the 20th century - famous for not only reshaping, but reinventing the craft of film acting and teaching audiences how to view a motion picture performance. Divided into chronological, thematically-unified segments, the film first treats Marlon Brando's dysfunctional upbringing - his alcoholic mother, his abusive father, his stint at a military academy - before charting his acting tutelage at the behest of Stella Adler and his early cinematic and theatrical roles, including work for Elia Kazan, who famously made many aggressive (and unsuccessful) attempts to discipline the headstrong actor onscreen. Throughout this segment, many Hollywood A-list actors appear - among them, Al Pacino, Johnny Depp and Robert Duvall - expostulating at length on Brando's influence over their approaches to performance, and attempting with great effort to define the elusive style known as "method acting" that Brando helped to create. The second half of the documentary moves into Brando's career during the '70s, '80s and '90s, covering the production of The Godfather, the actor's noteworthy political activism, and his tumultuous personal life. Francis Ford Coppola, who of course teamed with Brando for the first Godfather installment and for Apocalypse Now, is noticeably absent from the proceedings. ~ Nathan Southern, All Movie Guide

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

Each episode of The Secret World of... takes viewers behind the scenes to discover a tiny world within a world. Often, these are things and places taken for granted. In these videos, viewers take a look at the work that is necessary to keep the world running smoothly. In this episode, viewers learn the secrets of magicians and other sleight-of-hand experts. How does a mentalist manage to read your mind? Many astounding performances are caught here on tape. Find out what goes into a stage show of this sort and how, exactly, magicians approach the creation of new tricks. ~ Rob Ferrier, All Movie Guide

In 1994, the British Film Institute commissioned a set of films to mark the centenary of the movies. They would trace the history of several national cinemas, and the BFI's choice for interpreting the history of American film fell to director Martin Scorsese, a longtime champion of film history and preservation. Scorsese's approach to his subject is director-centered, as he examines the tension inherent in the struggle of an artist wishing to make a personal statement against the collaborative nature of films and the commercial pressures of the Hollywood moviemaking factory. Segments of this series are devoted to the director as storyteller (examining narrative devices in the Western, gangster film, and musical), illusionist (technical tricks), smuggler (imbedding personal messages), and iconoclast (bucking the system to make films his own way). The series is replete with telling clips, not just snippets or shots, but entire scenes which illustrate Scorsese and co-director Michael Henry Wilson's points. Other filmmakers, including John Ford, Francis Ford Coppola, Billy Wilder, and Orson Welles, are seen in archival footage or interviews created for the series, offering their own take on the art of filmmaking. Scorsese doesn't discriminate between filmmakers with glossy reputations and those who always worked on the fringe of public awareness. If anything, he goes out of his way to champion mavericks like Samuel Fuller whose "visceral cinema" never enjoyed box-office success or awards. Personal Journey was first shown on British TV, released in limited fashion to theaters in the United States, and shown here on TV as well. A tie-in book was published in 1997 by Miramax Books; it contains the entire script for the series, excellent black-and-white stills, and dialogue from some of the clips. ~ Tom Wiener, All Movie Guide

Penn & Teller are magicians who are known for putting on a jet-black, fake blood-soaked comedy magic show. This inky comedy is imbued with their off-beat humor as it chronicles Penn's newest scheme to have a fan try to kill him. ~ Sandra Brennan, All Movie Guide

Arthur Penn takes a crack at subverting the espionage film genre in Target. Walter Lloyd (Gene Hackman) is a quiet and unassuming lumberyard owner in Dallas, Texas. Chris (Matt Dillon) has dropped out of college to pursue a career as a race car driver. But all mundane tasks come to an end when Walter's wife Donna (Gayle Hunnicutt) is kidnapped while on a European trip. Walter flies to Paris with Chris to see what can be done. Once in Europe, Chris is shocked to discover that his dad was once a top CIA agent. Together, the two visit all of Walter's old CIA contacts in an effort to locate Donna. Finally, Walter discovers that Donna has been kidnapped by a rogue spy seeking revenge for an incident that happened eighteen years earlier. Now Walter must apply his old and vicious CIA tricks to save his wife from an old and vicious CIA operative. ~ Paul Brenner, All Movie Guide

A rancher, a rustler, and a regulator face off in Arthur Penn's eccentric western. As a cover for their horse thievery, a gang of Montana rustlers, led by the laid-back Tom Logan (Jack Nicholson), buys a small farm adjacent to the ranch of their latest target/nemesis, Braxton (John McLiam). When the gang leaves Tom on the farm and heads to Canada for another score, Tom takes a shine both to farming and Braxton's rebellious, strong-willed daughter, Jane (Kathleen Lloyd). The slightly loco Braxton, however, hires the psychopathic regulator Lee Clayton (Marlon Brando) to root out the rustlers. With a series of unorthodox methods (and costumes), Clayton hunts down Logan and his gang one by one, even after Braxton fires him, but Logan isn't about to let Clayton (or Braxton) make him obsolete. ~ Lucia Bozzola, All Movie Guide

This documentary of the 1972 Summer Olympics, held in Munich, is remarkable for bringing eight of the world's most notable film directors to work on it. They are: Milos Forman, Yuri Ozerov, Mai Zetterling, Arthur Penn, Michael Pfleghar, Kon Ichikawa, Claude Lelouch and John Schlesinger. Each director concentrated on events that were of interest to him and filmed in his own style. For instance, Foreman focused on the comic aspect of the games; Lelouch kept his sights on the losers rather than the winners; and Mai Zetterling examined obsession in the form of weightlifting. The movie does not attempt to comprehensively document the '72 Olympics and does not aim for a unified vision. Instead, it showcases the talents of these directors under the inspiration of this most dramatic of gatherings. ~ Clarke Fountain, All Movie Guide

Intrigued by the counterculture tale of Arlo Guthrie's epic 1968 talking-blues record The Alice's Restaurant Massacree, director Arthur Penn, co-scripting with playwright Venable Herndon, adapted the song into the 1969 feature Alice's Restaurant. Hippie outsider Arlo (Guthrie, playing himself) encounters suspicion from the straight world; visits his dying father, renowned leftist activist/singer Woody Guthrie (Joseph Boley), in the hospital along with friend Pete Seeger; and hangs out in the title converted church/commune created by his friends Alice (Pat Quinn) and her husband Ray (James Broderick). After Alice's "Thanksgiving dinner that couldn't be beat," Arlo is arrested for littering by rule-following Officer "Obie" Obanhein (William Obanhein, playing himself). That littering arrest helps Arlo avoid the Vietnam draft, but the commune is threatened after more personal, old-fashioned conflicts over sex and partnerships permeate Alice and Ray's alternative world. ~ Lucia Bozzola, All Movie Guide

Producer/star Warren Beatty had to convince Warner Bros. to finance this film, which went on to become the studio's second-highest grosser. It also caused major controversy by redefining violence in cinema and casting its criminal protagonists as sympathetic anti-heroes. Based loosely on the true exploits of Clyde Barrow and Bonnie Parker during the 30s, the film begins as Clyde (Beatty) tries to steal the car of Bonnie Parker (Faye Dunaway)'s mother. Bonnie is excited by Clyde's outlaw demeanor, and he further stimulates her by robbing a store in her presence. Clyde steals a car, with Bonnie in tow, and their legendary crime spree begins. The two move from town to town, pulling off small heists, until they join up with Clyde's brother Buck (Gene Hackman), his shrill wife Blanche (Estelle Parsons), and a slow-witted gas station attendant named C.W. Moss (Michael J. Pollard). The new gang robs a bank and Clyde is soon painted in the press as a Depression-era Robin Hood when he allows one bank customer to hold onto his money. Soon the police are on the gang's trail and they are constantly on the run, even kidnapping a Texas Ranger (Denver Pyle) and setting him adrift on a raft, handcuffed, after he spits in Bonnie's face when she kisses him. That same ranger leads a later raid on the gang that leaves Buck dying, Blanche captured, and both Clyde and Bonnie injured. The ever-loyal C.W. takes them to his father's house. C.W.'s father disaproves his son's affiliation with gangsters and enters a plea bargain with the Texas Rangers. A trap is set that ends in one of the bloodiest death scenes in cinematic history. The film made stars out of Beatty and Dunaway, and it also featured the screen debut of Gene Wilder as a mortician briefly captured by the gang. Its portrayal of Bonnie and Clyde as rebels who empathized with the poor working folks of the 1930s struck a chord with the counterculture of the 1960s and helped generate a new, young audience for American movies that carried over into Hollywood's renewal of the 1970s. Its combination of sex and violence with dynamic stars, social relevance, a traditional Hollywood genre, and an appeal to hip young audiences set the pace for many American movies to come. ~ Don Kaye, All Movie Guide

Often described as a French New Wave film made in Hollywood, Arthur Penn's 1965 art movie enters the unsettlingly paranoid world of a nightclub comic on the run from the Mob. Having fooled around with the wrong blonde and gambled himself into an unpayable debt, an entertainer (Warren Beatty) flees to Chicago, where he hides out and changes his name to Mickey One. He hooks up with Jenny (Alexandra Stewart) and Castle (Hurd Hatfield), the owner of the nightclub Xanadu, but he cannot shake the paralyzing conviction that he's being pursued no matter where he is. After being beaten by unknown assailants, Mickey finally decides that escape is impossible, so he might as well just do his thing. ~ Lucia Bozzola, All Movie Guide

The Left Handed Gun was adapted by Gore Vidal from his own TV play, The Death of Billy the Kid. 33-year-old Paul Newman stars as 21-year-old William Bonney, the hotheaded gunslinger known as Billy the Kid. Avoiding the usual Hollywood glamourization of this controversial character, Newman portays Bonney pretty much as he was: an illiterate, homicidal cretin. Treated with kindness for the first time in his life by rancher Tunstall (Colin Keith-Johnston), Bonney becomes devoted to the rancher; in fact, it is virtually a love affair. Soon after, however, Tunstall is killed, prompting Bonney to go on a murderous spree. In the end, Bonney must face down the other important father-figure in his life, Pat Garrett (John Dehner). In case anyone should miss the Freudian subtext in The Left Handed Gun, the closeups of Bonney fondling his six-shooter will make things crystal clear. ~ Hal Erickson, All Movie Guide

Art Carney plays the title role, so to speak, in this live, 90-minute Playhouse 90 adaptation of Brandon Thomas' classic stage farce Charley's Aunt. The play's basic premise--Oxford undergrad Lord Fancourt Babberly (Carney) must pose as the elderly aunt of his roommate Charley Wyckeham so that Charley and his friend Jack Chesney will have a proper escort for their two girlfriends--is merely the springboard for a whole new batch of complications cooked up by the author of the TV version, the redoubtable Leslie Stevens. For starters, Babberly is now forced to don old-ladies' garb for an amateur theatrical production or else he'll lose his standing in the Oxford shot-putt team, necessitating the creation of a character not found in the original play, athletics coach Sandeford (played by former child star Jackie Coogan). Additionally, the character of Babberly's sweetheart Ela Delahey is eliminated, and a conspicuous duck pond figures largely in the slapstick proceedings. One of the few Playhouse 90 installments to be performed before a studio audience, Charley's Aunt boasts an astonishingly stellar supporting cast, including former MGM songbird Jeanette MacDonald as Donna Lucia (the real Aunt), MacDonald's husband Gene Raymond as Sir Francis Chesney, humorist Orson Bean as Jack, future novelist Tom Tryon as Charley, waspish Richard Haydn ("Uncle Max" in The Sound of Music) as Stephen Spettigue, and Sue Randall, later to achieve fame as "Miss Landers" on Leave It to Beaver, as Kitty Verdun. Charley's Aunt is one of several Playhouse 90 episodes currently available in kinescope form on home video. ~ Hal Erickson, All Movie Guide