Julia Phillips Movies
Though she became more famous for her scathing Hollywood memoir than her filmmaking, Julia Phillips was still responsible, with producing partner and erstwhile husband Michael Phillips, for shepherding several '70s Hollywood signature films. Despite her '80s downfall, Phillips could never lose claim to another key achievement: to be the first woman to win a Best Picture Oscar.Born in New York City and raised in Brooklyn, Long Island, and Milwaukee, Phillips was determined not to settle for housewife-dom. After graduating from Mount Holyoke College with several creative writing prizes to her credit, Phillips moved to New York City and entered publishing with a job at McCall's. Though she married Michael Phillips that same year, Phillips continued to forge ahead, working at the Ladies' Home Journal before falling into the movie business with a story editor job at Paramount's New York office. After soon-to-be infamous movie power broker David Begelman hired her to be a creative executive for the nascent actor-driven company First Artists, Phillips' career took off. Counting Robert Redford among her friends and charged with finding potential projects for Barbra Streisand (Phillips got her the rights for Yentl [1983] in 1969), Phillips was already keyed into the new Hollywood order before she met actor/producer Tony Bill in 1969. After Bill showed her two fledgling projects written by film school grad David S. Ward, Steelyard Blues (1973) and The Sting (1973), Phillips and her husband partnered with Bill to produce them.
Relocating to Los Angeles in 1970, the Phillips' beach home became a nexus for the ambitious, youthful group of filmmakers that became synonymous with the Hollywood New Wave, including Martin Scorsese, Steven Spielberg, and Paul Schrader. Steelyard Blues, an antiestablishment caper starring Donald Sutherland and Jane Fonda, was consonant with young Hollywood's counterculture attitude, but it was the polished retro stylings of The Sting that brought the Phillipses glory. Directed and acted with 1930s-esque flair by George Roy Hill, Robert Redford, and Paul Newman, The Sting became a lighthearted blockbuster hit and earned seven Oscars, including Phillips' unprecedented Best Picture statuette. Though the Phillipses split with Bill during The Sting's production and the Phillipses themselves separated several months after the Oscars, the ex-couple maintained their business partnership to produce two films originating from their beach house coterie. Scorsese and Schrader's Taxi Driver (1976) became a classic melding of art film interiority and cinephilia with Vietnam-era paranoia and brutal violence, centering on Robert De Niro's quintessential alienated loner Travis Bickle and Jodie Foster's pre-teen hooker Iris. Winner of the Palme D'Or at Cannes and a critically lauded hit, Taxi Driver also earned Phillips her second Best Picture Oscar nomination. As one of the driving forces behind Spielberg's science fiction fable Close Encounters of the Third Kind (1977), Phillips marked another creative peak, but the film also became her professional undoing. Though Close Encounters' blockbuster success vindicated both her confidence in Spielberg's optimistic sky-gazing story and her efforts to accommodate Spielberg and effects master Douglas Trumbull's increasingly expensive extraterrestrial vision, Phillips was shut out of her position of authority and a share of ancillary profits before the film's release by Spielberg, her ex-husband, and the studio.
Already addicted to drugs, Phillips almost lost custody of her daughter and nearly disappeared into a vortex of freebase cocaine in the late '70s. After kicking the financially ruinous habit by the early '80s, Phillips tried to revive her career. Her tastes and reputation at odds with Reagan-era Hollywood, Phillips struggled through fruitless development deals (including an adaptation of Anne Rice's novel The Vampire Lestat) with only producer credits on the ill-conceived sequel 2010 (1984) and little-seen New York music drama The Beat (1987) to show for it. Broke by the late '80s, Phillips put all of her experiences and her fury to profitable use, and published her scorching, appropriately titled bestseller You'll Never Eat Lunch in This Town Again in 1991. Thanking "the eighties moguls who made me so mad, I just had to tell the tale," Phillips spared no one, including herself, mordantly detailing all of the venality, drugs, and personal flaws that she encountered in her Hollywood odyssey. Her writing career, however, faltered with Driving Under the Affluence (1995) and a co-writing stint on Internet gadfly Matt Drudge's Drudge Manifesto (2000). Maintaining her pugnacity to the end, Phillips was working on an adaptation of Lunch for Showtime before she died of cancer on January 1, 2002, in West Hollywood. ~ Lucia Bozzola, All Movie Guide
- 1991
- PG13
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Christina Applegate stars in this convoluted comedy that comes across as a teen fantasy combination of Home Alone and Working Girl. The premise is all in the title -- when the mother (Concetta Tomei) of a sniveling group of surly kids goes on a much-deserved summer vacation, she leaves her kids under the charge of an elderly distaff granny (Eda Reiss Merin). When granny ups and dies, the kids load her dead body in a trunk and deposit the package on the steps of the local funeral home. The kids are ecstatic thinking that with the big wad of cash Mom has left, they can have a summer of consumer madness. But when they find out that the money has been buried with the baby-sitter, the kids have to fend for themselves to make ends meet. Dream teen Sue Ellen (Christina Applegate) tries working at a fast food restaurant but she can't stand the grease. So, she puts together a false resume and, posing as a twenty-eight-year old, she applies for a job as a receptionist at a garment manufacturing company. The company vice president, Rose (Joanna Cassidy), is so impressed by her resume that she hires her on the spot as her executive assistant. Her deception looks to be working out great -- Sue Ellen manages to hold off the office lady killer Gus (John Getz), avoids exposure by the embittered receptionist, borrows money from the company's petty cash box for household incidentals, and continues her relationship with restaurant employee Bryan (Josh Charles). But suddenly, the clothing firm is set to go under, and Sue Ellen must use her teen fashion sense to save the company and her job . . . and she has to get the rest of the brood involved. ~ Paul Brenner, All Movie Guide
- Starring:
- Christina Applegate, Joanna Cassidy, (more)
- 1987
This drama is based on a play by Mones and is set within a grim New York neighborhood where a new kid comes to the neighborhood. Unlike the street-wise and life-toughened gang members around him, the youth is a sensitive poet who teaches the kids about the meaning and beauty of life. ~ Sandra Brennan, All Movie Guide
- Starring:
- John Savage, David Jacobson, (more)
This belated sequel to Stanley Kubrick's 2001: A Space Odyssey (1968) is directed by Peter Hyams. Roy Scheider plays the astronaut/skipper of a U.S.-Soviet space mission, sent to find out what happened to the missing Discovery flight that carried Keir Dullea into the beyond in the original 2001. Scheider's polyglot crew includes Americans John Lithgow and Bob Balaban (the latter a computer whiz, responsible for the notorious HAL 9000) and Russians Helen Mirren, Elya Baskin and Natasha Schneider. The reason for this international mixture is that the world is on the brink of nuclear war, and it is hoped that the space mission will assure east-west solidarity (in this respect, 2010 dates far more than 2001, given the collapse of the Iron Curtain). When the astronauts catch up with Dullea, still in orbit around Jupiter, producer/director/writer Hyams attempts to demystify the enigmatic climax of 2001. Arthur C. Clarke, author of the story upon which 2001 was based, appears in 2010 as a man on a park bench. Incidentally, the voice-over credited to Olga Mallsnerd is actually Candice Bergen. (The name Mallsnerd is a play on the name of one of the characters created by her ventriloquist father Edgar.) ~ Hal Erickson, All Movie Guide
- Starring:
- Roy Scheider, John Lithgow, (more)
- 1977
- PG
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Steven Spielberg followed Jaws (1975), his first major box-office success, with this epic science fiction adventure about a disparate group of people who attempt to contact alien intelligence. Roy Neary (Richard Dreyfuss) is an electrical lineman who, while sent out on emergency repairs, witnesses an unidentified flying object, and even has a "sunburn" from its bright lights to prove it. Neary's wife and children are at first skeptical, then concerned, and eventually fearful, as Roy refuses to accept a "logical" explanation for what he saw and is prepared to give up his job, his home, and his family to pursue the "truth" about UFOs. Neary's obsession eventually puts him in contact with others who've had close encounters with alien spacecraft, including Jillian (Melinda Dillon), a single mother whose son disappeared during her UFO experience, and Claude Lacombe (celebrated French filmmaker François Truffaut), a French researcher who believes that we can use a musical language to communicate with alien visitors. Lacombe's theory is put to the test when a band of government researchers and underground UFO enthusiasts (including Neary) join for an exchange with alien visitors near Devil's Tower, Wyoming. In 1980, a "Special Edition" was released. While its primary selling point was the addition of scenes inside the alien spaceship, Spielberg claimed that he also cleaned up some choppy editing in the second act. ~ Mark Deming, All Movie Guide
- Starring:
- Richard Dreyfuss, François Truffaut, (more)
The Big Bus is set aboard a nonstop, nuclear-powered luxury bus commandeered by Joseph Bologna. Naturally, Bologna is a tortured hero with a deep dark secret (he keeps insisting he didn't eat all those passengers on his last disastrous drive). Stockard Channing and Harold Gould play the designers of the big bus, and of course they have a few skeletons in their closet. In fact, there isn't a passenger on the all-star manifest that isn't hiding something. The supporting cast features contributions by René Auberjonois (parodying his M*A*S*H role), Ned Beatty, José Ferrer, Ruth Gordon (doing a devastating send-up of Airport's Helen Hayes), Sally Kellerman, Richard Mulligan, and many others; Murphy Dunne contributes a memorable bit as a smarmy cocktail pianist. Unfortunately, The Big Bus was dumped onto the summer 1976 release schedule without fanfare by Paramount, and it sank without a trace. ~ Hal Erickson, All Movie Guide
- Starring:
- Joseph Bologna, Stockard Channing, (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)
Four years after setting box offices ablaze in Butch Cassidy and the Sundance Kid, Paul Newman, Robert Redford, and director George Roy Hill re-teamed with similar success for The Sting. Redford plays Depression-era confidence trickster Johnny Hooker, whose friend and mentor Luther Coleman (Robert Earl Jones) is murdered by racketeer/gambler Doyle Lonnegan (Robert Shaw). Hoping to avenge Luther's death, Johnny begins planning a "sting" -- an elaborate scam -- to destroy Lonnegan. He enlists the aid of "the greatest con artist of them all," Henry Gondorff (Paul Newman), who pulls himself out of a drunken stupor and rises to the occasion. Hooker and Gondorff gather together an impressive array of con men, all of whom despise Lonnegan and wish to settle accounts on behalf of Luther. The twists and surprises that follow are too complex to relate in detail -- suffice to say that you can't cheat an honest man, and that you shouldn't accept everything at face value. The Sting became one of the biggest hits of the early '70s; grossing 68.5 million dollars during its first run, the film also picked up seven Academy Awards, including Best Picture, Best Director, Best Screenplay, and Best Adapted Score for Marvin Hamlisch's unforgettable setting of Scott Joplin's ragtime music. ~ Hal Erickson, All Movie Guide
- Starring:
- Paul Newman, Robert Redford, (more)
In this counter-culture caper comedy, directed by Alan Myerson (whose work with The Committee and Second City gives the film a quirky sketch comedy freshness), Donald Sutherland plays Veldini, a sad-eyed demolition-derby driver, serving time for larceny. He also possesses a millennial desire to wreck every car manufactured in the United States from 1940 to 1960. After being released from jail, Veldini hatches a scheme to restore an old U.S. World War II amphibian plane to escape conventional society and fly off to a new nonconformist world. Searching for spare parts to complete the restoration, Veldini realizes that a particular electrical circuit is available only at the local Navy base, and he decides to rob the base to steal the circuit. Involved in the caper with him is Iris (Jane Fonda in a burlesque of her performance in Klute) as a 100-dollar-a-night call girl who is sick of being humiliated; Veldini's kid brother (John Savage); and Eagle (Peter Boyle), a schizophrenic out-of-work circus performer. Standing in the way of Veldini's scheme is Frank Veldini (Howard Hesseman), his older brother and a politically ambitious district attorney. ~ Paul Brenner, All Movie Guide
- Starring:
- Jane Fonda, Donald Sutherland, (more)
