 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
THE SUBTERRANEANS is a glossy study of life and love among the beatniks, based upon the Jack Kerouac novel. After being discharged from the Navy in WWII, novelist and poet Jack Kerouac (1922—1969) roamed the United States taking odd jobs. He began writing in an unedited, spontaneous style which questioned the 1950s American ideals of family and industry. Kerouac coined the term “beat,” an apolitical, anti-establishment literary movement based on self-discovery through experimentation with jazz, hallucinogenic drugs, sex, and Zen Buddhism. In the original novel, Kerouac's protagonists are a French Canadian author and a black woman, instead of the American athlete (George Peppard) and French woman (Leslie Caron) portrayed in the film.
The film begins with this written prologue: "This is the story of a new Bohemia . . .where the young gather to create and to destroy. In all times, in all cities for good and for evil, the young Bohemians have been the makers of the future. They are foolish and they have genius. You will find them on the Left Bank in Paris, in London's Soho, in Greenwich Village and here in San Francisco, in the area known as North Beach."
The film was a major departure for producer Arthur Freed, who had earlier produced 40 MGM musicals. Alex Segal was originally set to direct the film, but quit the assignment. Freed then hired brothers Denis and Terry Sanders to be director and associate producer respectively, but fired both after two weeks of shooting. Reportedly, a disagreement about the portrayal of the “beat generation” and the Sanders brothers’ characterization of "Mardou's" (Caron's) sexual promiscuity caused Freed to replace them with director Ranald MacDougall.
Andre Previn provided the music, and he also appears onscreen with such jazz artists as Gerry Mulligan, Carmen McRae, Art Pepper, and Art Farmer. It was the first onscreen appearance for Gerry Mulligan, as well as for Previn, who plays a harpsichord in a live jazz club scene with musicians Russ Freeman and Shelly Manne.
THE SUBTERRANEANS has not been released on any home video format. The 1960 film was originally copyrighted by Loew's Inc. & Arthur Freed Productions, Inc. The copyright was renewed in 1988 by Turner Entertainment, and in the intervening three decades, the film has turned up occasionally on Turner Classic Movies.
Thanks for this one as well, Bob. It's been added as well. Here is the board as it currently stands:
https://www.pinterest.com.au/TheCinemaCafe/the-community-chest-most-wanted-by-fans-on-dvd-or-/
All inquiries (including updates, pending releases, etc.) regarding titles are most welcome. We would, however, appreciate your limiting those to one at a time. A reminder about these Pinterest Boards: Pinterest changed their formatting not too long ago. One must now click on the image to read all of the information associated with the film or TV series in question. If availability is indicated, click again on the image and it will take you to the ordering page for that item.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Has the DE SADE film starring Keir Dullea ever been released?
i remember the pictorial in PLAYBOY (it might have even been a their production, like NAKED APE)
but the film seems to be locked up in chains 
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Peter Fonda's first lead role in a feature film was in 1964's THE YOUNG LOVERS. He played young art student "Eddie Slocum," who wants to live a life without troubles or responsibilities. He meets "Pam Burns" (Sharon Hugueny) and they fall in love. But happy-go-lucky Eddie declares that he won't marry her. Soon Pam is pregnant, and Eddie must face up to the problem.
Sharon Hugueny's feature film career only spanned four films, of which this was her last. THE YOUNG LOVERS was also the only film directed by Samuel Goldwyn, Jr., the son of the famous producer, and a producer in his own right. Sol Kaplan's score was released on a Columbia LP, but has not been re-issued on CD. THE YOUNG LOVERS has never been made available on any home video format.
Thanks for bringing this to our attention, Bob. It's been added. Here is the board as it currently stands:
https://www.pinterest.com.au/TheCinemaCafe/the-community-chest-most-wanted-by-fans-on-dvd-or-/
All inquiries (including updates, pending releases, etc.) regarding titles are most welcome. We would, however, appreciate your limiting new suggestions to one at a time. A reminder about these Pinterest Boards: Pinterest changed their formatting not too long ago. One must now click on the image to read all of the information associated with the film or TV series in question. If availability is indicated, click again on the image and it will take you to the ordering page for that item.
|
|
|
|
|
|
|
The pinterest board shows THE YOUNG LOVERS as being a 1967 film, but it was released in 1964.
|
|
|
|
|
|
The pinterest board shows THE YOUNG LOVERS as being a 1967 film, but it was released in 1964.
I must have been thinking of another film when I entered it. Thanks for the correction. It has been changed.
|
|
|
|
|
|
Late Sixties sex film with Anthony Newley.
"Can Heironomus Bosch....."..
Might have been a PLayboy production.
|
|
|
|
|
|
|
 |
Posted: |
Jun 23, 2018 - 10:35 PM
|
|
|
|
By: |
Bob DiMucci
(Member)
|
Late Sixties sex film with Anthony Newley.
"Can Heironomus Bosch....."..
Might have been a PLayboy production.
Can Hieronymous Merkin Ever Forget Mercy Humppe And Find True Happiness?
In this 1969 film, Anthony Newley played the autobiographical title role of Merkin, an internationally successful singer approaching middle age who retells his life story in a series of production numbers on a seashore in front of his two toddlers (played by Newley's actual children Tara and Alexander) and aged mother. Merkin focuses on his promiscuous relationships with women, particularly "Polyester Poontang" (played by Newley's wife Joan Collins) and the adolescent "Mercy Humppe "(Playboy centerfold Connie Kreski).
Merkin is constantly surrounded by a Satan-like procurer, "Goodtime Eddie Filth" (Milton Berle), and an angelic "Presence" (George Jessel) who interrupts Merkin's biography with cryptic Borscht Belt-level jokes to denote births and deaths in Merkin's life. Newley periodically steps out of character to complain about his 'Merkin' role with an unseen director (voiced by Newley), two screenwriters, the film's producers and a trio of blasé movie critics who are turned off by the story's eroticism and lack of plot.
In 1970 Newley and his co-writer Herman Raucher won the Writers' Guild of Great Britain Award for Best British Original Screenplay. The film's original music was written by Newley with lyrics by Herbert Kretzmer (Les Misérables). The film was controversial because it was X-rated in its original release, meaning many newspapers in the U.S. would not take advertising for it.
The film was generally a critical failure. Vincent Canby wrote in the New York Times that Newley "so over extends and overexposes himself that the movie comes to look like an act of professional suicide . . . The movie is as self-indulgent as a burp. It's also as pretentious as its form... The movie is not so free and loose as it is simply out of control." In The Sunday Times Guide to Movies on Television, Angela and Elkan Allan asked "Can Anthony Newley ever remember that he is just a pleasant light comedian and settle down to earn an unpretentious living?" Michael Billington of The Illustrated London News opined, "The kindest thing for all concerned would be that every available copy should be quietly and decently buried." Rex Reed also savaged it, writing, "If I'd been Anthony Newley I would have opened it in Siberia during Christmas week and called it a day."
Roger Ebert's review in the Chicago Sun-Times, on the other hand, praised the film's ambition: "It is strange, wonderful, original, and not quite successful. It is just about the first attempt in English to make the sort of personal film Fellini and Godard have been experimenting with in their very different ways. It is not as great as 8½ but it has the same honesty and self-mocking quality."
Collins later cited the film as contributing to her divorce from Newley.
The film's soundtrack was released on a Kapp LP, but it has not been reissued on CD, and the film has not been legitimately made available on any home video format.
In 1983, the film was edited and re-released with an [R] rating.
|
|
|
|
|
|
|
Late Sixties sex film with Anthony Newley.
"Can Heironomus Bosch....."..
Might have been a PLayboy production.
Can Hieronymous Merkin Ever Forget Mercy Humppe And Find True Happiness? (1969)
That's it!
|
|
|
|
|
|
|
|
|
|
Late Sixties sex film with Anthony Newley.
"Can Heironomus Bosch....."..
Might have been a PLayboy production.
Can Hieronymous Merkin Ever Forget Mercy Humppe And Find True Happiness?
In this 1969 film, Anthony Newley played the autobiographical title role of Merkin, an internationally successful singer approaching middle age who retells his life story in a series of production numbers on a seashore in front of his two toddlers (played by Newley's actual children Tara and Alexander) and aged mother. Merkin focuses on his promiscuous relationships with women, particularly "Polyester Poontang" (played by Newley's wife Joan Collins) and the adolescent "Mercy Humppe "(Playboy centerfold Connie Kreski).
Merkin is constantly surrounded by a Satan-like procurer, "Goodtime Eddie Filth" (Milton Berle), and an angelic "Presence" (George Jessel) who interrupts Merkin's biography with cryptic Borscht Belt-level jokes to denote births and deaths in Merkin's life. Newley periodically steps out of character to complain about his 'Merkin' role with an unseen director (voiced by Newley), two screenwriters, the film's producers and a trio of blasé movie critics who are turned off by the story's eroticism and lack of plot.
In 1970 Newley and his co-writer Herman Raucher won the Writers' Guild of Great Britain Award for Best British Original Screenplay. The film's original music was written by Newley with lyrics by Herbert Kretzmer (Les Misérables). The film was controversial because it was X-rated in its original release, meaning many newspapers in the U.S. would not take advertising for it.
The film was generally a critical, failure. Vincent Canby wrote in the New York Times that Newley "so over extends and overexposes himself that the movie comes to look like an act of professional suicide . . . The movie is as self-indulgent as a burp. It's also as pretentious as its form... The movie is not so free and loose as it is simply out of control." In The Sunday Times Guide to Movies on Television, Angela and Elkan Allan asked "Can Anthony Newley ever remember that he is just a pleasant light comedian and settle down to earn an unpretentious living?" Michael Billington of The Illustrated London News opined, "The kindest thing for all concerned would be that every available copy should be quietly and decently buried." Rex Reed also savaged it, writing, "If I'd been Anthony Newley I would have opened it in Siberia during Christmas week and called it a day."
Roger Ebert's review in the Chicago Sun-Times, on the other hand, praised the film's ambition: "It is strange, wonderful, original, and not quite successful. It is just about the first attempt in English to make the sort of personal film Fellini and Godard have been experimenting with in their very different ways. It is not as great as 8½ but it has the same honesty and self-mocking quality."
Collins later cited the film as contributing to her divorce from Newley.
The film's soundtrack was released on a Kapp LP, but it has not been reissued on CD, and the film has not been legitimately made available on any home video format.
In 1983, the film was edited and re-released with an [R] rating.
Thanks for all of the information about this asked for title Bob. It has been listed on our board. Currently:
https://www.pinterest.com.au/TheCinemaCafe/the-community-chest-most-wanted-by-fans-on-dvd-or-/
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
