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Posts tagged Mike Nichols

Who's Afraid of Virginia Woolf? Mike Nichols, 1966 Cinematography | Haskell Wexler

Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966
Cinematography | Haskell Wexler

Cinema is many things, but it is a visual medium. The Cinematographer weaves magic of light, composition, perspective and frames which capture the vision of the film’s director. Here are a few of my favorite cinematography moments. There are other cinematic moments that are better and equally loved, but this are a few that came into my mind…

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8½ Federico Fellini, 1963 Cinematography | Gianni Di Venanzo

“Fate is written in the face.”Federico Fellini

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8½ Federico Fellini, 1963 Cinematography | Gianni Di Venanzo

“Our job isn’t to recreate reality, our job is to represent reality.”Gordon Willis

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Klute Alan J. Pakula, 1971 Cinematography | Gordon Willis

 

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Manhattan Woody Allen, 1979 Cinematography | Gordon Willis

 

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September 30, 1955 James Bridges, 1977 Cinematography | Gordon Willis

 

“The idea is to find the space and then to light it in such a way that the actors can go wherever they like, and then to respond to what the actors have done. Only at that point are the final frames decided upon. So it can be very spontaneous.” Sean Bobbitt

 

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Shame Steve McQueen, 2011 Cinematography | Sean Bobbitt

 

 

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12 Years A Slave Steve McQueen, 2013 Cinematography | Sean Bobbitt

 

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Hunger Steve McQueen, 2008 Cinematography | Sean Bobbitt

” When we came to film Persona, we virtually discarded the medium shot. We went from wide shots to close-ups and vice versa. Ingmar had seen a certain resemblance between Liv Ullman and Bibi Andersson, and the idea had dawned of making a film about identification between two people who come close together and start to think the same thoughts. The film gave me the opportunity to explore my fascination with the face…” — Sven Nykvist

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

“For me, movies should be visual. If you want dialogue, you should read a book.”

Vilmos Zsigmond

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

Mark Rydell told Zsigmond that The Rose should “look like an abdominal operation.” — Noel Murray of The Dissolve

 

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

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Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“Photography is truth. The cinema is truth twenty-four times per second.”

Jean-Luc Godard

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Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“A film on prostitution about a pretty Paris shopgirl who sells her body but keeps her soul while going through a series of adventures that allow her to experience all possible deep human emotions, and that were filmed by Jean-Luc Godard and portrayed by Anna Karina. Vivre sa vie.”Jean-Luc Godard

 

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Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“The more one talks, the less the words mean.”Vivre Sa Vie

 

Invisible Waves Pen-Ek Ratanaruang, 2006 Cinematography | Christopher Doyle

Invisible Waves
Pen-Ek Ratanaruang, 2006
Cinematography | Christopher Doyle

 

“I think the point of cinematography, of what we do, is intimacy. Is intent, is the balance between the familiar and the dream, it is being subjective and objective, it is being engaged and yet standing back and noticing something that perhaps other people didn’t notice before, or celebrating something that you feel is beautiful or valid, or true or engaging in some way.” Christopher Doyle

 

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Happy Together Kar-wai Wong, 1997 Cinematography | Christopher Doyle

 

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Dumplings Fruit Chan, 2004 Cinematography | Christopher Doyle

 

“There’s always a shot or a moment you missed; it informs your work rather than takes from it.” Christopher Doyle

 

Away With Words Christopher Doyle, 1999

Away With Words
Christopher Doyle, 1999

 

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A Woman Under the Influence John Cassavetes, 1974 Cinematography | Al Ruban

 

“Mabel is not crazy, she’s unusual. She’s not crazy, so don’t say she’s crazy.”A Woman Under The Influence

 

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Bronson Nicolas Winding Rein, 2008 Cinematography | Larry Smith

 

“I’m colorblind, I can’t see mid-colors. That’s why all my films are very contrasted, if it were anything else I couldn’t see it.”Nicolas Winding Refn

 

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Only God Forgives Nicolas Winding Rein, 2013 Cinematography | Larry Smith

 

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Calvary John Michael McDonagh, 2014 Cinematography | Larry Smith

 

“I shot much of the film with a handheld Arriflex with a very wide lens and a tiny tobacco tin on the front fitted with a wee bulb to add a bit of fill, just enough to see Catherine Deneuve’s skin in the shadows until I moved in close.”Gilbert Taylor

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Repulsion Roman Polanski, 1965 Cinematography | Gilbert Taylor

 

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Repulsion Roman Polanski, 1965 Cinematography | Gilbert Taylor

 

“I believe the look of the picture is inherent in the material. The material will tell you what the picture should look like. Roman [Polanski] took the audience and led them by the nose to a point, then he left it up to you, and let the audience run with their imagination.” — William A. Fraker

 

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

 

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

 

“Cinema should make you forget you are sitting in a theater.”
Roman Polanski

 

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

 

“I love my work. It’s a passion because otherwise you can’t do it.” — Benoît Debie

 

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Irreversible Gaspar Noé, 2002 Cinematography | Benoît Debie

 

“When you see a movie, it’s like you’re attending a show of magic in which the magician pulls a rabbit out of a hat.”
Gaspar Noe

 

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Enter The Void Gaspar Noé, 2009 Cinematography | Benoît Debie

 

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Spring Breakers Harmony Korine, 2012 Cinematography | Benoît Debie

 

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Love Gaspar Noé, 2015 Cinematography | Benoît Debie

 

“You make the movie through the cinematography – it sounds quite a simple idea, but it was like a huge revelation to me.”
Nicolas Roeg

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Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

 

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Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

 

“I think a cinematographer’s job is to put a director’s vision on the screen. Nic is very clear in his vision and how he wants a movie to look, to feel, to smell.”Anthony B. Richmond

 

 

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Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

 

“During the minutes or seconds that this fleeting image is on the screen, you have to enable the viewer to see and especially to experience that there is a very rapid emotional shock. So the lighting has to be designed in such a way that its form can pierce through the screen and travel like an arrow into the viewer’s mind.” — Henri Alekan

 

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Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

 

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Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

 

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Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

 

“The beautiful thing about Robby is that he starts the process by talking to you about what the film means, what the story is about, what the characters are about. He starts from the inside out, which is really, really such a great way.”Jim Jarmusch

 

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Down By Law Jim Jarmusch, 1986 Cinematography | Robby Müller

 

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Paris Texas Wim Wenders, 1984 Cinematography | Robby Müller

 

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Breaking the Waves Lars von Trier, 1996 Cinematography | Robby Müller

 

” I’ve had glasses since I was six. Back then, I’d wake up in the morning and do things without my glasses on, and I’d be pretty blind. I’m very comfortable getting up close to things. There’s a sense of discovery that comes with that and it’s something I’m really interested in in my work.”  — Ashley Connor

 

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Butter on the Latch Josephine Decker, 2013 Cinematography | Ashley Connor

 

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Butter on the Latch Josephine Decker, 2013 Cinematography | Ashley Connor

 

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Thou Wast Mild and Lovely Josephine Decker, 2014 Cinematography | Ashley Connor

 

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Barry Lyndon Stanley Kubrick, 1975 Cinematography | John Alcott

 

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Barry Lyndon Stanley Kubrick, 1975 Cinematography | John Alcott

 

“Our working relationship is close because we think exactly alike photographically. We really do see eye-to-eye photographically.” John Alcott

 

 

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A Clockwork Orange Stanley Kubrick, 1971 Cinematography | John Alcott

 

 

“Style is something that’s extremely important, but it must grow naturally out of who and what you are and what the material calls for. It cannot be superimposed.”
William Friedkin

 

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The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

 

“The camera lies all the time — lies 24 times/second.”
Brian De Palma

 

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Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

 

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Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

 

Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

Dressed to Kill
Brian De Palma, 1980
Cinematography | Ralf D. Bode

 

 

” It’s very pleasant to hear that because my conception of this job is to be a companion or a collaborator. It’s to complete something. It is also making the image as separate from the directing but to be part of the storytelling process. If you have some distance with the film you are watching, you’ll be just attracted. You’ll be swimming in it. Or enveloped, like music” Agnes Godard

 

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Beau Travail Claire Denis, 1999 Cinematography | Agnès Godard

 

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Trouble Every Day Claire Denis, 2001 Cinematography | Agnès Godard

 

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The Intruder Claire Denis, 2004 Cinematography | Agnès Godard

 

“Photographing Citizen Kane was indeed the most exciting professional adventure of my career.” Gregg Toland

 

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Citizen Kane Orson Welles, 1941 Cinematography | Gregg Toland

 

“The enemy of art is the absence of limitations.”
Orson Welles

 

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Citizen Kane Orson Welles, 1941 Cinematography | Gregg Toland

 

“Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.”
Ingmar Bergman

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Cinematic images are the things of magic.

Matty Stanfield, 1.6.2016

 

 

 

There are so many films out there that have been forgotten and or lost.

Carnal Knowledge Mike Nichols, 1971

Carnal Knowledge
Mike Nichols, 1971

As we enter the 21st Century, the choices applied by major studios and various production companies often appears to have no grounding in logic.

For instance, Mill Creek Entertainment has US/Canada home distribution rights for such major players as Sony, Universal, Warner Brothers and Buena Vista. These studios and major distributors have historic catalogs of cinema. Yet, Mill Creek is more interested in re-mastering such films as Barnet Kellman’s painful 1992 Straight Talking in which Dolly Parton is romanced by James Woods!

Miami Rhapsody  David Frankel, 1995

Miami Rhapsody
David Frankel, 1995

They also were very quick to get such “cinematic classics” as Another Stakeout, The Legend of Billie Jean, Old Gringo, Playing God, Color of Night and Miami Rhapsody.

Cruising William Friedkin, 1980

Cruising
William Friedkin, 1980

This isn’t some little “deal” that Mill Creek Entertainment has established, it is major. This company works with Sony and Warner Brothers who tend to be the cheapest and most difficult of the major studios when it comes to their respective back catalog. However, Mill Creek has never shown any sort of interest in distributing the films that many would like to see remastered and available.

Who's Afraid of Virginia Woolf? Mike Nichols, 1966

Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966

Were it not for smaller film distribution labels like Olive Films, Twilight Entertainment, Shout Factory and most importantly The Criterion Collection many an iconic film would still be sitting fading away in the shelf of some disorganized storage area.

Girlfriends Claudia Weill, 1978

Girlfriends
Claudia Weill, 1978

As it is, Twilight Entertainment has managed to get a foot in by agreeing to a limited printing. This means that less popular, but far more artistically valid films that Sony and Warners have denied other offers find a way to a limited restoration and release.

But when Twilight is limited to only 3,000 pressings, the cost jumps up to $30 retail.

Andy Warhol's Dracula  AKA Young Dracula or Blood for Dracula Paul Morrissey, 1974

Andy Warhol’s Dracula
AKA Young Dracula or Blood for Dracula
Paul Morrissey, 1974

And films like Woody Allen’s Love and Death, Purple Rose of Cairo and Crimes and Misdemeanors immediately push close to selling out. Same goes for Steel Magnolias or François Truffaut’s The Bride Wore Black or the iconic Sidney Pollack teaming of Streisand and Redford in The Way We Were. These films are sold for $30 for a few weeks before they start going for as high as $60 or more on Amazon from other sellers. Amazon does not sell Twilight directly.

Pink Floyd The Wall Alan Parker, 1982

Pink Floyd The Wall
Alan Parker, 1982

So, why does Mill Creek Entertainment prefer Mike Binder’s Holy Matrimony to The Bride Wore Black or The Way We Were? The knee-jerk answer is that Mill Creek can crank out 500,000 pressings of mediocre comedies to sell via Walmart, BestBuy or Amazon for as low as $5 to $10 a pop.

Apparently, when shoppers see a Blu-Ray featuring any movie star they recognize, they will pay $8 without a second thought. Easy profits. But that is not always the case.

Blowup Michelangelo Antonioni, 1966

Blowup
Michelangelo Antonioni, 1966d

Reasons can range from obscure licensing challenges for piece of music that Warners or Sony is not willing to negotiate and that Mill Creek doesn’t want to have to pay. Or, from time to time, there is often a more sinister element going on: Woody Allen, Robert Redford, Warren Beatty, Barbra Streisand and Jane Fondas’ movies will be even more profitable after each’s respective death.

And sometimes it amounts to insecurities about stirring up old wounds of the filmmakers themselves. These wounds can be gushing blood after decades or can be so minor it can be puzzling.

Shampoo Hal Ashby, 1975

Shampoo
Hal Ashby, 1975

But more often than not, the reason that films are forgotten or lost is because no one in positions of power ever think of them.

In recent years Warner Brothers has started their DVD-R printings of more obscure movies under their Warner Archive. This is cool, but limited. A vast number of Warner Brothers films remain unavailable — and many of the ones that are available by order are poorly re-mastered.

Nasty Habits Michael Lindsay-Hogg, 1977

Nasty Habits
Michael Lindsay-Hogg, 1977

Anyone curious to see the infamously failed film version of Portnoy’s Complaint will discover a muddy pint in which everything within the image has been stretched up/down so that Karen Black and Richard Benjamin are cartoon thin. The entire raunchy movie is there, but presented in a manner reminiscent of pre-cable late night shows when no one knew how to translate big screen films to fit onto TV screens. When Warners does take the time to press a few buttons and get the film to an acceptable aspect ratio, they do not bother to remaster.

Up The Sandbox Irvin Kershner, 1972

Up The Sandbox
Irvin Kershner, 1972

A classic example of Warner Brothers Archive Collection logic is found in the recent release of Tony Scott’s iconic and Cult Film Classic, The Hunger. A movie that features the likes of David Bowie, Catherine Deneuve and Susan Sarandon as well as sleekly applied style and some great music from Bauhaus and Iggy Pop has been transferred to Blu-Ray using an even lesser quality transfer than MGM used for the initial DVD release.

Lisztomania Ken Russell, 1975

Lisztomania
Ken Russell, 1975

Don’t be fooled, Warner Archive did not bother to get the aspect ratio correct. You are not seeing the full picture. And I’m not certain, but I don’t think there has even been a 2K restoration here. The picture quality is not bad, but it is far from great. Worse yet, the audio is lousy. The old MGM DVD sounded better. Of course my DVD died several years back. I was stuck with the Warner released DVD which was actually a bit better than their new Blu-Ray.

They did a similar job with Nicolas Roeg’s co-directing debut, Performance. Yet, for reasons unknown they did actually bother to do a 2K restore for John Schlesinger’s Far From The Madding Crowd to Blu-Ray. It has yet to sell as well as either Performance or The Hunger. 

Women In Love Ken Russell, 1969

Women In Love
Ken Russell, 1969

Despite all sorts of grass-roots pushes and a an uncountable number of Film Historians, Film Production/Distribution companies and the request of an entire nation — Yes, Great Britain and the highly valued and respected British Film Institute reached out — Warner Brothers continues to refuse the release of Ken Russell’s original cut of The Devils.

No reason has ever been given.

Britain and the BFI fared best, however they were presented with an inferior quality and edited version of the film which they were only allowed to release in a UK region restricted limited pressing. While Warners did give BFI the choice to issue to Blu-Ray, BFI declined and limited the release to DVD as the quality of what Warner Brothers gave them was too poor to merit the Blu-Ray treatment.

The Devils Ken Russell, 1971

The Devils
Ken Russell, 1971

As The Devils is an historic part of British Film History and an important work of art, BFI wanted to have a full copy of the film secured in their registry.

However, the print that Warners gave had to be returned.

So BFI now has a restored copy of a copy of an edited version of The Devils.

"Birdshit!" Brewster McCloud Robert Altman, 1970

“Birdshit!”
Brewster McCloud
Robert Altman, 1970

In the upcoming several months a number of films are being re-evaluated for restoration and re-distribution. Who knows if any of this which is largely connected to the Film Festival Circuit will have any impact. However if one of these film matters to you, the best thing to do is review the film on Rotten Tomatoes or IMDB.

Oddly, sales from the Warner Archive do not seem to have much if any bearing on whether or not a movie will be restored. But folks who sign up for Amazon.com wait lists have initiated restorations. This was how Warner Brothers came to issue The Hunger to Blu-Ray and the two factors that have made Twilight Time embark on films like The Way We Were and Yentl.

Petulia  Richard Lester, 1968

Petulia
Richard Lester, 1968

A not so great transfer of Roeg’s odd cult film, Track 29 staring a young Gary Oldman, sold very well. This has caused a current “re-visit” of this infamous cinematic error as a possible film for restoration. Yet, the inferior region-free DVD’s of Ken Russell’s The Devils constantly sell out. Warner Brothers does not budge.

Another mystery with Warner Brothers is the poor quality and refusal to restore and re-distribute KLUTE. A film that has a large following, remains valid and of interest. Something similar was going down with Blowup, but that issue might have finally been resolved. Fingers-crossed. Another very popular film which is in theory no longer in print would be Richard Lester’s Petulia. As well as John Schlesinger’s Darling which shot Julie Christie to fame.

Both remain unrestored.

Tell Me That You Love Me, Junie Moon Otto Preminger, 1970

Tell Me That You Love Me, Junie Moon
Otto Preminger, 1970

And, then there is the interest in Otto Preminger’s ill-advised 1970’s Tell Me That You Love Me, Junie Moon which features a young Liza Minnelli facing deformity and trying to find a place among those whom society has labeled misfits. The film is flawed, but there are many a film fan who wants to own this odd cult film. Yet, no restoration or distribution is in sight. But Preminger’s far worse movie, Skidoo, was restored and issued to Blu-Ray. So who knows?

Track 29  Nicolas Roeg, 1988

Track 29
Nicolas Roeg, 1988

But it would appear the most valued currency for film consensus may be moving over to Letterboxd. Register. Review and “Like” reviews of the film or films you want to see restored. Register and make comments on The Criterion Forum.

The Criterion Forum Org

Believe it or not, this information is monitored. All of this might seem futile, but it isn’t.

Welcome To L.A. Alan Rudolph, 1976

Welcome To L.A.
Alan Rudolph, 1976

Alan Rudolph’s early work is being “re-visited.”

This is how we got Rosemary’s Baby, Moonrise Kingdom, The American Dreamer, Cat People, The Werner Herzog Collection, Safe, Black Moon, The Night Porter, Pillow Book, Audition, The Telephone Book, Seconds, Dressed To Kill, The Bitter Tears of Petra von Kant, Two-Lane Blacktop, Harold & Maud, The Rose and All That Jazz restored and re-distributed to Blu-Ray and HD.

Often Paramount and Fox are easier for boutique labels to secure deals because the licensing with these studios tends to be a bit less restrictive. A great number of their films were actually independent films that were picked up for distribution. As an example, Paramount had the rights for distribution for Rosemary’s Baby, but it was limited. The film technically belongs to Robert Evans and Roman Polanski.

KLUTE Alan J. Pakula, 1971

KLUTE
Alan J. Pakula, 1971

And of course there is the very much available for restoration and re-distribution film of legend, BOOM!, just waiting for Shout Factory or Vinegar Syndrome.

Keep the faith.

Matty Stanfield, 9.22.15

There will ever only be one Sandy Dennis.

When Broadway still mattered. Sandy Dennis, the star in the $7 dress.  TIME Magazine, 1967 Illustration | Boris Chaliapin

When Broadway still mattered. Sandy Dennis, the star in the $7 dress.
TIME Magazine, 1967
Illustration | Boris Chaliapin

A truly unique visionary of an actor graced with an undeniable charisma and presence that was solely her own, once you’ve seen her in action — you will not be able to forget her. At times her instinctively odd take on realism and her characters could be grating. A good example of this for me would be her odd turn in Alan Alda’s The Four Seasons or Mark Rydell’s The Fox. Other times her work was truly transformative as in Mike Nichol’s cinematic masterpiece, Who’s Afraid of Virginia Woolf? or Robert Altman’s slow-burn human psyche horror show, That Cold Day in the Park or his off-beat film of Ed Graczyk’s Come Back to the Five & Dime, Jimmy Dean, Jimmy Dean.

"Yes, but I chose to rise above the attitudes of this small town, while you chose to lay spread over a gravestone and take them inside you." Sandy Dennis Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean  Robert Altman, 1982 Cinematography | Pierre Mignot

“Yes, but I chose to rise above the attitudes of this small town, while you chose to lay spread over a gravestone and take them inside you.”
Sandy Dennis
Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean
Robert Altman, 1982
Cinematography | Pierre Mignot

Owen Sound has a great MUBI list site regarding the late American Actress.

https://mubi.com/lists/let-me-tell-you-about-sandy-dennis-there-should-be-one-in-every-home

It is from his list I pull the following quotes:

“Sandy was a marvelous actress. She was so gifted she made every part look easy…and she didn’t choose easy parts. It was a great pleasure to work with her.” – Gena Rowlands

“Sandy Dennis is so special, so unique – an incredible woman and artist.” – Elliott Gould

“Sandy was the most amazing actress: spellbinding. The audience would hang on her every pause. And as we all acknowledge, her characterizations were miraculous; no one can say then nor now from where her profound inspirations came. But there they were, for herself and for all of the world, forever.” – Karen Black

Sandy Dennis Head Shot NYC, 1964 Photographer unknown to me.

Sandy Dennis
Head Shot
NYC, 1964
Photographer unknown to me.

While her actual first big screen role was in the iconic Elia Kazan’s 1961 Splendor in the Grass, it would be several years later before she would be given a real role. Opposite the truly iconic Taylor & Burton as the mousy housewife for which she would win the coveted Academy Award.

Introducing to the Big Screen: Miss Sandy Dennis "I peel labels!" George Segal, Sandy Dennis, Elizabeth Taylor Who's Afraid of Virginia Woolf?  Mike Nichols, 1966 Cinematography | Haskell Wexler

Introducing to the Big Screen: Miss Sandy Dennis
“I peel labels!”
George Segal, Sandy Dennis, Elizabeth Taylor
Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966
Cinematography | Haskell Wexler

Film and Stage critics adored her as much as they often scorned her. Often their darling, Roger Ebert famously summed up his respect for Sandy Dennis when he reviewed her performance in  1967’s Up The Down Staircase:

“We need more films that might be concerned, even remotely, with real experiences that might once have happened to real people. And we need more actresses like Sandy Dennis.” 

The New York Times’ Bosley Crowther would write:

“Sandy Dennis is engagingly natural, sensitive, literate, and thoroughly moving vivid performance…” 

It is rare to run across many negative reviews of her stage craft. Having studied under Uta Hagen and a strict Method Actor, Sandy Dennis’ stage work is a thing of legend. She received two Tony Awards. While she had many on Broadway and off-Broadway roles, the one for which she is most known is the lead in Any Wednesday. It is of note that actors still speak of this apparently amazing performance.

Sandy Dennis received the second of two Tony Awards for her infamous Broadway performance.   Any Wednesday , 1964

Sandy Dennis received the second of two Tony Awards for her infamous Broadway performance.
Any Wednesday , 1964

However, in the world of film acting her often odd take on character and line readings could illicit the most cruel of critical commentary. The New York Times‘ controversial Vincent Canby was seldom kind to female actors who failed to fit into his limited idea of female beauty. He once said the following:

“Miss Dennis, mugging outrageously and badly, gives the kind of performance that, 40 years ago, would have sent her to bed without her supper. It’s rude, show-offy and, worse, it’s incompetent. Watching her do a double-take is like watching a small tug trying to work the QE2 into her Hudson River berth in a gale. It’s long and boring.”

Interestingly, this particularly nasty review was alone as other film critics rallied her performance in the film to which his acid comic critique was offered. Actually her comic delivery in Michael Lindsay-Hogg’s surprisingly subversive and funny satire of the Nixon Administration within the walls of Catholicism and a convent remains second only to Glenda Jackson’s leading role.

Sadly forgotten satire of Nixon and the Watergate Scandal. They won't have Sister Agnes to kick around anymore! Nasty Habits Michael Lindsay-Hogg, 1977

Sadly forgotten satire of Nixon and the Watergate Scandal. They won’t have Sister Agnes to kick around anymore!
Nasty Habits
Michael Lindsay-Hogg, 1977

Perhaps the most respected American Film Critic of her day, Pauline Kael, was seldom a fan of Dennis. She famously wrote, that Dennis had “made an acting style of postnasal drip.”

This criticism was labeled as “valid” when Sandy Dennis herself stated that she agreed and that she needed to find a way to move in a different direction. As her career continued many of her biggest Film Theory supporters would complain of her consistently nervous interpretation of character.

Sandy Dennis was never able to completely abandon her ticks, mannerisms and phrasing. For her this was an element of humanity that seemed to draw her like a moth to flame. A self-admitted loner, she would say and write that she really didn’t enjoy people. She preferred her cats. However the psychology of the human condition fascinated her deeply. In most women she saw a culturally-infused sort of insecurity. The fragileness of the human condition was something key in her interpretation of character. She was often thought of as a seemingly fragile person, but this seems to be more a reaction to her work than herself.

Not too many people seemed to get into her private life. She preferred a bit of distance. Her love was found in animals. There almost seems to have been a thought forming in her head that we should be in the cages at the zoo. Humans were the ones to be studied and watched. Non-human animals were more open to love. This is just my read on what I’ve read and heard about this great artist. I also must point out that this does not hold entirely true. To those whom she did let in, she was much loved. And that love was returned.

Poor Miss. Frances Austen. She tries not to look, but she seems to live in a house of mirrors. And they are no longer reflecting "reality" That Cold Day in the Park Sandy Dennis / Michael Burns Robert Altman, 1969 Cinematography | László Kovács

Poor Miss. Frances Austen. She tries not to look, but she seems to live in a house of mirrors. And they are no longer reflecting “reality”
That Cold Day in the Park
Sandy Dennis / Michael Burns
Robert Altman, 1969
Cinematography | László Kovács

Those who knew and loved her, felt she was a strong and often staunchly independent person. In the very early 1980’s when Robert Altman convinced her to take to the Broadway stage for Ed Graczyk’s unusually quirky Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean she found herself working with an untrained pop superstar, Cher. Cher did not encounter a fragile person. Cher has stated that Dennis was quick to point out her “bad reading” of her role. Cher, no fragile person herself, pushed harder until she earned Dennis’ respect.

Despair, rage, delusion and regret. Sandy Dennis brings it forward with Karen Black and Cher Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean Robert Altman, 1982

Despair, rage, delusion and regret. Sandy Dennis brings it forward with Karen Black and Cher
Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean
Robert Altman, 1982

At that time a supporting player, Kathy Bates, was more than eager to work with both Altman and Dennis. After Sandy Dennis died she commented:

“Sandy was the great peacemaker of the group when we were doing Come Back to the Five and Dime Jimmy Dean, Jimmy Dean. She was the solid one with her feet on the ground, which was interesting to me at the time, because she had such an ethereal quality as an actress. I also remember her wonderful sense of humor and her gorgeous hair. I think she was still seeing Eric Roberts at the time and we were all very jealous.”

Also at the time of Ms. Dennis’ death, Sean Penn’s full commentary offers a great deal:

“Sandy Dennis never met an unpredictable instinct she didn’t like. She was an actress and woman with beautiful idio-syncrasies and gentleness. There’s never been anyone like her. And me and movies miss her a lot. I directed the movie that turned out to be her last, The Indian Runner, which we shot in and around Omaha, Nebraska. I was honored to work with her and I’m pleased to know that she’s being honored by her own.”

Frail, tired and dying Sandy Dennis gave her all in what would be her final performance. The Indian Runner Sean Penn, 1991

Frail, tired and dying Sandy Dennis gave her all in what would be her final performance.
The Indian Runner
Sean Penn, 1991

But looking back when Sandy Dennis fully entered the world’s pop culture chart as Edward Albee’s “Honey” in Mike Nichol’s brilliant film adaptation — Dennis’ portrayal goes far deeper than what “we” were used to seeing in 1966 cinema. This is not a surface performance. It is naturalistic and brutally real. And yet, there is something deeply odd about it. The oddness is what Dennis’ is able to sneak in with awkward pauses, drunken lapses of self-restraint and intoxicated epiphanies.

Who's Afraid of Virginia Woolf?  Mike Nichols, 1966

Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966

There is a strange new sort of presence on the screen. Both Burton and Taylor are pitch-perfect in their perverse roles. When the door is opened to reveal their after-party guests appear to be exact opposite of who they are. George Segal is also brilliant and bland as the good-looking former jock now tied in what is most likely a loveless marriage. Sandy Dennis’ “Honey” appears to be a reserved, polite and friendly middle class wife. Before long this mouse takes on a level of dark sorrow and fear that is both tragic and scary. In a strange way, thanks to Dennis’ delivery, “Honey” surprisingly game participant in her hosts’ sick game.

"I peel labels!" George Segal, Sandy Dennis, Elizabeth Taylor Who's Afraid of Virginia Woolf?  Mike Nichols, 1966 Cinematography | Haskell Wexler

“I peel labels!”
George Segal, Sandy Dennis, Elizabeth Taylor
Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966
Cinematography | Haskell Wexler

As she confusingly takes her place in this twisted domestic game, “Honey” reveals something that only seems like a memory in the faces and actions of the other three characters: she is human and she is breaking under the weight of her life and this demented game.

There is something almost inexplicably raw and powerful in Sandy Dennis’ fragmented and almost stuttering method of speaking. Her lines come out like twitches and spastic after thoughts. While the other actors deliver with venom, gusto, pain and grief — Sandy Dennis subverts Albee’s words to the introspection of human psychology.

While the other actors seem to be absorbing the characters into their very pores, Dennis seems to be doing the opposite. She is absorbing into the pores of her fictional character. A sort of distorted version of self into fiction. Or at least this is how it feels. Dennis took a supporting role and amped it into the heretofore unbreakable personas of two of the biggest movie stars of all time. A supporting performance is seldom this transformative. 

Never mix. Never worry. Sandy Dennis Who's Afraid of Virginia Woolf?  Mike Nichols, 1966 Cinematography | Haskell Wexler

Never mix. Never worry.
Sandy Dennis
Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966
Cinematography | Haskell Wexler

No one would ever dare argue that there was any other choice to receive that Oscar but Sandy Dennis. No one had ever seen a woman do this. Marlon Brando had done it, but here Sandy Dennis is free of censorship. It would be a couple of more years before Marlon Brando would turn it all upside down in Last Tango in Paris.

With an Oscar under her arm, Sandy Dennis was primed for movie stardom. Or was she?

Warner Brothers recognized the talent and everyone was aware of the acclaim she had achieved on Broadway in Any Wednesday, but they simply could not imagine “Honey” managing to play the “kept girl” of that play. I mean, aside from Streisand’s turn in Funny Girl, this was the most talked about stage performance of the day. No. Jane Fonda would be cast in the film version. At the time more than a few actors were upset.

Warner Brothers' consolation prize to Sandy Dennis for not casting her in the film of "Any Wednesday."  Sandy Dennis and Anthony Newley in Sweet November Robert Ellis Miller, 1968

Warner Brothers’ consolation prize to Sandy Dennis for not casting her in the film of “Any Wednesday.”
Sandy Dennis and Anthony Newley in
Sweet November
Robert Ellis Miller, 1968

However Warners had a plan. They loved the play, Sweet November, but didn’t feel that Barbara Harris had “movie star potential” so the same film director, Robert Ellis Miller, who would direct Fonda in Dennis’ original role would also direct Denis in Harris’ role.

Both casting decisions were ill-advised.

Jane Fonda gave it her best, but she wasn't yet able to achieve what the part required.  Any Wednesday Robert Ellis Miller, 1966 Cinematography | Harold Lipstein

Jane Fonda gave it her best, but she wasn’t yet able to achieve what the part required.
Any Wednesday
Robert Ellis Miller, 1966
Cinematography | Harold Lipstein

Jane Fonda had not yet fully gained access to her voice. And the director was in way over his head trying to “tame” Dennis’ style of acting to blend in with Anthony Newley’s “hammy” approach. Any Wednesday is only worth watching for the fashions. But despite all of the flaws, Sweet November, does offer a good deal of uneven entertainment. And while it all gets far too corny to believe, Sand Dennis does manage to retain some of the plays bittersweet charm. In the end the film almost works.

She would also secure the lead role in Robert Mulligan’s acclaimed 1967 film, Up The Down Staircase. Her performance is solid here as the teacher who wants to effect change for her students but doesn’t know how. This was a bit of ideal casting.

"When I finally get the chance, the first few precious minutes to talk to them about something I want them to understand, and I find that I am some kind of enemy. The butt of some enormous joke." Sandy Dennis Up The Down Staircase Robert Mulligan, 1967 Cinematography | Joseph F. Coffey

“When I finally get the chance, the first few precious minutes to talk to them about something I want them to understand, and I find that I am some kind of enemy. The butt of some enormous joke.”
Sandy Dennis
Up The Down Staircase
Robert Mulligan, 1967
Cinematography | Joseph F. Coffey

This success was met with controversial failure when Mark Rydell cast her opposite both Anne Heywood and Keir Dullea in a modern take on DH Lawrence’s The Fox. A soft focus haze of timid eroticism with Anne Heywood in full-on glam, Keir Dullea aiming for full-on handsome male lead — Sandy Dennis’ realistic spin as Heywood’s long time lesbian lover is far too-grounded to make sense as Heywood and Dullea seem to be dancing on air and Dennis walks about suspecting both.

"Maybe you need a man around the place." D.H. Lawrence comes to the screen... The Fox Sandy Dennis, Anne Heywood and Keir Dullea Mark Rydell, 1967

“Maybe you need a man around the place.”
D.H. Lawrence comes to the screen…
The Fox
Sandy Dennis, Anne Heywood and Keir Dullea
Mark Rydell, 1967

It does not work. Only Dennis is credible here, but mismatched to both of the other more Hollywood-aligned actors.

It was shortly after the mistake of Sweet November that Sandy Dennis would once again receive a great film role. This time it was an Independent Canadian film by Robert Altman. Director and actor were equally interested in each other and Altman seemed to have an interesting short-hand with Dennis. His way of communicating worked perfectly in reigning in Sandy Dennis’ often eccentric take on her characters.

Neurosis morphs into sociopathic horror with Sandy Dennis as Miss. Frances Austen in That Cold Day in the Park Robert Altman, 1969

Neurosis morphs into sociopathic horror with Sandy Dennis as Miss. Frances Austen in
That Cold Day in the Park
Robert Altman, 1969

In the case of Altman’s That Cold Day in the Park, she didn’t need to bring any more eccentricity as the role of Miss. Frances Austen could easily be blown off the charts and into camp. This is not what Altman was after and it was certainly never be the intention of Sandy Dennis. However her’s was an often untethered sort of talent. Altman managed to assist her in containing it.

Sandy Dennis plays her character like only Sandy Dennis can, but with an elite and elegant level of restraint. She is a wealthy but lonely virgin spinster. She lives a seemingly mundane life among older people. It is never clearly articulated, but thanks to Dennis’ performance we receive several clues that something is wrong with “Miss. Frances Austen.” Actually, we are almost certain something is very much wrong.

Poor Miss. Frances Austen. She tries not to look, but she seems to live in a house of mirrors. And they are no longer reflecting "reality" That Cold Day in the Park Sandy Dennis / Michael Burns Robert Altman, 1969 Cinematography | László Kovács

Poor Miss. Frances Austen. She tries not to look, but she seems to live in a house of mirrors. And they are no longer reflecting “reality”
That Cold Day in the Park
Sandy Dennis / Michael Burns
Robert Altman, 1969
Cinematography | László Kovács

When she notices an apparently homeless, mute and handsome man sitting alone on a park bench in the park, Miss. Frances Austen breaks convention and insists the “helpless” boy come to her swank home to warm up and have some food. She sends her cook and butler away. Why does she even have a cook and a butler in such a small but nice condo? It is never clear.

This film was mis-judged by film critics at the time of its release. It is an appropriate bookend to Altman’s interest in the psycho-sexual thriller. A few laters, Altman would pursue this genre again in Images — a film which received more acclaim than I think it deserved. Here, in TCDITP Altman more precisely and effortlessly slips into a woman’s damaged psyche.

Much of the credit is deserved to Sandy Dennis. The film is short and fast-paced. Yet it is filled with fairly uncomfortable and realistic scenes between Dennis and Michael Burns as the handsome young man. As Miss. Frances Austen begins to open-up to the mute mostly nude young man who is unable to speak either with/to her — things start to take an oddly warped vibe. Clearly, Miss. Frances Austen (and her name bears repeating) is a virgin and dealing with a whole lot more than sexual repression.

“I’m not going to get under the covers or anything. I’ll just lay on top. I have to tell you something. If you feel that you want to make love to me, it’s all right. I want you to make love to me. Please.” Sandy Dennis on the verge of something… That Cold Day in the Park Robert Altman, 1969 Cinematography | László Kovács

“I’m not going to get under the covers or anything. I’ll just lay on top. I have to tell you something. If you feel that you want to make love to me, it’s all right. I want you to make love to me. Please.”
Sandy Dennis on the verge of something…
That Cold Day in the Park
Robert Altman, 1969
Cinematography | László Kovács

The “twist” does not come as a “surprise” or even a device in a very smart move by Robert Altman. We know what is coming. This handsome mute boy is “playing” Miss. Frances Austen. He is using her for his own twisted fun and grift. The actually unexpected “twist” comes shortly after the “expected” one.

Just because it says “Exit” doesn’t mean it is a way out. Sandy Dennis That Cold Day in the Park Robert Atman, 1969 Cinematography | László Kovács

Just because it says “Exit” doesn’t mean it is a way out.
Sandy Dennis
That Cold Day in the Park
Robert Atman, 1969
Cinematography | László Kovács

After this twist is delivered, the viewer is likely to chuckle and feel reasonably entertained by this strange little movie. The thing is — Robert Altman and Sandy Dennis had just pulled-off a great cinematic trick. The final turn of the movie isn’t going to leave your mind. What seems comical gradually takes on the sinister and disturbing. There are  no jokes, camp or “bad” moments. Altman’s That Cold Day in the Park is near perfect and horrifying.

Sadly, this film was probably a little too “out there” at the time it was released. Appreciation for this film has really only taken hold in the last decade. Much credit should be given to Bruce LaBruce and his very Independent and very Queer-Core re-working of Altman’s film in his 1991 experimental and controversial cult film,  No Skin Off My Ass. This movie helped bring Altman’s forgotten film back into discussion. A discussion and re-evaluation which finally led to Olive Films doing a 2K restoration for blu-ray release. That Cold Day in the Park continues to claim its rightful place in cinematic history.

"Oh My Goooood!" Sandy Dennis & Jack Lemmon  The Out of Towners Arthur Hiller, 1970

“Oh My Goooood!”
Sandy Dennis & Jack Lemmon
The Out of Towners
Arthur Hiller, 1970

Oddly enough, Sandy Dennis would soon be cast in her most mainstream success opposite Jack Lemmon in Arthur Hiller’s 1970 adaptation of Neil Simon’s The Out of Towners. Filmed on location in a decaying 1969 NYC, Hiller’s film is as silly as it is insightful as a glimpse into what appears to be a truly dying city. Lemmon and Dennis play off of each other brilliantly. The film is blessed with some genuinely comic moments. Sandy Dennis’ “read” of “Oh my God” is hysterically funny. The film was a box office hit.

When they take you for an out-of-towner, they really take you. Sandy Dennis & Jack Lemmon The Out of Towners Arthur Hiller, 1970

When they take you for an out-of-towner, they really take you.
Sandy Dennis & Jack Lemmon
The Out of Towners
Arthur Hiller, 1970

While the money made was probably a great thing, Sandy Dennis never seemed to be particularly comfortable with success. She quickly retreated to the theatre and teaching at The Actor’s Studio. She would continue to take roles in movies but these were more often more “off the grid” type of films. An exception was 1977’s smart satire from Michael Lindsay-Hogg’s Nasty Habits. 

This clever film featured an incredible cast with Glenda Jackson (think Richard Nixon as a Mother Superior) in the lead. The supporting players as corrupt nuns (all the equal to someone involved in the Watergate Scandal) included Sandy Dennis (in a truly goofy turn as the nun equal to Nixon’s John Dean), Melina Mercouri, Geraldine Page, Anne Jackson, the great Anne Meara, Jerry Stiller, Eli Wallach and Rip Torn. Sadly the film failed to find an audience. There is hope that someone will resurrect this film soon. It is almost impossible to even find stills from this film.

A seemingly lost classic... The Watergate Scandal for Nuns. Geraldine Page, Sandy Dennis, Glenda Jackson and   Melina Mercouri Nasty Habits Michael Lindsay-Hogg, 1977

A seemingly lost classic…
The Watergate Scandal for Nuns.
Geraldine Page, Sandy Dennis, Glenda Jackson and Melina Mercouri
Nasty Habits
Michael Lindsay-Hogg, 1977

When Robert Altman called again, Sandy Dennis agreed to come aboard for his return to the Broadway Stage. This would eventually be filmed into a strange but potent film, 1982’s Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean. The film failed to register at the time of it’s release, but it appreciation for this film has grown into a solid following.

Karen Black and Cher look through the mirror of time at Sandy Dennis' "Mona"  Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean Robert Altman, 1982 Cinematography | Pierre Mignot

Karen Black and Cher look through the mirror of time at Sandy Dennis’ “Mona”
Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean
Robert Altman, 1982
Cinematography | Pierre Mignot

After this it seems the roles she chose were largely based on requests from fellow-artists she respected (Alan Alda, Woody Allen, Larry Cohen, Bob Balaban and Sean Penn) or ones that provided a quick and easy paycheck (976-EVIL, the 80’s reboot of  Alfred Hitchcock Presents and an odd appearance on The Love Boat)

Her supporting role as Millie Dew in Bob Balaban’s odd and very demented 1989 satire, Parents, is a stand-out. Sicker than sick, often disturbing but always darkly comic — Sandy Dennis is clearly having some fun and adds a great deal to an already impressive cast. Miss. Dew stands out. For more than a few reasons. If you’ve seen it, you will know to what I refer. This is a brilliant little movie that deserves to be revisited. 

"This will be delicious!" Randy Quaid and Mary Beth Hurt have very different plans for their son's guidance counselor, Miss Millie Dew played to the hilt by Sandy Dennis. Parents Bob Balaban, 1989 Cinematography | Ernest Day / Robin Vidgeon

“This will be delicious!”
Randy Quaid and Mary Beth Hurt have very different plans for their son’s guidance counselor, Miss Millie Dew played to the hilt by Sandy Dennis.
Parents
Bob Balaban, 1989
Cinematography | Ernest Day / Robin Vidgeon

Her final performance was for Sean Penn and his directorial debut, The Indian Runner. Even though she was unable to complete the film, she made a memorable impression. It is a sigh of relief to know that she exited the stage with such a great role in a great film.

Sandy Dennis was a fairly private person. Perhaps more so, she simply did not enjoy the company of people. She had been in a decade long term relationship with Gerry Mulligan, an essential American Jazz artist. And she had a four year relationship with actor, Eric Roberts. While this was clearly far more than just a romance, Dennis opted to end it. There was no scandal, they remained friends. She was never bothered with rumors of her bi-sexuality. Eric Roberts had publicly discussed that she had shared her sexual experiences with other women to him and close friends. Even though she wrote her memoirs, there is much about her that is largely unknowable.

Aside from her work and esteemed professional reputation, the strongest testament of who Sandy Dennis was remains in the clearly beloved memories of her close friends, students and colleagues. Perhaps her two closest friends were Brenda Vaccaro and Jessica Walter. Equally respected and well-liked, it speaks volumes that these two women were her dearest friends.

She had been battling cancer for sometime. She passed away in her home surrounded by her life’s true joy: her cats. She was only 54 years old.

I really like something that fellow actor and a friend, Ian McKellen, wrote in 2004:

“Had she lived, by now she would have been a veteran actor of formidable powers or perhaps, eschewing work, she would simply be an animal-lover at home, smiling indulgently at the craziness of the world around her.”

Sandy Dennis with one of her beloved cats. Sandy Dennis 1937 - 1992 RIP Photograph | © Michael Tighe, 1991

Sandy Dennis with one of her beloved cats.
Sandy Dennis
1937 – 1992
RIP
Photograph | © Michael Tighe, 1991

A foundation was started in 2012 in her hometown of Hastings, Nebraska. There is a great deal of information to be found here about the legendary actress. The goal of the foundation has never been clear to me, but contact information can be found there should you want to pursue.

The Sandy Dennis Foundation

Matty Stanfield, 9.18.2015

As the bass, drums and orchestra kick in and we can hear Cher start to sing:

Well I’m hell on wheels, I’m a roller mama. I can slide down places that you never knew. Try me on for size at the roll-a-rama.
If you tie my laces then I’ll follow you. Follow you! Follow you!!!
See something I like, gonna go for it
See something I want, I’m gonna go after it
See something I like, gonna go for it
See something I want… Let’s roll! Hell on wheels!! Let’s roll! Come on roll with me!
I roll at a quarter till three yeah
Let’s rock! Hell on wheels!  Let’s roll!
Come on rock with me! I’ll make you feel so free! Yeah! Look out!!! “(voice echo effect)

Thus begins the infamous 1979 Roller Disco Movie which promises us “love on wheels!”

Cher croons a warning: "Look Out!"  Linda Blair & Jim Bray Roller Boogie Mark Lester, 1979 Cinematography | Dean Cundey

Cher croons a warning: “Look Out!”
Linda Blair & Jim Bray
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

The 1970’s were a strange time. Gone were the revolutionary / political activism of the 1960’s. As our nation crossed over the years of 1969 to 1971, the idea of peace and love were starting to fade. By the time American Culture slipped in the haze of the 1970’s, people were more concerned with giving The World a Coke than offering peace and love. Chairs began to fully form into vinyl sacks filled with “bean-like” substances. Colors that should never have gone together were thought to match. Suspenders were no longer a utility, they were a multi-colored/glittered fashion statement. Men in Southern California and NYC began “perming” their hair. Blow-dyers were not something limited to the hairdresser, by 1974 this item was anticipated to be in every woman’s home. By 1978 every human being was expected to own a blow-dryer. Wings were no longer just for angels — they were for your hair. Your very dry/brittle hair. Drug use for mind-expansion quickly became a tool for fun and escape. Sexuality was no longer an aspect of “free love.” Sexuality was almost required of anyone over 16 as a political state of independence.

"Feels sooooo good. Sooooo good." Donna Summer Giorgio Moroder I Feel Love, 1977

“Feels sooooo good. Sooooo good.”
Donna Summer
Giorgio Moroder
I Feel Love, 1977

The concept of The Sexual Revolution took a sharp left turn toward The Hedonistic. Love and sex became two very different things. The people who came of age in the mid-1970’s had rocks to love. This would be the era when gay men finally took a stand. Many of these men were especially trapped within the confusion of 70’s sexuality. Sex was not just for enjoyment is was an assertion of a human right — And, it was for all the world to see. Despite all the tackiness and odd ideas — Bataka Bats, anyone? Earth Shoes? Male half-shirts? Mini-shorts with tube socksBell-Bottom jeans? Special chain guards for bell-bottom pant wearing hipsters? The Brady Bunch? Battle of the Network Stars? Jeff & Pink Lady? The Bay City Rollers? Herpes?

Battle of the Network Stars

Battle of the Network Stars

Sadly it would take us till about 1982 to fully realize how lame it all was. Not that we aren’t “nostalgic” for some of it, but I’m not sure any of us would be interested in having an elementary school Guidance Counselor make us hit her puppet with the Bataka Bat she kept in the corner of her tiny space. And while it is fun to watch Jeff & Pink Lady or Battle of the Network Stars on YouTube for a couple of minutes, would any of us really want to spend an entire weekend binging on them?

If there were ever a sign that the 1970’s were a profoundly horrible era for all of us it was the advent of a Euro-idea that transformed into what we call “Disco.” In fact, everything started to go firmly downhill after Disco thumped its way into our hearts and collective culture. As the fun offered by the multi-colored flashing floors of the discotheque started to become a bit tired, the situation took a very fast slip into an odd sensation that would sweep not only the US but Canada as well!

At the time it must have made sense. But it would appear that with a simple blink of the eye, Roller Rinks which had been content for us all to skate along with Billy Swan crooning “I Can Help” or Grand Funk Railroad’s reworking of “The Locomotion” suddenly magically became Disco Roller-A-Ramas. I remember being a child at a friend’s innocent Roller Rink Birthday Party when “Disco Duck” and “I Feel Love” began to throb throughout the huge space. The lights dimmed and glitter balls began to twirl. Multi-colors spraying out in all directions. Suddenly, KISS was no longer rockin’ our world. No. It was that quick. Rick Dees, Donna Summer  and The Bee Gees has replaced Grand Funk, The Bay City Rollers, Peter Frampton, Heart, Fleetwood Mac and Dear Sweet God — Billy Swan!!! It only took our little heads a couple of minutes to find our rhythm regain appropriate sway. Our wheels took to this new level of pulse once they began to roll across the throbbing wooden floor.

Roller Disco Dancin' Baby!

Roller Disco Dancin’ Baby!

Soon we were rollin’ and disco’ing our way around the circular run that was our Roller Rink. We were not simply roller skating. No way, Baby. We were Disco Roll-A-Rama Skating. We were 7 and 8 years old hip disco rollers! And, for about 3 weeks it seemed cool.

Now. Before we engage in any discussion of Disco and the sad tilt down the ramp of Disco Roller Skating which would call Hollywood to take up any slack that might be left in our degenerate swag — we must discuss the American Anomaly we all call Cher.

Cher is more than ready to roll... Photograph | Harry Langdon, 1979

Cher is more than ready to roll…
Photograph | Harry Langdon, 1979

Yes, you know who she is. And you are lying if you do not own some music or a movie featuring her unique skill and talent.

Hey! You! Yeah, you! Super Cool Rock Dudes! No! Even you can’t escape the bitter truth!

Think about it. That was Cher on the cover of the now iconic Rod Stewart LP cover. And, take a deep breath, Cher rocked it down hard with Gregg Allman and his brothers. And if you’ve still not fallen prey to the truth: Cher was also gettin’ down with Gene Simons of KISS. If for some reason you refuse to admit any claim to Cher, check with the person nearest to you.

Gene Simmons and Cher ...eating a wiener.  c. 1979 Photographer | Unknown to me

Gene Simmons and Cher
…eating a wiener.
c. 1979
Photographer | Unknown to me

One of the two you have listened, watched and paid for Cher and her follies. They even gave her an Oscar!

One could debate if Cher really understood how “jacked” into the fleeting “cool” moments of our collective culture at just the right times. Back in the day, Cher’s motives do not seem as calculated as her fellow celebrities and artists. But none can deny that some sort of Divine Benevolence has always guided Cher to the epicenter of cool.

Sonny & Cher c. 1966 Photograph | Michael Ochs

Sonny & Cher
c. 1966
Photograph | Michael Ochs

When she cut her own “bangs” and put on an ugly-ill-fitting sort of vest and sang “The Beat Goes On” with her Svengali-like husband, how could she have known it was jet her to a level of fame beyond understanding? Even later in the late 1960’s and very early 70’s as the Sonny & Cher records screeched to a stop, she would follow Sonny to Las Vegas. They made a great deal of money in the “unhip” Vegas. Their style and Cher’s sarcasm turned Vegas toward a new kind of cool. Not far behind them would be the likes of Tony Orlando & Dawn, Diana Ross and Streisand. True, they would make more money — but it is doubtful that they would have made the trek to that Frank Sinatra/Dean Martin saturated world first. Does anyone really think that an early 70’s Streisand went to Vegas because Liberace asked her? No. She and the others flocked there because Cher went there first. It was around this time that Cher would follow Sonny to the land of TV. They were a hit for a quick year or two. She stumbled into Warren Beatty who she decided to sleep with because she had nothing better to do. As Sonny & Cher began to fade and tabloids reported of a tryst with Beatty and her divorce.  Cher happened to meet a

Does Cher's 1974 album cover remind you of Stevie Nick's Belladonna Album of 1981? ...Cher Factor!  Cher  Dark Lady, 1974 Fashion | Calvin Klein Photograph | Richard Avedon

Does Cher’s 1974 album cover remind you of Stevie Nick’s Belladonna Album of 1981? …Cher Factor!
Cher
Dark Lady, 1974
Fashion | Calvin Klein
Photograph | Richard Avedon

then major Power-Broker who had yet to achieve household fame, David Geffen. Sure Beatty just wanted to score and Geffen was about as Gay as Gay gets, but Cher didn’t realize either of these things. No, she simply liked Geffen and he found true fame with her at his side. She also found her way into Studio 54.  At the time, many hipsters of the day doubted Cher had what it took to party among the NYC Elites of Andy Warhol, Mick Jagger and Sylvester. But come on. We are talking about Cher. Her entry into the doors of Studio 54 was at the exact moment it became mainstream noticed. And while we cannot directly link Cher to the drug addictions of Liza Minnelli, Mikhail Baryshnikov and Gary Valentine, but many suspect that The Cher Factor is at least partially to blame.

Cher liked Disco music. She deemed it fun and cool. Yet, she would not run to the recording studio to record it. No. She was too busy with Gregg Allman, his brothers, Gene Simons, KISS and toying with idea of staring in some Anti-Vietnam movie called Coming Home and even a remake of A Star Is Born. These would have been logical, sound and smart marketable choices. But Cher was busy. No, not with a TV Show or in a recording studio. She was busy figuring out Aerobics.  This was long before Barbra Streisand, Goldie Hawn and Jane Fonda even put a toe in the gym. Yes, true fact. 

And while Ms. Fonda marketed Aerobics & Fitness to the masses and made millions. It was because her two pals, Barbra Streisand and Goldie Hawn were discussing politics over odd bodily contortions. But Streisand and Hawn only showed up to the Aerobic Studio because Cher was bending her body in positions that remain a thing of un-photographed legend. Tragically, these career opportunities were just for fun for Cher. She didn’t make any real money from these things.

Putting up the Cher Take Me Home billboard.  LA, 1979

Putting up the Cher Take Me Home billboard.
LA, 1979

When Cher finally turned away from the sound of Rock and California-Country-Rock toward the Disco she had been playing within, she was a bit late in recording it as her sound. It would be in the mid-point of 1979 before Cher would find her way into Bob Esty’s Disco Studio. She scored a hit single with Take Me Home plus Barry Levine captured her in Bob Mackie designed “Cher Disco Armor!” on an album cover. That album didn’t sell badly, but it didn’t sell great. But her one single sold.

Cher Bob Mackie Disco Armor! Take Me Home, 1979 Photograph | Barry Levine

Cher
Bob Mackie Disco Armor!
Take Me Home, 1979
Photograph | Barry Levine

Cher was the Secret Pioneer, but she was no marketing/selling match compared to Barbra Streisand’s The Main Event single or far less compared to the infamous and iconic Power-Diva-Duel that would become the Streisand/Summers’ massive hit, No More Tears (Enough is Enough.)  We have no real way of knowing if Cher was bothered. I mean Donna Summer was sitting on an old-fashioned Radio and Barbra was soaked Wet and looking more than a little bit confused. Just as audiences had rushed to see Jane Fonda in Coming Home and Streisand in A Star Is Born, Dolly Parton and Linda Ronstadt secured the concept of country-pop-rock and translated them into big hits. And of course, it would be Jane Fonda who would whisk past Cher as well as Streisand/Hawn to Aerobic Glory.

I must apologize. I have just taken us into the 1980’s.  OK. Let’s kick it back a couple of years. Cher has already decided she should endeavor to make a Disco record, but it would have to wait a few months.

Why?

Well, Cher was far too busy having fun. True, her second marriage wrecked in under several weeks, a new baby arrived, an eager young daughter and a frustrated Gene Simons simply refused to join her. But she left one issue and three individuals with the Nanny(s) and took off to Brooklyn.

Why would Cher skip over to Brooklyn and out Studio 54? And you must remember:  just Studio 54 was really only heating up with the Ride of The White Horse. And things between Debbie Harry and Truman Capote/Andy Warhol were forming into Art as Jessica Lange wedged her way between Mikhail Baryshnikov’s coke spoon and an increasingly frantic yet dazzling Liza were catching the public’s interest.

Why bother with Studio 54? Cher Brooklyn Disco Roll-A-Rama, c. 1976 Photographer | Unknown to me

Why bother with Studio 54?
Cher
Brooklyn Disco Roll-A-Rama, c. 1976
Photographer | Unknown to me

You see, in early 1977, one had to go to Brooklyn to Disco Roller Skate in true style. Cher rolled out a whole new type of fashion into her excursion into The World of The Roll-A-Rama Disco! Skates had to match the outfits and the outfits had to be sexy, fun and provocative! Bob Mackie was her real friend and was more than happy to assist. She owned that rink in all her see-through glitter costumed glory!

Cher Boobies by Cher Dress by Bob Mackie Photograph | Harry Langdon

Cher
Boobies by Cher
Dress by Bob Mackie
Photograph | Harry Langdon

The only reason her agent and Bob Esty was able to drag Cher out of that rink was because she had heard —  in what one can safely assume was presented in the form of a plea to her — Cher finally admitted that she was Disco Roller Skating Fanatic. Bob Esty worked like a speed-freak with Michele Aller to compose a song called, Hell on Wheels. It only took the mention that they written what they considered a true Disco Roller Skating Anthem to get Cher and her family back to LA to record that song. She also ended up recording enough songs to fill two albums which were largely fueled by the Disco Sound.

Cher is Disco-Rollin' with un-named friend. The Disco Boobies and the Disco Skating that would inspire a Hollywood Marathon Sprint!  c. 1977 Photographer | Unknown to me

Cher is Disco-Rollin’ with un-named friend. The Disco Boobies and the Disco Skating that would inspire a Hollywood Marathon Sprint!
c. 1977
Photographer | Unknown to me

One problem: This was now 1979 and the Anti-Disco Movement was building momentum. Cher barely had time to squeak out one hit. This now leads us away from Cher directly to an atrocity that her Factor helped to fuel in The Land of Hollywood. However, in all fairness to Cher — she probably knew nothing of the impact of her actions and Disco Anthem.

Hollywood had no problem with grabbing onto Disco Culture, but the subculture of Disco Roller Skating would allude their radar. The executives should have been paying better attention to The Cher Factor. But to be fair, none of us did. The Cher Factor is usually so far-ahead of the Cultural Curve that it is only obvious with the gift of hindsight.

Irwin Yablans had been an instinctive film producer. He was inspired by Cher’s sheer Disco Roller Skating Boobies images and got wind that she was about to record a Disco album! Irwin Yablans, in some ways is like Cher. He didn’t really need to put on the skates. The bump, grind and jiggle of Cher’s meshed boobs was all he needed for cinematic inspiration.

The single that failed to chart until Roller Boogie which it would help to inspire.  The Cher Factor Cher Hell On Wheels, 1979 from the Prisoner album Photograph | Harry Langdon

The single that failed to chart until Roller Boogie which it would help to inspire.
The Cher Factor
Cher
Hell On Wheels, 1979
from the Prisoner album
Photograph | Harry Langdon

 

Remember, the world of film would not have John Carpenter’s Halloween had Yablans not suggested the idea of a babysitter serial killer slasher movie to the young director. So when Yablans suggested the idea of a Disco Roller Disco movie to screenwriter, Barry Schneider, he quickly wrote what became Roller Boogie. There seems to have been a brief period when the Yablans’ project was stalled. Apparently, Schneider wanted the male lead to be a struggling song-writer and the lead actress to be the solid Disco-Rollin’ Mama. For whatever reason, this idea didn’t suit Irwin.

He was also not particularly easy in appealing to “the R-Rated Adult Audience” demographic. Kids. Irwin wanted to pull in and do it for the kids. And to do that the leading man would need to be an instant winner and cool.

When they were ready to, um, roll, Linda Blair was their first and only choice for the Leading lady.

Linda Blair Hollywood, c. 1977 Photographer | Unknown to me

Linda Blair
Hollywood, c. 1977
Photographer | Unknown to me

Linda Blair had instant name recognition, she was hot but not too hot and she could be had on the “cheap.” This had nothing to do with her talent or her fame. This was because she had recently laid claim to negative  “infamy.”  Yep. Poor Linda had strayed from the world of Demons and Rick Springfield and had found her way into the world of real rock, via Lynyrd Skynyrd and cocaine. I’m not quite clear on how that band came into play, but it did. There are a number of photographs from 1975 to 1977 that feature Linda with Ronnie Van Zant. Anyway, poor Linda had gotten into some trouble. But she was no Lindsey Lohan! She got it together pretty darn quick.

I'm not sure any of us want to understand how Linda became close to this dude and his fellow-brilliant musicians. But it was probably not a very good idea... Linda Blair and Ronnie Van Zant c. 1975 Photographer | Unknown to me

I’m not sure any of us want to understand how Linda became close to this dude and his fellow-brilliant musicians. But it was probably not a very good idea…
Linda Blair and Ronnie Van Zant
c. 1975
Photographer | Unknown to me

For Irwin Yablans and his limited budget there was only one choice for his Leading Man. True he did initially agree to Linda Blair’s request that he cast her then boyfriend. But by the times the cameras were ready to roll, she had kicked him to the curb. So there was only one choice. On paper, it would make sense to cast Jim Bray in the leading male role because he was a big deal within the Roller Skating World an “artistic roller skating champion,” but in reality it was probably a poor choice. It still puzzles me why they didn’t pull Jimmy Van Patten from out of the supporting cast and into the lead. Jim Bray was able to skate, but he wasn’t particularly great-looking and was — well — kind of scrawny with no real charisma. Jimmy Van Patten is clearly dying to jump to the head of the class, he was well built, better looking and just cooler.

The other issue with Bray in the male lead is that he just seems “small” next to Linda Blair.

Let's Roll! Let's Rock! Roller Boogie Mark L. Lester Cinematography | Dean Cundey

Let’s Roll! Let’s Rock!
Roller Boogie
Mark L. Lester
Cinematography | Dean Cundey

It is here that I find it essential to contradict something to which people always refer: Linda Blair was not fat. She was not the slim, in-shape beauty she is today — but, seriously, Linda Blair was not fat. She was seriously hot. Even in The Age of Disco, most straight dudes would have gone for Linda over any 3 of the Charlie’s Angels.

Why? Because she was naturally hot and nothing seems “high-maintenance” about her. She is accessibly hot. However, when Mark L. Lester has stand her next to a 95lbs guy like Jim Bray — it looks “off.” This is why there are so many shots of both by themselves or shots together are carefully framed so that Bray’s skinny physique is not interacting with Blair in obvious ways.

A tender moment... Jim Bray / Linda Blair Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

A tender moment…
Jim Bray / Linda Blair
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

But then again, Jim Bray is one of the odd-fitting pieces that help to make the Cinematic-Taint we all love called Roller Boogie. Had the equally hot Jimmy Van Patten played opposite Linda Blair, Mark L. Lester and Yablans probably would not have felt it important to cut “the not quite R-rated sex” scene. This was not cut because it would have gained an R-rating — it was cut because I think we can all admit it would have been “uncomfortable” to think about Linda doing the deed with Jim Bray. Poor Jimmy Van Patten. It would be his younger brother, Vincent Van Patten, who would get his day in the sun with Linda Blair in the R-rated Hell Night. Wait. Maybe we should feel more sorry for Vincent.

Back to focus:

Production of Roller Boogie went fast. It had to. Just as they went into production — Columbia Studios was financing a bigger budgeted Roller Disco Movie staring Scott Baio, Marcia Brady, Ruth Buzzi, Playboy’s Dorothy Stratten, the screen debut of Patrick Swayze and the sought-after prize that was Flip Wilson. This movie was called Skatetown, U.S.A. As it turned out, this turned out not to be a problem.

Skatetown USA Cinematic Error Trust me, the poster is the only entertaining thing to be found in this movie.

Skatetown USA
Cinematic Error
Trust me, the poster is the only entertaining thing to be found in this movie.

Columbia and Rastar did beat Yablans to the screen by 2 months, but Skatetown, U.S.A. was DOA upon arrival to the cinemas. There was also a great deal of pressure to get the production filmed before Poor Linda had to be in front of a judge in Florida to face the music for her post-Exorcist II: The Hertic-Lynyrd Skynyrd-Cocaine Adventure of 1977. Production completed just in time for Linda to catch her plane and Jim Bray to visit Studio 54! Roller Boogie might have not arrived until December of 1979, 2 months after Skatetown, U.S.A., and more than several months after the Historic Disco Demolition Night — but Linda Blair and Jim Bray in Roller Boogie were a hit. Skatetown, U.S.A. was a major flop and only sounds good-bad fun. It is actually just very bad.

Still much disco work to be done through 1981. Disco had a slower death than many expected. Andy Gibb After Dark Magazine

Still much disco work to be done through 1981. Disco had a slower death than many expected.
Andy Gibb
After Dark Magazine

And while Disco Demolition Night did have some significant impact, Disco Culture was not quite done yet. Disco would not fully die until early 1981. Just in time for the ULTIMATE big-budget Disco Roller Skating Movie, Xanadu, to arrive. Xanadu’s soundtrack sold well, but the movie tanked.

Here is my challenge: The Notorious & Much-Beloved Roller Boogie was recently restored and re-issued to Blu-Ray by Olive Films. I was asked to review it. But you know I think I can sum up Roller Boogie fairly fast. Almost as fast as The Disco Roll-A-Rama Fad.

Linda Blair cruising with her best friend, Big Tits. Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

Linda Blair cruising with her best friend, Big Tits.
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

Linda Blair is a classically trained flutist who doesn’t really appear to know how to play the flute. Her mastery of the flute reminds one of another oblong thing. Linda Blair gently massages her flute while teasingly gently blowing upon it’s head. Get your mind out of the gutter! The head of the flute! Linda’s flute-ing appears to be “sync’d” in. Anyway, her mom is the Step Mom from My Three Sons. And she is stressed-out! Linda’s Daddy is really rich. He gives Linda everything she wants except her freedom to really get her roll on! She has two friends: One is female. I can never recall her friend’s name. I call her Big Tits. Her other friend is a an early version of geek+Yuppy.

"Hmmm. Should I let it slip a little further down?" giggles. "NO!" Linda Blair in her closet Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

“Hmmm. Should I let it slip a little further down?” giggles. “NO!”
Linda Blair in her closet
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

Linda contemplates the weary challenges of being rich, forced manipulation of a flute and best friend, Big Tits, who claims to be her age but is probably lying. Linda is pretty sure Big Tits is pushing 30. So it is time to change clothes and do what she needs to do!

"Outfit. Check. Skates. Check." Linda Blair Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

“Outfit. Check. Skates. Check.”
Linda Blair
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

"OK. Hot enough!"  Linda Blair Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

“OK. Hot enough!”
Linda Blair
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

"I'm outta here!" Linda Blair Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

“I’m outta here!”
Linda Blair
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

Linda gets fed up and drives her sleek and way-cool car that has a telephone in it! She goes where all wealthy Beverly Hills girls go to rebel and be cool – Venice Beach!

The flute can wait! I gotta learn how to disco roller skate! Linda Blair on what I believe is an early form of a cell phone attached to her fancy car. Roller Boogie Mark L. Lester, 1976 Cinematography | Dean Cundey

The flute can wait! I gotta learn how to disco roller skate!
Linda Blair on what I believe is an early form of a cell phone attached to her fancy car.
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

Here she happens to notice a Totally Hot Stud, Jim Bray!,  who we have already had the benefit of seeing — but as he rolls up, Linda is unable to escape his boy-ish charm. He lives in a seedy hotel! (only we the viewers seem to be aware that Jim Bray is most likely a rent boy who skates to peddle his ass, but this may not really be true) — Anyway, Linda works her permed-giggly charm on Jim. She had him at her  brief confusion determining if he is her leading man and not some gay hooker who rolled up on the set.

Whoa! Wait. Is that the leading man? Oh, yes. Well he is ONE HOT HUNK OF A MAN!!! ...in mini-shorts, tube socks, skating around Venice Beach. No worries.  Jim Bray doing his best Roller Boogie Marl L. Lester, 1979 Cinematography | Dean Cundey

Whoa! Wait. Is that the leading man? Oh, yes. Well he is ONE HOT HUNK OF A MAN!!! …in mini-shorts, tube socks, skating around Venice Beach. No worries.
Jim Bray doing his best
Roller Boogie
Marl L. Lester, 1979
Cinematography | Dean Cundey

One thing leads to another and Jim teaches Linda how to Disco Roller Skate. He really had to — she already had all of the wardrobe and the skates. She just needed the skill. In truth, I think Linda was just using the Disco Skate Lessons as a ploy. She wants him. She clearly knows how to dance. The real “training” seems to be in this frail hustler’s ability to “lead” and “lift” anything above 30lbs.

So far so good. Now Jim, turn and hoist Linda above your head!  Jim Bray / Linda Blair Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

So far so good. Now Jim, turn and hoist Linda above your head!
Jim Bray / Linda Blair
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

But he masters it. Linda’s friends and family do not accept her interest in pursing this Cher-like lifestyle. She has to go to Juilliard and sign with some classy classical music label to play the flute! Jim’s friends, who are all a way lot better-looking — especially the Van Patten boy, all like Linda and Big Tits!

Jim's pals!  Little Jimmy Van Patten in yellow. Are you sure he is not Linda's leading man? Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

Jim’s pals!
Little Jimmy Van Patten in yellow. Are you sure he is not Linda’s leading man?
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

But they worry that she is going to crush his heart. Also he’s not bringing in his share of the sex bread. He is spending way too much time skating around with Linda. And she’s not paying! Jammers is Jim’s Disco Roll-A-Rama of choice. Cue Audience: “Of course it is!”  But Jammers is about to go down due to some shady deal to build senior housing. Senior Citizen’s don’t need housing on Venice Beach! Not when the kids need Jammers! Comic mayhem ensues! It all comes to a head and a happy conclusion at the Big Jammer’s Roller Boogie Competition!

And, Hoist! The Winners! Linda Blair/ Jim Bray Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

And, Hoist! The Winners!
Linda Blair/ Jim Bray
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

Linda & Jim want to win! And all of Jim’s pals and Big Tits cheer them on. They win! And Jammers beats the evil attempt to take away their Disco Roller Fun!

In the end, Jim and Linda take a sunset walk. Yes. A walk. Not a disco roll. They love each other, but they need to take care of few personal issues first. Linda has to achieve Flute control and fame in NYC. And, Jim explains to her that he is going to take his Disco Roller Skating skill to the US Olympics!

Time to put our roller disco love on hold. Linda Blair / Jim Bray Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

Time to put our roller disco love on hold.
Linda Blair / Jim Bray
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

They kiss. Linda drives away. I searched the disc for that Easter Egg feature that would at last allow me to see Linda discuss all of this with Big Tits. I could not find it! But I am fairly sure I know how Barry Schneider wrote it.

Final Scene: Airport Gate

Linda leans on Big Tits.

Linda:  I’m going to miss you sooooo much, but I’m going to miss my Jim more!

BT: Just fly him out to NYC. No major.

Linda:  Oh, no! I couldn’t do that to him. He’s on his way to disco skate for the US Olympics!

BT:   Like, Oh my God! Linda? Disco Skating is not an Olympic Sport. I mean, like, it’s barely a “thing.” As if!

Linda:  Oh, no! I need to let him know! He took the Roller Boogie prize money to get to the Olympics!”

BT:  Look. Jim is a man-hooker. Ok? He took that Roller Boogie prize money to buy some new mini-shorts.

Linda: Oh, no! Don’t be so silly! You are such a goof, Big Tits!

BT:  Look, Kiddo — you just focus on mastering the flute and the real men will be crawling to you!

Linda:  K! Byyyyeeee!

The End

Jimmy Van Patten, Coke-Fueld-Disco Skate Fan & Big Tits give a hand for Linda & Jim! Well, Van Patten is more upset that he's not skating with Linda, but he's doing his best.

Jimmy Van Patten, Coke-Fueld-Disco Skate Fan & Big Tits give a hand for Linda & Jim! Well, Van Patten is more upset that he’s not skating with Linda, but he’s doing his best.

Cue formerly failed Cher disco single.

The way I see it, if you haven’t already seen the incredibly bad-good fun that is Roller Boogie. You need to. Go on line, but the Blu-Ray or the new DVD from Olive Films. It’s cheap! You will not regret it. I think one of the main reasons Roller Boogie remains so much fun to watch and re-watch is that it is the extreme opposite of movies like Saturday Night Fever and also far better than lame movies like Skatetown, U.S.A. There is nothing “realistic” about it.

Jim laces Linda up! Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

Jim laces Linda up!
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

It embraces only the fun and innocent side of things. There is plenty of room to project and talk back to the screen if you feel the need. The comedy and subplots are so very bad — they become fun. By the way, a sequel was planned, it was to be titled Acapulco Roller Boogie. Tragically, this film never came to be.

And there is The Cher Factor going down. The producers were able to use Hell On Wheels for the movie’s theme song. It was included on the mildly well selling soundtrack album.

The soundtrack for Roller Boogie featuring "a song by Cher"

The soundtrack for Roller Boogie featuring “a song by Cher”

However, Hell On Wheels was not recorded for the movie. This is mistake many make. This was a track off her second Disco-oriented album called Prisoner. It had been released as a single as shown far above in this post. But Roller Boogie gave the song a “re-visit” and it became a minor success. A very early Cher music video for Hell On Wheels started to gain some air-play. Even with a broken arm, Cher skillfully Disco Skated with the aid of holding onto moving cars! The vid-clip was not made for Roller Boggie. If you look close, you can still find it on YouTube. Wait. Now that I think about it. Cher’s disco vid-clip might ever very well inspired Olivia Newton-John to use video to promote her Physical album. Well, that’s The Cher Factor.

Linda Blair requests some new laces for her skates. Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

Linda Blair requests some new laces for her skates.
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

It is not clear if Cher is even aware of this movie. No one knows and no one is going to ask her. Don’t go there. Just a friendly warning.

But were it not for Roller Boogie, Cher’s Hell On Wheels would have been lost forever. …sort of like that “punk” rock album she made which was actually more like pop attempting to be New Wave.  Black Rose, anyone? It doesn’t matter. Something made her curious about this thing that used to be called Broadway. She sort of fell into a role for a Robert Altman play that became a movie. Then she “hung” out with Mike Nichols and Meryl Streep and on her way to Vegas, she took a brief stop and made a movie called Silkwood. She would have to put off her plans for Vegas for a while. She ended up making a lot of movies that made a lot of money. She had sex with Tom Cruise but rolled her eyes at the idea of Scientology and hooked-up with this cool dude who made bagels in NYC.  She won an Oscar on her way to a party Madonna was giving. She recorded some really big-selling albums in the late 80’s. She called David Letterman on his shit. Then she got bored.

The LAPD is always trying to crash the fun... Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

The LAPD is always trying to crash the fun…
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

Flights to Vegas were booked. So she went back to LA. She directed an acclaimed Pro-Choice HBO movie. This dude talked her into recording a pop album that used this odd microphone that changes the human voice. He was gay and kind of cute so she listened. The music reminded her of Disco and all that fun she had on skates. Several publicists explained this was not “disco” music. This was “club” or “dance” music — like Madonna only without the sex. For Cher, this was a good thing because, well, you know She was tired.

She was diagnosed with Chronic Fatigue Syndrome. She dealt and kicked it’s ass. While the cause of this illness is still debated, I suspect we will eventually learn it is caused by being too fucking cool and independent. She did several — no, wait. I’m not sure. She did a lot of Farewell Concert Tours. She wrote a book. She did a lot more Farewell Tours. She supported her daughter when she realized that she was a he. Cher had always been generous with a buck, but made her philanthropy well known once she saw the shit with which her son had to deal.

Cher Believe, 1998

Cher
Believe, 1998

She turned down leads in everything from Thelma & Louise to War of The Roses to a cinematic re-make of the musical Gypsy. Streisand was to direct Gypsy. Probably can’t blame Cher for turning that one down. But it does seem strange that she turned down the other two. Interestingly, as far as I am aware she has only one professional regret: An infomercial for a pal’s hair product. Yet, even this one Cher’s regretted mistake:  Her infomercial is the thing of legend.

Cher is still tired. 

Cher is not bored.

She is “creeping” about the Internet. So you better watch your ass!  I’m not kidding. She will take you down. Don’t be giving Cher shit.

Cher c. 1981 Photograph | Harry Langdon

Cher
c. 1981
Photograph | Harry Langdon

Cher stopped taking shit after they took her Disco Roller Skates away.  Never underestimate The Cher Factor. Seriously, you will regret it.

Somehow Cher is always correct. And Roller Boogie remains a very fun watch!

 

Matty Stanfield, 8.8.15