Hank and Frannie don't seem to be able to live together anymore. After a five-year relationship, lustful and dreamy Fanny leaves down-to-earth Hank on the anniversary of their relationship.... See full summary »
A sergeant must deal with his desires to save the lives of young soldiers being sent to Vietnam. Continuously denied the chance to teach the soldiers about his experiences, he settles for trying to help the son of an old army buddy.
Francis Ford Coppola
James Earl Jones
Bennie travels to Buenos Aires to find his long-missing older brother, a once-promising writer who is now a remnant of his former self. Bennie's discovery of his brother's near-finished play might hold the answer to understanding their shared past and renewing their bond.
Francis Ford Coppola
A writer with a declining career arrives in a small town as part of his book tour and gets caught up in a murder mystery involving a young girl. That night in a dream, he is approached by a... See full summary »
Supernova chronicles the search and rescue patrol of a medical ship in deep space in the early 22nd century and its six-member crew which includes a Captain and Pilot, a co-pilot, a medical... See full summary »
The credit on the U.S. version of the film, "Battle Beyond the Sun", was given to 'Thomas Colchart', a pseudonym for then aspiring filmmaker Francis Ford Coppola. Roger Corman gave him the task of creating two monsters resembling genitalia (one male, one female) which were amusingly spliced into the film. See more »
In the re-edited U.S. version under the title "Battle Beyond the Sun" the same dolly shot of women waving is used twice. The first is when the rocket is landing back on Earth. Only minutes later, when the cosmonauts have left the rocket, the exact same shot is used again. See more »
Like most soviet films of the period (and I watched the original version), in has no action whatsoever. The plot is stilted as statues at the People's Economy Achievements Exhibition in Moscow, and the story drags its feet to no end. It is a typical tableau vivant aimed at kicking imperialist America one more time, and at showing Russians (but mostly Ukrainians, as the film was done at the infamous Dovzhenko Studios, legendary for its spectacularly bad productions) at their best and foremost.
However, this propaganda poster about how Soviets and Americans tried to prove to each other whose penis extenderpardon me, phallic symbolis better, racing each other to Mars, of all places, is nicely illustrated with analog FX. The music is abominable, and is in place only in the scene of "space madness" of the one "bad American" they let out into space. The dialogue is absurdist and as ridiculous as the gadgetry shown. More than anything else, it reminds me of the old Chapayev joke: Pet'ka, the apparatus. Six, Vasily Ivanovich. Six what? Apparatus what? In some sense, it's just as silly as Gravity. Look how much time passed, and what has changed?
Nevertheless, content-wise, the film's narrow-minded positivism and typical soviet jingoism is set off by one truly Pynchonian twist, and you can appreciate it if you read Gravity's Rainbow. The film has its own Gottfried, and there is the Gottfried glorious moment there. A-and Gottfried's name in the film is Grigory.
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