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The Exiles
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The Exiles (1961) More at IMDbPro »

The Exiles -- Open-ended Trailer from Milestone Films


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Kent MacKenzie (writer)
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Release Date:
13 July 1961 (USA) See more »
Native Americans in Los Angeles. For 12 hours one Friday night, from late afternoon until dawn, we follow a handful of urban Indians... See more » | Add synopsis »
Plot Keywords:
1 win See more »
User Reviews:
Old worlds, captured forever See more (9 total) »


  (in credits order)

Directed by
Kent MacKenzie 
Writing credits
Kent MacKenzie (writer)

Produced by
Kent MacKenzie .... producer
Cinematography by
Erik Daarstad 
Robert Kaufman 
John Arthur Morrill 
Film Editing by
Warner Brown 
Sven Walnum (uncredited)
Camera and Electrical Department
Sven Walnum .... camera operator (uncredited)
Editorial Department
Sven Walnum .... assistant editor (uncredited)
Other crew
Mindaugus Bagdon .... additional crew
Stan Follis .... additional crew
Ron Honthaner .... additional crew
David MacDougall .... additional crew
Ken Nelson .... additional crew
Marvin Walowitz .... additional crew


Additional Details

Also Known As:
72 min
Sound Mix:

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Movie Connections:
Featured in These Amazing Shadows (2011)See more »


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3 out of 3 people found the following review useful.
Old worlds, captured forever, 10 July 2011
Author: chaos-rampant from Greece

A belated attempt at an American neorealism or rather peaceful protest against the chintz and artifice of Hollywood with a document of the down and out who the movies were never about, either way this film about a group of young indians eking out a living in downtown Los Angeles is a rare artifact and an amazing find.

The lives; equal parts mundane and exciting, wearily enthusiastic at the prospect of another night where nothing but time flies and the same people are bolted down in the same bar stools. Beer bottles change hands over cheap formica counters, people dance, look around bored, smile at looking and being looked, saunter and stroll around aimless. During most of this the woman is back in a movie theater catching a late-night show. At some point the lights come up and intermission music plays from the speakers as sleepy patrons stretch and look around with drowsy eyes; it's that kind of movie. The moments no self-respecting Hollywood movie would bore its audience with, here strung up to see what kind of life they make up.

But most importantly, what precious, valuable poem about a Los Angeles that is no more. Not the Los Angeles imagined by Hollywood, the movie version as a fantastical den of iniquity where sultry femme fatales seduced schmucks in Spanish-style mansions. The real deal, where people lived. Cinema verite as it were, purporting the revelation of some truth in turn.

What truth here is all in the image. We can cobble together a view of the historic past but never before the invention of the camera lens did we have the actual thing rich with so much texture and detail, the magical contradiction of living ghosts (people or places).

Come to this not to be a told a story about these people. Ordinary anxieties of the displaced the same as everywhere else, the young and restless with too much time. Come to this to inhabit for a while, to sit around and listen. Compare with what LA we are thrown into 30 years later in Falling Down.

In the extras of the pristine restoration conducted by the UCLA, we find a 1956 student short about Bunker Hill, the neighborhood depicted. It's perhaps even better than the actual film. Interviewed are actual residents as we see footage of day-to-day lives, old men all about to be swept aside with their old world. They like to watch the public works constructed in the area, the ones will eventually push them out.

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