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Fade-In (1968)

TV Movie  |  M  |   |  Drama, Western
5.6
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Ratings: 5.6/10 from 61 users  
Reviews: 4 user

A sophisticated Hollywood film editor, on location for a film she is working on, falls for a local cowboy who is hired to work on the film.

Director:

(as Alan Smithee)
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Title: Fade-In (TV Movie 1968)

Fade-In (TV Movie 1968) on IMDb 5.6/10

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Cast

Cast overview:
...
Rob
Barbara Loden ...
Jean
Patricia Casey ...
Pat
Noam Pitlik
Joseph V. Perry ...
George (as Joseph Perry)
Lawrence Heller
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Storyline

A sophisticated Hollywood film editor, on location for a film she is working on, falls for a local cowboy who is hired to work on the film.

Plot Summary | Add Synopsis

Genres:

Drama | Western

Certificate:

M
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Also Known As:

Iron Cowboy  »

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1.33 : 1
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Trivia

Throughout his career Burt Reynolds has made a number of movies that examine movie-making and this film is one of them. The pictures include Fade-In (1968) (location filming & westerns); Silent Movie (1976) and Nickelodeon (1976) (silent films); Best Friends (1982) (scriptwriting & Hollywood); Hooper (1978) (stuntwork and Hollywood); The Player (1992) (Hollywood); Boogie Nights (1997) (adult films); The Last Producer (2000) (producers and Hollywood); The Hollywood Sign (2001) and A Bunch of Amateurs (2008) (actors and Hollywood). See more »

Connections

Features Blue (1968) See more »

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User Reviews

Interesting despite its flaws
20 April 2004 | by (London, England) – See all my reviews

The setting of this film is unusual. The story takes place during the real life filming of the movie "Blue" and we catch glimpses of the stars and crew at work on that picture. It begins brightly. Terence Stamp makes a star's entrance, in a sports car, roaring past lines of wannnabe extras that include Burt Reynolds who is trying to get a job as a driver. He's taken on and soon meets Barbara Loden who plays the part of an assistant editor. Their romance quickly blossoms but unfortunately, like the film itself, seems to have nowhere to go. There are signs of some ferocious editing with several abrupt changes of mood and music and the scene in which Loden shows Reynolds how to edit a film is presumably either unintended irony or a despairing editor's in-joke. I read somewhere that it was never given a theatrical release in the USA and the removal of the director's real name from the credits indicates conflict having arisen amongst its makers and backers. Even so, despite its shortcomings, it's not wholly without interest.


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