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Psych-Out (1968)

 -  Drama | Music | Thriller  -  6 March 1968 (USA)
6.0
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Reviews: 31 user | 34 critic

A deaf runaway arrives in San Francisco's Haight-Ashbury hippie district looking for her missing brother.

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(screenplay), (screenplay), 3 more credits »
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Title: Psych-Out (1968)

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Cast

Cast overview, first billed only:
...
Jenny Davis
...
Dave
...
...
Steve Davis
...
Ben
Max Julien ...
Elwood
...
Warren
Linda Gaye Scott ...
Lynn (as Linda G. Scott)
Mireille Machu ...
Pandora (as I.J. Jefferson)
Tommy Flanders ...
Wesley
Ken Scott ...
Preacher
...
Plainclothesman (as Gary Marshall)
Geoffrey Stevens ...
Greg
Susan Bushman ...
Little Girl
John 'Bud' Cardos ...
Thug (as John Cardos)
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Storyline

Jenny, a deaf runaway who has just arrived in San Francisco's Haight-Ashbury district to find her long-lost brother, a mysterious bearded sculptor known around town as The Seeker. She falls in with a psychedelic band, Mumblin' Jim, whose members include Stoney, Ben, and Elwood. They hide her from the fuzz in their crash pad, a Victorian house crowded with love beads and necking couples. Mumblin' Jim's truth-seeking friend Dave considers the band's pursuit of success "playing games," but he agrees to help Jennie anyway. Written by alfiehitchie

Plot Summary | Add Synopsis

Taglines:

Taste a Moment of Madness...Listen to the Sound of Purple See more »

Genres:

Drama | Music | Thriller

Certificate:

Not Rated | See all certifications »
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Details

Country:

Language:

Release Date:

6 March 1968 (USA)  »

Also Known As:

Love on Haight  »

Filming Locations:

 »

Box Office

Budget:

$200,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Path├ęcolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

The movie was meant to perform the same function in relation to The Trip (1967). Jack Nicholson had written a script that director Richard Rush thought was too "experimental" for mainstream cinema, so the concept of a 'youth" film based in San Francisco and dealing with flower power and drugs was taken over by other writers and Nicholson did not eventually receive a screen credit for his work, although he took what was essentially the male lead in the picture. But Nicholson wrote the part of Stoney for himself as part of the package. See more »

Goofs

During the Strawberry Alarm Clock's "Rainy Day Mushroom Pillow" song, the lead guitarist's guitar changes halfway through the song. See more »

Quotes

Dave: It's all just one big plastic hassle.
See more »

Connections

Edited into Love & Haight (2003) See more »

Soundtracks

Ashbury Wednesday
Rusty Young, Malcolm Mitchell, Joe E Neddo, George Grantham
recorded by The Boenzee Cryque
See more »

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User Reviews

 
A lot of blissed-out fun
20 June 2003 | by (North Hollyweird) – See all my reviews

As I was about two years old when this movie was shot, I missed the whole psychedelic/hippie/Sixties era/attitude/thing, except maybe the very tail end of it. So I was always curious about it. While I realize this is just a movie, even a distorted glimpse of that truly odd and wonderful time and place in America makes watching this more than worthwhile. Nicholson is great as usual. Susan Strasberg is fascinating to watch. Dean Stockwell in a toga and head band is a riot with the line of the film: "It's all one big plastic hassle."

The music is awesome, BUT! I must make a note that this is not genuine San Francisco hippie music. The two groups that are heard and seen in the film, the Strawberry Alarm Clock and The Seeds, were both L.A. groups! While both had a distinct sound of their own, neither of them sounded exactly like the classic San Francisco groups such as Jefferson Airplane, the Grateful Dead, Moby Grape or The Charlatans. (Many L.A. bands would play in San Francisco, and still do, but groups like the SAC would probably be derided by Bay area hippies as too-slick, plastic L.A. bubblegum) A C.D. reissue of the soundtrack would be quite welcome though...

Although obviously there was some on-location shooting in San Francisco, many of the scenes were lensed in L.A., including the interiors at Jack's house (shot in a Victorian house in L.A.) and the coffee house/art gallery scenes (shot on a soundstage). Also look out for writer/producer/director Gary Marshall in the coffee house scene at the start of the film, as "The Man"! A lovable time capsule of an era that couldn't last and had to slip away too quickly.


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