Ex-gangster Tony Banks is called out of retirement by mob kingpin God to carry out a hit on fellow mobster "Blue Chips" Packard. When Banks demurs, God kidnaps his daughter Darlene on his ...
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John Phillip Law
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Ex-gangster Tony Banks is called out of retirement by mob kingpin God to carry out a hit on fellow mobster "Blue Chips" Packard. When Banks demurs, God kidnaps his daughter Darlene on his luxury yacht. Written by
Alex Barylski <email@example.com>
Otto Preminger became so fascinated with his son Erik Lee Preminger's description of life as a dropout in New York's Greenwich Village that when a mere writing sample from Doran William Cannon passed his desk, Preminger wanted to shoot the writing sample as opposed to the actual script, because the sample explored the hippie existence and LSD-tripping. See more »
The film begins with a cartoon figure in striped prison clothing dancing across the film's title and Otto Preminger's credit on the main characters' TV set. The channel is switched by Jackie Gleason before any other names are revealed. See more »
Most wack movie in the history of studio filmmaking
Picture if you will a gathering of celebrities at a Dean Martin Roast at the Sands in Vegas in 1974. Only tonight, instead of skewering Angie Dickinson or Dan Rowan, they've decided to do a scene-by-scene reenactment of UN CHIEN ANDALOU. George Gobel is the guy dragging the piano, Totie Fields is the chick with her eyeball slit open, and Nipsey Russell has a whole bunch of ants crawling on his palm. Evel Knievel does a walk-through.
Okay, got it? It's still not as demented as Otto Preminger's 1968 disasterpiece, the effort of a band of thoroughly washed-up Hollywood old-timers to get with the hip LSD-and-love-beads craze. Jackie Gleason is a mafioso thrown in the clink, given a hit of acid by his genius-hippie cellmate (introducing Austin Pendleton?!), leading to a Slavko Vorkapich-style hallucinogen montage that features a pea-sized Mickey Rooney dancing with bags of loot, metamorphosizing numerals, and, if memory serves, Gleason growing a new face.
Then, if you aren't yawning yet, there's the little thing of Carol Channing doing a striptease for Frankie Avalon. Or how about Groucho Marx as God, talking through a speakerphone from his houseboat? Or a musical finale, shot through more psychedelic filters than the graveyard in EASY RIDER, in which garbage cans turn into flying saucers that lift the cast into the sky? Note to Preminger biographers: whatever Der Otto was smoking--I'll take two, please.
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