Charlie Kohler is a piano player in a bar. The waitress Lena is in love with him. One of Charlie's brother, Chico, a crook, takes refuge in the bar because he is chased by two gangsters, ... See full summary »
Spike Lee's take on the "Son of Sam" murders in New York City during the summer of 1977 centering on the residents of an Italian-American South Bronx neighborhood who live in fear and distrust of one another.
George has just been released from prison, and manages to get a job driving a call girl from customer to customer. Initially they don't get on; he doesn't fit in with the high class customers Simone services. Will they ever get on?
Kit Carruthers, a young garbage collector and his girlfriend Holly Sargis from Fort Dupree, South Dakota, are on the run after killing Holly's father who disagreed with their relationship. On their way towards the Badlands of Montana they leave a trail of dispassionate and seemingly random murders. A very intriguing narrative without judgements, and lacking the usually sensational approach of this genre. Very good acting and directing, and beautiful photography. The script was based upon the true story of the Charles Starkweather and Caril-Ann Fugate murders in 1958. Written by
Theo de Grood <email@example.com>
He was 25 years old. He combed his hair like James Dean. She was 15. She took music lessons and could twirl a baton. For a while they lived together in a tree house. In 1959, she watched while he killed a lot of people. See more »
Badlands (1973) received a place in the film reference book "1001 Movies You Must See Before You Die". See more »
In the airport scene at the end many of the troops are armed with M-14 and M-16 rifles (as indicated by the flash suppressors.) While these weapons would be contemporary with the filming, they are much later than the film's time frame (late 1950s). See more »
[voice over narration]
My Mother dies of pneumonia when I was just a kid. My Father kept their wedding cake in the freezer for ten whole years. After the funeral he gave it to the yard man. He tried to act cheerful but he could never be consoled by the little stranger he found in his house. Then one day hoping to begin a new life away from the scene of all these memories he moved us from Texas to Port Dupree, South Dakota.
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Is it really possible that this luminous masterpiece is a first feature film? It is as though Mozart had started his career in composition with one of his mature symphonies. What is totally special about 'Badlands' is the visual control that Terrence Malick applies to the story, and his use of fabulous music to embed his amazing images in our mind. The 'Bonnie & Clyde'-ish story could have been turgid, but Malick turns it into a mythic journey.
At the heart of Malick's method is the fabulous interior monologue by Holly explaining and ironically commenting on the story. "Kit made me take my schoolbooks so I wouldn't fall behind with my studies...". This has been characteristic of each of Malick's films - Linda in 'Days of Heaven' and Witt in 'The Thin Red Line' have somewhat similar monologues - and 'New World' is monumentalised by the haunting monologue/montage with which it ends. Here it totally sucks the viewer into the story and makes the montages that it accompanies into, just about, the high-point of seventies cinema.
Alongside this, Malick uses some of the most haunting music in existence. Whether it is Carl Orff or Nat King Cole, Malick transports us with fabulous romantic imagery that perfectly balances it.
I started on this comment determined not to use the word 'poetry', but I just can't avoid it. With nearly all filmmakers, including very great ones, the style that they present is very much prose - great prose, perhaps, but firmly rooted on the ground. With Malick, we are taken, emotionally, to the stars by the lyric magnificence of the totality of his vision.
It is said that Welles learned cinema by watching John Ford's 'Stagecoach' before embarking on 'Citizen Kane'. Every young filmmaker should watch this amazing masterpiece again and again and again and inform their work with Malick's matchless sense of true cinema.
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