Documentary-filmmaker Bob Sanders and his wife Carol attend a group-therapy session that serves as the backdrop for the film's opening scenes. Returning to their Los Angeles home, the newly... See full summary »
George Matthews is a young man who is having a bittersweet affair with a French divorcée in Los Angeles. Waiting to be drafted, he is unable to commit himself to anything or anybody, ... See full summary »
Broad satire and buffoonery presented as a series of movie trailers. Among the titles and subjects are: "The Howard Huge Story", "Skate-boarders from Hell", "The Invasion of the Penis ... See full summary »
Royce D. Applegate,
Twice divorced Hilda Crane feeling she's run out of chances returns to her mother's house in her small hometown and tries to decide what to do next while still hoping to hold onto her independence. That proves to be a challenge.
An aspiring Jewish actor moves out of his parents' Brooklyn apartment to seek his fortune in the bohemian life of Greenwich Village in 1953. He struggles to come to terms with his feelings about his mother's overbearing nature, while also trying to maintain his relationship with his girlfriend.Written by
Paul Mazursky makes a cameo appearance as a casting director at Larry Lapinsky's filmed audition. See more »
In the early scene where Lenny leaves home, he moves his suitcase from the chair to the floor, then tells his mother that she's going to give herself a heart attack, and when the camera cuts back the suitcase is back in the chair. See more »
Hi. Buenas noches, señor. Senñorita.
How are you?
Who is that?
It's Nick Kessler. He's a crazy guy. He saved up all his money to go to Mexico. Wanted to see the ruins. You know, get into the primitive thing. So, he quit his job and everything, and he took off for Mexico City on Monday. Two beers, Ray.
Right. So he got off the plane, and he ate a taco... and he got a terrible case of the shits... so he took the next plane back. He spent two and a half hours in Mexico. He ...
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During June of 1954 in New York City, I graduated junior high school and, to celebrate the event, joined three of my classmates on a forbidden sojourn to the city's famous Greenwich Village. Exiting the subway station at Christopher street, we were amazed at the apparent ordinariness of this place we'd heard so much about from older adolescents and adults.
In fact, at first glance, nothing extraordinary seemed to be happening there, with the sole exception of more White people being present than four Black teenagers from Harlem were were accustomed to seeing.
For you see, this was the mid 1950's, Dr. Martin Luthor King Jr. had as yet to lead any freedom marches, Southern schools were as yet to be integrated, and in many Southern states Black people were lynched on Saturday nights as town entertainment. But three hours later, we knew that everything we'd heard about Greenwich Village was true and more. For this was a place far ahead of it's time.
In the Greenwich Village of the 1950's, racial integration had been in place for well over two decades. But far more important, forbidden talk of sexual liberation, interracial sex, homosexuality, along with political, artistic and literary freedom at all levels were openly discussed, flouted and displayed for all to see; performed to a background mixture of new age Jazz, early Rock and Roll and Folk Music. Virtually nothing was excluded from the social or musical menu this incredible place had to offer.
I can't speak for the rest of my friends on that day, but I immediately fell in love with the place and remained so, until it's untimely demise at the hands of the high rise-high priced real estate industry toward the mid 1970's. By then, the people who had made the place justifiably famous and notorious for what it was, could no longer afford to live there. So the Village remained,in name only, as it is today: a mere shadow of what it used to be.
Joyfully, director Paul Mazursky has managed to capture on film, a moving snapshot of the social life and time of a remarkable neighborhood, in what was probably the last fifteen to twenty years of it's legitimate life. And I do remember it so well. The rent parties for starving (sometimes talented) artists, the ubiquitous book shops, the coffee houses featuring impromptu poetry readings, the fashion statements (or blatant lack thereof), the mixing and making of all sorts of colorful characters who, even in their farcical attempts to parody themselves, were more alive and real then those who would put them down. This was the Greenwich Village of the 1950's and of legend.
This magical place was for me and many others (as was for the director who produced this film as an ode to his time there), our first real awakening and taste of adult life. And far more important, a fortuitous preparation for the new social order that was, in time, to come.
The place, as it was, is truly deserving of this wonderful little gem of a film.
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