Netflix generates more contemporary content than anyone, but they’re dipping into the past to curate the great movies from the ’70s. These are the films that people like myself discovered as kids in the early days of when HBO premiered on cable. Bravo, I say. Here’s the preliminary list.
Alice Doesn’T Live Here Anymore
A widowed singer and single mother starts over as a diner waitress in Arizona, befriending her coworkers and romancing a ruggedly handsome rancher.
Director: Martin Scorsese
Writer: Robert Getchell
Producers: Audrey Maas, David Susskind
Key Cast (Alphabetical): Ellen Burstyn, Jodie Foster, Diane Ladd, Alfred Lutter, Harvey Keitel, Kris Kristofferson, Vic Tayback
Distributed By: Warner Bros. Discovery
Initial Release Date: December 9, 1974
At the 47th Academy Awards, Burstyn won Best Actress
Black Belt Jones
High-kicking Black Belt Jones is dispatched to take down a group of Mafia goons trying to muscle in on a downtown karate studio.
Alice Doesn’T Live Here Anymore
A widowed singer and single mother starts over as a diner waitress in Arizona, befriending her coworkers and romancing a ruggedly handsome rancher.
Director: Martin Scorsese
Writer: Robert Getchell
Producers: Audrey Maas, David Susskind
Key Cast (Alphabetical): Ellen Burstyn, Jodie Foster, Diane Ladd, Alfred Lutter, Harvey Keitel, Kris Kristofferson, Vic Tayback
Distributed By: Warner Bros. Discovery
Initial Release Date: December 9, 1974
At the 47th Academy Awards, Burstyn won Best Actress
Black Belt Jones
High-kicking Black Belt Jones is dispatched to take down a group of Mafia goons trying to muscle in on a downtown karate studio.
- 1/17/2024
- by Mike Fleming Jr
- Deadline Film + TV
1974 was quite a year for cinema; 50 years later, Netflix (of all places) is celebrating the golden jubilee.
In recognition of the anniversary, the streamer on Wednesday launched a new, dedicated content row (and direct URL link) with the first films being honored under its new “Milestone Movies: The Anniversary Collection” banner. Each of the 14 films came to Netflix this month by way of Warner Bros., Paramount, or Sony — the distributors that license content to Netflix.
The 1974 collection includes “Alice Doesn’t Live Here Anymore,” “Black Belt Jones,” “Blazing Saddles,” “California Split,” “Chinatown,” “The Conversation,” “Death Wish,” “The Gambler,” “The Great Gatsby,” “It’s Alive,” “The Little Prince,” “The Lords of Flatbush,” “The Parallax View,” and “The Street Fighter” (“Gekitotsu! Satsujin ken”).
Netflix doesn’t plan to stop with disco’s heyday. In April, the streaming service will do the same for films from 1984 (turning 40); July will celebrate 1994 movies (turning 30); and in October...
In recognition of the anniversary, the streamer on Wednesday launched a new, dedicated content row (and direct URL link) with the first films being honored under its new “Milestone Movies: The Anniversary Collection” banner. Each of the 14 films came to Netflix this month by way of Warner Bros., Paramount, or Sony — the distributors that license content to Netflix.
The 1974 collection includes “Alice Doesn’t Live Here Anymore,” “Black Belt Jones,” “Blazing Saddles,” “California Split,” “Chinatown,” “The Conversation,” “Death Wish,” “The Gambler,” “The Great Gatsby,” “It’s Alive,” “The Little Prince,” “The Lords of Flatbush,” “The Parallax View,” and “The Street Fighter” (“Gekitotsu! Satsujin ken”).
Netflix doesn’t plan to stop with disco’s heyday. In April, the streaming service will do the same for films from 1984 (turning 40); July will celebrate 1994 movies (turning 30); and in October...
- 1/17/2024
- by Tony Maglio
- Indiewire
Made at the height of his ’70s hot streak, California Split is one of Robert Altman’s wittiest films. The story of two jokers riding their own hot streak, Elliot Gould and George Segal play a pair of compulsive gamblers who split their time between casinos and pawn shops. The Altmanesque supporting cast, including Ann Prentiss, Gwen Welles, and Jeff Goldblum, keeps things lively. Photographed by Paul Lohmann who shot Altman’s Nashville the following year.
The post California Split appeared first on Trailers From Hell.
The post California Split appeared first on Trailers From Hell.
- 8/22/2022
- by Charlie Largent
- Trailers from Hell
Henry Jaglom’s 1971 film is a bit of magic realism that performed a vanishing act at the box office. It remains a fascinating curio, bringing together old school genius/magician Orson Welles with an emerging Hollywood vanguard embodied by Jack Nicholson. Tuesday Weld stars as a lonely dreamer with a tenuous relationship to reality while Gwen Welles and Firesign Theater’s Phil Proctor make up a small but reliably quirky cast.
The post A Safe Place appeared first on Trailers From Hell.
The post A Safe Place appeared first on Trailers From Hell.
- 3/14/2022
- by Charlie Largent
- Trailers from Hell
Director Sidney J. Furie specialized in brainy action films and his 1973 revenge fantasy starring Billy Dee Williams and Richard Pryor is no different. The duo plays two former military men who go rogue with a plan to wipe out a drug-dealing kingpin and his gang. Furie assembled an eclectic cast and crew including Gwen Welles as a hooked hooker and perennial sit-com sidekick Sid Melton as one of the vengeful soldiers of fortune. John Alonzo did the cinematography, the following year he was framing Chinatown.
The post Hit! appeared first on Trailers From Hell.
The post Hit! appeared first on Trailers From Hell.
- 12/13/2021
- by Charlie Largent
- Trailers from Hell
Robert Altman’s 1975 “Nashville” is considered one of the masterpieces of that golden decade of cinema and arguably the maverick filmmaker’s masterwork. The sprawling comedy-drama received stellar reviews, was nominated for five Oscars including Best Picture and Best Director, winning Best Original Song for Keith Carradine’s “I’m Easy” and won several critics’ honors.
But one group that didn’t like the movie was Nashville’s country-music crowd. Henry Gibson, who received a Golden Globe nomination for his glowing performance as egotistical country music star Haven Hamilton, told me in a 2000 L.A. Times interview on the movie, that the legendary Minnie Pearl “was outraged. I remember on opening night, someone asked her how she would rate the picture and she said, ‘I give it two closed nostrils.’”
“Nashville,” which Paramount Home Entertainment recently released on a remastered Blu-ray in a stunning 4K scan of the original elements,...
But one group that didn’t like the movie was Nashville’s country-music crowd. Henry Gibson, who received a Golden Globe nomination for his glowing performance as egotistical country music star Haven Hamilton, told me in a 2000 L.A. Times interview on the movie, that the legendary Minnie Pearl “was outraged. I remember on opening night, someone asked her how she would rate the picture and she said, ‘I give it two closed nostrils.’”
“Nashville,” which Paramount Home Entertainment recently released on a remastered Blu-ray in a stunning 4K scan of the original elements,...
- 8/31/2021
- by Susan King
- Gold Derby
The writer/director of Martha Marcy May Marlene and The Nest takes hosts Josh Olson and Joe Dante on an exploration of his favorite cinematic endings.
Show Notes: Movies Referenced In This Episode
Martha Marcy May Marlene (2011)
The Nest (2020)
Citizen Kane (1941)
The Cowboys (1972)
The Parallax View (1974)
Three Days of the Condor (1975)
Limbo (1999)
Nashville (1975)
The Long Goodbye (1973)
3 Women (1977)
Chinatown (1974)
Some Like It Hot (1959)
The Third Man (1949)
Do The Right Thing (1989)
Ace Ventura: Pet Detective (1994)
Our Idiot Brother (2011)
Shoot The Moon (1982)
Parasite (2019)
The Wild Bunch (1969)
The Ice Storm (1997)
Kramer Vs. Kramer (1979)
The Brood (1979)
The Graduate (1967)
Who’s Afraid of Virginia Woolf? (1966)
The Candidate (1972)
The Sixth Sense (1999)
The Birds (1963)
The Firm (1989)
Scum (1979)
The Firm (2009)
The Vanishing (1988)
The Vanishing (1993)
Rosemary’s Baby (1968)
Repulsion (1965)
Pirates (1986)
What? (1972)
Blowup (1966)
Blow Out (1981)
The Long Good Friday (1980)
Other Notable Items
Jude Law
Carrie Coon
Quentin Tarantino
John Wayne
The Pure Cinema Podcast
The Film Forum
Warren Beatty
Tfh Guru Howard...
Show Notes: Movies Referenced In This Episode
Martha Marcy May Marlene (2011)
The Nest (2020)
Citizen Kane (1941)
The Cowboys (1972)
The Parallax View (1974)
Three Days of the Condor (1975)
Limbo (1999)
Nashville (1975)
The Long Goodbye (1973)
3 Women (1977)
Chinatown (1974)
Some Like It Hot (1959)
The Third Man (1949)
Do The Right Thing (1989)
Ace Ventura: Pet Detective (1994)
Our Idiot Brother (2011)
Shoot The Moon (1982)
Parasite (2019)
The Wild Bunch (1969)
The Ice Storm (1997)
Kramer Vs. Kramer (1979)
The Brood (1979)
The Graduate (1967)
Who’s Afraid of Virginia Woolf? (1966)
The Candidate (1972)
The Sixth Sense (1999)
The Birds (1963)
The Firm (1989)
Scum (1979)
The Firm (2009)
The Vanishing (1988)
The Vanishing (1993)
Rosemary’s Baby (1968)
Repulsion (1965)
Pirates (1986)
What? (1972)
Blowup (1966)
Blow Out (1981)
The Long Good Friday (1980)
Other Notable Items
Jude Law
Carrie Coon
Quentin Tarantino
John Wayne
The Pure Cinema Podcast
The Film Forum
Warren Beatty
Tfh Guru Howard...
- 11/10/2020
- by Kris Millsap
- Trailers from Hell
Between The Lines (1977) will be screening at Webster University’s Moore Auditorium (470 E Lockwood Ave) on Thursday, Nov 14 at 7:30pm as part of this year’s St. Louis International Film Festival. Harper Barnes, former film critic of the St. Louis Post-Dispatch will be in attendance for a post-screening Q&a. This is a Free event.
In Between The Lines at the offices of a Boston alternative newspaper, the staff members enjoy a positive and open-minded work environment. Music critic Max (Jeff Goldblum) uses his influence to score dates, while news reporter Harry (John Heard) is involved with the lovely Abbie (Lindsay Crouse), the publication’s lead photographer. However, it seems as though their relatively carefree days are numbered when the owner of a major publishing company buys the paper, leading to more money but even more changes. The film’s astonishingly deep cast also includes Bruno Kirby, Gwen Welles,...
In Between The Lines at the offices of a Boston alternative newspaper, the staff members enjoy a positive and open-minded work environment. Music critic Max (Jeff Goldblum) uses his influence to score dates, while news reporter Harry (John Heard) is involved with the lovely Abbie (Lindsay Crouse), the publication’s lead photographer. However, it seems as though their relatively carefree days are numbered when the owner of a major publishing company buys the paper, leading to more money but even more changes. The film’s astonishingly deep cast also includes Bruno Kirby, Gwen Welles,...
- 11/12/2019
- by Tom Stockman
- WeAreMovieGeeks.com
“They say that Rock & Roll are here to stay. But where? Certainly not at my place, it’s too small.”
Between The Lines (1977) will be screening at Webster University’s Moore Auditorium (470 E Lockwood Ave)on Thursday, Nov 14 at 7:30pm as part of this year’s St. Louis International Film Festival. Harper Barnes, former film critic of the St. Louis Post-Dispatch will be in attendance for a post-screening Q&a. Look for an interview with Harper Barnes tomorrow night here at We Are Movie Geeks. This is a Free event.
In Between The Lines at the offices of a Boston alternative newspaper, the staff members enjoy a positive and open-minded work environment. Music critic Max (Jeff Goldblum) uses his influence to score dates, while news reporter Harry (John Heard) is involved with the lovely Abbie (Lindsay Crouse), the publication’s lead photographer. However, it seems as though their relatively...
Between The Lines (1977) will be screening at Webster University’s Moore Auditorium (470 E Lockwood Ave)on Thursday, Nov 14 at 7:30pm as part of this year’s St. Louis International Film Festival. Harper Barnes, former film critic of the St. Louis Post-Dispatch will be in attendance for a post-screening Q&a. Look for an interview with Harper Barnes tomorrow night here at We Are Movie Geeks. This is a Free event.
In Between The Lines at the offices of a Boston alternative newspaper, the staff members enjoy a positive and open-minded work environment. Music critic Max (Jeff Goldblum) uses his influence to score dates, while news reporter Harry (John Heard) is involved with the lovely Abbie (Lindsay Crouse), the publication’s lead photographer. However, it seems as though their relatively...
- 11/11/2019
- by Tom Stockman
- WeAreMovieGeeks.com
“Have I ever missed a deadline?” “Constantly.” Over forty years after making its debut, Joan Micklin Silver’s sophomore feature — following her low-budget 1975 historical drama “Hester Street” — “Between the Lines” is more timely than ever. The zippy, lived-in dramedy chronicles the intersecting lives of a pack of staffers at a Boston alt-weekly that’s already full of drama before it kicks into its central plot: what happens when the paper seems destined to fall prey to a corporate takeover.
As the staff grapples with the possibility that their lives (and livelihoods) are about to be forever changed, the film digs into plenty of still-intriguing ideas about the responsibility of the press, what it means to grow up, and how to hold on to your youthful zest when real-life responsibilities won’t stop calling.
The film features Jeff Goldblum in one of his earliest roles — after “Next Stop, Greenwich Village,” before...
As the staff grapples with the possibility that their lives (and livelihoods) are about to be forever changed, the film digs into plenty of still-intriguing ideas about the responsibility of the press, what it means to grow up, and how to hold on to your youthful zest when real-life responsibilities won’t stop calling.
The film features Jeff Goldblum in one of his earliest roles — after “Next Stop, Greenwich Village,” before...
- 2/5/2019
- by Kate Erbland
- Indiewire
By 1985 Hollywood had still only dabbled in movies about the ‘shame that cannot speak its name,’ and in every case the verdict for the transgressors was regret and misery, if not death. Donna Deitch’s brilliant drama achieves exactly what she wanted, to do make a movie about a lesbian relationship that doesn’t end in a tragedy.
Desert Hearts
Blu-ray
The Criterion Collection 902
1985 / Color / 1:85 widescreen / 96 min. / available through The Criterion Collection / Street Date November 14, 2017 / 39.95
Starring: Helen Shaver, Patricia Charbonneau, Audra Lindley, Andra Akers, Gwen Welles, Dean Butler, James Staley, Katie La Bourdette, Alex McArthur, Tyler Tyhurst, Denise Crosby, Antony Ponzini, Brenda Beck, Jeffrey Tambor.
Cinematography: Robert Elswit
Film Editor: Robert Estrin
Production Design: Jeannine Oppewall
Written by Natalie Cooper from the novel by Jane Rule
Produced and Directed by Donna Deitch
Desert Hearts is a fine movie that’s also one of the first features ever about a lesbian romance,...
Desert Hearts
Blu-ray
The Criterion Collection 902
1985 / Color / 1:85 widescreen / 96 min. / available through The Criterion Collection / Street Date November 14, 2017 / 39.95
Starring: Helen Shaver, Patricia Charbonneau, Audra Lindley, Andra Akers, Gwen Welles, Dean Butler, James Staley, Katie La Bourdette, Alex McArthur, Tyler Tyhurst, Denise Crosby, Antony Ponzini, Brenda Beck, Jeffrey Tambor.
Cinematography: Robert Elswit
Film Editor: Robert Estrin
Production Design: Jeannine Oppewall
Written by Natalie Cooper from the novel by Jane Rule
Produced and Directed by Donna Deitch
Desert Hearts is a fine movie that’s also one of the first features ever about a lesbian romance,...
- 11/7/2017
- by Glenn Erickson
- Trailers from Hell
From the first time I saw it until this moment, two days before what might just be the most important, potentially resonant (for good and ill) American presidential election since the days of the Civil War, no other movie has expanded in my view more meaningfully, more ambiguously, with more fascination than has Robert Altman’s Nashville. We often hear of movies which “transcend” their genres, or their initial ambitions or intentions, and often built into that alleged transcendence is a condescension to said genre, or those ambitions or intentions, as if the roots were somehow corrupt or unworthy, in need of reconstruction. If the form of Nashville transcends anything, it’s the shape and scope of the multi-character drama as we’d come to know it in 1975, which was dominated at the time by disaster movies and their jam-packed casts filled with old Hollywood veterans and Oscar winners. But...
- 11/7/2016
- by Dennis Cozzalio
- Trailers from Hell
“Y’all take it easy now. This isn’t Dallas, it’s Nashville! They can’t do this to us here in Nashville! Let’s show them what we’re made of. Come on everybody, sing! Somebody, sing!”
Nashville screens one time only Thursday, September 24th at The Tivoli Theater (6350 Delmar Blvd, St. Louis) at 7pm
In a decade of great films, Nashville is one of the greatest. I saw Nashville during its initial theatrical release and have seen it several times since but it has not played on the big screen (at least in St. Louis) in a long time. In 1974 director Robert Altman was directing films for United Artists and wanted them to produce his film Thieves Like Us. They agreed if he would agree to direct a story about country music that they had a script for. He rejected the script and said he would offer them...
Nashville screens one time only Thursday, September 24th at The Tivoli Theater (6350 Delmar Blvd, St. Louis) at 7pm
In a decade of great films, Nashville is one of the greatest. I saw Nashville during its initial theatrical release and have seen it several times since but it has not played on the big screen (at least in St. Louis) in a long time. In 1974 director Robert Altman was directing films for United Artists and wanted them to produce his film Thieves Like Us. They agreed if he would agree to direct a story about country music that they had a script for. He rejected the script and said he would offer them...
- 9/22/2015
- by Tom Stockman
- WeAreMovieGeeks.com
Often considered one of Robert Altman’s best films, Nashville subverts and revisits the tropes of the classic Hollywood musical through a revisionist lens. Though musicals still found success in the 1970s, the golden age of the genre was long gone and was due for a revival and re-evaluation. Utilizing tropes from classic Hollywood musicals, Nashville transforms our understanding of the genre. Altman situates the film in a contemporary setting, often negating the fantasy elements long associated with musicals. Nashville utilizes the conventions of genre in order to explore a vision of a New America and a New Cinema.
The classic Hollywood musical is very much tied to the idea of the subjective emotional experience. This is often done through the engagement with fantasy as an aesthetic choice. The subjectivity and the fantasy become a realization of the individual’s dreams and fantasies, keeping the genre in line with traditional narrative practises.
The classic Hollywood musical is very much tied to the idea of the subjective emotional experience. This is often done through the engagement with fantasy as an aesthetic choice. The subjectivity and the fantasy become a realization of the individual’s dreams and fantasies, keeping the genre in line with traditional narrative practises.
- 1/24/2014
- by Justine Smith
- SoundOnSight
"Treme" embarked on its final season Sunday. "Smash" is gone. "Glee" and "Nashville" soldier on, but the bloom of pop-cultural significance is off their respective roses. With this age of the hour-long musical television series fast coming to a close, I set out searching for its origins, and I found it at the movies. Robert Altman's "Nashville" (1975) may be the finest American film of the 1970s -- and the first modern TV musical, too. "Nashville" weaves a world from flats and sharps, major and minor keys, from singing waitresses, high school marching bands, and country starlets. There's rock, folk, country, and gospel; Gwen Welles' tinny Sueleen Gay and Karen Black's soulful Connie White; intimate acoustic and big band bombast. Dispensing with non-diegetic music in favor of studio sessions and the Grand Ole Opry, Altman and writer Joan Tewkesbury fashion a kind of "pure" musical -- thanks to...
- 12/4/2013
- by Matt Brennan
- Thompson on Hollywood
Robert Altman’s Nashville resurfaces for the home video market in a nicely packaged DVD/Blu-ray combo set from Criterion. A Best Picture nominee from 1975, this sprawling satire both lampoons and laments the American Dream, which was beginning to show signs of serious leakage – if not outright rupture – by the mid 1970s. An American president, who two years earlier had been reelected by one of the largest margins in the nation’s history, had just resigned in disgrace while a long, bloody and bitterly divisive war had been revealed as corrupt and pointless. Yet, to the array of hopeful goofballs in Nashville, America was still the land of opportunity; its dark and dank country music venues the key to quick fame and easy riches.
As conceived by Altman and writer Joan Tewksbury, everything about Nashville is larger than life. From its massive melange of roughly two dozen principle characters to...
As conceived by Altman and writer Joan Tewksbury, everything about Nashville is larger than life. From its massive melange of roughly two dozen principle characters to...
- 12/3/2013
- by David Anderson
- IONCINEMA.com
One of the most ambitious, and more artistically, successful, ‘backstage’ musical dramas, Robert Altman’s Nashville is strung on the plot thread of a George Wallace-type pre-Presidential campaign in which the interactions of 24 principal characters are followed over the period of a few days in the country music capitol of America.
Outstanding among the players are Henry Gibson, as a respected music vet with an eye on public office; Ronee Blakely, in a great film debut as a c&w femme star on the brink of nervous collapse; Gwen Welles, drawing tears from stone as a pitiably untalented waitress who undergoes the humiliation of stripping at a stag party for a chance to sing.
Among some real life cameos are Elliott Gould and Julie Christie, both as themselves on p.a. tours.
Nashville is one of Altman’s best films, free of the rambling insider fooling around that sometimes...
Outstanding among the players are Henry Gibson, as a respected music vet with an eye on public office; Ronee Blakely, in a great film debut as a c&w femme star on the brink of nervous collapse; Gwen Welles, drawing tears from stone as a pitiably untalented waitress who undergoes the humiliation of stripping at a stag party for a chance to sing.
Among some real life cameos are Elliott Gould and Julie Christie, both as themselves on p.a. tours.
Nashville is one of Altman’s best films, free of the rambling insider fooling around that sometimes...
- 1/1/1975
- by Variety Staff
- Variety Film + TV
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