Across 110th Street, 145
Adam at 6 A.M., 4; characterizations, 116–118, 126, 195–196; critical reception, 119; distribution and marketing, 114, 118–123, 209; ending, 117–118; production history, 115; stardom in, 42, 120. See also class; women
Adler, Renata, 10
The Adventurers, 206
AIP (American International Pictures), 3, 21–22, 62, 145; biker films of, 4, 21
Aldrich, Robert, 230n32
Alex in Wonderland, 190
Alice Doesn’t Live Here Anymore, 14, 215–216
The All-American Boy, 106
Altman, Robert, 12, 46, 88, 107, 130, 187, 230n32, 244n20; and youth films, 145, 206, 229n8
The American Dreamer, 174–175, 185, 234n4
American Film Institute (AFI), 24, 61
American Graffiti, 190, 213–214
American International Pictures. See AIP
American Renaissance. See New Hollywood
Andrews, Julie, 116–117
An Annapolis Story, 131
Annie Hall, 80
Anspach, Susan, 54
Antonioni, Michelangelo: influence on Adam at 6 A.M., 116–117; influence on Easy Rider, 22, 24, 35, 232n58; influence on Carole Eastman’s screenwriting, 44–45, 58. See also Zabriskie Point
Apocalypse Now, 12, 185, 234n6
The Appaloosa, 105
Ashby, Hal, 18, 106, 145, 229n8
Askew, Luke, 26
auteurism: and autobiography 16, 178, 204, 215; canonization of, 103, 145–146, 150, 217; collaborative challenges to, 18, 45, 59–61, 177–178, 181, 215–216; discursive construction of, 2, 8–10, 14, 71, 76, 86, 131, 145–146, 180, 204, 210, 215, 230n15, 242n58; and stylistic self-consciousness, 127, 160, 210; and Two Lane Blacktop, 71, 76. See also masculinity; New Hollywood
Badlands, 63
Ballard, J. G. See Crash
The Band, 27, 112, 192, 244n12
Barefoot in the Park, 108
Basil, Toni, 21, 50, 54, 167–168
BBS Productions, 42, 43, 46, 50, 57, 59, 61, 65. See also Raybert
Beach Blanket Bingo, 55
The Beatles, 150
Beckett, Samuel, 44
Bedknobs and Broomsticks, 6, 187, 229n12
The Bed Sitting Room, 206
Been Down So Long It Looks Like Up to Me, 205
Beery, Noah, Jr., 107
The Beguiled, 104, 133–134, 141
Benning, James, 24, 30, 32, 36–37, 212
Benson, Lucille, 107
Benton, Robert, 242n49
Bergman, Ingmar, 4, 55, 60, 177, 180
Bertolucci, Bernardo, 12
Big Jake, 118
Billy the Kid, 34, 38, 167, 169, 171, 234n4
Bird, Laurie, 62–67, 70, 73, 79–81, 110, 198–199
Biskind, Peter, 1, 10, 12, 18, 39, 206, 214
Black, Karen: in Easy Rider, 21; in Five Easy Pieces, 46
Black God, White Devil / Deus o Diablo na Terra do Sol, 181
blaxploitation. See film cycles
Blazing Saddles, 98
blockbusters, 1–2, 10, 162, 213–214
Bloom, Verna, 189, 196, 198–200, 202
Blow-Up, 116–117
Bogart, Humphrey, 83
Bogdanovich, Peter, 14, 16–17, 61, 177–179, 204, 211–214, 238n35, 242n47
Bonnie and Clyde, 1, 38, 108, 111, 153–154, 196; critical reception of, 176–177; Jean-Luc Godard and, 182, 242n49
Bourdieu, Pierre, 183
Boxcar Bertha, 215
The Boys, 104
The Boys in the Band, 87, 118, 150, 152, 154
Brewster McCloud, 12
Brown, David, 153
Brown, Johnny Mack, 111
Burstyn, Ellen, 215–216
Bush, Billy “Green,” 48
Butch Cassidy and the Sundance Kid, 11, 24, 108, 112, 113
The Byrds, 27, 100, 192. See also McGuinn, Roger
Calley, John, 65
Cambern, Donn, 24
Canby, Vincent, 11, 122, 176, 179
The Cannonball Run, 101
Carnal Knowledge, 199–200, 211
Carnes, Kim, 100
Carrie, 46
Carson, L. M. Kit, 29, 31, 36, 37, 174, 234n4
Catch 22, 121
Chaplin, Charlie, 152
Chicago (band), 207
The Christian Licorice Store, 63–64
Christiansen, Robert W., 118–119, 121
Cimino, Michael, 162
Cinema Center Films, 64–65, 115, 118–119
“cinema of attractions,” 3, 27–28, 95
Cinemation Industries, 146
Cisco Pike, 171
civil rights movement, 29, 32–33
class, 18, 31, 47–55, 57, 114–118, 126, 195–196
Classical Hollywood: conventions of, 2–3, 11, 26–27, 38, 68, 76, 80, 137, 168, 194, 211; industrial organization of, 106, 131–132; persistence of, 3, 6, 17–18, 25, 29, 95, 108, 113, 137, 146, 149, 158, 161, 178. See also post–Classical Hollywood
Clift, Montgomery, 165, 167, 178
Cockfighter, 80
Coffy, 145
Cohen, Larry, 12
Columbia Pictures, 3, 21–22, 46, 55, 65, 114, 122, 133
Coming Apart, 206
Coppola, Francis Ford, 13–17, 58, 77, 178, 187, 217, 230n32, 234n6
Corman, Roger, 3, 50; and Peter Bogdanovich, 16; and Easy Rider, 21, 209; and Monte Hellman, 44, 64; and Mean Streets, 215; and Jack Nicholson, 44
Costa-Gavras, 160
Cotton Comes to Harlem, 98
counterculture: and Coogan’s Bluff, 132–133; and Dirty Harry, 137–138, 141; and Easy Rider, 14, 20, 22, 25, 29–30, 32, 37, 41, 50, 82, 132, 139, 171, 243n70; and Five Easy Pieces, 50, 52, 54; and Peter Fonda, 30, 34, 36; and The Hired Hand, 196; and Dennis Hopper, 30, 133; and Little Fauss and Big Halsy, 111; and Out of the Blue, 243n70; and Two-Lane Blacktop, 64, 82; and Vanishing Point, 87, 95, 97–98
Coutard, Raoul, 180
Crash, 97
Creature from the Haunted Sea, 44
Crime in the Streets, 131
Cukor, George, 12
Cullinan, Thomas P., 133
D’Antoni, Phil, 150–152
Day, Francisco, 90
Days of Heaven, 12, 194, 244n19
Deadhead Miles, 65
Dealing: Or the Berkeley-to-Boston Forty-Brick Lost Bag Blues, 41
Delaney & Bonney, 100
Demy, Jacques, 45
De Niro, Robert, 156
Denver, Megan, 189
Dern, Bruce, 65
Deus o Diablo na Terra do Sol / Black God, White Devil, 181
Diamonds Are Forever, 6, 215, 229n12
Dillard, Doug, 100
Direct Cinema, 48
Dirty Harry, 8, 125–127, 129–130; ambiguity of, 141–143, 147–148, 159, 239n51; characterizations in, 133–134, 137–143, 146–148, 155, 158–160 239n51; cinematic style of, 136–142, 146, 157, 160–162, 239n51; commercial success of, 127, 146, 161; critical reception of, 4–5, 125–126, 137, 140–143, 146, 148, 161–162, 210; generic coherence of, 104, 137, 141, 146–148, 155, 158–159, 162; marketing, 146, 156–157; and New Hollywood, 139–140, 146–148; politics of, 125–126, 136–143, 146–148, 161–162, 238n30;5 production history, 135, 141; score, 136; sequels, 141, 148, 208; signification in, 136–138, 147–148. See also counterculture; race; women
Dirty Mary Crazy Larry, 41–42, 207
Dobson, Tamara, 146
Doctor Dolittle, 152
The Doors, 81
Douglas, Kirk, 117
Douglas, Michael, 115, 117, 119, 122, 237n13
Downhill Racer, 88, 108, 112, 154, 236n3, 237n6
Dr. Blood’s Coffin, 104
Dr. No, 104
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, 22
Duffy, 206
Dunaway, Faye, 45
During One Night, 104
Dusty and Sweets McGee, 205
Dylan, Bob, 112, 192, 233n8, 243n61
Earp, Wyatt, 34
Eastman, Carole, 9; and auteurism, 59–61; career of, 43–46, 60–61, 64; writing Five Easy Pieces, 46–47, 54, 57, 60–61, 105
Eastman, Charles, 44, 60, 103, 105–108, 110–112
Eastwood, Clint: directorial career, 134, 141; early career, 130–131, 141; early films with Don Siegel, 132–135; on The French Connection, 141; performance in Dirty Harry, 134–140, 146–149, 155–156, 161–162, 210; politics of, 141, 244n25; stardom of, 130–132, 134–136, 141–142, 146–148, 155–158, 161–162, 210. See also westerns
Easy Rider (1969): ambiguity of, 3, 25–26, 33–39, 56, 126, 138, 161, 187, 195, 207, 209; Cannes Film Festival prize, 24; characterizations in, 14, 20–21, 30–38, 46–47, 49–51, 56–57, 69, 81–82, 87, 95, 110, 125, 139, 146, 193, 195, 198–200, 231n41, 231n45; classicism of, 3, 25–30, 35, 38; commercial success of, 6, 20, 24, 38–39, 46, 144–145, 163, 207, 212; critical reception of, 20, 24, 35–38, 56, 59, 85, 176, 195, 202–203, 232n60; cultural impact of, 20, 24–25, 38–39, 46, 85, 232n72; drugs in, 21, 26, 28–32, 36, 55, 68, 95, 145, 209, 231n45, 232n72; editing of, 22, 24, 26–29, 33, 35, 68, 108, 167, 171, 173, 190; ending, 26, 28, 30, 33, 35–38, 82, 96–97, 102, 139, 196–197, 202–203, 207, 232n60; homoeroticism in, 110–111; influence of, 2–4, 19–20, 38–39, 41–42, 52, 62, 65–69, 71, 73, 77, 79–80, 85, 86, 89, 99, 102, 105, 111, 119, 123, 176–177, 190, 204, 206–210, 214–215; montage sequences in, 3, 26–29, 32–33, 37, 48, 80–81, 170–171, 190–191, 209; narrative structure of, 175; production history of, 21–24, 31–32, 50, 153, 167, 190, 192, 231n41; soundtrack, 3, 20, 27, 37, 55, 80–81, 89, 100, 112, 145, 191–192, 207, 209, 214, 244n12; use of symbolism in, 33–39, 47, 53, 55–56, 138, 214; visual style of, 19, 57–58, 95, 104, 108, 125, 149, 167, 209, 242n53. See also counterculture; exploitation movies; race; westerns; women
Ebert, Roger, 5, 189; on Dirty Harry, 125–126; on Easy Rider, 20, 38; on Five Easy Pieces, 51–52, 57; on The Hired Hand, 202–203; on Jean-Luc Godard, 180–181; on The Last Movie, 176, 180; on Two-Lane Blacktop, 83, 125; on youth films, 202–203
Egan, Eddie, 149, 151–153, 156, 158, 240n13
Electra Glide in Blue, 41, 206–207
Electric Flag, 192
The Empire Strikes Back, 213
End of the Road, 206
Engel, Roy, 167
Enter the Dragon, 9
Escape from the Planet of the Apes, 132
Esquire magazine, 16, 47, 71–73, 173
The Exorcist, 150, 162, 213, 215
Exorcist II: The Heretic, 213
exploitation movies, 3–4, 104, 214; and Dirty Harry, 136, 140; and Easy Rider, 2–4, 19, 21, 26, 29, 36, 38, 55, 59–62, 64, 85, 171, 174–175, 192, 207, 209; and Two-Lane Blacktop, 73, 82
Faces, 211
Farrow, Mia, 117
Father of the Bride, 178
Fellini, Federico, 232n58
feminism, 33, 134, 199–200. See also women
Fiddler on the Roof, 6, 8, 187, 229n12
Film Comment, 12–13, 230n18; on Don Siegel, 131; on Two-Lane Blacktop, 84
Film Culture, 212
film cycles, 2–3, 41–42; biker, 3–4, 21–22, 50, 64, 104; blaxploitation, 5, 8–9, 98, 143–146, 158, 215, 239n47; campus revolution, 114, 229n8, 237n1; hot rods, 71; juvenile delinquency, 3; nostalgia, 211–216; psycho-sexual thrillers, 45–46; violent cop cycle, 6, 17, 99, 125–127, 136–137, 143, 149, 161–162, 208, 210; youth-cult road movies, 4, 6, 17, 18–19, 38–39, 41–42, 52, 54–55, 58–59, 62, 65, 68, 71, 73, 77, 79, 83, 85, 86, 90–91, 93, 95–97, 99, 102–103, 105–106, 110–113, 114, 116–119, 121, 123, 125–127, 136, 139–140, 143–145, 154, 160–161, 163, 176, 195–196, 198–199, 202–203, 205–209, 214, 229n8
film noir, 5, 12, 55, 99, 104–105, 127
Film Quarterly, 20
Fink, Harry Julian, 135
Fink, Rita M., 135
Five Easy Pieces, 4, 42, 85; characterizations, 47–54, 114–116, 126, 146, 154, 195–196; commercial success of, 59; critical reception of, 51–53, 55, 57–59, 233n44; ending, 96, 117, 148; narrative style of, 46–53, 56–59, 69, 80, 126; production history of, 46, 65; theatrical release, 114, 120; visual style, 47–50, 57–58, 67, 91–92, 102, 108, 209, 211, 233n17, 233n39. See also class; counterculture; masculinity; women
Fleischer, Richard, 189
Flynn, Errol, 214
Fonda, Henry, 20, 29, 34, 117, 190, 195, 201, 241n3
Fonda, Jane, 182–183, 195, 241n3
Fonda, Peter: and Michelangelo Antonioni, 35, 232n58; and Roger Corman, 3, 209; direction of The Hired Hand, 5–6, 163, 165, 188–204, 211–212; directorial ambitions of, 46, 163, 165, 121, 215, 217, 244n41; early acting career, 64; and Henry Fonda, 20, 29, 53, 117, 190, 195, 201, 241n3; and the origins of Easy Rider, 21–24, 190, 209; performance in Easy Rider, 30–32, 37, 49–50, 52, 57, 68, 105, 139, 146, 193, 195; performance in The Hired Hand, 188, 193–194, 199–204; performance in The Last Movie, 168, 186, 241n3. See also counterculture
Ford, John, 12, 35, 211, 214, 230n15
The Fortune, 44
Fox, Virginia, 88
Foxy Brown, 145
Frankenheimer, John, 154
The French Connection, 4–5; Academy Awards, 161–162, 187, 210, 242n47; ambiguity, 158–162; casting, 99; characterizations in, 143, 155–156, 158–162; commercial success of, 127, 161, 208, 210; critical reception, 4–5, 149, 161–162, 187, 208, 210; editing, 153–154, 157, 160; factual basis, 149, 152, 160; marketing, 156–157; politics of, 141, 143, 158–160, 162; production history, 149–155; subversion of narrative convention, 154, 158–162; theatrical release, 101, 149; visual style, 145, 149, 155–157, 160–162, 242n47. See also race; women
French Connection II, 208
French New Wave, 6, 42, 99, 179–183, 242n53. See also Godard, Jean-Luc
Friedkin, William: direction of The French Connection, 150–162, 210, 216, 242n47; early career, 88, 150–152
Fuller, Samuel, 168–170, 180, 241n9
Funny Face, 43
Funny Girl, 133
Furie, Sidney J., 98, career, 103–105, 236n25; direction of Little Fauss and Big Halsy, 103–113
Futz, 206
Garcia, Stella, 167
Gaumont, 182
The Gauntlet, 148
genre, 5, 6, 157–158, 183–184. See also westerns
Getchell, Robert, 215
Getting Straight, 114
Gigot, 152
Girlfriends, 9
Gleason, Jackie, 152
Glen and Randa, 64
The Glory Stompers, 21
Godard, Jean-Luc, 54, 82–83, 117, 131, 168, 171, 179–183, 242nn49–50
The Godfather, 16, 213, 215, 234n6
The Godfather Part II, 77, 213
Good Times, 150
Gordon, Don, 167
Gorin, Jean-Pierre, 181–183
The Graduate, 1, 14, 16; influence of, 20, 45, 116–118, 199; soundtrack, 27, 89. See also women
The Green Berets, 149
Greenberg, Jerry, 153–154, 160
Guercio, James William, 206–207
Guthrie, Arlo, 81
The Gypsy Moths, 154
Hackman, Gene: Academy Award for The French Connection, 156, 210, 242n47; early career of, 108, 153–154, 171, 236n3; performance in The French Connection, 141, 149, 153–162, 210, 242n47; politics of, 153, 158; stardom, 155, 157–158; and Vanishing Point, 88, 99
Hall, Conrad, 207
The Happy Ending, 206
Harris, Jo Ann, 133
Hartman, Elizabeth, 133
Haskell, Molly, 10, 33, 198–200
Hathaway, Henry, 44, 165, 167, 178, 211
Hawks, Howard, 35, 178, 211, 230n15
Hayes, Isaac, 145
Hayward, William, 189–190, 195
Head, 21, 43, 52, 150, 181, 211, 235n40
The Heartbreak Kid, 9
Hellman, Monte, 212; direction of Two-Lane Blacktop, 62–85, 93, 106–108, 125, 142, 146, 198–199; early career, 43–45, 64
Hello, Dolly!, 90
Hells Angels on Wheels, 21
Hertsens, Marc, 143
Hester Street, 9
High Noon, 148
Hill, George Roy, 113
The Hired Hand: allusions to drug use in, 191, 204; characterizations, 188–189, 193–196, 198–200; commercial performance of, 165; critical reception of, 5–6, 165, 201–204, 211–212, 245n41; marketing and distribution, 197, 201, 203, 205; editing of, 190–191, 193–194; production history, 165, 188–192; score, 191–192, 194; themes of, 192, 195–196, 198–200, 202–204; violence in, 191, 196, 198, 211; visual style, 188, 190–191, 193. See also counterculture; masculinity; westerns; women
Hitchcock, Alfred, 44, 150, 230n15
homosexuality, representations of, 87, 95, 104, 110–111, 150, 159
Hopper, Dennis, 19; in The American Dreamer, 174–175; direction of Easy Rider, 20–39, 47, 50, 55–58, 66, 68, 77, 82, 89, 100, 171, 190, 192, 195, 198, 202, 206–207, 212, 245n13; direction of The Last Movie, 46, 163, 165–188, 198, 203, 208; directorial ambitions, 35, 56, 150, 173–175, 185, 211, 215, 217, 244n19; directorial career, 104; legacy of, 25, 145–146, 212; performance in Easy Rider, 19, 30, 52, 68, 105; performance in The Last Movie, 167–172, 177, 201. See also counterculture; westerns
The Hot Rock, 112
Howe, James Wong, 97
The Hunter, 151
Hutton, Lauren, 107
Il buono, il brutto, il cattivo/The Good, the Bad, and the Ugly, 130, 148, 155
Images, 46
I Never Sang for My Father, 154
Infante, Guillermo Cabrera, 88, 96
Interview magazine: Sidney J. Furie in, 105; Dennis Hopper in, 183, 212; on Little Fauss and Big Halsy, 112; on Don Siegel, 131, 134; on Vanishing Point, 101
Invasion of the Bodysnatchers, 131
The Ipcress File, 104–105
It’s A Mad, Mad, Mad, Mad World, 94
It’s My Turn, 9
Jackson, Jesse, 144–145
Jacobs, Alex, 151
Jaglom, Henry, 168
Jaws 2, 213
Jaws 3-D, 213
Jodorowsky, Alejandro, 170, 173, 241n14
John and Mary, 117
Johnson, Ben, 179
Joyce, Adrien/Adrian. See Eastman, Carole
Joy in the Morning, 132
Kael, Pauline, 5, 10; on Dirty Harry, 140–142, 145–146, 161, 183; on Easy Rider, 35–36, 232n60; on Five Easy Pieces, 52; on The French Connection, 161; on Jean-Luc Godard, 179–181, 183; hierarchy of taste, 142–143, 177–179, 183, 212, 242n48; on The Last Movie, 176–181; on The Last Picture Show, 177–179; on Little Fauss and Big Halsy, 109, 112; on Puzzle of a Downfall Child, 60; on youth films, 11, 205–206, 232n60
Kallianiotes, Helena, 54
Katzman, Sam, 3
Kennedy, Ted, 60
Kerouac, Jack, 4
Kershner, Irvin, 135
Killer Joe, 150
King Boxer, 9
The King of Marvin Gardens, 104
Klute, 12
Knight, Shirley, 14
Kovács, László, 206; and Easy Rider, 27, 57–58, 191; and Five Easy Pieces, 55, 57–58, 233n39; and The Last Movie, 175–176, 190
Kristofferson, Kris, 81 167, 171, 215–216
Kurosawa, Akira, 214
La Chinoise, 180
LA Times: on Charles Eastman, 105; on The Hired Hand, 202; on The Last Movie, 176, 241n14
La última película, 212
Le départ, 235n40
Lang, Jennings, 135
Langhorne, Bruce, 191–192, 194
The Last American Hero, 41
The Last Movie, 8; commercial performance of, 165, 185, 205, 212; critical reception of, 5–6, 163, 165, 173–181, 183–186, 202, 208, 210, 212; editing, 167–171, 173–174, 234n4, 241n14; ending, 173; and imperialism, 169, 171–173, 177, 186–187, 241n20, 243n70; marketing and distribution, 174–176, 184–186, 203, 205, 208, 212; montage sequences in, 170–171; narrative mode of, 28, 167–171, 173, 186, 188, 203, 208, 241n8; production history, 165–167, 173–174, 188, 190, 193, 205, 211, 234n4, 241n3, 241n9, 241n14, 241n20; reappraisal, 186–187, 203, 212; resemblance to the films of Jean-Luc Godard, 6, 168–169, 171, 179–181, 183; self-reflexivity of, 168–170, 172–174, 179–180, 183–184, 186–188, 190, 203–204, 208, 212, 242n50; sound design, 167–169, 171, 180; Venice Film Festival prize, 175–176, 185; visual style, 45, 104, 167–171, 173. See also westerns; women
The Last Picture Show, 61, 187, 204, 242n47; classicism of, 178–179; critical reception of, 177–179, 210–211; nostalgia in, 16, 210–214, 216
Laughlin, Michael, 64
Leachman, Cloris, 179
The Leather Boys, 104, 110, 236n25
The Legend of Lylah Clare, 206
Lester, Richard, 45
Le vent d’est, 181
Lewis, Paul, 206
Life magazine: on Five Easy Pieces, 58; on The Last Movie, 166, 167, 184
Lion’s Love ( … and Lies), 45
Little Big Man, 118, 154, 194, 196
Little Fauss and Big Halsy, 4, 41–42; characterizations in, 106–111, 113, 126, 237n8; critical reception of, 112, 237n5; homoeroticism in, 110–111; marketing, 111–113, 207–209; production history, 105–107; relationship to Easy Rider, 103, 105; soundtrack, 105, visual style, 107–108, 112. See also counterculture; masculinity; women
Longbranch Pennywhistle, 100
The Long Goodbye, 244n20
The Looking Glass War, 206
The Love Bug, 24
Loving, 135
Lucas, George, 13, 178, 214, 217
Lucas, Marcia, 9
Lumet, Sidney, 13
Lust for Gold, 172
MacGraw, Ali, 126
MacLaine, Shirley, 133
The Magic Christian, 206
The Magnificent Ambersons, 185
Magnum Force, 208
The Magus, 206
Malick, Terrence, 12, 63, 65, 135, 194, 244n19, 245n41
Malpaso, 131
Mankiewicz, Herman J., 177
Mankiewicz, Joseph L., 178, 211
Marooned, 154
Martin, Mardik, 215
masculinity, 18; and auteurism, 10, 43, 46, 61, 216; in The Beguiled, 133–134; in Dirty Harry, 140, 155; in Easy Rider, 50; in Five Easy Pieces, 44, 48–50, 54–57, 59; in The Hired Hand, 200; in Little Fauss and Big Halsy, 109; in Play Misty for Me, 134; in Two-Lane Blacktop, 78–80
May, Elaine, 9
Mayfield, Curtis, 145
Mazursky, Paul, 9, 190, 206, 229n8
McGuinn, Roger, 97
Mean Streets, 214–216
Medavoy, Mike, 63–64
Medicine Ball Caravan, 205
Metro-Goldwyn-Mayer, 65
Mickey One, 99
Milius, John, 135
Milland, Ray, 127
Minnie and Moskowitz, 203
Model Shop, 45
Montand, Yves, 182–183
More American Graffiti, 213–214
Moreau, Jeanne, 61
Mountain (band), 100
Move, 121
Movie, 230n18
Murphy, Audie, 238n1
Mutrux, Floyd, 63–64
Myra Breckinridge, 173–174
The Naked City, 127
The Naked Runner, 105
Nashville, 12
National General Pictures, 64, 118–122, 152
Nelson, James, 169
The New Centurions, 208
New Hollywood: critical construction of, 4–6, 8–9, 11–13, 38–39, 63, 71, 77, 84, 95, 103, 122–123, 127, 145, 148, 161–162, 165, 185, 205–209, 215–216, 230n18, 230n32, 242n48; hallmarks of, 4, 13, 45, 90–91, 96, 139–140, 160–162, 173; periodization of, 1–2, 10–11, 13, 206–207, 213, 230n19
Newman, Barry, 86, 98–101, 105
Newman, David, 242n49
Newman, Lionel, 100
Newman, Paul, 152
Newman, Randy, 100
New Republic, on Five Easy Pieces, 48, 52–53, 55
Newsday: on The Hired Hand, 202; on The Last Movie, 176
Newsweek, on Two-Lane Blacktop, 79, 83
New York, New York, 12
New York Times: on The Hired Hand, 202; on The Last Movie, 167, 176, 186; on Vanishing Point, 101
Nichols, Mike, 13, 43, 116, 199–200
Nicholson, Jack: Academy Awards, 24, 46; directorial career, 163; early acting career, 21, 50, 64, 209; and Carole Eastman, 43–44; performance in Easy Rider, 21, 29–31, 33, 78; performance in Five Easy Pieces, 46–52, 54–57, 60–61, 85, 114, 122, 233n44; screenwriting career, 21, 43–44; stardom, 108, 122, 156
Nicholson, James H., 21
The Night They Raided Minsky’s, 150
nostalgia, 16, 178, 187, 204, 210–214, 216; and American Graffiti, 213–214; and The Godfather, 16, 178, 213; in Five Easy Pieces, 58; and Star Wars, 214. See also The Last Picture Show; westerns
Oates, Warren, 64; performance in The Hired Hand, 188, 190, 193–194, 196, 198, 202; performance in Two-Lane Blacktop, 62–63, 65–68, 70–71, 74, 76–80, 83–84
O’Neal, Ron, 145
O’Neal, Ryan, 127
One Flew Over the Cuckoo’s Nest, 122
Ophuls, Max, 12
The Osterman Weekend, 189
The Outlaw Josey Wales, 141, 244n25
Ozu, Yasujiro, 12
Pacino, Al, 156
Page, Geraldine, 133
Paint Your Wagon, 130
Pando (production company), 190
The Parallax View, 99
Paramount Decree, 3
Paramount Pictures, 16, 107, 111, 121–122, 182, 213, 240n13
Parsons, Gram, 100
Pat Garrett and Billy the Kid, 234n4
Patton, 90
Peck, Gregory, 154
Peckinpah, Sam, 13, 168, 189, 206, 230n32, 234n4
Penn, Arthur, 13, 99, 181, 187
The People vs. Paul Crump, 151
Perkins, Carl, 112
Per qualche dollaro in più/For a Few Dollars More, 130, 148, 155
Per uno pugno di dollari/A Fistful of Dollars, 130, 148, 155
Phillips, Julia, 9
Pialat, Maurice, 68
Pinter, Harold, 150
Planet of the Apes, 179
Platt, Polly, 9
Playboy magazine, 44, 167; on Five Easy Pieces, 58, 233n44; on The Last Movie, 167
Point Blank, 151
Poitier, Sidney, 144
Pollard, Michael J., 103, 105, 107–108, 113, 122, 237n5
Polonsky, Abraham, 108
post–Classical Hollywood, 17–18, 58, 80, 162
Pratt, Robert, 188
Purcell, Lee, 115
Putney Swope, 32
Puzo, Mario, 16
Puzzle of a Downfall Child, 45–46, 59–60
race, 8–9, 18, 151; and blaxploitation, 8–9, 143–146; in Dirty Harry, 5, 143, 159, 231n45; in Easy Rider, 29, 32–33, 37, 98, 231n45; in The French Connection, 143, 155–156, 158–159, 162; and Mean Streets, 215; in Vanishing Point, 87, 97–98
Race with the Devil, 207
Rafelson, Bob: direction of Five Easy Pieces, 43, 46–61, 93, 102, 103, 104, 114, 115, 117, 233n39; directorial career, 104, 150, 181, 211, 235n40; and The Monkees, 21, 88
Rafelson, Toby, 60
Raging Bull, 156
Ray, Satyajit, 35
Raybert (production company), 21, 42, 43. See also BBS Productions
Rebel Without a Cause, 25, 165
Red Desert, 60
Redford, Robert: performance in Downhill Racer, 88, 154, 236n3; performance in Little Fauss and Big Halsy, 103–105, 107–109, 112–113, 122; stardom of, 112–113, 216
Red Power movement, 34–35
Red River, 178
Return of the Jedi, 213
Rickles, Don, 130
Ride in the Whirlwind, 44–45, 64, 68
Riesner, Dean, 135
Riot, 154
Ritchie, Michael, 88, 108, 112, 154, 236n3
Robbins, Le Roy, 169
Robinson, Andy, 129
Rocha, Glauber, 181–182
Rohmer, Eric, 68
Rolling Stone, on The Last Movie, 167, 184 241n9
Romancing the Stone, 122
Rosemary’s Baby, 46
Roundtree, Richard, 146
R.P.M., 114
Ruddy, Albert S., 107
Run Wild, Run Free, 88
Santoni, Reni, 129
Sarafian, Richard C.: career of, 88–89, 104, 217; direction of Vanishing Point, 104, 105, 152
Sarris, Andrew, 5, 36, 176–177, 179, 230n15; on Easy Rider, 36; on The Last Movie, 176
Saturday Review, on The Last Movie, 163
Savalas, Telly, 130
The Scalphunters, 179
Scarecrow, 41
Schatzberg, Jerry, 45, 59–60, 233n8. See also Puzzle of a Downfall Child; Scarecrow
Scheerer, Robert, 114–116, 119, 237n3
Schickel, Richard
Schiffrin, Lalo, 136
Schiller, Lawrence, 174
Schneider, Bert, 21–22, 24, 42, 61
Scorsese, Martin, 13–14, 159, 178, 187, 214–216, 230n32
Scott, Timothy, 95
Scott, Tony, 10
Second-Hand Hearts, 106
Segal, Alex, 132
sequels, 141, 148, 208, 213–214, 246n18
Serpico, 208
The Seven-Ups, 208
Shaft, 5, 9, 144–145, 151, 156, 158
Sharp, Alan, 188–189, 191, 194, 200, 244n20
Sherman, Don, 22
The Shooting, 44–46, 64, 68, 75, 84, 105
Siegel, Don: as auteur, 131; career prior to Dirty Harry, 104, 131–132, 159; direction of Dirty Harry, 125–126, 135–143, 146–148, 155, 160–161, 196, 210, 238n1, 238n35, 239n51; early films with Clint Eastwood, 131–135
Silver, Joan Micklin, 9
Singin’ in the Rain, 28
Skin Game, 179
Slither, 41
Smokey and the Bandit, 101
The Snake Woman, 104
Solar Productions, 115
Sonny and Cher, 150
The Sons of Katie Elder, 165
The Sound of Music, 163
Southern, Terry, 22, 24, 30–31, 57, 105, 231n41
Spielberg, Steven, 13–14
Stanfill, Dennis Carothers, 101
Star!, 152
Stark, Richard. See Westlake, Donald E.
Stern, Stewart, 165
The Sting, 113
Stockwell, Dean, 168–169
The Strawberry Statement, 41, 114
Streisand, Barbra, 9, 115, 216
Stulberg, Gordon, 119–121
The Sugarland Express, 14, 215
Sunrise: A Song of Two Humans, 126
Super Fly, 144–145
Supergirl, 213
Superman II, 213
Superman III, 213
Sutherland, Donald, 130
Sweet Sweetback’s Baadasssss Song, 144
Take One: on Adam at 6 A.M., 115, 118–121; László Kovács in, 206; on The Last Movie, 186; on Little Fauss and Big Halsy, 112; on Don Siegel, 131, 138
Taking Off, 203
Tamblyn, Russ, 168
Targets, 16
Taylor, Don, 132
Taylor, Elizabeth, 178
Taxi Driver, 12–13, 159, 215–216
Taylor, James, 62–71, 73–76, 78–83, 96, 98, 125–126
Taylor, Rod, 152
Tell Them Willie Boy Is Here, 108
The Thomas Crown Affair, 179
They Shoot Horses, Don’t They?, 151
Thompson, Robert E., 151
Three on a Spree, 104
3 Women, 46
Tidyman, Ernest, 151–153, 158, 160
Time: on Easy Rider, 20, 24, 52; on Five Easy Pieces, 52; on The Last Movie, 176; on Two-Lane Blacktop, 83–84
Tora! Tora! Tora!, 90
Tout va bien, 182–183
Towne, Robert, 10, 43, 60, 105
The Treasure of the Sierra Madre, 83, 172
The Trip, 21–22, 36, 191, 242n53
Truffaut, Francois, 12
Tucker, Phil, 206
Twentieth Century Fox: and The French Connection, 99, 152, 158; and Vanishing Point, 86, 88–90, 99–101
Two-Lane Blacktop: casting of, 64–66, 234n17; characterizations in, 73, 76–83, 86, 93–94, 98, 106–107, 125–126, 146, 198–199; commercial success of, 84, 102–103, 205; critical reception of, 14, 71, 79, 83–85, 125, 192; ending, 82–83, 96, 112, 173; marketing of, 62, 71, 77, 80, 203; music in, 80–81; narrative subversion in, 62–63, 69–71, 73–77, 80–83, 85, 93–94, 107, 146, 154; production history, 45, 63–69, 77, 88–90, 153, 165, 206; reappraisal, 63, 84–85, 101, 207–209, 212; relationship with the French New Wave, 42, 67–68, 82–83; for Two-Lane Blacktop, 62, 80–81; visual style of, 65–71, 74–77, 86, 90, 93, 95, 102, 142, 146, 209. See also counterculture; masculinity; women
Two Mules for Sister Sara, 133
2 ou 3 choses que je sais d’elle/2 or 3 Things I Know About Her, 180
2001: A Space Odyssey, 22, 120, 178–179, 242n48
Unforgiven, 141
Universal, 105; and Eastwood/Siegel, 132–135; and The Hired Hand, 5, 165, 188, 190, 192, 201, 203; and The Last Movie, 5, 165–166, 173–176, 185; and Two-Lane Blacktop, 62, 65, 69, 77, 83–84, 86
The Untouchables, 44
Vanishing Point: characterizations in, 87, 91, 93–99, 125–126; critical reception, 101; Dodge Challenger in, 88–90, 99, 101; drug use in, 95; ending, 87–88, 96–97, 102, 203; marketing, 100–102; narrative, 86–88, 93–94; production history, 88–90, 98–102; release, 101, 103; soundtrack, 96–97, 99; reappraisal, 101–102, 208–209; visual style of, 4, 42, 90–97, 104, 108, 125, 149, 209. See also counterculture; race; women
Van Peebles, Melvin, 9, 145–146
Varda, Agnès, 45
Variety: on Adam at 6 A.M., 120–122; on Carole Eastman, 61; on Dirty Harry, 142–143, 239n51; on Easy Rider, 24; on Five Easy Pieces, 55; on The Hired Hand, 201–202, 245n41; on The Last Movie, 175; on Little Fauss and Big Halsy, 112; on The Rain People, 14; on Two–Lane Blacktop, 83–84; on Vanishing Point, 101; on youth films, 205–206
Verrill, Addison, 205–206, 211, 245n1
Vertov, Dziga, 12
Vietnam War, 16, 34, 37, 107, 130, 138, 149, 171, 237n8
Voight, Jon, 106
Voyage to the Planet of Prehistoric Women, 16
Walter, Jessica, 134
Wanda, 14
Warner Bros., 65, 105, 111, 131, 215
Wasserman, Lew, 83
Watergate, 17
Wayne, John, 149, 165, 178, 240n21
Week End, 83, 117, 168, 177, 180–181, 242n53
Weill, Claudia, 9
Welcome to Hard Times, 190
Welles, Orson, 12, 174, 177, 185
westerns, 44–45, 111, 194, 204; and Clint Eastwood, 130, 132–136, 139, 141, 148, 155, 157; and Easy Rider, 22, 34–35, 111, 165, 190, 195; and The Hired Hand, 188, 190, 194–196, 198, 202–204, 212–222; and Dennis Hopper, 111, 165, 244n5; and The Last Movie, 165, 167–172, 186; and nostalgia, 35; violence in, 168, 194, 196
Where Eagles Dare, 130
White Lightning, 101
Who’s That Knocking at My Door, 214
The Wild One, 3
The Wild Wild West, 88
Wilkin, John Buck, 168–169
Wilson, Dennis, 62–67, 70–71, 73, 76, 79–83, 96, 98, 125–126
Wiseman, Frederick, 179
Womack, Bobby, 145
women: in Adam at 6 A.M., 120, 198–199; in Alice Doesn’t Live Here Anymore, 215–216; in The Beguiled, 134; in blaxploitation, 145; demographic importance of, 215–216; in Dirty Harry, 134, 159, 199; in Easy Rider, 33, 54, 171, 198–200; in Five Easy Pieces, 54, 57, 198–199; in The French Connection, 159, 199; in The Graduate, 200; in The Hired Hand, 188, 192, 198–200; in The Last Movie, 171–172, 198–199; in Little Fauss and Big Halsy, 109–111, 198–199; in Play Misty for Me, 134; in The Rain People, 14–16; in Two-Lane Blacktop, 79–80, 110, 198–199; in Vanishing Point, 87, 198–199; working in Hollywood, 9–10, 215. See also Eastman, Carole E.; feminism
Wurlitzer, Rudy, 64, 71, 73–77, 81, 88, 234n4
Wynette, Tammy, 50
Yablans, Frank, 213
Yates, Peter, 112
The Young Ones, 104
Your Three Minutes Are Up, 41
Z, 160
Zanuck, Richard, 88–89, 99–102, 152–154, 160
Zimmerman, Vernon, 65
Zsigmond, Vilmos, 190