Documentary: The Weather Underground, We Jam Econo, A Man Named Pearl

Several interesting documentary choices were added to Netflix Watch Instantly this week, two of which I have put in my queue and the other can recommend from seeing it at the Cucalorus Film Festival back in 2009.

Bill Siegel and Sam Green's The Weather Underground was nominated for a Best Documentary Oscar for 2002.  You should try to check out Sam Green's earlier documentary The Rainbow Man/John 3:16, which is not currently streaming but is available on DVD from Other Cinema.  If you find the Weather Undergound interesting, you should also check out the earlier documentary Underground by Emile de Antonio on DVD.

The Weather Underground (Bill Siegel, Sam Green, USA, 2002, 90 minutes)
Netflix: This sobering documentary about a group of 1960s "committed freedom fighters" known as the Weather Underground chronicles a global trend of revolution that sprang from the belief that not acting against violence is violence. A radical offshoot of the Students for a Democratic Society, the Weathermen didn't just march or sit in: They rioted and bombed -- not to change the American political scene but rather to destroy it.  Netflix link.

We Jam Econo: The Story of the Minutemen has been one of the more acclaimed band documentaries of the past few years, earning an 88% positive critical rating and a 95% positive audience rating at Rotten Tomatoes.  I was well behind the curve back when Double Nickels on the Dime came out (okay, I was only 13 in 1983, but I should have been cooler, sooner), but I've finally been catching up with the Minutemen lately and I'm looking forward to this doc.

We Jam Econo: The Story of the Minutemen (Tim Irwin, USA, 2005, 91 minutes)
Netflix: Tim Irwin's documentary chronicles the ups, downs and all-arounds of pioneering punkers the Minutemen. The film weaves together more than 80 interviews to tell the story of the underground California band formed by D. Boon and Mike Watt. Punk icons including Red Hot Chili Peppers' Flea and Black Flag's Henry Rollins discuss the band's influence on the genre, and never-before-seen footage captures the raw intensity of the Minutemen live onstage.  Netflix link.

I had a chance to catch A Man Named Pearl at the 2009 Cucalorus Film Festival in Wilmington, North Carolina.  Cucalorus has a strong commitment to regional filmmaking, and this documentary out of South Carolina does a good job of capturing the local flavor of this story about a humble man and his very impressive garden.  Even at 77 minutes the film could be a bit tighter, but it is well worth watching to meet and appreciate Pearl Fryar and his work.

A Man Named Pearl (Scott Galloway, Brent Pierson, USA, 2006, 77 minutes) 
Netflix: Angered by white residents' racist comments that he wouldn't "keep up his yard," Pearl Fryar teaches himself topiary sculpture and becomes the first African American in his Bishopville, S.C., neighborhood to win the coveted "yard of the month" award. This acclaimed documentary traces Fryar's inspiring story, as he grows into a legendary horticulturist, welcoming thousands of tourists eager to catch a glimpse of his stunning works of art.  Netflix link.

Robert Altman: The Long Goodbye, Thieves Like Us, Vincent & Theo

It looks like we will have a very small window of opportunity to watch Robert Altman's The Long Goodbye on Netflix Watch Instantly.  I had just noticed that it had been added it seems like a few weeks ago, but as I prepared this entry I noticed on InstantWatcher that it is scheduled to expire on November 1.

If you haven't seen it before, you should take this opportunity to do so.  As he did with many genres in the 1970s, Altman undermines the conventions of the film noir detective film while fine-tuning his staging and shooting style that would reach its peak with Nashville a few years later.  Elliot Gould could not be more different than Humphrey Bogart as Phillip Marlowe, nor could the sun-splashed pastel Los Angeles be more different than the dark streets we most often associate with Raymond Chandler.  Altman also mixes a wide range of tones in the film, so some viewers might not be sure exactly what they're watching (the studios weren't exactly sure what to do with the film, which led to a range of publicity campaign strategies).  The mix of tones is readily apparent in the opening sequence, with the jokey use of multiple versions of "The Long Goodbye" theme song (a self-aware comic motif that continues through the film).  But it would be misleading to call this a comedy or a spoof, particularly with scenes involving Marty Augustine (Mark Rydell) and his young mistress.  The film takes elements of the genre seriously enough to explore the disconnect between the values of the film noir hero and 1970s America.

There are several other Altman films currently streaming, including O.C. and Stiggs, which I have mentioned before.   For now, below I will just include another film from one of his most productive periods, Thieves Like Us, and a film from his so-called comeback in the 1990s (although he would have denied ever being away in the 1980s), Vincent and Theo.

The Long Goodbye (Robert Altman, USA, 1973, 112 minutes)
Netflix: Robert Altman cleverly updates the exploits of classic 1940s hard-boiled gumshoe Phillip Marlowe (Elliott Gould, in an unforgettable performance), who ferrets out a killer in the City of Angels circa 1974. Now, Marlowe is a wisecracking cynic who deals with coke-addled, sun-worshipping suspects and nudist neighbors. Funny, suspenseful and engaging, the film features an early, unbilled appearance by Arnold Schwarzenegger.  Netflix link.
Note: Expiring 11/1/11

Thieves Like Us (Robert Altman, USA, 1974, 122 minutes) 
Netflix: A trio of criminals (Keith Carradine, Bert Remsen and John Schuck) go on a bank-robbing spree through the Depression-era Deep South, terrorizing the population and managing to stay just one step ahead of the law. Along the way, each robber also finds love in director Robert Altman's period crime drama. This remarkable and understated 1970s film also stars Shelley Duvall, Tom Skerritt and Louise Fletcher.  Netflix link.

Vincent & Theo (Robert Altman, USA, 1990, 140 minutes)
Netflix: Robert Altman's biopic delves into the lives of painter Vincent van Gogh (Tim Roth) and his dedicated brother, Theo (Paul Rhys). The story centers on the pair's relationship as gallery owner Theo struggles to promote the works of his brother, who remained a relative unknown until after his death. As Theo fails in his efforts and his financial problems mount, Vincent's disturbed mental state worsens, and both brothers sink into despair.  Netflix link.

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Roman Polanski: Chinatown, Cul-De-Sac, Wanted and Desired

You probably have noticed that Chinatown has been added to Netflix Watch Instantly, so I thought I'd add a quick Saturday entry with some other Polanski related suggestions. The documentary Roman Polanski: Wanted and Desired is well worth your time even if you don't think you're interested in his story or the controversy surrounding his escape from statutory rape charges in California.

Chinatown (Roman Polanski, USA, 1974, 130 minutes)
Netflix: With a suspicious, porcelain-skinned femme fatale (Faye Dunaway) bankrolling his snooping, private eye J.J. Gittes (Jack Nicholson) uncovers intricate dirty dealings in the Los Angeles waterworks and gets his nose slashed for his trouble. Meanwhile, his financier harbors a nasty family secret. Director Roman Polanski reimagines 1930s Los Angeles with an onionlike story that reveals itself one complex layer at a time in this classic neonoir.  Netflix link.

Cul-De-Sac (Roman Polanski, UK, 1966, 99 minutes)
Netflix link: Roman Polanski directs this tense, dark comedic thriller about two wounded criminals, Dickie (Lionel Stander) and Albie (Jack MacGowran), who hole up at a secluded seaside castle belonging to old, meek Englishman George (Donald Pleasence) and his young, vibrant French wife, Teresa (Francoise Dorleac). Soon, only Dickie is left to terrorize the couple, and bizarre relationships between the three begin to form. Jacqueline Bisset co-stars.  Netflix link.

Roman Polanski: Wanted and Desired (Marina Zenovich, USA, 2008, 99 minutes)
Netflix: This penetrating documentary explores the tumultuous events of director Roman Polanski's personal life, including the murder of his pregnant wife, Sharon Tate, and the controversial sex scandal that prompted him to flee the United States for France. Highlights include an interview with Polanski's victim, Samantha Geimer, as well as candid conversations with Chinatown screenwriter Robert Towne and actress Mia Farrow.  Netflix link.

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Westerns: Sergio Leone and Peter Fonda

One of my favorite films of all time started streaming on Netflix Watch Instantly this past weekend: Sergio Leone's Once Upon a Time in the West.  Possibly the most flamboyant and operatic of Leone's westerns, and even more contemplative than his "Dollars Trilogy," this film simply has great scene after great scene, with a fantastic cast led by Charles Bronson in one of the few films I like him in.  Henry Fonda, cast against type, plays one of the great screen villains of all time.  Whenever I come across this on cable television I usually stop what I'm doing and watch it from that point until the end.  If you haven't seen it, set aside some time, sit up close to the screen, turn the volume up, and enjoy.

If you're in the mood for other subsequent responses to the Western genre from the 1970s, you might also look at the Leone's Duck, You Sucker (sometimes re-titled as Fistful of Dynamite or Once Upon a Time...the Revolution to capitalize on the Leone earlier successes) and Henry's son Peter Fonda's post-Easy Rider directorial debut, The Hired Hand.

Once Upon a Time in the West (Sergio Leone, USA/Italy, 1968, 165 minutes) 
Netflix: This Sergio Leone classic, a tribute to Hollywood Westerns, stars Henry Fonda as Frank, a deft gunslinger hired by the powerful owner of a railroad conglomerate to kill anyone who derails the project. But Frank contends with the wrong person when he murders Brett (Frank Wolff), a landowner, prompting Brett's wife (Claudia Cardinale) to hire two renegades (Charles Bronson and Jason Robards) to go after Frank. Netflix link. 

Duck, You Sucker (Sergio Leone, USA/Italy, 1971, 156 minutes)
Netflix: While on the lam in Mexico, Irish Republican Army demolition expert John Malloy (James Coburn) hooks up with Juan Miranda (Rod Steiger), a crass, stogie-chomping bandit with designs on the Mesa Verde Bank. Reluctant partners with differing agendas, they find themselves caught up in the turmoil of the Mexican revolution when their heist nets more than gold in director Sergio Leone's sprawling 1971 Western. Netflix link.

The Hired Hand (Peter Fonda, USA, 1971, 91 minutes)
Netflix: Harry Collings (Peter Fonda) has been traveling around with his fellow drifter and friend Arch Harris (Warren Oates). Disturbed by thoughts of the wife (Verna Bloom) and child he left behind so long ago, Harry decides to attempt a reunion with them by working on the family farm. All is well until Arch is taken prisoner by a past enemy; now, Harry must choose whether to uphold his responsibility to the family or save his longtime friend. Netflix link.

Quick Picks: Harold and Maude (1971); The Spook Who Sat at the Door (1973)

According to InstantWatcher, a large list of Miramax films will be coming to Netflix Watch Instantly this week (in fact, it is supposed to be today, so stay tuned) and I plan to cover many of the highlights to the list over the course of this week.  There are so many to look at, in fact, that I decided to add a Quick Picks entry today to look briefly at some films from the 1970s that otherwise might be overlooked.

Not that Harold and Maude is an overlooked film, but it might not be noticed in the onslaught of films that are coming this week.  Simply put, everyone needs to see Harold and Maude at some point in their time on this Earth.  I associate the film with the film society scene at the University of Wisconsin--Madison, where it would be certain to play at least once every year until the societies died out.  It benefits from multiple viewings not only because of the quality of the film, but also because ones perspective it changes as one gets older.  It's perfect for the college crowd because it touches on youth angst and resistance to authority.  But it is also a rare Hollywood film that is also about getting old.  I hate to sound like a broken record when discussing films from the 1970s, but the experimentation in Hollywood as it tried to capture the emerging youth market of the counter culture led to some films that would have a hard time being made today.  It was possible to make a studio film that wasn't really for everybody, and Harold and Maude is not for all tastes in terms of content and tone. 

A thought occurred to me as I was preparing this entry: Is Michael Cera the Bud Cort of the 2000s?  Both of them are unlikely leading men, yet they both found their respective niche playing awkward young men in quirky narratives.  The difference, I think, is that even Michael Cera probably couldn't pull of the delicate mix of tones required for Harold and Maude.  Perhaps more importantly, I don't know of any recent American film (indie or studio) that has a character like Maude, or a performance comparable to Ruth Gordon's performance here.  Any attempt to do similar material now would probably come off as cold and ironic, but what is special about Harold and Maude is that by the end it is genuinely moving despite the broad, dark humor.

Harold and Maude (Hal Ashby, USA, 1971, 91 minutes)
Netflix: Death-obsessed teen Harold Chasen (Bud Cort) is being hassled by his domineering mother (Vivian Pickles) to play the dating game, but he'd much rather attend funerals, which is where he meets the feisty Maude (Ruth Gordon), a geriatric widow who's high on life. The seemingly mismatched pair forms a bond that turns into a highly unconventional -- but ultimately satisfying – romance in this comical cult favorite from director Hal Ashby.  Netflix link.





I still have not seen The Spook Who Sat by the Door, but I first heard about it from Christopher Sieving when discussing his research on African-American cinema and blaxploitation.  So its addition to Netflix Watch Instantly gives me an opportunity to add it to my queue as well as congratulate Chris on the recent publication of his book, Soul Searching: Black Themed Cinema from the March on Washington to the Rise of Blaxploitation from Wesleyan Press.

The Spook Who Sat by the Door (Ivan Dixon, USA, 1973, 102 minutes)
Netflix: After spending several years in Washington as the CIA's token black agent, Dan Freeman (Lawrence Cook) quietly returns to Chicago to launch a potent political revolution made up of leftist radicals and black nationalists. The goal of his well-trained guerilla army? To launch an all-out offensive against the nation's white-dominated power structure. Ivan Dixon, best known for his role as Sgt. "Kinch" Kinchloe on "Hogan's Heroes," directs. Netflix link.

New to Netflix Watch Instantly (3/21/11)

We'll start the week off right with some Quick Picks of films that are new to Netflix Instant View as of last week.

Alphaville (Jean-Luc Godard, France, 1965, 99 minutes)
Netflix: Directed by cinematic legend Jean-Luc Godard, this mesmerizing sci-fi noir centers on secret agent Lemmy Caution (Eddie Constantine) and his mission to destroy Alpha 60, the sentient computer that controls Alphaville by destroying freedom of thought or individuality. Brilliantly realized and crafted, Godard's 1965 film helped to lay the foundation for future sci-fi classics such as Blade Runner, The Terminator and The Matrix. Netflix link.

The last sentence in the Netflix summary is true, but not in the way that you're probably imagining in your head as you read it.  What is brilliant about Alphaville is that it makes almost no attempt to futurize the mise-en-scene, and instead sets the futuristic action in the streets of 1965 Paris, resulting in a jarring mixture of film noir, science fiction, and art cinema.  The hero, Lemmy Caution (American Eddie Constantine) appears as a classic detective hero as he arrives in Alphaville from the Outlands in his Ford Mustang. Caution's ultimate goal is to destroy Alpha 60, a supercomputer that has enslaved Alphaville by outlawing free thought and emotion.  So what makes Alphaville special in relation to Blade Runner, The Terminator, and The Matrix is how it explores ideas without any dependence on spectacle for its own sake, which is often a weakness of mainstream American science fiction films.  In Alphaville, Godard is also at his most flamboyant and audacious in terms of playful narration and visual style.  This isn't for everyone, but it is great fun if you're game.
 

The Taking of Pelham 123 (Joseph Sargent, USA, 1974, 104 minutes)
Netflix: Deep in the bowels of New York City, a gang of men led by "Mr. Blue" (Robert Shaw) hijacks a subway car and radios the transit authority with a demand: Deliver $1 million in cash in the next hour, or they'll shoot one passenger each minute. Now, it's up to Lt. Zachary Garber (Walter Matthau) to keep a cool head, secure the money and deliver the ransom before time runs out. Martin Balsam, Hector Elizondo and Earl Hindman round out Mr. Blue's crew. Netflix link.

No this is not the John Travolta / Denzel Washington remake (which I have not seen but have not heard good things about); this is the original with Walter Matthau and Robert Shaw (Quint from Jaws).  There's a reason they remade this: the original is quite good.  Now I know what you're thinking: "Walter Matthau?"  But you must remember that Matthau was in a wider range of roles than the comic ones we most remember him for; another well respected action film with Matthau was Don Siegel's Charley Varrick (1973).  While The Taking of Pelham One Two Three is not as innovative or adventurous as other films of the period, it does benefit from many of the qualities that made 1970s mainstream American cinema interesting and vibrant.  Perhaps taking its cue from grittier action films like The French Connection and Dirty Harry, Pelham does try to capture the feel of New York City at the time, and the unglamorous qualities of urban life.  And while in the end it might be a genre film, it is a tight and well executed genre film with more interest in suspense than spectacle. 

The Man in the White Suit (Alexander Mackendrick, UK, 1951, 85 minutes)
Netflix: Sidney Stratton (Alec Guinness) invents an indestructible cloth that never gets dirty and celebrates by having a white suit made of the fabric. But soon, the lowly mill workers start fearing for their jobs while the mill owners worry about their profits. Chase scenes and double-crosses ensue as the impish Stratton struggles to defend his discovery from the mob. Ernest Thesiger portrays decrepit mill owner Sir John Kierlaw. Netflix link.

Ealing Studios in England became famous for their comedies in the 1940s and 1950s.  Other famous Ealing comedies included Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951),  and The Ladykillers (1955), all of which featured classic performances by Alec Guinness.  The Man in the White Suit came in at number 58 in the British Film Institute's list of the top 100 British films of all time.  It has been a while since I've seen this (probably since high school) so I'm looking forward to visiting it again soon.

Darling (John Schlesinger, UK, 1965, 122 minutes)
Netflix: Up-and-coming fashion model Darling (Best Actress Oscar winner Julie Christie) burns with ambition. First, she falls hard for married television interviewer Robert (Dirk Bogarde). Next, Darling meets Miles (Laurence Harvey), who knows all the right people in London's swinging '60s film industry. But he's just another stepping stone as Darling scrambles her way to the top. The trouble is, the pinnacle of success can be deceiving. Netflix link.

I've put this on my list of films that I really should have seen by now.  This was the breakout role for Julie Christie, who is quickly becoming on of the most cited actresses on this blog.  On the same BFI list mentioned above, Darling came in at number 83.

If you get a chance to see Darling before I do, or if you have any other thoughts about these films, please let me know in the comments section below.  --JLK

Sidney Lumet: Dog Day Afternoon, Network, The Verdict

Edit 4/22/11: As you probably know Lumet died on April 8, less than a month after I posted this Quick Picks selection.  Of all the essays about his career published subsequent to his death, the best has been by David Bordwell in his Observations on Film Art blog. He even debunks some of the standard-story claims I make in my brief summary, thanks to actually re-visiting the films rather than depending on memory.  (Thus, his commentary on Lumet's early films are particularly enlightening.)


This week I'm returning the Quick Picks closer to their original inspiration: less talk, more titles and links.

Sidney Lumet has had an amazing career in the American cinema, ranging from his directing debut with 12 Angry Men in 1957 through Before the Devil Knows Your Dead in 2007.  Admittedly there have been some rough patches (like 1990s, for example) but he still has managed to helm some true classics.  While not particularly flamboyant in terms of visual style, nor adventuresome in terms of narrative structure, the best Lumet films are incredibly well crafted, well acted, and concise cinematic gems. 

For a lengthy discussion of his career in film and television, check this series of videos at the Archive of American Television.  If you're not familiar with it already, you also might be interested in looking at Lumet's book on the craft of filmmaking, Making Movies.

Dog Day Afternoon (Sidney Lumet, USA, 1975, 124 minutes)
Netflix: To get money for his gay lover's sex-change operation, Sonny (Al Pacino) -- who's married with kids -- teams up with Sal (John Cazale) to rob a New York bank on a scorching-hot summer day. The stickup goes awry when the press gets wind of the circus sideshow-esque story. Chris Sarandon, Charles Durning and James Broderick co-star in this classic Sidney Lumet-directed film based on an actual event from the 1970s. Netflix link.



 

Network (Sidney Lumet, USA, 1976, 121 minutes)
Netflix: When network news anchor Howard Beale (Peter Finch) loses his mind on the air, his outrageous rants reach viewers at home, boost the ratings and intrigue cutthroat network executives Faye Dunaway and Robert Duvall. William Holden contrasts their avarice as an old-school TV journalist hopelessly out of step in writer Paddy Chayefsky's Oscar-winning masterpiece, which predicted today's rash of trash television and shock-laden news broadcasts. Netflix link.

The Verdict (Sidney Lumet, USA, 1982, 129 minutes)
Netflix: A washed-up, ambulance-chasing attorney (Paul Newman) gets a chance at redemption when his friend (Jack Warden) tosses him an open-and-shut medical malpractice case. But instead of accepting an easy cash settlement, he takes the powerful defendant to court. James Mason plays the opposing counsel, whom his legal adversary calls "The Prince of Darkness," in this courtroom drama from director Sidney Lumet. Netflix link.

Running on Empty (Sidney Lumet, USA, 1988, 116 minutes)
Netflix: After they bomb a napalm plant during the Vietnam War, Arthur and Annie Pope (Judd Hirsch and Christine Lahti) are fugitives, never able to settle down in one place for too long. Years later, their son (River Phoenix) falls in love with a young woman (Martha Plimpton) and must decide whether to keep running with his family or stay put and risk never seeing them again. Phoenix earned an Oscar nod for his performance; Sidney Lumet directs. Netflix link.

Before the Devil Knows Your Dead (Sidney Lumet, USA, 2007, 116 minutes)
Netflix: The perfect crime goes horribly wrong for brothers Andy (Philip Seymour Hoffman) and Hank (Ethan Hawke) when they botch a robbery of their parents' jewelry store in this wrenching drama from legendary filmmaker Sidney Lumet, who was 82 when he directed the film. Albert Finney and Rosemary Harris co-star as Andy and Hank's unsuspecting parents, with Marisa Tomei appearing as Gina, Andy's unfaithful wife. Netflix link.

Genres: Films I Should Have Seen By Now from the 1970s

In the coming weeks the Thursday entries will focus on either popular genres (Western, Musicals, Horror, Comedy, Action, Sci-Fi, etc.) or on television series (yes, that means there will be at least one Doctor Who entry).  I’m going to cheat a bit on my own premise and schedule by starting with this entry of films from the 1970s that I really should have seen at this point in my life, but I haven’t.  So while future entries will focus on one particular genre, I’ll break this entry into a variety of genres.  Of course, what is great about many 1970s films is the degree to which they played with genre conventions and fused them with influences from art film and modernist filmmaking practices.  So some might argue that these genre labels are misleading (even though I"ll use Netflix labels as my guide); that may be true, and I look forward to hearing those objections in the comments section.

It might seem a bit odd to recommend films that I haven’t seen yet.  But part of my aspiration with this blog is to start a dialogue with people about what they’re watching and how they’re using the streaming services currently available.  So the fact that I’ve now admitted to having not seen these films will light a fire under me and force me out of shame to finally sit down and watch these, since they’re just sitting there in my queue and there’s really no excuse not to watch them.   And now I am subject to peer pressure from those reading this to finally see them.

This list is inspired in part by the recent list Time Out list of the 100 Best British Films of all time.  Topping the list was Nicholas Roeg’s Don’t Look Now, which has been on my View Instantly queue for far too long (and yes, it was on there before the Time Out list came out). It is also inspired by the fact that Don't Look Now will only be streaming for another few days, expiring on March 1.  So hopefully this entry will light a fire under all of us to watch it.  As it turns out, there are three Nicholas Roeg films from the 1970s on the list (and a fourth from 1980, Bad Timing, is also currently streaming), so we'll start out with those.

Mystery / Psychological Thriller

Don’t Look Now (Nicholas Roeg, UK, 1973, 110 minutes)

Netflix: After losing their young daughter in a tragic drowning accident, John (Donald Sutherland) and Laura (Julie Christie) Baxter relocate to Venice, Italy, where they meet an elderly psychic woman who insists that she sees the spirit of the child. The couple is unsure of this stranger's visions, but John begins to have psychic flashes of his own, seeing the child walk the streets of Venice. Is he insane, or is there a deeper meaning to the sightings?  Netflix link.  

Once again, this will no longer be streaming after March 1, so let's take a look at it and share feedback in the comments section.  This is the title I'm most embarrassed not to have seen at this point, so perhaps I will watch it right after I post this.

 

Mobster / Crime Drama

Performance (Nicholas Roeg & Donald Cammell, UK, 1970, 105 minutes)

Netflix: On the lam from his gangland cohorts, mob muscleman Chas Devlin (James Fox) gets more than he bargained for after taking refuge at the home of reclusive, faded rock star Turner (Mick Jagger) and his two bohemian gal pals (Anita Pallenberg and Michèle Breton). The two-bit enforcer soon finds himself ensnared in Turner's hedonistic lifestyle and trapped in mind games designed to challenge Chas's sense of identity. Netflix link.  

Since Nicholas Roeg seems to be getting all of the love in this list, let me recommend looking at this hard to find documentary on Donald Cammell over on You Tube (posted across seven separate 10 minute segments, the link is to the first segment).

Adventure

Walkabout (Nicholas Roeg, UK, 1971, 100 minutes)

Netflix: Horrific circumstances strand an urban brother and sister (Lucien John and Jenny Agutter) in the Australian outback, where they're found by an aboriginal boy (David Gulpilil) who helps the pair return to their city. As they wander, the siblings survive danger with the help of their new friend. The bond between the three grows, but when they reach civilization, the aboriginal boy finds he's unwelcome. Netflix link.

Of course, as a Criterion Collection release, we're at a disadvantage to watch the stream instead of being able to watch the extras on the DVD.  This may change with Criterion's deal with Hulu, which may lead to having extras available to stream.  Meanwhile, here's a brief essay on the film by Roger Ebert on the Criterion Current webpage.

Mystery / Suspense

Night Moves (Arthur Penn, USA, 1975, 100 minutes)

Netflix: Cut-rate private eye Harry Moseby (Gene Hackman) finds himself caught in a labyrinth of mendacity and murder in director Arthur Penn's top-notch suspenser. Tapped to locate the runaway daughter (Melanie Griffith) of faded Hollywood star Arlene Iverson (Janet Ward), Harry heads to the Florida Keys, where what he considered a run-of-the-mill case turns into something much more. Meanwhile, his marriage is slowly disintegrating. Netflix link.

Arthur Penn had a wide ranging career.  He was at the forefront of the changes in American cinema during the 1960s with Mickey One and Bonnie and Clyde (the latter of which is on Watch Instantly).  He ended his career with films like Penn and Teller Get Killed (1989).  But in the 1970s he was still considered a top director, with films like Little Big Man with Dustin Hoffman and this detective drama starring Gene Hackman and a young Melanie Griffith.

Romantic Drama

Minnie and Moskowitz (John Cassavetes, USA, 1971, 115 minutes)

Netflix: Writer-director John Cassavetes crafts a relatable tale of romance about two utterly average people: Minnie Moore (Gena Rowlands), a museum curator recovering from a bad break-up with her married boyfriend, and Seymour Moskowitz (Seymour Cassel), an outspoken parking attendant. Nothing about Seymour seems "right" -- not his face, not his job nor his demeanor. But Minnie finds herself falling for him anyway. Netflix link.  

John Cassavetes is a key figure in the history of American independent filmmaking, and this is one of his lesser known efforts.  At some point you should also look at his other films currently available for streaming, including Shadows, Opening Night, Killing of a Chinese Bookie, and especially A Woman Under the Influence.  Also available, which I haven't seen, is A Child is Waiting, one of his films directed for a Hollywood studio before his return to independent filmmaking with Faces.

Western

The Hired Hand (Peter Fonda, USA, 1971, 90 minutes)

Netflix: Harry Collings (Peter Fonda) has been traveling around with his fellow drifter and friend Arch Harris (Warren Oates). Disturbed by thoughts of the wife (Verna Bloom) and child he left behind so long ago, Harry decides to attempt a reunion with them by working on the family farm. All is well until Arch is taken prisoner by a past enemy; now, Harry must choose whether to uphold his responsibility to the family or save his longtime friend. Netflix Link.

Truth be told, I have barely heard of this film beyond the browsing that I did while researching this entry, but the reviews and comments intrigued me enough to put it on this list.  With Warren Oates in the cast, I'm curious to see if it is like some other alt-westerns from the early 1970s like The Shooting (which now fetches $50.00 and up for a DVD on Amazon).  We'll see...

Political Thriller / Suspense

Parallax View (Alan J. Pakula, USA, 1974, 102 minutes)

Netflix: After the assassination of a leading U.S. senator, journalist Joseph Frady (Warren Beatty) notices that the reporters who witnessed the murder are inexplicably dying. Frady investigates and finds that the assassination was part of a conspiracy involving a shadowy therapy institute called the Parallax Corporation. Driven by curiosity, he infiltrates Parallax in an effort to uncover the truth. Hume Cronyn co-stars as Frady's editor. Netflix link.

  

This film is well known enough, and was on television often enough when I was in high school, that you would think that I would have seen it by now.  Despite being out on DVD since 1999 (and apparently in stock at Amazon), this is not available on DVD though Netflix.

Black Comedy

The Ruling Class (Peter Medak, UK, 1974, 154 minutes)

Netflix: After a House of Lords member dies during a bizarre cross-dressing ritual, his nutty son, Jack (Peter O'Toole) -- who thinks he's Jesus Christ -- is bequeathed the family estate. As a result, his family members must scheme to steal back Jack's inheritance. This 1972 cult comedy, in all its murder and mayhem glory, takes a swipe at every swath of class-obsessed British society. Arthur Lowe shines as Jack's lucky servant, Tucker. Netflix link.

Another film that seemed to be on cable television often enough when I was in high school that you think I would have seen it.  Also notable as a title cited in the complaint comments for its exemption from the Time Out Top 100 British Films list mentioned at the top of the entry. Most recently Peter Medak has directed for American television, including episodes of The Wire, Carnivale, and Breaking Bad.

I look forward to your comments.  --JLK