70´s
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Cabaret (1972) – Bob Fosse
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Singing-dancing heavy downer light-show sharply staged around a three-legged relationship with sex, booze and blood outspoken with clear-minded, subtly astute dialogue.
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The Wasps Are Here (1978) Darmasena Pathiraja
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Intriguing community-building affairs vaunted with a cozily speckled beach vibe.
But stripped naked by bland emotional acting and suggestively fading ties at the end.
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THE HOLY MOUNTAIN (1973) – ALEJANDRO JORODOWSKY
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Complex messianic circle jerk that transgressively fortune-wheels its dark-hippy nonsensical beauty around bringing its victims to a profound world of shit and cum.
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Almost Famous (2000) – Cameron Crowe
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Grounded with emotional veracity in the most vocal point of feud with the Death of everything that was holy and pure to rock and roll.
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Taxi Driver (1976) – Martin Scorsese
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“Morbid self-attention” won’t get you to revenge the world against what’s wrongly dark and seldom slightly right. “Don‘t you want to make it, mister?”
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Dazed and Confused (1993) – Richard Linklater
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Time-honored period-film that simply and independently pulls off a believable vintage-vibe by bringing out big nuances out of very small-town things.
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Dazed and Confused (1993) – Soundtrack
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There are mostly unusual suspects to be found in this dextrously hand-picked movie soundtrack with 1970´s era-evocative songs that feel mostly like synonyms.
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Harold and Maude (1971) – Hal Ashby
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This film makes me believe in love. Connection that knows no age, class, or reason. Through each other’s love, both characters become their best selves.
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All That Jazz (1979) – Bob Fosse
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Solipsistic Jizz-jerk that feels sorry for itself with a smile we all share in the gluttonous glitter surrounding our every longing delusion of danger.
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Sabbath Bloody Sabbath (1973) – Black Sabbath
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As satanic-ginger as it gets, a musical royal-ass worthwhile kissing with abandon. Ferrying-guitar paragraph-paragliding with Ozzy Osbourne´s idiosyncratic lovable luckluster-finesse.
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‚Atom Heart Mother Suite‘ (1970) Pink Floyd – Atom Heart Mother
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Kernerinnerung von damaliger Schulzeit, Musikunterricht. Ich hörte ein Schnipsel dieses Meisterwerks der Hochphase psychedelischer Musik. Band, Orchester, U-Bahngeräusche.
Diese Kombination hinterließ einen drogenfreien Nostalgietrip.
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Wake in Fright (1971) – Ted Kotcheff
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Very impressive, anti-heroic Australian blue-flame of a unique film that is as intense, raw and real as Kangaroo carcasses frying in the bush.
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Low (1977) – David Bowie
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Poly-syncratic avant-garde mindfuck simmering ahead of its time with high-functioning, cutting-edge madness that is never boring to the sound or vision.
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The Vietnam War: The Sountrack (2017) – PBS
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Most of the usual late sixties/early seventies Momma & Papa-suspects in a soundtrack playlist that is not necessarily set-in stoned but beautiful.
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Dispatches (1977) – Michael Herr
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A novel that should be “read” in Braille with eyes closed while in nature to virtually realize what a year in-country does to you.
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Rolling Thunder (1977) – John Flynn
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Founding father of the Vietnam-Vet-Vendetta genre that´s still vein-popping while advocating separation of mind and body when it comes to romancing pain.
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An American Prayer (1978) – Jim Morrison & The Doors
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The post-humorous poetic postures of a self-slained sage who´s
echoing inflamed-intimacy is being carried on the shoulders of his true soul mates.
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Morrison Hotel (1970) – The Doors
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Waiting for the Sun two times again while bar-diving savagely in the spirit of exploring the raw confines of the soul, mind and body.
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Network (1976) – Sidney Lumet
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Not to be taken lightly despite the dark humor that works every time. Outstanding satire on the organized religion that news and entertainment really are.
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Hotel California (1976) Hotel California – The Eagles
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Einer der togespielten Ultimate Classics.
Doch mit kindlichem Radiohören, jugendlicher Classic Rock-Phase und letztendlich eigenem Musizieren an Gitarre wuchs dieser Evergreen über alles hinaus.
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Days of Heaven (1978) – Terrence Malick
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Love triangles don’t work, period; but if you’re going for it do it during the magic hour when light makes everything look and feel right.
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Badlands (1973) – Terrence Malick
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Terrence’s malice is in the details, Martin’s Malick in what he thinks but does not say. Sissy has none but carries the curse of passiveness.
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Chinatown (1974) – Roman Polanski
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The right era. The right casting. The right script. What can I tell you, Roman? You’re right. When you’re right, you’re right, and you’re right.
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‚Don‘t Fear The Reaper‘ (1976) Blue Oyster Cult – Agents Of Fortune
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Euphorisches Gitarrenpickung und butterweicher Gesang laden ein zum Picknick.
Erst in Bridge wird aus naivem Mitwippen ein unberuhigendes Aufstoßen.
Ein Killertrack getarnt im seidenzarten Mantel.
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Crazy On You (1975) – Dreamboat Annie
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Akustikgitarren-Intro mit eigenem Beat.
Plötzlich ein sehr authentisches, leicht verzerrtes Lick was den Song in weitere einprägsambare „Led Zep“-Singalongs mit geschmeidigen Übergängen geleitet.
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Apocalypse Now (1979) – Francis Ford Coppola
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Far-out anti-war/pro-drugs cinematic experience that hits its heart-target as a perfect Parthian shot taken while exiting the dark 1970’s jungle.
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Diamond Dogs (1974) – David Bowie
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Poetic genocide for the R & R crowd with both vitamins D & B promulgating plastic progress growth that could go either U or D.
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The Dark Side Of The Moon (1973) – Pink Floyd
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Nach der Mondlandung die nächste weltweit bewegende Entdeckung.
Wissenschaft und Kunst vereint. Erforschung und Aufeinandertreffen ambienter Klänge.
Blaupause jeglicher Soundmischer sowie Erschaffer atmosphärischer Entspannungsmusik/Soundlandschaften.
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Rocky (1976) – John G. Avildsen
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Urgestein des Boxfilms.
Stallone macht meistens einen guten Job, nahezu jede andere Rolle leidet entweder unter grausig schwachem oder albernd starkem Schauspiel.
Schlecht gealterter Film.
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The Rise and Fall of Ziggy Startdust and the Spiders from Mars (1972) – David Bowie
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It has the moxie/mojo of five Dominican Republics arching backwards while juggling leper-chainsaws on Guiness posters in wet-woven shit-hole London pubs.
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Technical Ecstasy (1976) – Black Sabbath
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The sweet smell of decomposing fruits and flowers by the droning can-opener-crackling sound of tin-robot pornography underway in industrially-lit primary colors.
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Hearts and Minds (1974) – Peter Davies
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A sweaty collage of participant-perspectives circling down the drain of an exhausted conflict that Americans so tip-of-the-iceberg-ly deemed too long.
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Welcome to the Machine (1977) – Gerald Scarf
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Now we know where all that elevator blood in The Shining (1980) was coming from. A barrage of depressing thoughts inspiringly hand-drawn into hysteria.
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Johnny Got His Gun (1971) – Dalton Trumbo
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Written and directed by a black-listed Spartan-man who´s only begotten power was paralyzed by the wronging sword of a State of infuriating affairs.
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The Wall (1979) – Pink Floyd
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Maternal hub of all solipsistic concept albums having a strong autobiographical-novel taste of pathos. Having a big ego is not always a bad thing.
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Taxi Driver (1975) -Bernard Herrmann
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Sharks and alligators up to no good marauding in sacrosanct agreement in the form of slow amphibian dancing in the sulphuric waters of creative Death.
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Barry Lyndon (1975) – Barry Lyndon
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Hopefully in this day and age of long forms of entertainment such as the video podcast people can finally quit complaining about Barry Lyndon’s length.
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Let it Be (1970) – The Beatles
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Here´s where you write. Delete this text to set the Word Count to back to zero but do make sure you stay between the signs.
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Life of Brian (1979) – Terry Jones
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The crowd-conversation scene needs cutting, other than that it´s still hilarious as a clever compilation of statements and jokes that would never fly today.
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“If There is Something” (1972) – Roxy Music
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Starts out convivial and inviting until it directs its opposing magnets against the nucleus of Earth repelling itself “upwards“ towards the vacuum of the universe.
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Heaven & Hell (1979) – Black Sabbath
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A hungover but not less able Black Sabbath playing with the official replacement in Ozzy Osbourne´s presumably wishful funeral without anger or Schadenfreude (again, presumably.)
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The Last Detail (1973) – Hal Ashby
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The prospect of prison in the life of an unexperienced young man tends to accelerate the rituals of passage any free person should go through.
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Midnight Express (1978) – Alan Parker
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A very stern motion picture warning against obtuseness and corruption not to be taken lightly then and a good idea to tattoo in mind today.
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The Jerk (1979) – Carl Reiner
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You’re not really a jerk unless you actually know better. Hilarious comedy with a ridiculous premise running over a classic storyline with a dirt bike.
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The Deer Hunter (1978) – Michael Cimino
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Haunting downer that sinks deep into disillusionment, betrayal and post traumatic spleen-depression by Russian rouletting us between their past and present like prison toys.
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A Clockwork Orange (1971) – Stanley Kubrick
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Impersonal ultra-violence versus institutional, underage debauchery versus systematic adulthood. An excitingly repulsive playground where parents have no idea and the State blurs it all.
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One Flew Over the Cuckoo’s Nest (1975) – Milos Forman
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Don’t deny a man his basic right to have a goddamn beer and watch the game in the completely lucid lunacy of life lived well.
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Where’s Poppa? (1970) – Carl Reiner
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What do you do when you´ve made it to grownup with a nice girl on the horizon but your mind-molesting mother is still around?
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Halloween (1978) – John Carpenter
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Blaupause des Horror-Slashers und erstes, sowie bestes Kapitel der Halloweenreihe.
Michael steht im Schatten, baut Spannung auf. Jamie schreit sich zur Spitze des Horrorthrons.
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I, Claudius (1976) – Herbert Wise
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I would give anything to have a time machine for the sole purpose of feeling the rapture of watching this for the first time again.
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Five Easy Pieces (1970) – Bob Rafelson
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Complaining about the wealth you were born with will get you just as much sympathy as a skinny person would while complaining about their weight.
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Star Wars Episode IV: A New Hope (1977) – George Lucas
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Beginn von heroischer Sci-Fi-Fiction, Laseraction und legendärer Filmtrilogien.
Im Gegensatz zu folgenden Filmen funktioniert dieser als alleinstehendes Manifest.
Visionäre Filmmagie – Gut gegen Böse.