Known for Production
A young Native warrior seeks revenge on the cowboys who killed his buffalo herd.
In this version of "The Hunchback of Notre Dame", a hunchback is found living in the bell tower of UCLA. He discovers life as two students bring him out of the tower and into society.
A daredevil motorcycle rider falls for an older artist.
Filmed in the autumn of 1975 prior to and during Bob Dylan's Rolling Thunder Revue tour – featuring appearances and performances by Ronee Blakley, T-Bone Burnett, Jack Elliott, Allen Ginsberg, Arlo Guthrie, Ronnie Hawkins, Roger McGuinn, Joni Mitchell, Mick Ronson, Arlen Roth, Phil Ochs, Sam Shepard, and Harry Dean Stanton – the film incorporates three distinct film genres: concert footage, documentary interviews, and dramatic fictional vignettes reflective of Dylan's song lyrics and life.
An unscrupulous businessman tries to win a government contract by playing up to the engineer assigned to review the project. He comes to the engineer's hotel room to offer him money, all the while secretly filming the proceedings with a hidden camera. Meanwhile the engineer, unhappily married to an alcoholic, uses the hotel room to continue his affair with the businessman's attractive young wife.
A Russian emigre prides himself on the way he's molded himself into a real Yankee in the USA, though the world he lives in, New York's Lower East Side in the late 19th century, is almost exclusively populated by other Jewish immigrants. When his wife finally arrives in the New World, however, she has a lot of assimilating to do.
This experimental film, a self-described mix of reality and fiction shot in Greenwich Village and a Vermont commune, captures past and present moments from the life of Mel Howard, the film’s co-writer & co-narrator. Scenes chronicling Howard’s doomed romance with Scandinavian girl friend Turid Aarsted are interwoven with scenes detailing Howard’s relationship with his parents and with a former girl friend, as well as his failed attempts at moviemaking. One sequence depicts Aarsted leaving the thirty-seven-year-old Howard for the film’s cameraman, Paul Goldsmith, and includes a sex scene between the new lovers. In off-screen commentary, producer Kenneth E. Schwartz expresses concern about the film’s content. He reveals that he raised $50,000 for the project, complains to the viewer that the film was not supposed to be a “diary of freaky people.” Eventually he and Howard come to terms about the film’s direction and allow the film’s story to unfold unobstructed.
