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96-590: The film was produced by Roger Corman and lensed by Jim Wynorski . It was released direct-to-video on March 25, 2003, with special features including trailers, actor bios, audio commentaries, and a making of featurette. High school students Kelly and Gary are camping out at night, when an unseen assailant stabs Gary to death and impales Kelly with a hiking stick. The next day, the Bridgemont High cheerleading squad (Parker, Angela, Tammy, Shelley, and Dina) practice before leaving for an event in another town. In

192-509: A Bachelor of Science degree in industrial engineering in 1947. While at Stanford University, Corman was initiated in the fraternity Sigma Alpha Epsilon . In 1948, he worked briefly at U.S. Electrical Motors on Slauson Avenue in Los Angeles, but his career in engineering lasted only four days; he began work on Monday and quit on Thursday, telling his boss "I've made a terrible mistake." Soon after he found work at 20th Century Fox as

288-555: A Hollywood Rebel , directed by Alex Stapleton, premiered at the Sundance and Cannes Film Festivals in 2011. The film's TV rights were picked up by A&E IndieFilms after a well-received screening at Sundance. Corman was born in Detroit , Michigan , to Anne (née High) and William Corman, an engineer of Russian Jewish descent. His younger brother, Gene , produced numerous films, sometimes in collaboration with Roger. Corman

384-596: A Million Eyes (1955), then made another Western, Apache Woman (1955), starring Lloyd Bridges , written by Lou Rusoff . Rusoff and Corman reunited on Day the World Ended (1955), a postapocalyptic science-fiction film, which was popular. Corman was to make The Devil on Horseback by Charles B. Griffith about the Brownsville Raid , but it was too expensive. The Woolner Brothers , Louisiana drive-in owners, financed Corman's Swamp Women (1956),

480-479: A blockbuster film of the same name .) Corman sold the movie to a new independent company, the American Releasing Company (ARC), run by James H. Nicholson and Samuel Z. Arkoff . Although Corman had a number of offers for the film from Republic and Columbia, he elected to go with ARC, because they undertook to advance money to enable him to make two more movies. Corman's second film for ARC

576-482: A company producing or releasing low-budget black-and-white films as double features for drive-ins and action houses. In February 1959, Filmgroup announced they would release 10 films. Their first movies were High School Big Shot (1959) and T-Bird Gang (1959), produced by Stanley Bickman. Roger seemed a driven man. Roger wanted to accomplish a lot, he had to have a lot of drive to do it, and he pushed through. He not only pushed through, he punched through! With

672-483: A connection to the "art films" of Europe, the studios hired a host of young filmmakers and allowed them to make their films with relatively little studio control. Some of whom, like actor Jack Nicholson and director Peter Bogdanovich , were mentored by "King of the Bs" Roger Corman while others like celebrated cinematographer Vilmos Zsigmond worked for lesser-known B movie directors like Ray Dennis Steckler , known for

768-493: A contract with Columbia." In August 1965, Corman announced he had signed a contract with United Artists to make two films over three years. He also signed with Columbia to make a Western, The Long Ride Home , based on a script by Robert Towne. New Hollywood The New Hollywood , Hollywood Renaissance , American New Wave , or New American Cinema (not to be confused with the New American Cinema of

864-591: A girls-on-the-lam saga. He returned to ARC for two Westerns, The Oklahoma Woman (1956) and Gunslinger (1956) (with Ireland); Gunslinger was co-written by Griffith, who became a crucial collaborator with Corman over the next five years. He bought a script from Curtis Harrington , The Girl from Beneath the Sea . Harrington made it for Corman years later as Night Tide (1961). Beverly Garland , one of Corman's early regular stock players, recalled working with him: Roger made us work hard and long, I remember that! He

960-407: A historical horror piece about Richard III , Tower of London (1962), starring Vincent Price . It was meant to be the first in a three-picture deal with Small, but Corman did not enjoy working with the producer. For Filmgroup, he also bought the rights to a Soviet science-fiction film, Nebo Zovyot (1959) and had some additional footage shot for it by his then-assistant, Francis Ford Coppola;

1056-536: A key authorial role. The definition of "New Hollywood" varies, depending on the author, with some defining it as a movement and others as a period. The span of the period is also a subject of debate, as well as its integrity, as some authors, such as Thomas Schatz, argue that the New Hollywood consists of several different movements. The films made in this movement are stylistically characterized in that their narrative often deviated from classical norms. After

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1152-451: A lot of energy, and a lot of disregard at times... What we did for Roger Corman – I mean, things that you could never do in a real studio, but you did for this guy! Everything seemed unreal with him. – Susan Cabot For AIP, Corman and Griffith made a black comedy, A Bucket of Blood (1959). Corman announced he would follow it with a similar comedy, The Bloodshot Private Eye . It does not seem to have been made. Instead, Griffith reused

1248-457: A mental hospital the day before, is thought to be moving in their direction. Meanwhile, a jogger, Debbie, is killed when someone cuts the ropes of the suspension bridge she is crossing. Murdock, Adams, and Officers Kimble and Phillips investigate Kelly and Gary’s murder. Murdock and Adams then visit retired sheriff Monty Coltrain, who arrested MacPherson 20 years ago, to warn him of his escape. While there, they learn that Dina has been found gutted at

1344-535: A messenger in the mail room, earning $ 32.50 per week. Corman worked his way up to a story reader. The one property that he liked the most and provided ideas for was filmed as The Gunfighter with Gregory Peck . When Corman received no credit at all, he left Fox and decided he would work in film by himself. Under the G.I. Bill , Corman studied English literature at the University of Oxford and lived in Paris for

1440-473: A practice inspired by European art films and classical Hollywood directors such as D. W. Griffith and Alfred Hitchcock . Films with unorthodox editing included Easy Rider ' s use of jump cuts (influenced by the works of experimental collage filmmaker Bruce Conner ) to foreshadow the climax of the movie, as well as subtler uses, such as those to reflect the feeling of frustration in Bonnie and Clyde ,

1536-411: A roadblock and are told they will have to take a detour, so Buzzy takes a shortcut through a snowy mountain pass. The van runs out of gas as the snowstorm worsens, and the group takes refuge in an empty vacation cabin. The Fresno Police chief’s assistant, Melissa DeMarco, calls Sheriff Murdock and informs him that MacPherson called their station with Debbie’s cell phone and left a voicemail implying that he

1632-500: A rough cut of Bonnie and Clyde in the summer of 1967, he hated it. Distribution executives at Warner Brothers agreed, giving the film a low-key premiere and limited release. Their strategy appeared justified when Bosley Crowther , middlebrow film critic at The New York Times , gave the movie a scathing review. "It is a cheap piece of bald-faced slapstick comedy," he wrote, "that treats the hideous depredations of that sleazy, moronic pair as though they were as full of fun and frolic as

1728-534: A science-fiction film, Monster from the Ocean Floor (1954). It was produced by Corman's own company, Palo Alto, and released by Robert L. Lippert . The film did well enough to encourage Corman to produce another film, the racing-car thriller The Fast and the Furious (1955), directed by its star, John Ireland , and co-starring Dorothy Malone . (Decades later, the title would be licensed from Corman for

1824-537: A script by Gordon; and The Cry Baby Killer (1958), which gave Jack Nicholson his first starring role. He had his biggest budget yet for I Mobster (1958), a gangster story, co-produced by Edward L. Alperson and Corman's brother Gene for 20th Century Fox. In September 1958, he was reported as scouting locations in Australia to do a remake of H. Rider Haggard 's She . War of the Satellites (1958)

1920-583: A script called The Red Baron . He bought the rights to another Soviet science-fiction film, Planeta Bur (1962), and had some additional footage added to it by Curtis Harrington . The result was Voyage to the Prehistoric Planet (1965). Harrington used footage from Planeta Bur in another film financed by Corman, Queen of Blood (1966). He also bought the rights to a Yugoslavian film, Operation Titan (1963), and financed additional shooting by Jack Hill and Stephanie Rothman . The result

2016-585: A splash in the United States – the huge market of disaffected youth seemed to find relevance and artistic meaning in movies like Michelangelo Antonioni 's Blowup , with its oblique narrative structure and full-frontal female nudity. The desperation felt by studios during this period of economic downturn, and after the losses from expensive movie flops, led to innovation and risk-taking, allowing greater control by younger directors and producers. Therefore, in an attempt to capture that audience that found

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2112-474: A standalone feature The film was followed by a very loose sequel named Cheerleader Massacre 2 in 2011. Roger Corman Roger William Corman (April 5, 1926 – May 9, 2024) was an American film director, producer, and actor. Known under various monikers such as "The Pope of Pop Cinema", "The Spiritual Godfather of the New Hollywood ", and "The King of Cult", he was known as a trailblazer in

2208-468: A third, which was shot at the same time: Creature from the Haunted Sea (1961). Corman was going to make Part Time Mother from a script by Griffith but it appears to have never been made. AIP wanted Corman to make two horror films for them, in black and white, at under $ 100,000 each on a 10-day shooting schedule. Corman, however, was tired of making films on this sort of budget and was worried

2304-414: A time. Corman then returned to Los Angeles and tried to re-establish himself in the film industry. He took various jobs, including television stagehand at KLAC-TV and a messenger at Fox. He worked as an assistant to literary agent Dick Hyland. Corman wrote a script in his spare time and sold it to William F. Broidy at Allied Artists for US$ 2,000 (equivalent to $ 22,691 in 2023). "Dick thought it

2400-476: A while for the film to be released and it lost money. Corman was unhappy with his profit participation on the first two Poe films, so he made a third adaptation for different producers, The Premature Burial (1962), written by Charles Beaumont and starring Ray Milland . The film was co-financed by Pathe labs; AIP put pressure on Pathe by threatening to withdraw lab work from them and ended up buying out their interest. For producer Edward Small , Corman made

2496-507: Is decapitated. The others discover his body and search the cabin for a gun. Ryan finds one, and he and Angela go for help. They become separated, and Ryan is strangled. Ms. Hendricks, Parker, Shelley, and Tammy go outside to look for the fuse box. Shelley finds it and is electrocuted when she touches it. Tammy is pulled into the crawlspace and stabbed repeatedly. Monty comes across Shelley’s body while tracking MacPherson, and Ms. Hendricks and Parker ambush him and knock him unconscious, believing he

2592-478: Is not acting alone. Deputy Adams receives word that the cheerleaders have gone missing, and she and Murdock leave to search for them. MacPherson arrives at Monty’s cabin in the stolen squad car. The two exchange gunfire, and MacPherson flees into the woods. Buzzy goes outside to investigate the gunshots but is distracted when he sees Tammy and Ryan having sex through a bedroom window. The killer sneaks up and kills him with an axe. Mark goes outside to look for Buzzy and

2688-469: Is the killer. Angela shows up and confronts them at gunpoint, revealing that she killed the cheerleading squad to avenge Marissa’s death. They manage to elude her, and Parker confesses to Ms. Hendricks that the cheerleaders slipped ecstasy in Marissa's drink at a party and filmed her making out with Angela. She tried to drive home while high and crashed her car over a bridge. They made a pact never to reveal

2784-526: The Julie Andrews vehicle Star! , each failed attempts to replicate the success of Mary Poppins , Doctor Zhivago and The Sound of Music , put great strain on the studios. By the time the Baby Boomer generation started to come of age in the 1960s, " Old Hollywood " was rapidly losing money; the studios were unsure how to react to the much-changed audience demographics. The change in

2880-808: The Woolner Brothers and Sorority Girl (1957), starring Susan Cabot for AIP. For AIP, he made The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent (1957), shot in August 1957. He was meant to follow this with Teenage Jungle by Tony Miller. The success of Not of this Earth and Crab Monsters led to Allied offering Corman a four-picture deal for 1958. Corman received his first serious critical praise for Machine-Gun Kelly (1958), an AIP biopic of

2976-479: The 1950s "the horrible decade" for Hollywood. It was dubbed a "New Hollywood" by a press. In the 1950s and early 1960s, Hollywood was dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing, and improved sound. However, audience shares continued to dwindle, and had reached alarmingly low levels by the mid-1960s. Several costly flops, including Tora! Tora! Tora! , Gene Kelly 's adaptation of Hello, Dolly! and

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3072-456: The 1960s that was part of avant-garde underground cinema ), was a movement in American film history from the mid-1960s to the early 1980s, when a new generation of filmmakers came to prominence. They influenced the types of film produced, their production and marketing, and the way major studios approached filmmaking. In New Hollywood films, the film director, rather than the studio, took on

3168-576: The 1962 Arch Hall Jr. vehicle Wild Guitar and the 1963 horror musical flick The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies . This, together with the breakdown of the Motion Picture Production Code following the Freedman v. Maryland court case in 1965 and the new ratings system in 1968 (reflecting growing market segmentation) set the scene for the New Hollywood. A defining film of

3264-682: The Beach Boys and Hal Ashby as the Kinks ). Los Angeles Times article film critic Manohla Dargis described New Hollywood as the "halcyon age" of 1970s filmmaking, that "was less revolution than business as usual, with rebel hype". She also pointed out in her New York Times article that the era's enthusiasts insist this was "when American movies grew up (or at least starred underdressed actresses); when directors did what they wanted (or at least were transformed into brands); when creativity ruled (or at least ran gloriously amok, albeit often on

3360-709: The Crab Monsters (1957) for Allied, which wound up being one of his most successful early films. For his own production company, Corman made a rock-and-roll "quickle", Carnival Rock (1957), released by Howco. Rock All Night (1957) was a heist film written by Griffith expanded from a TV play, "The Little Guy", with musical acts inserted. He was meant to make Rock'n'Roll Girl for AIP in December 1957. In April 1957, Corman announced he would try to make two films back-to-back from then on to save costs. Corman made two "teen girl noirs", Teenage Doll (1957) for

3456-528: The Heart marked the end of the era. In fact, The Wild Angels was kind of a... it was a big success for the New Hollywood . It was Roger Corman , it was Peter Fonda , Nancy Sinatra , it was a New Hollywood kind of movie, and it was very anti-the Old Hollywood, it was very hard-edged, violent, you know, it was not at all an Old Hollywood movie. And I didn't, I wasn't particularly aware of it. Then

3552-502: The Hollywood Golden Age, which deals with the relationship of characters and plot. He argues that plot in classical Hollywood films (and some of the earlier New Hollywood films like The Godfather ) "tended to emerge more organically as a function of the drives, desires, motivations, and goals of the central characters". However, beginning with mid-1970s, he points to a trend that "characters became plot functions". During

3648-444: The New Hollywood generation was Bonnie and Clyde (1967). Produced by and starring Warren Beatty and directed by Arthur Penn , its combination of graphic violence and humor, as well as its theme of glamorous disaffected youth, was a hit with audiences. The film eventually won Academy Awards for Best Supporting Actress ( Estelle Parsons ) and Best Cinematography . When Jack L. Warner , then-CEO of Warner Bros. , first saw

3744-407: The New Hollywood movement marked a significant shift towards independently produced and innovative works by a new wave of directors, but that this shift began to reverse itself when the commercial success of Jaws and Star Wars led to the realization by studios of the importance of blockbusters , advertising and control over production (even though the success of The Godfather was said to be

3840-682: The Poe cycle—it featured Price and was made for AIP, written by Beaumont—but was actually based on a story by H. P. Lovecraft . Corman directed a war film in Yugoslavia with his brother, The Secret Invasion (1964), with Stewart Granger and Mickey Rooney , from a script by Campbell. Following this, he announced he would make The Life of Robert E. Lee as part of a four-picture deal with Filmgroup worth $ 3.75 million. Other movies were Fun and Profit by Joel Rapp, The Wild Surfers by John Lamb, and Planet of Storms by Jack Hill . None of these films

3936-679: The Red Death and announced two films, Captain Nemo and the Floating City and House of Secrets . Following The Pit and the Pendulum , Corman directed one of William Shatner 's earliest appearances in a lead role with The Intruder (a.k.a. The Stranger , 1962). Based on a novel by Charles Beaumont , the film was co-produced by Gene Corman and was shot in July and August 1961. It took

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4032-399: The anti-everything cynicism... Was everything a bummer? Was everything a drag? Was every movie about some guy with problems?" In 1980, film historian/scholar Robert P. Kolker examined New Hollywood film directors in his book A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman , and how their films influenced American society of the 1960s and 1970s. Kolker observed that "for all

4128-458: The art cinema movement as a significant industry force with its peak in 1974–75 with Nashville and Chinatown . Geoff King sees the period as an interim movement in American cinema where a conjunction of forces led to a measure of freedom in filmmaking, while Todd Berliner says that 70s cinema resists the efficiency and harmony that normally characterize classical Hollywood cinema and tests

4224-514: The audience off balance at Bonnie and Clyde . The brutality that comes out of this innocence is far more shocking than the calculated brutalities of mean killers." Kael also noted the reaction of audiences to the violent climax of the movie, and the potential to empathize with the gang of criminals in terms of their naiveté and innocence reflecting a change in expectations of American cinema. The cover story in Time magazine in December 1967, celebrated

4320-628: The business from the producer-driven Hollywood system of the past as Todd Berliner has written about the period's unusual narrative practices. The 1970s, Berliner says, marks Hollywood's most significant formal transformation since the conversion to sound film and is the defining period separating the storytelling modes of the studio era and contemporary Hollywood. New Hollywood films deviate from classical narrative norms more than Hollywood films from any other era or movement. Their narrative and stylistic devices threaten to derail an otherwise straightforward narration. Berliner argues that five principles govern

4416-407: The challenge and adventure, their films speak to a continual impotence in the world, an inability to change and to create change." John Belton points to the changing demographic to even younger, more conservative audiences in the mid 1970s (50% aged 12–20) and the move to less politically subversive themes in mainstream cinema, as did Thomas Schatz, who saw the mid- to late 1970s as the decline of

4512-502: The counterculture of the late 1960s." Easy Rider also affected the way studios looked to reach the youth market. The success of Midnight Cowboy , in spite of its "X" rating, was evidence for the interest in controversial themes at the time and also showed the weakness of the rating system and segmentation of the audience. For Peter Biskind, the new wave was foreshadowed by Bonnie and Clyde and began in earnest with Easy Rider . Biskind's book Easy Riders, Raging Bulls argues that

4608-684: The darker elements of humanity and society within the context of the American Dream in the mid-1960s to the early 1980s, with themes that were reflective of sociocultural issues and were centered around the potential meaninglessness of pursuing the American Dream as generation upon generation was motivated to possess it. In comparison, American Eccentric Cinema does not have a distinct context, its films show characters who are very individual and their concerns are very distinctive to their own personalities. The following

4704-501: The demise of the studio system and the rise of television, the commercial success of films was diminished. Successful films of the early New Hollywood era include Bonnie and Clyde , The Graduate , Rosemary's Baby , Night of the Living Dead , The Wild Bunch , and Easy Rider while films that failed at the box office such as New York, New York , Sorcerer , Heaven's Gate , They All Laughed and One from

4800-445: The famous gangster , which gave Charles Bronson his first leading role and co-starred Cabot. Campbell wrote the script. Also for AIP, he did Teenage Caveman (1958), with Robert Vaughn , originally titled Prehistoric World . He helped produce two films for Allied Artists, both from scripts by Leo Gordon : Hot Car Girl (1958), directed by Bernard Kowalski and produced by his brother Gene (the first film they made together) from

4896-680: The film to be re-released, thus proving its commercial success and reflecting the move toward the New Hollywood. The impact of this film is important in understanding the rest of the American New Wave, as well as the conditions that were necessary for it. These initial successes paved the way for the studio to relinquish almost complete control to these innovative young filmmakers. In the mid-1970s, idiosyncratic, startling original films such as Paper Moon , Dog Day Afternoon , Chinatown , and Taxi Driver , among others, enjoyed enormous critical and commercial success. These successes by

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4992-477: The film's period setting, was inspired by the Martin Scorsese classics Taxi Driver and The King of Comedy while Alexander Payne 's 2023 film The Holdovers took inspiration from Ashby's works. American Eccentric Cinema has been noted as influenced by this era. Both traditions have similar themes and narratives of existentialism and the need for human interaction. New Hollywood focuses on

5088-481: The first film directed by Monte Hellman . Corman went to Puerto Rico and produced another two films back-to-back: Battle of Blood Island (1960), directed by Joel Rapp , and Last Woman on Earth (1960), directed by Corman from a script by Robert Towne . Filming on these two films went so quickly and incentivized by the tax breaks on offer for filming in Puerto Rico, Corman commissioned Griffith to write

5184-552: The following year was Bonnie and Clyde . Shadows had come out in the early '60s, so that was really the first sign of a kind of off-Hollywood movement. – Peter Bogdanovich Following the Paramount Case (which ended block booking and ownership of theater chains by film studios) and the advent of television (where Rod Serling , John Frankenheimer , Arthur Penn , Paddy Chayefsky and Sidney Lumet worked in their earlier years), both of which severely weakened

5280-591: The height of the studio system, films were made almost exclusively on set in isolated studios. The content of films was limited by the Motion Picture Production Code, and though golden-age film-makers found loopholes in its rules, the discussion of more taboo content through film was effectively prevented. The shift towards a "new realism" was made possible when the Motion Picture Association of America film rating system

5376-463: The high school, which doesn’t fit MacPherson’s MO. When Phillips and Kimble see his jacket by the side of the road and stop to investigate, he ambushes and kills them both and steals their squad car. Murdock and Adams visit one of MacPherson’s surviving victims, Linda, hoping her recollection of the attack will yield further clues. In a flashback, he attacks her in the high school with a large power drill and leaves her for dead. The cheerleaders encounter

5472-433: The impact of critic Pauline Kael in her positive review of the film (October 1967, New Yorker ) led other reviewers to follow her lead and re-evaluate the film (notably Newsweek and Time ). Kael drew attention to the innocence of the characters in the film and the artistic merit of the contrast of that with the violence in the film: "In a sense, it is the absence of sadism — it is the violence without sadism — that throws

5568-481: The jazz-age cut-ups in Thoroughly Modern Millie ..." Other notices, including those from Time and Newsweek magazines, were equally dismissive. Its portrayal of violence and ambiguity in regard to moral values, and its startling ending, divided critics. Following one of the negative reviews, Time magazine received letters from fans of the movie, and according to journalist Peter Biskind ,

5664-458: The limits of Hollywood's classical model. According to author and film critic Charles Taylor ( Opening Wednesday at a Theater or Drive-In Near You ), he stated that "the 1970s remain the third — and, to date, last — great period in American movies". Author and film critic David Thomson also shared similar sentiment to the point of dubbing the era "the decade when movies mattered". Author A.D. Jameson ( I Find Your Lack of Faith Disturbing ), on

5760-534: The locker room, Shelley mourns for their former teammate, Marissa, who died exactly one year ago. As the group is leaving, Dina goes back inside to get her purse and is killed. The others assume she took the bus and leave in a van with their coach, Ms. Hendricks, their driver, Buzzy, and students Mark and Ryan. Bobcat County Sheriff Frank Murdock and Deputy Donna Adams are notified by the Fresno Police chief that serial killer Jeremiah MacPherson, who escaped from

5856-606: The market during the period went from a middle-aged high school-educated audience in the mid-1960s to a younger, more affluent, college-educated demographic: by the mid-1970s, 76% of all movie-goers were under 30, 64% of whom had gone to college. European films, both arthouse and commercial (especially the Commedia all'italiana , the French New Wave , the Spaghetti Western ), and Japanese cinema were making

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5952-539: The market for them was in decline. He proposed making a film in color for $ 200,000, shot over 15 days. Corman proposed an adaptation of " The Fall of the House of Usher " by Edgar Allan Poe and AIP agreed. The film was announced in May 1959. Richard Matheson was hired to do the adaptation and Vincent Price was brought in to star; Haller did the art direction. The resulting film, House of Usher (1960), shot in early 1960,

6048-423: The members of the New Hollywood led each of them in turn to make more and more extravagant demands, both on the studio and eventually on the audience. The new generation of Hollywood filmmakers was most importantly, from the studios' view, young, therefore able to reach the youth audience they were losing. This collective of actors, screenwriters and directors, dubbed the "New Hollywood" by the press, briefly changed

6144-455: The movie and innovation in American New Wave cinema. This influential article by Stefan Kanfer claimed that Bonnie and Clyde represented a "New Cinema" through its blurred genre lines, and disregard for honored aspects of plot and motivation, and that "In both conception and execution, Bonnie and Clyde is a watershed picture, the kind that signals a new style, a new trend." Biskind states that this review and turnaround by some critics allowed

6240-419: The narrative strategies characteristic of Hollywood films of the 1970s: Seventies cinema also dealt with masculine crises featuring flawed male characters, downbeat conclusions and pessimistic subject matters alongside hard-nosed depictions of a America reeling from tense conflicts like The Vietnam War and President Richard Nixon 's Watergate scandal . Thomas Schatz points to another difference with

6336-698: The other hand, claimed that Star Wars was New Hollywood's finest achievement that actually embodied the characteristics of the respected "serious, sophisticated adult films". Steven Hyden, writing for Grantland , called the Movie Brats the "cinematic version" of classic rock (to the point of roll calling Spielberg as the Beatles , Scorsese as the Velvet Underground , Coppola as Bob Dylan , Lucas as Pink Floyd , Robert Altman as Neil Young , Brian De Palma as Led Zeppelin , Bogdanovich as

6432-408: The precursor to the blockbuster phenomenon). Writing in 1968, critic Pauline Kael argued that the importance of The Graduate was in its social significance in relation to a new young audience, and the role of mass media, rather than any artistic aspects. Kael argued that college students identifying with The Graduate were not too different from audiences identifying with characters in dramas of

6528-486: The previous decade. She also compared this era of cinema to "tangled, bitter flowering of American letters in the 1850s". Filmmaker Quentin Tarantino identified in his 2022 book Cinema Speculation that: "regular moviegoers were becoming weary of modern American movies. The darkness, the drug use, the embrace of sensation-the violence, the sex, and the sexual violence. But even more than that, they became wear of

6624-461: The production code enabled New Hollywood films to feature anti-establishment political themes, the use of rock music, and sexual freedom deemed "counter-cultural" by the studios. The youth movement of the 1960s turned anti-heroes like Bonnie and Clyde and Cool Hand Luke into pop-culture idols, and Life magazine called the characters in Easy Rider "part of the fundamental myth central to

6720-754: The result was Battle Beyond the Sun (1962). He also released The Magic Voyage of Sinbad (1962), dubbed from a Soviet film. The fourth Poe was an anthology, Tales of Terror (1962), shot in late 1961. One of the installments, "The Black Cat", was a comedy, inspiring Corman to do a whole Poe story comedically next: The Raven (1963). Later, Corman used the sets for that film for The Terror (1963), made for Filmgroup but released by AIP, and starring Boris Karloff (whose scenes were all shot in two days) and Jack Nicholson. Corman did not direct all of this film; additional scenes were shot by Monte Hellman, Coppola, and Jack Hill, among others. The Young Racers (1963)

6816-640: The right and responsibility of every actor or crew member to yell, 'Cut!' The films of New Hollywood influenced future mainstream and independent filmmakers such as Tarantino, Paul Thomas Anderson and Noah Baumbach . They also influenced both the Poliziotteschi genre films in Italy and a decade later the Cinéma du look movement in France. Todd Phillips 's 2019 DC Comics adaptation Joker , alongside

6912-603: The same script structure and Corman employed many of the same cast in The Little Shop of Horrors (1960). This film was reputedly shot in two days and one night. For Filmgroup, Corman directed The Wasp Woman (1959), starring Cabot from a script by Gordon. His brother and he made two films back-to-back in South Dakota: Ski Troop Attack (1960), a war movie written by Griffith and directed by Corman, and Beast from Haunted Cave (1959),

7008-453: The science-fiction story It Conquered the World (1956). Co-written by Griffith, it was a follow-up to The Day the World Ended . It was a big hit. He optioned a TV play, The Stake , and hoped to get Dana Andrews to star. It was never made. Instead, Walter Mirisch of Allied Artists hired Corman to make The Undead (1957), inspired by The Search for Bridey Murphy . Griffith wrote

7104-535: The script. In June, Corman made a science-fiction film for Allied Artists, Not of this Earth (1957), written by Griffith. In August 1956, AIP financed a Corman heist movie shot in Hawaii, Naked Paradise (1957), co-written by Griffith. Corman shot it back-to-back with a movie made with his own money, She Gods of Shark Reef (1958). Corman wound up selling the movie to AIP. Corman and Griffith reunited in Attack of

7200-425: The studio's dime)." This era was also infamous for its excessive decadence and on-set mishaps. Incidents plaguing the behind-the-scenes of some of the horror films from this era (such as Rosemary's Baby , The Exorcist , Twilight Zone: The Movie and The Omen ) were also the subjects for the docuseries Cursed Films . Even Spielberg, who co-directed/co-produced Twilight Zone with John Landis ,

7296-893: The subjectivity of the protagonist in The Graduate and the passage of time in the famous match cut from 2001: A Space Odyssey . Also influential were the works of experimental filmmakers Arthur Lipsett , Stan Brakhage , Bruce Baillie , Jordan Belson , John Whitney , Scott Bartlett , Maya Deren and Kenneth Anger with their combinations of music and imagery and each were cited by George Lucas , Francis Ford Coppola and Martin Scorsese as influences. The New Hollywood generation of directors and screenwriters (each educated at either USC , UCLA , NYU and AFI ) such as Coppola, Lucas, Scorsese, Steven Spielberg , John Milius and Paul Schrader were sometimes jokingly labeled as "Movie Brats" or " Young Turks ". The end of

7392-686: The tales of Edgar Allan Poe , and which collectively came to be known as the " Poe Cycle ". In 1964, Corman became the youngest filmmaker to have a retrospective at the Cinémathèque française , as well as in the British Film Institute and the Museum of Modern Art . He was the co-founder of New World Pictures , the founder of New Concorde and was a longtime member of the Academy of Motion Picture Arts and Sciences . In 2009, he

7488-445: The traditional studio system , Hollywood studios initially used spectacle to retain profitability. Technicolor developed a far more widespread use, while widescreen processes and technical improvements, such as CinemaScope , stereo sound, and others, such as 3-D , were invented to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits. By 1957, Life magazine called

7584-420: The truth, and they used the video to blackmail Angela into going along with it. Ms. Hendricks and Parker turn on the gas stove and throw a Molotov cocktail into the cabin as Angela enters it, blowing it up and killing her. The next morning, Deputy Adams talks to them in front of Monty’s house as Sheriff Murdock sends Monty off in an ambulance. As it pulls away, the driver is revealed to be MacPherson. The film

7680-520: The world of independent film . Many of the more than 500 features directed or produced by Corman were low-budget films that later attracted a cult following, such as The Little Shop of Horrors (1960), The Intruder (1962), X: The Man with the X-ray Eyes (1963), and the counterculture films, The Wild Angels (1966) and The Trip (1967). House of Usher (1960) became the first of eight films directed by Corman that were adapted from

7776-419: Was Blood Bath (1966). He also had an investment in the beach party films Beach Ball (1965) and It's a Bikini World (1967). Corman said, "For ten years as an independent I could get financing for $ 100–$ 200–$ 300,000 pictures. Everything had been interesting, artistically satisfying, economically satisfying. But I decided I was going nowhere and wanted to move directly into the business. So I accepted

7872-466: Was a critical and commercial hit. Following this, Corman bought two scripts, Sob Sisters Don't Cry and Cop Killer . In March 1960, Corman announced that Filmgroup would be part of an international production group, Compass Productions. He directed a peplum in Greece, Atlas , (1961) in August. He was going to direct a thriller from a script by Robert Towne , I Flew a Spy Plane Over Russia . It

7968-469: Was always fascinating to me, a fascinating man – and a good businessman! He had such incredible energy, it was tremendous – he was a dynamo to be around. I always knew he was going to be a huge success because there was no stopping him. He just made up his mind that he was going to be a success and that was it. ARC changed its name to American International Pictures. Corman was established as their leading filmmaker. They financed Corman's next film as director,

8064-543: Was awarded an Academy Honorary Award "for his rich engendering of films and filmmakers". Corman was also famous for handling the U.S. distribution of many films by noted foreign directors, including Federico Fellini (Italy), Ingmar Bergman (Sweden), François Truffaut (France) and Akira Kurosawa (Japan). He mentored and gave a start to many young film directors such as Francis Ford Coppola , Ron Howard , Martin Scorsese , Jonathan Demme , Peter Bogdanovich , Joe Dante , John Sayles , and James Cameron , and

8160-766: Was cheaper (no sets need to be built) New Hollywood filmmakers rapidly developed the taste for location shooting, resulting in a more naturalistic approach to filmmaking, especially when compared to the mostly stylized approach of classical Hollywood musicals and spectacles made to compete with television during the 1950s and early 1960s. The documentary films of D.A. Pennebaker , the Maysles Brothers and Frederick Wiseman , among others, also influenced filmmakers of this era. However, in editing, New Hollywood filmmakers adhered to realism more liberally than most of their classical Hollywood predecessors, often using editing for artistic purposes rather than for continuity alone,

8256-797: Was conceived and shot in record time to take advantage of the Sputnik launch; it was his first collaboration with art director Daniel Haller . Corman also produced, but did not direct, Stakeout on Dope Street (1958), directed by Irvin Kershner , Night of the Blood Beast (1958), directed by Kowalski for AIP, using leftover costumes from Teenage Caveman , and Crime and Punishment U.S.A. (1959), directed by Dennis Sanders with George Hamilton in his first lead role. In January 1959, Corman announced he would be moving into distribution. In 1959, Corman founded The Filmgroup with his brother Gene,

8352-418: Was funny and let me pay myself a commission," said Corman. Originally called House in the Sea , it was retitled Highway Dragnet (1954) and starred Richard Conte and Joan Bennett . Corman also worked as associate producer on the film for nothing, just for the experience. Corman used his script fee and personal contacts to raise US$ 12,000 (equivalent to $ 136,149 in 2023) to produce his first feature,

8448-630: Was highly influential in the New Hollywood filmmaking movement of the 1960s and 1970s. He also helped to launch the careers of actors like Peter Fonda , Jack Nicholson , Dennis Hopper , Bruce Dern , Diane Ladd , and William Shatner . Corman occasionally acted in films by directors who started with him, including The Godfather Part II (1974), The Silence of the Lambs (1991), Philadelphia (1993), Apollo 13 (1995), and The Manchurian Candidate (2004). A documentary about Corman's life and career titled Corman's World: Exploits of

8544-551: Was introduced and location shooting was becoming more viable. New York City was a favorite spot for this new set of filmmakers due to its gritty atmosphere. Because of breakthroughs in film technology (e.g. the Panavision Panaflex camera, introduced in 1972; the Steadicam , introduced in 1976), the New Hollywood filmmakers could shoot 35mm camera film in exteriors with relative ease. Since location shooting

8640-485: Was made, nor was The Gold Bug , a Poe adaptation written by Griffith. Corman made two Poes in England starring Price, the much-delayed The Masque of the Red Death (1964), with Campbell rewriting Beaumont's scripts, and The Tomb of Ligeia (1965), from a script by Robert Towne. Corman made no further Poes; AIP started up a fresh Poe cycle in the late 1960s, but Corman was not part of it. Corman got Towne to write

8736-541: Was not made; neither were two comedies he was to make with Dick Miller and Jon Haze, Murder at the Convention and Pan and the Satyrs . House of Usher had been so successful that AIP wanted a follow-up, and Corman, Haller, Matheson and Price reunited on The Pit and the Pendulum (1961). It was another sizable hit, and the " Poe cycle " of films was underway. Corman hired Charles Beaumont to write Masque of

8832-446: Was one he decided to direct, Five Guns West (1955), a Western, made in color for around $ 60,000, with Malone and John Lund . The script was written by Robert Wright Campbell , who worked with Corman on several more occasions. Corman announced he would make four more projects for ARC: High Steel , Cobra , Fortress Beneath the Sea , and an untitled film from Campbell. Instead, Corman did some uncredited directing on The Beast with

8928-470: Was originally shot as Slumber Party Massacre 4 and contained various links to the first film , even having Brinke Stevens reprise her role as Linda Dawn Grant. However, production company New Concorde felt that there had been too many sequels to the Slumber Party series. The title was then changed to Cheerleader Massacre and character names, plus backstories, was altered so the film could become

9024-477: Was produced and directed by Corman in Europe for AIP, starring and written by Campbell. Working on the film was Francis Ford Coppola, whom Corman financed to make his directorial debut, Dementia 13 (1963). Back in the U.S., Corman made X: The Man with the X-ray Eyes (1963), a contemporary science-fiction film for AIP starring Ray Milland . He followed it with The Haunted Palace (1963), ostensibly part of

9120-594: Was raised in his mother's Catholic faith. Corman went to Beverly Hills High School and then to Stanford University to study industrial engineering. While at Stanford, Corman realized he did not want to be an engineer. He enlisted in the V-12 Navy College Training Program with six months of study to complete. After serving in the United States Navy from 1944 to 1946, he returned to Stanford to finish his degree, receiving

9216-432: Was so disgusted by the latter's handling of a deadly helicopter accident that resulted in the death of three actors, that he ended their friendship and publicly called for the end of New Hollywood. When approached by the press about the accident, he stated: "No movie is worth dying for. I think people are standing up much more now, than ever before, to producers and directors who ask too much. If something isn't safe, it's

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