A rebellious punk of the beat generation spends his days as an amateur dirt track driver in between partying and troublemaking. He eventually kidnaps his buddy's girlfriend, kills a few ... See full summary »
In a small, U.S. costal town, with many Spanish speakers, a motorcycle gang arrives on vacation. Also in town to try to reconnect with his pregnant girlfriend, Karen, is businessman Paul ... See full summary »
A cowboy rides into a small town that is ruled with an iron fist by a corrupt Sheriff. He becomes involved with a pretty young town girl and some residents who are trying to oust the ... See full summary »
Life becomes so harried after Ensign Pulver's prank, he and the Captain are swept off deck during a storm, ending up on a tropical island, a group of ship wrecked nurses, dancing natives, and one very big case of appendicitis.
Robert Walker Jr.,
Director Irving Lerner met Verna Fields on the set of Spartacus (1960) where he was putting in uncredited time as a sound editor. Lerner had been signed to direct the B movie Studs Lonigan and invited Verna Fields to become the film's editor. An established sound editor, this was her first time cutting film. See more »
Healthy men out of work, and why? Because of the machine! The machine has got to go! And men gotta start working with their hands again. The good book says so, men shall work by the sweat of their brow. So let's get rid of the machine! Get the automobile off the streets and get back to the horse! Get rid of the automobile, the telephone, and high heels. Yeah, I said so, high heels! 'Cause that's another thing wrecking civilization. Take women off their high heels, put them back in the kitchen ...
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Uneasily straddling the ways of the old Hollywood and the coming openness of the late 60s and 1970s, Studs Lonigan is neither fish nor fowl and is simply hard to watch. The main attraction for contemporary audiences is the cast, but the most interesting aspect of the film is Haskell Wexler's cinematography. At times overly busy--his use of noirish angles gets annoying at times, and isn't aided by poor editing by Verna Fields--Wexler nonetheless leaves a great impression and hints at the great work to come in films like Bound For Glory. When he gets it right, the photography is simply stunning, channeling elements of the French New Wave and the outside-the-studio naturalism that was soon to be the norm. Unfortunately these moments only comprise about ten minutes of total screen time, the rest of the film consisting of a hackneyed tale of youth in revolt during the Roaring Twenties. Even Jack Nicholson and Frank Gorshin can't do much to render Philip Yordan' s screenplay particularly appetising.
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