Rate The Last Movie You Saw

[titoli]

I just watched a Neo Noir Drama from 1973 today that would be labeled "soft core." Back then it was labeled Sexploitation.  It's Fleshpot on 42nd Street (1973).

You schmuck, when you have to post jpg.'s you don't.

[dave jenkins]

I urge any of you who think all Grindhouse/Sexploitation films are crap with lousy acting, direction, cinematography, story, etc., etc., go to Amazon Prime pay with your credit card the $1.99 fee, and watch the R/NC-17 streaming version of his film that is available. You may not like or approve the subject matter of it but it will be an eye opener to the amount of quality that was achieved on a low budget. Bravo Andy Milligan.

Laura Cannon who played Dusty Cole (in the film credited as Diana Lewis) can act, she is amazingly believable in her role.  Make no mistake though she was a porno actress with 30 films credited on IMDb. Her co-stars were Harry Reems (famous for Deep Throat) and Neil Flanagan who I've never heard of before. They both can also act BTW.

It's a sort of gritty, Noir, Pretty Woman.

There is a blu of this coming: https://www.amazon.com/Fleshpot-42nd-Street-Guru-Blu-ray/dp/B07J34NT7G/ref=sr_1_1?crid=1PT1ODR7IPZVX&keywords=fleshpot+on+42nd+street+blu+ray&qid=1570631059&s=movies-tv&sprefix=fleshpot%2Caps%2C279&sr=1-1

It's pricey, though, so I may take your suggestion and watch the amazon prime offering. Thanks for the tip, I've never seen this.

[noodles_leone]

You schmuck, when you have to post jpg.'s you don't.

 

[stanton]

You can download the 87 min version here:

https://rarelust.com/fleshpot-on-42nd-street-1973/

[titoli]

You can download the 87 min version here:

https://rarelust.com/fleshpot-on-42nd-street-1973/

 

[cigar joe]

You schmuck, when you have to post jpg.'s you don't.

lol I was waiting for the long version, supposedly the directors cut is academy ratio, the Amazon Prime is 1:85:1.

[cigar joe]

I'm thinking of picking up the Vinegar Syndrome Blu it's got extras:

https://vinegarsyndrome.com/collections/vinegar-syndrome/products/fleshpot-on-42nd-street

Unless we grossly underestimated demand for Andy Milligan's masterpiece, we will NOT repress this in a "standard edition". This slipcover release is limited to 2,500 and is designed by Earl Kessler Jr. It's only available here at VinegarSyndrome.com and a few other select retail outlets.

Dusty, a street smart, but desperately unhappy prostitute who works in Times Square, uses her body to survive; seducing, conning, and ripping off her johns. After moving in with Cherry, a cross-dressing male prostitute, Dusty hopes to find more solid financial footing and a stable future in the sex trade, that is, until she meets Bob, a young lawyer who lives on Staten Island, who falls in love with her, and she with him. With a chance to escape her miserable existence becoming a possibility, Dusty starts dreaming of a future she never thought possible. But can she escape her own destiny?

Andy Milligan's masterpiece of urban sexual despair, FLESHPOT ON 42ND ST stars Laura Cannon (Forced Entry) in her career performance as Dusty, along side Milligan regular character actor Neil Flanagan, and sex film superstar Harry Reems. Evoking the aesthetics of Paul Morrissey's work for Warhol as filtered through Cassavetes sobering examinations of loneliness and the working class condition, FLESHPOT remains Milligan's most powerful and personal film. Only ever available in heavily cut editions sourced from splicy prints, Vinegar Syndrome brings this crucial piece of 70s New York filmmaking to Blu-ray in a brand new 4k preservation of its previously unseen original and painstakingly reconstructed director's cut, featuring all of its legendary lost footage restored.

Directed by: Andy Milligan
Starring: Laura Cannon, Neil Flanagan, Harry Reems
1973 / 87 min / 1.37:1

• Region Free Blu-ray/DVD combo
• Newly scanned & restored in 4k from its 16mm camera reversal
• Two different viewing options: the director's intended 1.37:1 framed presentation or the 1.85:1 theatrical framing.
• Audio commentary with film historians and authors Samm Deighan, Heather Drain, and Kat Ellinger
• Locations 'then and now' featurette
• Reversible cover artwork
• English SDH subtitles

[noodles_leone]

The Long Goodbye 7.5/10
Lots of great stuff but what a messy mess.

[dave jenkins]

The Long Goodbye 7.5/10
what a messy mess.

But in a good way, nicht wahr?

[noodles_leone]

But in a good way, nicht wahr?

In both ways. It gives the movie its charm as well as it leads it to great moments and shots, but at the cost how many missed opportunities?

I’m very happy to have at last seen it though, it’s pretty haunting.

[T.H.]

The Long Goodbye 7.5/10
Lots of great stuff but what a messy mess.

A mess? Huh?

[noodles_leone]

A mess? Huh?

Yeah but I’m pretty sure it’s designed to be a mess.
The camerawork is all over the place (with the operator seemingly zooming in, out, and moving around the scene in long focal as he feels), the scenes start on something and move on to 32 other topics seemingly at random (and only end because someone interrupt them out of nowhere) and of course the plot is convoluted for nothing (but that last point is pretty common in detective movies). So yeah, a mess on purpose.

[PowerRR]

This thread is turning into me and n_l reposting our Facebook message conversations, but...

El Camino: A Breaking Bad Movie (2019)

As an fan's extension of the Breaking Bad universe & characters: 8.5/10
As a film: 6/10

As a massive Breaking Bad fan I'm very happy with it and will be rewatching several times throughout my life.

A very fun Sergio Leone homage in there.

And some Safdie Brothers:

Lenny Cooke - 7/10
The Pleasure of Being Robbed - 7/10

[T.H.]

Yeah but I’m pretty sure it’s designed to be a mess.
The camerawork is all over the place (with the operator seemingly zooming in, out, and moving around the scene in long focal as he feels), the scenes start on something and move on to 32 other topics seemingly at random (and only end because someone interrupt them out of nowhere) and of course the plot is convoluted for nothing (but that last point is pretty common in detective movies). So yeah, a mess on purpose.

Chandler's plots can certainly be considered messy, but TLG is a brilliantly directed movie imo - the zooms etc aren't distracting at all and the movie has such a lively, breezy atmosphere because of the constant camera movements which aren't Greengrass-y at all.

If you don't like the way this movie uses zooms don't ever watch a Richard Rush movie.

[dave jenkins]

the movie has such a lively, breezy atmosphere because of the constant camera movements which aren't Greengrass-y at all.

Altman said in interviews that it had been his intention for the camera to never stop moving, and once you realize that's the conceit it's really fun to observe. Zooms date the movie, the way high-key lighting dates 60s films, but you have to accept such things with older films. I have watched TLG maybe 50 times and I never get tired of it. It's Altman's greatest picture, Brackett's best script, Gould's premier performance. I'm not sure that flashing the film was such a good idea, but all other aspects of the image are exceptional.