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by PelsMart & PanY Pig
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OVER 3O,OOO PREOWNED ITEMS AT THE BEST PRICES IN AUSTIN! -- Plaiet Reptay i5 a locally owned and opented tranchlse'
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D. Andreu Douglas LISA2003 8|min. BETA Sp iomey tluough the American South _ a world of chuches, prisons, coalmines, mftsrops, lukeJomls/ swamps and momiains. Along the way we encouter vilious musiclars ircluding the Hmdsme FmilI, Johmy Dowd and David Johaisen, old'time bmio fiiyer Lee Sexton, noctaUiitu mounratn G'spet Lhuches, md novelist Harry Crews telling gnsly storie: dom a dirt track. lhe filir i, a collage of testimonies, almost invariably ot suaaen death, Heaven or Hen, u"ith no
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Notto knock Steve Canell or anytling ftecause we totally love him as much as he loves lanP in ANTHORMAN), but the NBC version of TIIE OFFICE just didn't do it Jor ru. Watdring people without cool accents saying lines that were alnost exactly the sane as tlm BBC versionls was suneal to say the least. And it also made us wmt to rewatdl the original version, the one we fell in love with in *re first place, and to watch it the way we love watdring things in a theaterwith a couple ofhundred of ou closest friendt some cold beer, md a really reallybig movie screor. Then we realized that we ac,tually have a movie tlrcater, we have cold beeL and so we decided to start a weekly series of screenings of T}IE bFFICE with three episodes included in each screening. Of course, wele going to spice it up a bi!
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wilh live contests in the *rcater before eadr show where you can participate in special activities taken from the watciing, with things ranging from eating a stapler out ol itsjell-o home or competing in a pub quiz or thmwing your shoe over the theater Because we're not just going to watdr the original OFFICE, we're going to
celebrate it, and you're invited to all of our OFFICE parties.
SEPT 8r EPISODES 1'3: Throw a shoe over the Alamo contest! SEPT 15: EPISODES 4'6: Compete in the Office Pub Quiz! SEPT 22: EPISODES 7'9: David Brent Sing'Along SEPT 29r EPISODES 10-13: Stapler in
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THE MOVIEI HOSTED BY THE YI]PPIE PRICKS! ITVE YUPPIES THE THEATER! DEAD HOOKERS BEHIND THE THEATER?
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After watching Christian Bale's Bruce Walne in this sumrner's BATMAN BEGINS, all we could wonder was how long it would be before that billionaire playboy totally lost it md started chopping up his memies. Bale may have started his joumey into ou collective consciousness in NEWSIES and Sl{lNG I(D$ but it was his brilliant performance as the title clraracter of Brett Easton Ellis' novel about the corporate greed culture of the 1980s that launched him towards icon status. As Patrick Batemar is mdone by the societal pressures aromd him and
eventually finds that cuiting up othen is his only way of really cutting loose, the audience is left to wonder just where the lines really are when everyone around you is obsessed with clawing their way to the top.
-,hl?,$pTnlnf,,:;tu1lll.r" talented md rich beyond your wildest Meet *re new corporate raiders "L".k dreams, they don't need you - you need them. iust hope they don't back over you with theh B\4Ws aftel stealing your girlfrien4 loser Before AMERICAN PSYCHQ the Yuppie Pricks will rally forth with stock tips, grooming advice, fashion sdtooling md some shaight ahead punk hmes with
the M"rathon!
PREP UP FOR S
WITTI A IUIL DAY OF THE CULI TV SHOWI SPECIAL CHINESE MENU! LEARN TO SWEAR IN CHINESE TOO!
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fingers can tum what could have foss Whedon is ihe King Midas of gmre entertainment. Just a single toudr ol his been the worst idea ever into the kind of appointmmt television that just doesn't exist for fars of lantasy or sci-fi or honor. A ieenage gid who fights vampires and complains about her homework? A westem set in space whele they actually have to herd cattle? And yet somehow the draracters he paints and the dralogue he writes for themteep ts coming back more and more until we're finally caught preadring ou love to all o{ ou disbelieving friards who can't seem to get over how preposterous tlrc concept somds. Butsoew those people, because we have been converted and now that we see the light we just wml to baihe in ii as much as we can. This September FIREFLY is getting the rarest of tare heabrent for a cancelled network TV show: it's getting its otn feature-fiim. Even better, the word from advance sceenings of the film is that it's good. Really good. so to prep ourselves up for it, we're going to watdr all of ihe episodes oI the origrnal show (in the order they were supposed to be shown in, not the wacky mixed up way FoX decided to air them) on the big screen. And we're going to leam how to swear in Chinese, tm, so we cm understand all the cool words tirey say in the show...
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Since 2001 the Alamo Drafthouse has been hosting a unique series of exploitation classics culled from private collections, abandoned warehouses, even dumpsters. We present a peerless selection of horror, sexploitation, action and more, mostly from'the golden era of the'60s and'70s. Many of the films are so obscure that little or nothing has ever been written about them. Some of them are bad,all of them are enjoyable,and a rare few are mind-blowingly amazing. Best of all, it's absolutely free, We think of it as a community service for jaded film fans, a heaven-sent escape from the crushing lameness of the realworld,
AUGUST 3 . PTTS
(l 974 d. Raphael Nussbaum) With the state ofmovies today,it's not surprising that many Americans are sleaze-deficient
to an alarming degree. Here at Alamo headquarters we're working around the clock to remedy that, Regular Weird
Wednesday patrons show a baseline sleaze deprivation index of zero. But if any of you out there need a supercharged speedball of sleaze to ensure that you are protected for the next six months or so, we prescribe this utterly unsavory masterpiece of depravity. lt s Sade's "Justine" plot again with luscious Candice Rialson, who looks exactly like Malibu Barbie,finding herself in some seriously kinky and compromi5ing situations. Rialson is great but top acting honors have
to go to Ed Bishop, of the cult TV show UF0, who plays a "collector of beautiful things". He has a couple of long ranting speeches that are priceless and worth the price of admission alone, ifthere were a price of admission. (Lars)
AUGUST IO
.III'S RTUI]IGT
(1976d.ArthurMarkg WelealreadyinArthurMark'debtuntiltheendoftimeforgivingusclassicslikeBONNlE'SKIDS
and ROOMMATES. Really - what more could we ask of him? 0f course we could ask for a super well made blaxploitation
movie about a reincarnated 1 940 s pimp seeking vengeance from beyond the grave in 1970! New Orleans. Mark' direction is right on the moneyonce again and GlynnTurman gives an amazing, untestrained performance as the young black law student who becomes possessed by the spirit ofpsychopathic scarfaced hood J.D, Pretty soon J.D. is injecting some serious old school flavor into Turmanl life. He starts running numbers, straightening his hair and treating his woman with a decidedly pre-women! liberation lack of sensitivity. You won't believe it when he shows up at the disco '1 wearing the full-on 941 gangster getup. Featuring Louis Gossett Jr as the holy roller preacher whol number one on
J.D.t shh list. Like all of Marks' best output this is violent, well-paced and funny with fantastic dialogue. (Lars)
brothel run by Diana Dors,where every night the girls put on unbelievable stage shows featuring body paint and bizane allegorical dance numbers, lt's one of the most visually arresting sex films ever. The psychedelic stage sequences are amazing and the women, including Christina Lindberg of THEY CALL HER 0NE EYE, are stunning, But the real revdlation here is Diana Dortan over-the-hill British actress who specialized in dumb blonde and nympho roles. Condidered a Bgrade acttess at best in her native country she really gets a chance to demonstrate her talent hele as the ringmaster of
sleaze. (Lars)
Ultimatelythisfilm raisesa lot morequestionsthan it answers. Butwho's complaining? Thealternatetitle forthisfilm is BLACK EMANUELLE,WHITE EMANUELLE but don't expect the beautiful Laura Gemser to show up, as this is a ripoff ofthe ELACK EMANUELLE seriet which is in itself a ripoff of the bigger budgeted Sylvia Kristal EMMANUELLE moviesl A ripoff
of a ripoffl Thanks ltalyl (Lars)
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(1971 d. Al Adamson) This August we commemorate the ten year anniversary of the untimely death of director Al Adamson (CARNIVAL MAGIC, FREEZE BOMB) The story of his death is as badly lit and difficult to
understand as one of his films itself, but we know that a contractor working on his horne killed him and entombed him in his own hot tub. That's some cold blooded shit, And it probably deprived the world of at ieast two or tluee more amazing and bizarre fihns of the sort that only he could make. But lei's not linger over his sad demise. Instead we'd likelo present the film that put him on the map. A film that served notice to the world that here is a man who makes fihns like no other: ridiculously cheap, barely comprehensible, but always a lot of fun. Possibly his greatest asset as a filmmaker was his total obliviousness. Al Adamson made movies like o1d people
drive. i{eiustkeptgoinghecoulddriveoverthecurb,plowdroughabuilding,buthejustkeptrollingalongat an ustoppable 35 miles an hour. This movie has it all - monsters, bikers, an LSD freakout and the worst dialogue
ever
I'm pretty sure they weren't (i969 d. Benjamin Onivas) I don't know what the sixties were really like anything at'all like this movie. Amid a backdrop of student protests the Dean's wife, played by the Munay, senerouslv boiacio'us bodacious redhead Cluistine Munav generously donates her iime and affections to bettering the state of student/faculty relations. A{ter severailively ani spiritually uplifting scenes of the act ol physical love, t}re action settles down to a parlry at the house o{ the Dean, where the depraved Professor Clove demonstrates his spanking tedurique for the benefit oI the assembled guests and everybody ftut the Dean) gets d9w1 and dirry. Pretty soon a bunch of radical students show up with their LSD and giant boobs, and the whole last ,..iis the Dean's big-booby-laden bad LSD hip. Should be shown to every college administrator in the country and the sooner thebettel (Lars)
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(1968 d. Bruce Kessler) The director of all-time Weird Wednesday classic SIMON KING OF THE WITCHES
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delivers a sleazy bi(er film about a Viet Nam vet biker who brings a little bit of the war home with him. The great thing about these cheap early biker films is the fact that they used many real bikers ur the cast, which ileans A)iots of off-the-cuf i,ulgar inprovisation and B) completely gonzo motorrycle stunts as the drunlen bikers try to out-macho one another 1t takes a special kind of director to make a goo! movie under these circumstances. If he's too reshictive the movie lad<s the spontaneity it needs, but if he doesn't rein it in at all, you just end up with a bunch of guys named "Acid" and "Pig" picking lice off each other for an hour and a
haff.' Fortunatily, Kessler is that speciat kind of director and while ANGELS FROM IIELL isn't exactly a household namelike EASY RIDER or THE WILD ANGELS, it manages to deliver the goods nicely. Featuring (Lars) Jack Starett, Arlene (Spock's wife) Martel, and Dirly Denny as himsel{.
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EveninaMexicaneco-disaster (l976D.NfuedoZacarias)Jeez,yourunintolohnSaxonintheshangestplaces. movie. Here the legendary expioitation he-man plays the world's leading authority on bees. He's.the guy the UN calls on when t[ey have a bee-related question so you know his bee knowledge is tip top So when_a bunch
of South American kiiler bes start terrorizing the US, it's tirne to give Saxon a call. But will his plan of tuming the bees gay with his special "gay bee serumn work in time? We've got our fingers crossedl Costaning Angel fompkins (lruVf CUI) and fellow Grade Z stalwart John Carradine as Uncle Ziggy. (Lars)
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28 . TTT]I I.UST
(1979 d. James Hong) What can I say about this movie that the title doesn't tell you already? It's nota
gripptng
dog. lt's about cold war espionage. It's not a heart warming story about a boy and a dog It's ir noi a frightening tale of murder and mayhem in the Bermuda Triangle. It's not about a cyborg with a heart ol with smuggling. It's a T&A comedy about teens. And lust. And that's gold. It has nothirg to do wlth diamond smug enough for md. Directed by the guy who played Lo Pan in BIG TROLtsLE IN LI|TLE CHINA. (Lars)
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(1e5e, d. Robert Burrer, stanins r*o,. EScApE FRoM *,W yoRK hansformed him into action hero brefcake, Kurt Rusell played a hunky, fresh-faced teenager who exuberantly outwifted older authority figures in eight Disney movies. ln THE COMPUIER WORE TENNIS SIIOES, an elmtrical accident in Medfield College's new computer systemshocks dim-but-cuddly uadergraduate Dexter Riley (Russetl) into instant geniu. The original owner, notohous criminal A.J.
Amo, had vital racketeemg nunbers rn the computet, all of which have found
is Dexter smarter, but he knows all the crildnal's secrets. Ils classic madcap Disnev 1to fexter fun,withaheckofalotmoreheartandsoulthanthecmentfihubeingchmedoutbythemousetoday Expectatheatel
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fulI of laughs when today's hds get a load of the size of a 1969 supercomputer.
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a deep sea adventure. A bespectacled bool.*eeper loves his pet fish so much that he longs to be one. The simple 'life oi Henn, the fish however, proves more exciting *rm nundane as he helps the US Navy defeat the irlzis i{orld Ba-sed on the
novelby Theodore Pratt, this quaint little fantasy leads the viewer on
WarII.
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CASH PRIZE TO THE AUDIENCE'S FAVORITE MOVIE! Thurs 8/28,9:45 & Sat9l29,9t45
No submission proress. No ceroorshtp. Aayihing goes. Two Note Solot oPEN SCREEN
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legend. What began as a way of shming cheesy movies we made in high school has grown into a springbord fot up"*d.o^ing a where experiencedvideo producers cm experiment with new projects with the bmefit of an eiger audiencei llmTakej-Td PFce RegularoSN onhibutors have goneon to find fame md maybe some eventual fortune at Atom Films or been hired to pioduce video
md the show has also helped groups of filnunakers em their very own showcase nights at the Alamo, Of couse, if yor don't take youself that seriomly, you car still show us your high school video pmjects. Either wiy, if the audience likes what you bring to show us, the/ll reward you with $100 in cash, and if they re bored by it, the/ll probably gong your movie off the saeen. The crnwd demmds constant entertainment, and we've found that most OPEN KREEN Mcttts deiiu"i ihut ln spad"s.
content for MTV,
ilun$lil9/25,9il5
that features short films by area fiJmmakers md ail other '$5. mthusiasts who dare submit via mail! Submissions arefree, screenings are always only We cm screen tie following formats: Super 8 prints, 16mm prints, 35m prints & VHS/DVD tranfere.
There is NO submision fee. Due to the large number ol filru submittted, your film wiih not be retumed unls it is a FILM PRINT TheTe is N0 submission fom; just send in you film with youi name, contact info (including EMAIL), title, rming time and original filn formatl You will be notified by email if vour film is scheduled to ;een! For more info: flicker@flickeraustin.com
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yomg person's {omal tiansitipn from adolescence to adulthood. The age at which this thonagF of the trmsition, which cm bj a simple leeal ctih'iention or a slmbolic rite of passhpoften n fiJrs, iilch..a chmge is associated with the ug" o{ sexiul maturity (mid-adolesc.ene), but the common denominator jn all comrng of age films is a yom-g character -usuall'y or characters who. by the end of tlre story, have mtined in some way, through tfre ac&ptmce of respbnsibili$ The Austin Fiknsociety isproud to present a glotal aoss*ection of cimingof-ige filns, some furny, some touching and some hagic. AIl, of courc, revel in some degree of humili-ationjand the grave insinuation that the decisions made in thisbrie{rnoment in tine will affect the rest ofthe chuacters' lles.Ticlcrs nnib.bk ..fult.tghThe Austin Filn.Sureg website: wuw.iixlnfiIw.oig*
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Op rbLnG(A{ft HILL is fray I.ult g', inffiat"*ociil*tury 'r,flfE wlJ.-rJ affectionate filrn -;;".,,.- i.l : Juuy rrvur6 s trrmare qqcumcruary-:lnD WUI t-4l(K(}lb uf fmEGIt,{fH ttlll g an atrechonate hlm ' !r porhait oi l\.lrk Bittner, a wmdering er-musician who cres for a flock of discuded md escaped parrots 'Bitnrer '" '; in San Frmcise An articulaie'philosopher-t1pe and squatter on the Bay Area's felegraph Hiil,
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hma-teeaing ind maintaining floik histories of the drerryhead con"ure's who call 5an frmcisco home (mmy are lomer pets, wjld birds who hated captivig, released by or escaped from their oremheLned ownemt: Not all the panots m chenyheads, though. Tfie flock s is i blue-ciwned conw, Connor, a loner and outcast who metaphoricalJy miirors Bittner In mother drecor's hmds, WILD
spends hls days P4-RROJS .mrght have been a trite, ioo-precious
':;1i." offb,eat san Francisco. Thankfully, lrvmg's-irrsrghtfr:1, gLonous little docrimentary reveals larger personal i:i[.1 tniths{orh-e; subpct while exploring ahiddeniociety-of unwmred panots.
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Domld Dmcm dremed of being a wr herq until the brutality he wihressed in Vietnm deshoyed the convictions that made him willing to fight md die. Ihe doubts of men like Du:rcm vould eventually evolve into outright rebelJio4 with active-duty American troops refusing Viehrm duty, inciting stockadi riots, joning ofi-base protests md going AWOL. in Viehrm, the film linla this opposition to the hundreds oI battlefield shootings by American hoops of their own commmdss in a notorious ptactice that became
known as "fragging." Director David Zieger Ieft UC Santa Cruz in 1970 to work with antiwar GIs stationed at Ft. Hood, Texas. The documentary haces how opposition within the military grew as the war deepened the social md racial tensiom building in the bmacks md Americm society at large. "They went into the military believing they were doing the ri$t thing" director Zeiger said. "They were gung-ho. There's a high price to pay for doing what these people did. It chmged everyone's liie. It kind of iorced you to come to terms with you corocience."
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This is a documentary:bout John Negroponte, a notorious Reaganera lrm Conha figure. He has resurlaced to commmd mprecedented power as the director of National htelligence (ClAmdmuch morelmd was recently given conbol over a setrrit division within the FBI. His history in Cenhal America, told in this docummtarf, ig appa$ng, INSIGHT staff has.worked with this project for more tlm a yea1, in order to reveal how Mt Negroponte was ruming brutal civil wus in Cmtual ]he America in the 1980s He ignored serious h"nm rights violations md oversaw-m embassy that smothered reporting oT abuses comitted dy the Honduran nrilitary an ally of the Reagan administraiion in the not-that-secret covert war dgainst the Smdinistas in Nicaragua.
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of hvo boys growing up in a small town in Kansas in the 1980's and early 90's. One, Brian Lackey (played first by George Webster and then in his late teenage years by Brady Corbet), believes that the nightrnares and nosebleeds that afflict him throughout adolescence are results of an alien abduction that occuned in the summer of i981, when he was a shy, frail 8-year-old. That same summer, Neil McCormick (Chase Ellison, and later, Joseph Gordon-Levitt) was molested by his Little League coach (8i11 Sage). From the beginning, we suspect a connection between the boys' experiences, and part o{ the film's nanative momentum comes fiom their rediscovery of each other after 10 years. Its subject matter may be grim - but MYSTERIOUS SKIN is infused with remarkable tendemess and beauty. These are not words you usually associate with this director, whose previous fiLns - including THE LMNG END, THE DOOM GENERATION and one whose title I cannot quote here - often valued shock over feeling and provocation over compassion. What those movies did have, sometimes to a faulf was a fea-rless, rrckless honesty that Mr Araki has not lost, even as he has acquired a deeper sense of story character and emotion. MYSTERIOUS SKIN is the work of a onetime bad boy who has grown up without losing his ardent syrnpathv for the rvildness of youth. It's aiso one of the best movies I've seen so far this year (A.O. Scott, New York Times)
(2005, d. Gregg 1,rala,99 min., NR) Gregg Araki's MYSTERIOUS SKIN tells the parallel stories
(2005 d. Park Chan-Wook, 120 min., R) Vengeance dominates the modern action cinema but to be a
of arf a revenge film needs to give you something more than your sadisiic jollies. It needs to show the cost of revenge to the revengeq, to innocent bystanders, and to society-which can't survive iI injustice goes unpunished but also can't survive if individuals routinely take matters into their own hands. I have found my #eat vengeance director now in Park Chan-Wook, whose OLDBOY won the Grand ]ury Prize at the 2004 Cannes Fihn Festival. Before we have the faintest idea what's going on, we meet Oh Dae-Su (Chor Min-Sik), an ordinary Seoul businessman in the throes of an epic bender on his young daughter's birthday: The jump-cuts as he raves in the police station capture his fractured perception and portend the horror to come. Released Oh Dae-Su staggers into the rainy mghf phones his daughtel, and then disappearsending up in another prisor; a private one in which {ood is shoved tluough a hole in a door and sleeping gas pours in ttuou$ the vents. He screams and bangs on the door: I{hy is he there? Oh Dae-Su learns from a TV set that his wile has been murdered and ihat his blood and hair were Iound at the scene. He has been framed-but by whom? He slices into his arm to mark each passing year, and there are 15 slices b'efore he wakes to find himsell on the roof holding a man by the tie. Obviously, this sort of taboo-flouting imagery isn't for everyone, but Parks vision is ali of a piece. He came of age in a period of South Korean upheavaf and in his work there's a pervasive distrust oI authority combined with a pervasive lack of faith
in individuals-most of whom appear to have been warped beyond salvation by an unstable society. OLDBOY is a movie where you think you're in hell from the first frame-but have no inkling of the
infemal circles to come. It says the only thing worse than noi getting revenge is
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$e fox-trot, the merengue and the comical, But the beguiling documentary MAD HOT BALLROOM, about a dance compeiition involving fifth-graders in New York Crty, evokes more thanjust laughter. Following a 10-week training session, youngsters from each school are fivided into teams of five pairs o{ dancers for a grand competition. The kids are from varying econornic and ethnic backgrounds. Watching the kids dance is irresistible, bui director Agrelo is sensitive to the firll complex of ernotions invoked by the competition. Social problems are looked at glancingly - one girl opines io a ftiend thai when it comes time to {ind a mate, she wants a guy with a job, noi a drug dealer - but this isn't a poliiical hact. The draw
(2005 d. Marilyn Agrelo, 110 min" PG) The sight of l1-year-olds carefully executing
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here is ihe good fun ol seeing pint-size couples swingrng and swaying to music. MAD HOT BALLROOM is partly a love song to teachers. Those seen here are a remarkably dedicated group who pour their hearts into trymg to inspire and instruct
their charges and helping them cope with setbacla. (Walter Addiego, San Francisco Cluonicle)
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One of the 10 most beautiful men Scavullo said he ever photographed. The "Little |oe" of Lou Reed's "Walk on the Wild Side.'tThe Valeirtino
of the Undersround. The crotch on the Stickv Fineers album cover. The only Suf ut the party willing to retum'u puti.t't from Norman Mailer. The actor whose performance made George Cukor understand what it meant to be a drug addict. The beauty wily enough to catch a fainting Tennessee Williailrs and then get out of'the hoTel bedroom
of all his work ir:,Serye. Gainsbourg's sexually provocative dff on his falrt intemational hit song. Here Gainsbourg hehns one bl, his most
inlamous pictures, relating the,
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On a hot aftemoon in the dog days of August 1972, one John Wojtowitz gathered together two accomplicrs fmm the sheets of Brooklyn md staged a daring bank robbery to raise money {or his male lover's sex change operation. In the face of overwhelming odds and poignant incompetence the three succeeded in failing so well that a movie was made. Sidney Lumefs DOG DAY AFTERNOON featured one of Al Pacino's best performances and made millioru for all concemed. That is, except the mastemind of dre odginal affab Mr. Wojtowita who was left to cool his heels in the big house md watch the world go by. BASED ON A TRln STORY exmines the real people md events that inspired the 1975 film. Archival news footage, plus intewiews with hostages, police officers, and FBI agents capture the chaotic 14-hour standoff, but the director's recorded phone conversations with threatening, delusional convicted felon John Wojtowicz m the centerpiece o{ tlrc domentary.
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