Camera And Action, page 41
25. Tom Burke, "WillEasy Do it for Dennis Hopper?" in Nancy Hardin and Marilyn Schlossberg eds., Easy Rider Original Screenplay (New York: Signet, New American Library, 1969), 14. Elizabeth Campbell, "Rolling Stone Raps with Peter Fonda," in ibid., 26-35.
26. Warshow, "Easy Rider," 36.
27. Dennis Hopper in Burke, "Will Easy Do it for Dennis Hopper?" 17. Script #27 explains the ending as two "red-neck CRACKERS of forty/fifty, one of them wearing a hunting jacket, the other a cap with a hunting license pinned on it" and "the 2nd CRACKER yells out to Billy, 'Hey, Boy! You gonna get a hair cut ... or you rather have your head blowed off?"' The gun discharges as "the wheel hits something, jolting the truck, and causing the gun to go off" but the truck then doubles back and the passenger "fires both barrels, point blank, just as they pass" Wyatt (88). This literal explanation confirms openly what the film does visually. Portraying Wyatt and Billy as victims links race to hair, hair to tolerance. Script #27 in Easy Rider File, Special Collections, Margaret HerrickAcademy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
28. Haskell Wexler's Medium Cool (1969), a documentary about Chicago 1968, for example, gives a virtual tour of white activists being rebuffed by hostile black militants.
29. Warshow, "Easy Rider," 37-
30. Ibid., 35-37.
31. In the script, Billy and Wyatt establish their position outside the intolerance circle by befriending a pack of black cyclists who "lend them some gasoline" and share a joint. The moment is intense, with suggestions of antagonism and the possibility of violent confrontations, but "the sequence ends with Wyatt and Billy pulling off into a desert Gas Station [sic], exchang[ing] waves with the Black Cyclists [sic] who continue on in the distance." Script #27 in Easy Rider File, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
32. "From Method to Madness: Dennis Hopper," Pacific Film Archive (June 1988).
33. Production notes, Core Collection, Margaret Herrick Academy of Arts and Sciences Library, Beverly Hills, CA.
34. Warshow, "Easy Rider," 38.
35. Ibid., 36.
36. Fredrick Jameson has explained that "works of mass culture cannot be ideological without at one and the same time being implicitly or explicitly Utopian as well: they cannot manipulate unless they offer some genuine shred of content as a fantasy bribe to the public about to be manipulated." The bike's role as a means of freedom and identity construction is dependent on the ideological role given to open space in Westerns and the "fantasy fulfillment" they provide by becoming the modern horse. The Harley becomes the modern horse because it solves the problem of men moving freely in a contemporary time. Fredric Jameson, "Reification and Utopia in Mass Culture," in Signatures of the Visible (New York and London: Routledge, 1992), 29.
37. Ibid.
38. Farber, "End of the Road?," 7-8.
39. Stanley Kaufmann, "Easy Rider," New Republic (2 Aug. 1969): 22.
40. Andrew Sarris, "From Soap Opera to Dope Opera," The Village Voice (14 Aug. 1969): 35. This review was a response to a review in the New York Times by Richard Goldstein, who blasted Sarris for his critical view of the film.
41. "Col's `Easy Rider' Takes Two Awards," Hollywood Reporter, 29 May 1969.
42. Press book, Core Collection, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
43. "`Easy Rider' Wins Award," Los Angeles Times, 29 Dec. 1969.
44. Roland Gelatt, "Those Under-Thirties Again," Saturday Review 52.28 (12 July 1969): 20.
45. Farber, "End of the Road?" 7-8.
46. Press book, Core Collection, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
47. Hollywood Reporter, 19 Sep. 1969.
48. Brent Ortega Murphy and Jeffery Scott Harder, "1960s Counterculture and the Legacy of American Myth: A Study of Three Films," Canadian Review ofAmerican Studies 23.2 (Winter 1993): 57.
49. Quoted in Burke, "Will Easy Do it for Dennis Hopper?" 17-18.
50. Robert Christgau, "Easy Rider's Soundtrack," in Easy Rider Original Screenplay, ed. Nancy Hardin (New York: Signet, New American Library, 1969), 23.
51. Press book, Core Collection, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
52. The production notes from Columbia Films, Core Collection, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
53. Beth Gardiner, "Fonda Raises Money with `Easy Rider' Bike Rally," Entertainment Today (22 Oct. 1999). In Core Collection, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA. The ride supported a charity to raise money for seriously ill children while promoting Columbia's Easy Rider DVD.
54. Peter Fonda, "Onnthe Road Still, Riding Solo, Free and Easy," New York Times, 27 June 1998. "The first bike I customized was the one I rode in `Easy Rider,' which became an international icon," Fonda told the Times. "I had faith that the film would be successful but was not sure how successful. I took delight that at the least I had designed myself a very cool and unique chopper. For the movie I bought four Los Angeles Police Department motorcycles at auction, for $500 apiece. Two were for Dennis Hopper to ride and two for me. I came up with a redesign for them and did the work with the help of several friends.... We burned one of the bikes in the film, and, sadly, the other three were stolen before we finished production...."
55. Mark Ehrman, "Leather, Bikers and Celebs Mean Just One Thing," Los Angeles Times, 18 July 1994; Fonda, "On the Road Still, Riding Solo, Free and Easy."
56. Bobos comes from David Brooks' "Bourgeois Bohemians" in Bobos in Paradise: The New Upper Class and How They Got There (New York: Simon and Schuster, 2000). In his book, Brooks offers "comic sociology" about how the sixties' adults live today with wealth and authority.
57. Kate Maddox, "From `Easy Rider' to Breezy Pitcher," telecom 6.5 (5 Mar. 2001): 18.
58. Forbes, 167.5 (26 Feb. 2001): 97.
59. Quotes are from http://www.ezrider.co.uk/Easy- Rider/easy_rider.html and http://members. tripod.com/ -TazRidereasyrider.html; many others can be found at Easy Rider.com.
60. http://www.canoe.ca/JamMoviesF/Fonda-peter. html.
61. Untrammeled freedom, a masculine trait in general, is like an unconscious representation. As Fredric Jameson writes about such "cognitive or allegorical investments ... it is only at that deeper level of our collective fantasy that we think about the social system all the time, a deeper level that also allows us to slip our political thoughts past a liberal and anti-political censorship." Fredrick Jameson, The Geopolitical Aesthetic: Cinema and Space in the World System (Bloomington and Indianapolis: Indiana University Press, 1992), 9.
Chapter VI
1. Ralph Graves, "Bridging Two Worlds," Life 67.2 (11 July 1969): 1; "Dusty and the Duke," Life 67.2 (11 July 1969): 36.
2. Graves, "Bridging Two Worlds," 1.
3. "Dusty and the Duke," 40.
4. As sociologist Victor J. Seidler says, "The disowning of masculinity weakens men, rather than helping to focus our feelings and thoughts." Victor J. Seidler, Rediscovering Masculinity: Reason, Language and Sexuality (Routledge: New York and London, 1989), 178.
5. Jane Tompkins, West of Everything: The Inner Life of Westerns (New York and Oxford: Oxford University Press, 1992).
6. Ann Fabian, "History for the Masses: Commercializing the Western Past," Under an Open Sky: Rethinking America's Western Past, ed. William Cronon, George Miles, and Jay Gitlin (New York: W W Norton, 1992).
7. Joan Wallach Scott, "Gender: A Useful Category of Historical Analysis," Feminism and History, ed. Joan Wallach Scott (Oxford: Oxford University Press, 1996), 163.
8. "John Wayne Explains the Meaning of `True Grit,"' press book, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
9. Production notes, Special Collections, 3, 5; "John Wayne Explains the Meaning of `True Grit,"' press book, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
10. As Seidler says, "Since we inherit an identification of masculinity with reason, there is a strong connection between masculinity and our sense of morality ... and morality is supposed to be universal if it is anything." Seidler Rediscovering, 191.
11. John J. O'Connor, "On Film: A Lonely Hustler," The Wall Streetjournal, 27 May 1969.
12. Page 1 of program notes, Special Collections, Margaret Herrick Academy of Arts and Sciences Library, Beverly Hills, CA.
13. Seidler argues that "the liberalization of attitudes has often rendered pain invisible, as men pretend to live out conceptions of themselves which have very little reality in their experience. This makes it crucial to maintain a dialectic between our experience and the conceptual terms in which we would seek to know it." Seidler, Rediscovering, 195.
"i4. Leonard Quart, "I Still Love Going to Movies: An Interview with Pauline Kael," Cineaste 25.2 (Spring 1996): 10, 13.
15. Page 2 of program notes, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
16. Dotson Radar, "The Cowboy as Hustler," Interview
1.2 (1969). In Core Collection, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
17. As Seidler points out, "When we question our inherited conceptions of masculinity we are challenging moral traditions which have identified masculinity with moral superiority." Seidler, Rediscovering, 194.
18. "Dusty and the Duke," 41.'
19. Rader, "The Cowboy as Hustler."
20. "John Wayne Explains the Meaning of "True Grit,"' press book, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
21. Wayne quipped to a reporter that he always saw himself as a progressive liberal before the sixties.
22. Seidler writes, "Feminists have argued that men know who they are because they live in a society and culture that is made in their own image. But this can be to mistake the institutional power which heterosexual men undoubtedly have in the larger society to define the reality of others for the lived personal experience of men themselves." If "work is more than a source of dignity and pride" then it has become "the very source of masculine identity so that without work ... it is as if men cease to exist at all." Seidler, Rediscovering, 150, 151, 152.
23. Seidler argues, "Through sharing a vulnerability, people have come to a renewed understanding of the sources of personal strength. In sharing themselves with others, they have ceased to feel ashamed and refused to feel guilty for themselves. This marks a profound political transformation of the personal that had one of it sources in the struggles against the Vietnam War. This is a tradition men often find hard to understand." Seidler, Rediscovering, 151.
24. Ian Buruma, "John Schlesinger," Preview (Dec./Jan. 2006), page 94 of Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
25. Roger Ebert, "Midnight Cowboy," Chicago SunTimes, 5 July 1969.
26. Ibid.
27. Joseph Gelmis, Newsday, 26 May 1969.
28. Jan Dawson, "Midnight Cowboy," Sight and Sound 38 (Autumn 1969): 212.
29. Gene Phillips, "John Schlesinger: Social Realist," Film Comment 5.4 (Winter 1969): 62.
30. Ian Buruma, "John Schlesinger."
31. Stanley Kaufmann, "Midnight Cowboy," New Republic (June 7, 1969): 33.
32. Vincent Canby, "Midnight Cowboy," The New York Times, 26 May 1969.
33. Evan Carton, "Vietnam and the Limits of Masculinity," American Literary History 3.2 (Summer 1991): 296.
34. In Seidler's words, "Sexual politics was threatening because it sought to connect our intellectuality with our personal lives. Often it is a deep fear of the personal, of vulnerability and intimacy, that unites men who would otherwise have sharp political disagreements." Seidler, Rediscovering, 183.
35. Rick Mitchell, "After `Midnight,"' Letter to the Editor, Los Angeles Times, 6 Mar. 1994.
36. Douglas Soesbe, Letter to the Editor, Los Angeles Times, 6 Mar. 1994. The X rating for the film was dropped in 1971 in favor of an R rating. The program for the twenty-fifth anniversary release of the film explained that the change to an R rating was "an indication of how swiftly the implications of the initially neutral X rating were skewed negatively." "25 Years with Midnight Cowboy," Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
37. Owen Gielberman, "Midnight Cowboy," Entertainment Weekly (Mar. 4 1994): http://www.ew.com/ew/arti cle/O,,301325,00.html.
38. Desson Howe, "Midnight Cowboy," Washington Post, 15 Apr. 1994.
39. http://www.indiatravelite.com/accommodations/ monarchooty.htm; http://www.urbandecay.com/products/ NailEnamel/MidnightCowboyNailpolish.cfm.
40. Jonathan Wellemeyer, "Intelligence Squared U.S. Hollywood and the Spread of Anti-Americanism" 6 Jan. 2007. http://www.npr.org/templates/story/story.php?story Id=6625002.
41. Anderson Cooper and Elvis Mitchell, "Live from the Headlines" 6 Aug. 2006, CNN interview transcript, http://transcripts.cnn.com/TRANSCRIPTS/0308/06/ se.04.html.
42. http://www.emanuellevy.com/article.php?artic ID=6782.
43. J. Hoberman, "Blazing Saddles," Village Voice (29 Nov. 2005): online.
Chapter VII
1. M*A*S*H, Core Collection, Margaret Herrick Academy of Arts and Sciences Library, Beverly Hills, CA.
2. John Walker, "Cannes: The Prizewinners," Arts Guardian London, 18 May 1970.
3. Russ AuWerter, A Conversation with Robert Altman," Core Collection, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
4. "Patton," Variety (21 Jan. 1970).
5. George C. Scott, "Why Patton?" Twentieth-Century-Fox Film Production Manual, reprinted in New Guard 10.8 (Oct. 1970).
6. Letter dated Dec. 28, 1968; Ring Lardner, Jr., Folder 21, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
7. Letter from Dick Hornberger to Ring Lardner, Jr., Dec. 22, Ring Lardner, Jr., Folder 21, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
8. Jan. 7, 1969, Ring Lardner, Jr., Folder 21, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
9. Page 6 of Ring Lardner Script, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
10. Maurice Yacowar, "Actors as Conventions in the Films of Robert Altman," Cinema journal20.1 (Fall 1980): especially 23-24.
11. Derek Prouse, "Casualties of War," The Sunday Times, 17 May 1970.
12. Ring Lardner, Jr., to Dick Hornberger, Jan 31, 1970; Ring Lardner, Jr., Folder 21, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
13. Letter to Ring, July 8, 1970, Ring Lardner, Jr., Folder 21, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
14. Dilys Powell, "War Games," The London Times, 24 May 1970.
15. William Johnson, "M*A*S*H," Film Quarterly 23.3 (Spring 1969), 38.
16. Walker, "Cannes: The Prizewinners."
17. William Johnson, "M*A*S*H," 38.
18. Aljean Harmetz, "The 15th Man Who Was Asked
To Direct `M*A*S*H' (and Did) Makes a Peculiar Western," Core Collection, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
19. "Cannes Chief Raps Award to 'M.A.S.H."' Ring Lardner, Jr., Folder 25, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
20. Thomas Quinn Curtiss, "M*A*S*H Wins Top Picture Award at Cannes Festival," International Herald Tribune, 18 May 1970, and Daily News, 18 May 1970.
21. John Fairbairn, "First Ever Round-the-Clock London Showing for Cannes Festival Winner," A News Special, M*A*S*H*: Twentieth-Century-Fox, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
22. Leaflet, May 20, 1979, Ring Lardner, Jr., Folder 25, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
23. Powell, "War Games."
24. "Cannes Chief Raps Award to 'M.A.S.H.,"' Daily News, 18 May 1970; Ring Lardner, Jr., Folder 25, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
25. "What is the Price of Your Entertainment?" Ring Lardner, Jr., Folder 22, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
26. Ibid.
27. First quotes from Harmetz, "The 15th Man Who Was Asked"; second quote from Walker, "Cannes: The Prizewinners."
28. Judy Klemesrud, "Feminist Goal: Better Image at the Movies," The New York Times, 13 Oct. 1974.
29. Betty Friedan in Klemesrud, "Feminist Goal." Second quote from Betty Friedan, "Unmasking the Rage in the American Dream House," The New York Times, 31 Jan. 1971.
30. Molly Haskell in Klemesrud, "Feminist Goal."
31. Ibid.'
32. Friedan, "Unmasking the Rage in the American Dream House."
33. Thomas Quinn Curtiss, "M*A*S*H: Laughter is the Only Remedy," International Herald Review, 13 May 1970.
34. Newsweek, 7 Dec. 1970.
35. Ellen Willis, "Misogyny," Letter to the Editor, The New York Times, 7 Feb. 1971.
36. Letter from Dick Hornberger to Ring Lardner, Jr., Jan. 9, 1969, Ring Lardner, Jr., Folder 21, Special Collections, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
37. Publicity Folder for M*A*S*H, Core Collection, Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA. Richard Corliss, "I Admit It, I didn't Like `M*A*S*H,"' The New York Times, 22 Mar. 1970.
38. Corliss, "I Admit It, I Didn't Like `M*A*S*H."'
39. Press book for M*A*S*H, Core Collection, Margaret Herrick Academy of Arts and Sciences Library, Beverly Hills, CA.
