None of them could pay. This desire to let it all hang out and tell it like it is was, Teresa Grimes would note some years later in a piece for Movie magazine, the defining BBS characteristic as prophesied by Hopper: Weld does manage to catch the magic ball but, maintaining the unbroken succession of cataclysmic BBS endings, apparently drowns herself in a bubble bath. As embodied by Faye Dunaway and Warren Beatty and rendered by Robert Rauschenberg , the Righteous Outlaws Bonnie and Clyde made the cover of Time magazine just as ended and American casualties in the now three-year-long war in Vietnam surpassed those suffered in Korea. Rafelson would recall to Biskind: They had trumped Hollywood and could exult in their freedom.
The Monkees were scarcely more than a textual effect in a nonstop barrage of wacky sight gags and pop culture references. Rafelson would recall to Biskind: Finally, Columbia agreed to sell the movie for its million-dollar production cost; it was picked up by an outfit specially created by Jaglom and released through Warner Bros. And yet Easy Rider was also marked by a concern with authenticity—as Head had been, at least in acknowledging its own phoniness. They had trumped Hollywood and could exult in their freedom. Although not always convincing in its specifics, the movie conveys a powerful sense of place—and an even stronger sense of placelessness. Adding to the assault, everything was tricked out with a panoply of gimmicky effects and interspersed with used-car spots, cartoon clips, and, most outrageously, newsreel footage of the Vietnam War. Hopper was still pondering his footage when Richard Nixon was elected president. Schneider and Rafelson were itching to join the party when Head and Easy Rider both went into production, in mid-February. A witchy, possibly schizophrenic, hippie kook, Weld first appears to be channeling Jean Seberg in Lilith. What were movies now, what could they be? Whether or not this recurring dramatic device in any way reflected the relationship between Bert Schneider and Bob Rafelson, neither of whom appears to have been anything less than brash, the partnership they created had begun to resemble the decaying world of Atlantic City—at least to some observers. Something was happening, and they thought they knew what it was. Easy Rider decried Amerikkka but celebrated American freedom. Mysteries of the Organism, also shown in the festival that year, but it was clear that critics and audiences alike were much more taken by the other BBS offering at the event: Welles is the artiste; he would repay the compliment after a fashion by casting Jaglom as a young director in his unfinished Hollywood melodrama The Other Side of the Wind. Hopper was not the only aspiring filmmaker who saw himself as a nascent auteur or as part of an American New Wave. One is fearlessly obscure, the other structurally classical, both deal with the value of dwelling on the past. This desire to let it all hang out and tell it like it is was, Teresa Grimes would note some years later in a piece for Movie magazine, the defining BBS characteristic as prophesied by Hopper: Peter Bogdanovich was the American director whose career path most closely approximated those of the French New Wave filmmakers. Martin Luther King Jr. Fellow auteurist Martin Rubin published a lengthy report in the Village Voice; former Warhol associate Donald Chase visited the set on behalf of the hip monthly Show. Some BBS protagonists felt liberated from the old constraints; others struggled to achieve that state. Premiered at the New York Film Festival and opening shortly thereafter, The King of Marvin Gardens was poorly received, its ambition saluted by only a few critics. In any case, The King of Marvin Gardens was an end-of-the-road movie.
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