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Author Topic: The Last Days Of Disco... Kicking And Screaming
Kash
Kash : Aha! He'll save every one of us...
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Say what you will about the 90s, but there was a genuine and interesting independent scene coming into its own back then. I'll go into the reasons for its decline another time, but two of my favourite movies form the era were...

KICKING AND SCREAMING (1995)

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A good ensemble cast comprising of Eric Stolz, Josh Hamilton, Carlos Jacott, Olivia d'Abo, Chris Eigeman, Parker Posey, Jason Wiles and others 'Kicking And Screaming' follows a group of students after graduation. Most of them have no idea what they what to do next so sit around trying to put their eloquence to good use by talking it up in a meandering and increasingly unfocused attempt to find some semblance of direction. Carlos Jacott and Chris Eigeman are the funniest by far, and the film works as a well-acted, gentle comedy-drama with a brilliant, well delivered script. Perhaps one of the most underrated films of all time.


Max: I'm too nostalgic. I'll admit it.

Skippy: We graduated four months ago. What can you possibly be nostalgic for?

Max: I'm nostalgic for conversations I had yesterday. I've begun reminiscing events before they even occur. I'm reminiscing this right now. I can't go to the bar because I've already looked back on it in my memory... and I didn't have a good time.


THE LAST DAYS OF DISCO (1998)

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Set in the very early 80s, the movie follows the emerging yuppies of the day as they swan around the vapours of the Disco scene. Kate Beckinsale is brilliant here, Robert Sean Leonard makes a memorable appearance and I'm surprised Matt Keeslar or the hilarious Chris Eigeman (who was also in 'Kicking And Screaming') still haven't been cast to their calibre (audiences are missing out on two great actors IMO). 'The Last Days Of Disco' isn't really about the club scene at all, but more of a character study about twentysomethings on the cusp of socio-economic change and how they struggle with, embrace or reject the realities of that change.

Des McGrath: Do yuppies even exist? No one says, "I am a yuppie," it's always the other guy who's a yuppie. I think for a group to exist, somebody has to admit to be part of it.

Dan Powers: Of course yuppies exist. Most people would say you two are prime specimens.

Des McGrath: Yuppie stands for "young upwardly mobile professional". Nightclub flunkie is not a professional category. I wish we were yuppies. Young, upwardly mobile, professional. Those are *good* things, not bad things.

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Logan 5
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Some great movies in the 90's. Less so in the teen / youth / fantasy categories, but in others some good stuff.

I liked both K&S and TLDoD. Though I remember little about either of them.

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Valley

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Kash.. I totally agree that "The Last Days of Disco" is a brilliant film.
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Riptide
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I just got Last Days earlier this year, haven't watched it in it's entirety but look to see it all this weekend.
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Muffy Tepperman
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Kash I want you to go into why you think for it's decline!! I really want to hear what you have to say I respect it. [Smile]

I too was an indie fiend around this time and love the two movies above. Maybe it was still our way to rebel against mainstream since 80's movie were done haha and I was a teenager.

So here are my two features:
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Back when I only knew Reese for indie stuff and Man in the Moon. Great dark comedy a take on Little Red Riding Hood.....Sutherland and Reese make a great combo
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Dark again........but great cast and original story. Annabeth Gish love her. Religious fanatics may not enjoy.

Honorable mentions:
The Opposite of Sex
Slums of Beverly Hills

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Veronica Sawyer
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Freeway and Opposite of Sex are both awesome movies Muffy! Election is another good one.
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Veronica Sawyer
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I would like to read Kash's thoughts on the indie decline as well!
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Muffy Tepperman
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Veronica Election would be on my list too......Have you seen Overnight Delivery with Reese? and Paul Rudd it's great..........How about I throw in Clay Pigeons...before Joaquin and Vince got HUGE.
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Kash
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Muffy and Veronica, in short, it was sold off in instalments, though the battles been going back and forth since 1900. The Sundance (nee Utah) film festival began accepting submissions from major studio's independent branches. Thus slowly marginalizing genuine independent movies whilst indie filmmakers themselves were faced with the dilemma of staying true to the medium and taking a heavy hit on distribution or aligning themselves with the big six's independent subsidiaries and muddying the artistic waters in the process.

TODAY

'Juno' (2007) and 'Mouth To Mouth' (2005) are both movies starring Ellen Page and both, in theory, are considered indie films.

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The difference being...

'Juno' was distributed by Fox Searchlight across 10 major film festivals within three months, opened on 32 screens and expanded to 600 screens in one month.

'Mouth To Mouth's distribution was shared by five companies across 10 film festivals over the course of a year and a half, returned to the festival circuit before hobbling onto DVD and TV.

Was Mouth to mouth a better film than Juno? Perhaps, but whereas people got a chance to see Juno, only a handful got to see 'Mouth To Mouth'.

The choice thus far is: do you want creative freedom and minimal distribution or are you prepared to go with the studio dogma to get a wider release?

THE PAST

The struggle was crystallized back in 1909 when Thomas Edison formed the Motion Picture Trust to collect royalties from certain Jews (e.g. Carl Laemmle, William Fox etc) who were using his invention for free. So the ideologies were reversed in a way; nowadays independents try and make films which counterbalance the predominantly lowbrow and tasteless material of the big six. But back then; it was a gang of unsavoury middlemen using vice money to amass distribution control, lower standards in film and eventually take over the entire medium.

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This battle was, perhaps, one of the few times in history; where the corporation had a point.

Now the Trust (mainly Protestant Christians) is often painted as a monolithic corporate bruiser (true to some extent) whilst the distributors (exclusively Jews), depicted as ragtag independents, were mostly low rent pornographers; who peddled pictograph Nickelodeons (i.e. movie peep shows) and engaged in all manner of vice and racketeering.

Edison's people had the invention and highbrow cinematic ideals, but the Jews had distribution cornered via the criminal underworld in Chicago, Brooklyn and a thrifty knack for turning quick profits from the oldest game in the world. Sex and violence would be their bread and butter: The people seemed to respond, so that's what they got.

The Trust, though a corporation and saddled with all that entails, tried to maintain a certain standard of quality (the Criterion of their day!) and wanted Edison's cameras to be used for movies of some cultural and moral value.

But by 1912, usurers the Rothschild dynasty had regained full control of the U.S. Federal Reserve (and control it to this day), so with Rothschild literally printing dollars and dictating policy; taking over the film business was easy: They effectively bought the U.S. government down on the Trust, and that was that.

Laemmle went onto found Universal Studios and William Fox a.k.a. Vilmos Fried set up 20th Century Fox, Adolph Zukor; Paramount, Hirsz and Aron Wonskolaser a.k.a. The Warner Brothers established Warner Bros, Louis B. Mayer; MGM and Harry Cohn; Columbia.

The monopoly became so corrosive that F. Scott Fitzgerald once remarked: "Hollywood is a Jewish holiday and a Gentiles tragedy".
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F. Scott Fitzgerald.

In all fairness; the Jewish takeover did initially produce some interesting work that had flair of reckless exoticism and chutzpah about it. But there’s no denying that it was a thoroughly corrupt, sleazy and debasing enterprise that left a trail of destruction in its wake / paved the way for much of the moribund sludge that movie-going audiences have had to put up with ever since.

Now you’d have to do a comprehensive, comparative study to accurately judge the kind of movies made pre-and post Trust; but a brief overview illustrates the likely trend of decline in the 1900s.

Remember the Trust was active from 1903-14 and to understand Hollywood, you have to understand government, the Federal Reserve, Rothschild interference and World War 1.

1903: Life of an American Fireman (pretty decent flick, first movie to use internalised voiceover)

1903: The Great Train Robbery (the first heist movie)

1906: The Paymaster (interesting film about worker’s rights and gender bias)

1907: Ben Hur (great first effort to tackle the epic)

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1909: Mark Twain At Stormfiled (documentary on Mark Twain)

1910: Frankenstein, or the Modern Prometheus (atmospheric adaptation of the book)


1913: Woodrow Wilson becomes U.S. President. Zionist Jew lawyer Samuel Untermyer, of ‘Guggenheim, Untermyer and Marshall’ blackmails Wilson about an affair that he had with a married woman many years ago whilst lecturing at Princeton University. Unable to pay Untermyer the ransom of $40,000; Untermyer demands Wilson appoint Rothschild front man and Executive Committee for Zionist Affairs leader Louis Dembitz Brandeis to the Supreme Court of the United States. Severely compromised, Woodrow Wilson reluctantly agrees.

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Samuel Untermeyer, also used his printing press to alter the Bible to better suit the Zionist agenda.

1913: Rothschild regain their dictatorship of the U.S. economy and again control American socio-economic, cultural, domestic and foreign policy.

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[ 04. May 2010, 22:48: Message edited by: Kash ]

Posts: 2041 | From: The Ice Planet Hoth | Registered: Jul 2001 | Site Updates: 0  |  IP: Logged | Report this post to a Moderator
Kash
Kash : Aha! He'll save every one of us...
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1913: Congressman Charles Lindbergh stated following the passing of the Federal Reserve Act on December 23,

"When the President signs this Bill, the invisible government of the monetary power will be legalized: The greatest crime of the ages is perpetrated by this banking and currency bill."
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Congressman Charles Lindbergh

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1914: The start of World War I. In this war, the Rothschilds own the main media outlets and use them to rachet up the propaganda and misinformation needed for war: The companies are Wolff in Germany, Reuters in England, and Havas in France. Rothschild front man and ADL founder Jacob Schiff handles moneylending / propaganda efforts.

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Their German faction loan money to the Germans, the British faction of Rothschild lends money to the British, and the French arm of the Rothschild company loans money to the French. Each war loan promises them massive returns through the interest rate repayments. Which are, to this day, still being repaid through our taxes.

Edison Trust shut down in 1914.

1915: U.S. Congressman Oscar Callaway warned Congress that J. P. Morgan was a Rothschild front that had seized control of the American media industry.

Making reference to print based media, Callaway stated: "J.P. Morgan got together 12 men high up in the newspaper world and employed them to select the most influential newspapers in the United States and sufficient number of them to control generally the policy of the daily press. They took control of 25 of the greatest papers. An agreement was reached. The policy of the papers was bought, to be paid for by the month, an editor was furnished for each paper to properly supervise and edit information regarding the questions of preparedness, militarism, financial policies, and other things of national and international nature considered vital to the interests of the purchasers."

1916: Annette Kellerman becomes the first ever actress to do a complete nude scene in 20th Century Fox's 'Daughter of the Gods'.

1918: Hearts of the World (D.W. Griffith’s misleading account of the Rothschild instigated conflict World War 1).

1918: My Four Years In Germany (Warner Bros produced hysterical propaganda piece)

The roaring 20s saw a race of sorts between the post war lost generation of American intellectuals and the slick ideology shapers of Hollywood; the authors trying to rationalize our world in terms of the human journey, Hollywood Jews trying to impart ideas conducive to the less than benevolent aims of these who’d put them in power (i.e. Rothschild).

I call it a race, but only Hollywood seemed to realise the starting pistol had been fired, the intellectuals were slow off the mark, and though their names and work have outlived those of every Hollywood figure and film from the time; their traumatized, contemplative and highbrow musings struggled to escape the decadent mood of the time and Rothschild’s contraction of the money supply which caused the great depression of 1929.

In the battle to determine the course of a generation, the intellectuals had lost by a mile whereas Hollywood Jewry prevailed, and now had free reign to dictate their Zionist agenda through the media.

Film essayist Claire Pajaczkowska said that "Hollywood provided an opportunity for a relatively small managerial elite to formulate American culture -- the American Dream -- is a Jewish idea in a sense; it's a Jewish revenge on America. They were also associated with the meretricious, ostentation of the industry, with poor morals, bad taste, and the industrialization of art."

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"You've seen every single race besmirched, but you never saw an unfavourable image of the Kike because the Jews were ever so watchful for that. They never allowed it to be shown on screen. I've never had any respect for Hollywood. It stands for avarice, phoniness, greed, crassness and bad taste."
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Marlon Brando


THE FUTURE


I’m hopeful for the future: The advent and exponential advancement of new technology; will slowly revitalize and blaze a trail for the indie scene IMO, films like Tape, Chelsea Walls, A Prophet, Valley Of The Wolves and Final will be standard bearers for the medium.

Given all that we know, it becomes abundantly clear that any kind of collaboration between independent film and those who industrialized art would be a contradiction in terms. Hollywood / Zionist Jewry no longer have the same influence as they once did; their power is waning, their facades falling apart and agenda unravelling; the decline will continue it seems for the industry can no longer apologize for or propagandise on behalf of the Rothschild criminal network without alienating an increasingly better informed and media savvy audience. Something's got to give, and it looks likes it's going to have to be them.

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The only way I can think of breaking the cycle until the major's fold or drastically alter their MO is if the independent scene sets up a fringe industry with its own cinemas, distribution (vital), events and online presence. It'll have to be a completely separate entity; as distinct from Hollywood as the theatre is to film. DVDs of movies screened would have to be sold at cost price in the cinema foyer, more interaction between the creators and the audience and essentially a brand new scene. Would it survive? Perhaps, but it'd be worth trying, after all, what have they got to lose but an art form that's already lost?

Independant film has a future, and it's looking brighter by the minute.

[ 04. May 2010, 23:01: Message edited by: Kash ]

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Logan 5
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THOSE ARE QUITE SOME POSTS!

Lot of inflammatory stuff in there!

I rag on the 90's a lot (and always will), but the one thing it did seem to have was a vibrant and interesting Indie movie scene. Apart from the internet, it was the one part of 'popular' culture I had time for.

There's a lot to be said for the claim that Hollywood has done some serious damage to the human psyche.

I've also gradually come to the opinion over time that entering WW1 was a mistake for Britain (beyond just the 'dead'). Anyhoo... those are tangents.

I agree that Sundance is a farce now. It got too successful and the majors opened it up. 'Indie' is meaningless now (almost).

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