#1970s cinema

[radishprincesss]

shelley duvall 🕊️

[your-lovers-and-drifters]

L'Amour l'après-midi, 1972 (dir. Éric Rohmer) 

[celluloidrainbow]

NIGHTHAWKS (1978) dir. Ron Peck Jim, a London teacher by day, spends his evenings cruising bars and discos meeting men from different backgrounds and places, constantly on the lookout for any kind of connection. He tries to keep his personal life separate from his professional one, compartmentalizing his 'Gay encounters' and his 'friendships with school colleagues' in different boxes, but this status quo can't remain forever. (link in title)

[citizenscreen]

Scatman Crothers, Richard Pryor, Gene Wilder, and Jill Clayburgh in SILVER STREAK (1976), directed by Arthur Hiller

[digitised-celluloid]

House. Dir Nobuhiko Obayashi. 1977.

[escapismthroughfilm]

⋆˚｡⋆ ⋆A Clockwork Orange (1971) dir. Stanley Kubrick⋆˚｡⋆ ⋆

[divinewound]

Lancelot du Lac (1974) dir. Robert Bresson

[aqueervenus]

A John Waters Christmas

[popculturebaby]

Shelley Duvall photographed by Reg Innell in 1977

[tainiothiki]

Der amerikanische Freund | The American Friend (Dir. Wim Wenders, 1977)

[vertigoartgore]

Brian De Palma's Phantom of the Paradise (turning 50 today, feel old yet ?) movie poster by artist Richard Corben.

[radishprincesss]

faye dunaway 𓇢𓆸

[7thartheaven]

Les Choses de la Vie (1970), Claude Sautet

[citizenscreen]

Gene Hackman as Jimmy "Popeye" Doyle in William Friedkin‘s THE FRENCH CONNECTION, which premiered in New York City and Los Angeles on October 7, 1971.

[bitter69uk]

Adieu to ethereal and distinctive actress Shelley Duvall (7 July 1949 - 11 July 2024), one of the essential faces of 1970s American New Hollywood cinema, whose death aged 75 was confirmed yesterday. Sad as the news was, it’s been heartening to see the outpouring of affection for her on social media. Duvall was clearly adored. (As Pauline Kael enthused, Duvall “melts indifference. You’re unable to repress your response; you go right to her in delight, saying ‘I’m yours’.”). The obituaries have inevitably and understandably emphasized Duvall’s sterling work in Stanley Kubrick’s The Shining (1980) and her triumphant TV series Faerie Tale Theatre in the 1980s. I particularly treasure Duvall’s collaborations with director Robert Altman in seven films including McCabe & Mrs. Miller (1971), the downbeat but lyrical Depression-era tragicomedy Thieves Like Us (1974) (she’s heartbreaking in that one!), Nashville (1975) and Popeye (1980) – who else could have portrayed Olive Oyl? I’d argue Duvall’s crowning achievement is her performance opposite the equally astonishing Sissy Spacek in Altman’s eerie dream-like 1977 masterpiece 3 Women. For me, the film - which shifts between black comedy (Duvall repeatedly slamming her skirt in the car door never stops being funny) to psychological horror to total inscrutability - represents the artistic zenith of 1970s New Hollywood. What a total original Duvall was.

[digitised-celluloid]

House. Dir Nobuhiko Obayashi. 1977.