#joseph p. mawra

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Chained girls (1965), dir. Joseph P. Mawra

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Movie Review | Olga's Dance Hall Girls (Mawra, 1969)

Audrey Campbell is a big part of why the previous Olga movies were so enjoyable, but this time she's been replaced by Lucy Eldridge, who is more jolie laide than conventionally attractive but has an appropriately severe look, softened a bit by the bow in her hair. And she really makes you miss what Campbell brought to the role, as she has nowhere near the same alluringly intimidating presence. And for whatever reason she spends most of her screentime not getting up from the sofa, whereas Campbell's excellent poise was a big part of her power as a screen presence.

Also, this is not Eldridge's fault, but her portrayal of the character is closer to a middle manager than Campbell's deliciously mean (not just regular mean, but hot mean) version, as this lacks the kinky torture of the previous movies and instead has a lot of scenes where Eldridge interviews new recruits and argues with her business associate played by Larry Hunter, who is effective in a thankless role but his off putting presence and even more off putting mustache, which the movie repeatedly cuts to in the middle of its nude scenes. I don't know if people were practicing self love in theatres at this point, but imagine you go to see this hoping to rub one out and you gotta look at this guy's face and listen to him and Olga argue about profits instead.

Anyway, while this takes almost half its runtime to get to the nudity, it does have its share of pretty ladies in varying states of undress (my favourites were Uta Erickson and Linda Boyce; I don't have an intellectual reason, I just thought they were attractive), floating B&W camerawork, gyrations set to stock rock'n'roll, masked nuzzling, and nicely stylized witchy ritual scenes at the bookends replete with robes and candles. So it is not totally unwatchable, even if some of it is tough going.

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September's single shots: Olga's House of Shame (dir. Joseph P. Mawra, 1964)

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chained girls (1965) dir. joseph p. mawra

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MISS LESLIE'S DOLLS Review and free on YouTube

‘Who hasn’t played with real dolls at some time or other?’ Miss Leslie’s Dolls is a 1973 horror film directed by Joseph P. Mawra [as Joseph G. Prieto] from a screenplay co-written with Ralph Remy Jr. The movie stars Salvador Ugarte, Terri Juston and Marcelle Bichette. Plot: Alma Frost, a beautiful university teacher and three of her students, Martha, Lily and Roy, are stranded in a backwoods area…

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Fireball Jungle (trailer)

Fireball Jungle is a 1968 melodrama directed by Joseph P. Mawra and starring John Russell (Dan Troop from Lawman),  Lon Chaney Jr, and Tiny Kennedy as a nightclub singer.

“Gangster Nero Sagittarius hires stock car driver Cateye Meares, leader of a band of sadistic thugs, to help him gain control of several automobile racetracks. Steve Cullen, whose brother was killed in an accident caused by Cateye, races under an alias while attempting to implicate the murderer. Infuriated by Steve's skill, Cateye assaults him. After Old Sam, a junkyard owner forced to fence stolen cars for Nero's syndicate, is burned alive, Steve fights Cateye in his hideout. Although badly beaten, Steve attempts to expose Cateye. During the big race, Cateye is killed in a spectacular crash while being chased by the police.”

Full movie:

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Not at all made up statistics from Chained Girls (Joseph P. Mawra, 1965)

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On February 6, 1964 Olga's House of Shame debuted in Los Angeles.

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Chained Girls (1965) Joseph P. Mawra.

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Olga’s House of Shame (1964)

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joseph p. mawra, {1964} olga’s house of shame

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9 Signs You Sell Uncle Drew Film For A Living

How The Important American Independent Movies Industry are Changing to Troubling Times

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UA rented room at the Pickford/Fairbanks Workshop, but did not possess a workshop whole lot as such. Because of this, much of their movies would be fired on area. Mainly functioning as lenders, they supplied money to independent producers. Thus UA did not have the expenses, the maintenance or the expensive production personnel which added expenses at other workshops.

Levine as well as others. By the late 1950s, RKO had ceased film manufacturing, and the staying four of big 5 had identified that they did not recognize just how to reach the young people audience. In an effort to capture this target market, the Studios hired a host of young filmmakers (much of whom were mentored by Roger Corman) and also enabled them to make their films with reasonably little studio control.

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The flick had actually earned over $70 million around the world by 1973. This preliminary successes led the means for the workshop to give up nearly full control to the movie institution generation and began what the media dubbed "New Hollywood." Dennis Hopper, the American actor, made his writing as well as routing debut with (1969 ).

Easy Biker debuted at Cannes as well as gathered the "Very first Film Award" (French: Prix de la premiere oeuvre) after which it received two Oscar elections, one for finest original screenplay as well as one for Corman-alum Jack Nicholson's innovation performance in the supporting function of George Hanson, an alcoholic legal representative for the American Civil Liberties Union.

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It came to be the initial and just X rated movie to win the Academy Award for finest picture. Midnight Cowboy likewise held the distinction of including cameo functions by much of the top Warhol superstars, who had actually currently become symbols of the militantly anti-Hollywood climate of NYC's independent film neighborhood. Within a month, one more young Corman student, Francis Ford Coppola, made his launching in Spain at the Donostia-San Sebastian International Film Event with (1969 ), a movie he had generated with his own firm, American Zoetrope.

Via Zoetrope, Coppola created a distribution contract with workshop huge Warner Bros., which he would exploit to achieve wide launches for his movies without making himself based on their control. These 3 movies provided the significant Hollywood workshops with both an instance to comply with and also a new plant of ability to draw from.

By the list below year, 2 Brand-new Hollywood supervisors had come to be sufficiently established for Coppola to be offered oversight of Paramount's (1972) as well as Lucas had acquired workshop funding for (1973) from Universal. In the mid-1970s, the significant Hollywood studios continued to touch these new filmmakers for both suggestions and workers, producing movies such as (1973) as well as (1976 ), all of which consulted with essential and commercial success.

While a lot of members of the New Hollywood generation were, or began as, independent filmmakers, a number of their tasks were created as well as released by major workshops. The New Hollywood generation soon came to be firmly set in a revived manifestation of the workshop system, which financed the development, manufacturing as well as distribution of their movies.

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Relatively independent movies such as Cab driver, and others were workshop films: the manuscripts were based on studio pitches and consequently paid for by the studios, the production funding was from the studio, as well as the advertising and circulation of the films were designed and controlled by the studio's advertising firm.

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Indeed, it was throughout this duration that the really definition of an independent film ended up being obscured. Though Midnight Cowboy was funded by United Artists, the business was certainly a workshop. Also, Zoetrope was another "independent workshop" which functioned within the system to make a space for independent directors who required funding.

In fact, the only two films of the motion which can be defined as uncompromisingly independent are Easy Cyclist at the start, and Peter Bogdanovich's, at the end. Peter Bogdanovich gotten back the rights from the workshop to his 1980 movie and also paid for its distribution out of his very own pocket, encouraged that the image was better than what the workshop believed he ultimately went bankrupt as a result of this.

With their unprecedented box-office successes, these flicks jump-started Hollywood's hit attitude, giving workshops a brand-new paradigm regarding exactly how to earn money in this altering business landscape. The focus on high-concept properties, with greater concentration on tie-in goods (such as playthings), spin-offs into various other media (such as soundtracks), and also making use of sequels (which had been made extra reputable by Coppola's ), all revealed the workshops how to earn money in the brand-new atmosphere.

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At some point, even RKO was restored. The corporate mindset these companies offered the filmmaking business would slowly eject the a lot more distinctive of these young filmmakers, while seating the a lot more malleable and readily effective of them. Like the original independents that left the Edison Depend develop old Hollywood, the young film school graduates who had actually fled the workshops to explore on-location shooting and dynamic, neo-realist styles as well as frameworks ended up changing the autocrats they had actually looked for to dislodge with a more secure and also all-pervasive base of power.

Directors who wished to reach mainstream target markets of Old Hollywood swiftly discovered to stylise these styles to make their movies appealing and eye-catching as opposed to undesirable or profane. Nevertheless, at the exact same time that the radical movie trainees of the American New Wave were creating the abilities they would certainly make use of to take control of Hollywood, much of their peers had begun to develop their style of filmmaking in a various direction.

e. Joseph P. Mawra, Michael Findlay, as well as Henri Pachard) and avant-garde movie theater, (Kenneth Temper, Maya Deren) a variety of young movie manufacturers started to trying out transgression not as a box-office draw, yet as an artistic act. Supervisors such as John Waters and David Lynch would certainly go far for themselves by the early 1970s for the peculiar as well as often disturbing images which identified their films.

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chained girls (1965) dir. joseph p. mawra

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BILAN CULTUREL - FÉVRIER+MARS 2019

Cinéma :

Minuscule 2 : Les Mandibules du bout du monde - Thomas Szabo, Hélène Giraud

Dans les bois - Mindaugas Survila

La Liste de Schindler - Steven Spielberg

Us - Jordan Peele

Livres & bandes dessinées :

Annihilation - Jeff VanderMeer

Chanson douce - Leïla Slimani

Isles, La Grande Odyssée - Jérémy Perrodeau

Les grands espaces - Catherine Meurisse

Shi, tomes 1 & 2 - Zidrou, José Homs

Et si l’amour c’était aimer ? - Fabcaro

Trop n’est pas assez - Ulli Lust

Pénis de table - Cookie Kalkair

Amazonie, tome 4 - Leo, Rodolphe, Bertrand Marchal

Rencontre sur la Transsaharienne - Pierre Christin, Sébastien Verdier

Spectacles :

6e Cérémonie des Doigts d'Or : Les Oscars du Capitalisme 2018 - Compagnie Triple A

Séances spéciales :

Kino-bouffe n°30 (spécial fête du court-métrage) (avec notamment Les Indes Galantes de Clément Cogitore) - La Chapelle, Toulouse

Projections privées :

73 Cows (court-métrage) - Alex Lockwood

Feminists : What Were They Thinking? - Johanna Demetrakas

Nine to Five - Colin Higgins

She’s Beautiful When She’s Angry - Mary Dore

Chained Girls - Joseph P. Mawra   (via MUBI)

La nuit a dévoré le monde - Dominique Rocher

I Feel Good - Benoît Delépine, Gustave Kervern

Green Book - Peter Farrelly

Blue Gate Crossing - Yee Chin-Yen   (via MUBI)

Privilege - Yvonne Rainer   (via Tënk)

Masculin Féminin - Jean-Luc Godard   (via MUBI)

Les Nouvelles Aventures de Sabrina, saison 1 - Roberto Aguirre-Sacasa

Kingdom, saison 1 - Kim Seong-hun

Le Nom de la Rose - Giacomo Battiato

Dear White People, saison 1 & 2 - Justin Simien

American Gods, saison 1 - Bryan Fuller, Michael Green

Love, Death + Robots, saison 1 - Tim Miller

Découvertes musicales récentes :

( Vendredi sur Mer - Chewing Gum   /   Alemayehu Eshete - Alteleyeshegnem   /   COMA-CHI - Water (ft. Josef Leimberg )

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Chained Girls (Joseph P. Mawra, 1965)