Dailey, Irene

Five Easy Pieces

This subtle, existential character study of an emotionally distant outcast (Nicholson) forced to confront his past failures remains an intimate cornerstone of American '70s cinema. Written and directed with remarkable restraint by Bob Rafelson, the film is the result of a short-lived partnership between the filmmaker and Nicholson--the first was the zany formalist exercise, Head, while the equally impressive King of Marvin Gardens followed Five Easy Pieces. Quiet and full of long, controlled takes, this film draws its strength from the acutely detailed, nonjudgmental observations of its complex protagonist, Robert Dupea--an extremely crass and frustrated oil worker, and failed child pianist hiding from his past in Texas. Dupea spends his life drinking beer and sleeping with (and cheating on) his annoying but adoring Tammy Wynette-wannabe girlfriend, but when he learns that his father is dying in Washington State, he leaves. After the film transforms into a spirited road movie, and arrives at the eccentric upper-class Dupea family mansion, it becomes apparent that leaving is what Dupea does best--from his problems, fears, and those who love him. Nicholson gives a difficult yet masterful performance in an unlikable role, one that's full of ambiguity and requires violent shifts in acting style. Several sequences--such as his stopping traffic to play piano, or his famous verbal duels with a cranky waitress over a chicken-salad sandwich--are Nicholson landmarks. Yet, it's the quieter moments, when Dupea tries miserably to communicate and reconcile with his dying father, where the actor shows his real talent--and by extension, shows us the wounded little boy that lurks in the shell of the man Dupea has become. --Dave McCoy

The Amityville Horror

Based on a bestselling, allegedly nonfiction book about haunted goings-on in a Long Island house (The Amityville Horror Conspiracy), this rather cheesy horror movie is more silly than unsettling. James Brolin and Margot Kidder star as newlyweds who move into the empty home and are gradually affected by the legacy of a murder committed on the premises. Rod Steiger is a priest who can tell what's up and gets dispatched in a rather ugly way. Director Stuart Rosenberg can't lift the action above a certain level of tawdriness, and the audience ends up watching the horror from a distance instead of feeling involved. In the wake of The Exorcist, this 1979 spooker seemed like a no-brainer knockoff--and still does. --Tom Keogh

There's no place like home...for bloodcurdling horror! James Brolin, Margot Kidder and Academy AwardÂ(r) winner* Rod Steiger fall prey to the powers of darkness in this spine-tingling tale ofa house possessed by unspeakable evil. One of the most talked-about haunted-house stories of all time, The Amityville Horror will hit you where you live. For George and Kathy Lutz, the colonial home on the river's edge seemed ideal: quaint, spacious and amazingly affordable. Of course, six brutal murders had taken place there just a year before, but houses don't have memories...ordo they? Soon the Lutz dream house becomes a hellish nightmare, as walls begin to drip blood and satanic forces threaten to destroy them. Now the Lutzes must try to escape or forfeit their livesand their souls! *1967: Actor, In the Heat of the Night

No Way to Treat a Lady

The Amityville Horror

Based on a bestselling, allegedly nonfiction book about haunted goings-on in a Long Island house (The Amityville Horror Conspiracy), this rather cheesy horror movie is more silly than unsettling. James Brolin and Margot Kidder star as newlyweds who move into the empty home and are gradually affected by the legacy of a murder committed on the premises. Rod Steiger is a priest who can tell what's up and gets dispatched in a rather ugly way. Director Stuart Rosenberg can't lift the action above a certain level of tawdriness, and the audience ends up watching the horror from a distance instead of feeling involved. In the wake of The Exorcist, this 1979 spooker seemed like a no-brainer knockoff--and still does. --Tom Keogh

The Grissom Gang

From director Robert Aldrich (The Dirty Dozen) and screenwriter Leon Griffiths (The Hellfire Club) comes "one of Aldrich's finest and most complex films" (Time Out)a searing saga of murder and mayhem in the '30s. Starring Kim Darby and Scott Wilson, this "grim fairy tale" (Los Angeles Times) is "lurid, gritty [and] violent" (Leonard Maltin)! Barbara (Darby)is a wealthy socialite whose biggest dilemma in life concerns whose party she'll attend next. But when she's kidnapped by a dangerously depraved family of outlaws, Barbara's choices suddenly become far more terrifying. Desperate to escape and determined to survive, she finds herself hopelessly ensnared in a deadly struggle between those who want her dead and those who want something far more horrifying.

The Grissom Gang

Five Easy Pieces [Region 2]

This subtle, existential character study of an emotionally distant outcast (Nicholson) forced to confront his past failures remains an intimate cornerstone of American '70s cinema. Written and directed with remarkable restraint by Bob Rafelson, the film is the result of a short-lived partnership between the filmmaker and Nicholson--the first was the zany formalist exercise, Head, while the equally impressive King of Marvin Gardens followed Five Easy Pieces. Quiet and full of long, controlled takes, this film draws its strength from the acutely detailed, nonjudgmental observations of its complex protagonist, Robert Dupea--an extremely crass and frustrated oil worker, and failed child pianist hiding from his past in Texas. Dupea spends his life drinking beer and sleeping with (and cheating on) his annoying but adoring Tammy Wynette-wannabe girlfriend, but when he learns that his father is dying in Washington State, he leaves. After the film transforms into a spirited road movie, and arrives at the eccentric upper-class Dupea family mansion, it becomes apparent that leaving is what Dupea does best--from his problems, fears, and those who love him. Nicholson gives a difficult yet masterful performance in an unlikable role, one that's full of ambiguity and requires violent shifts in acting style. Several sequences--such as his stopping traffic to play piano, or his famous verbal duels with a cranky waitress over a chicken-salad sandwich--are Nicholson landmarks. Yet, it's the quieter moments, when Dupea tries miserably to communicate and reconcile with his dying father, where the actor shows his real talent--and by extension, shows us the wounded little boy that lurks in the shell of the man Dupea has become. --Dave McCoy

The Amityville Horror [Region 2]

Based on a bestselling, allegedly nonfiction book about haunted goings-on in a Long Island house (The Amityville Horror Conspiracy), this rather cheesy horror movie is more silly than unsettling. James Brolin and Margot Kidder star as newlyweds who move into the empty home and are gradually affected by the legacy of a murder committed on the premises. Rod Steiger is a priest who can tell what's up and gets dispatched in a rather ugly way. Director Stuart Rosenberg can't lift the action above a certain level of tawdriness, and the audience ends up watching the horror from a distance instead of feeling involved. In the wake of The Exorcist, this 1979 spooker seemed like a no-brainer knockoff--and still does. --Tom Keogh

The Grissom Gang [Region 2]

Five Easy Pieces [Region 2]

This subtle, existential character study of an emotionally distant outcast (Nicholson) forced to confront his past failures remains an intimate cornerstone of American '70s cinema. Written and directed with remarkable restraint by Bob Rafelson, the film is the result of a short-lived partnership between the filmmaker and Nicholson--the first was the zany formalist exercise, Head, while the equally impressive King of Marvin Gardens followed Five Easy Pieces. Quiet and full of long, controlled takes, this film draws its strength from the acutely detailed, nonjudgmental observations of its complex protagonist, Robert Dupea--an extremely crass and frustrated oil worker, and failed child pianist hiding from his past in Texas. Dupea spends his life drinking beer and sleeping with (and cheating on) his annoying but adoring Tammy Wynette-wannabe girlfriend, but when he learns that his father is dying in Washington State, he leaves. After the film transforms into a spirited road movie, and arrives at the eccentric upper-class Dupea family mansion, it becomes apparent that leaving is what Dupea does best--from his problems, fears, and those who love him. Nicholson gives a difficult yet masterful performance in an unlikable role, one that's full of ambiguity and requires violent shifts in acting style. Several sequences--such as his stopping traffic to play piano, or his famous verbal duels with a cranky waitress over a chicken-salad sandwich--are Nicholson landmarks. Yet, it's the quieter moments, when Dupea tries miserably to communicate and reconcile with his dying father, where the actor shows his real talent--and by extension, shows us the wounded little boy that lurks in the shell of the man Dupea has become. --Dave McCoy