Ice Castles (1978)

Ice Castles (1978)

Alexis “Lexie” Winston is a young girl from a small town in Iowa who dreams of becoming a champion figure skater. Her boyfriend, Nick Peterson, dreams of being a hockey player.

Coached by a family friend and former skater, Lexie enters a regional championship over her father’s protests. There she is discovered by an elite coach who sees her potential despite a lack of training and a relatively advanced age for figure skaters. Over her father’s objections, Lexie moves from her home in Waverly, Iowa to train at the legendary Broadmoor World Arena in Colorado Springs, Colorado.

She becomes unpopular with the other female skaters in training because of the attention lavished on her natural talent and the media attention her coach obtains for her in an effort to make her known to the skating world. Lexie proves and enhances her skating abilities and qualifies for the senior championship level. Lexie’s life changes drastically in the process. She becomes a star, alienates her boyfriend and begins dating an older man, Brian, who is a television broadcaster, following her training.

Lexie becomes uncomfortable with the changes in her life and in herself. Lexie leaves a party for skating sponsors and goes down to the outdoor rink nearby to skate. Her coach and the party goers notice her, and are watching through the windows as Lexie skates. She attempts a difficult triple jump, but lands off the ice onto a set of tables and chairs that are chained together near the edge of the rink. Lexie suffers a serious head injury, with a blood clot in her brain that robs her of her eyesight. She can see only light and blurry shapes. The doctor is uncertain if her injury is permanent.

Ice Castles is a 1978 American romantic drama film directed by Donald Wrye and starring Lynn-Holly Johnson and Robby Benson. A paperback novelization of the screenplay, by Leonore Fleischer, was released in conjunction with the film. It is the story of Alexis “Lexie” Winston, a young figure skater, and her rise and fall from super stardom. Tragedy strikes when, following a freak accident, Lexie loses her sight, leaving her to hide away in the privacy of her own despair. She eventually perseveres and begins competing in figure skating again.

The work was filmed on location in Colorado and Minnesota. Its theme song “Through the Eyes of Love” was made famous by Melissa Manchester and was nominated for the 52nd Academy Awards (April 1980).

Ice Castles (1978) Movie Poster

Ice Castles (1978)

Directed by: Donald Wrye
Starring: Lynn-Holly Johnson, Robby Benson, Colleen Dewhurst, Tom Skerritt, Jennifer Warren, David Huffman, Diane Reilly
Screenplay by: Donald Wrye, Gary L. Baim
Production Design by: Joel Schiller
Cinematography by: Bill Butler
Film Editing by: Michael Kahn, Melvin Shapiro, Maury Winetrobe
Costume Design by: Richard Bruno
Set Decoration by: Joanne MacDougall
Music by: Marvin Hamlisch
Distributed by: Columbia Pictures
Release Date: December 31, 1978

Bite the Bullet (1975)

Bite the Bullet (1975)

Based on actual events of the early twentieth century, the story concerns a grueling 700-mile cross-country horse race in 1906 and the way it affects the lives of its various participants.

The colorful contestants include two former Rough Riders (Hackman and Coburn) who can’t let friendship come between them if they intend to win, a lady of little virtue (Bergen), a punk kid (Vincent), an old cowhand in poor health (Johnson), an English gentleman (Bannen) who’s competing just for the sheer sport of it all, and a Mexican with a toothache (Mario Arteaga) who literally needs to bite the bullet. All must race against a thoroughbred of championship pedigree owned by a wealthy man (Coleman) who has no intention of seeing his entry lose.

The film touches on the themes of sportsmanship, animal cruelty, the yellow press, racism, the end of the Old West and the bonds of marriage and friendship. As the race progresses, the conditions test not only the endurance of horses and riders but also their philosophies of life and the meaning of victory and defeat.

Bite the Bullet is a 1975 American Western film written and directed by Richard Brooks and starring Gene Hackman, James Coburn, Candice Bergen, Ben Johnson, Ian Bannen, Jan-Michael Vincent and Dabney Coleman.

Bite the Bullet (1975) Movie Poster

Bite the Bullet (1975)

Directed by: Richard Brooks
Starring: Gene Hackman, Candice Bergen, James Coburn, Ben Johnson, Ian Bannen, Jan-Michael Vincent, Robert Donner, Jean Willes
Screenplay by: Richard Brooks
Cinematography by: Harry Stradling Jr.
Film Editing by: George Grenville
Set Decoration by: Bob Signorelli
Art Direction by: Robert F. Boyle
Music by: Alex North
Distributed by: Columbia Pictures
Release Date: May 6, 1975

The Way We Were (1973)

The Way We Were (1973)

Taglines: Everything seemed so important then .. even love!

The often unlikely joint lives of Katie Morosky and Hubbell Gardiner from the late 1930s to the late 1950s is presented, over which time, they are, in no particular order, strangers, acquaintances, friends, best friends, lovers and adversaries.

The unlikely nature of their relationship is due to their fundamental differences, where she is Jewish and passionate about her political activism both in political freedoms and Marxism to an extreme where she takes life a little too seriously, while he is the golden boy WASP, being afforded the privileges in life because of his background but who on the most part is able to capitalize on those privileges.

Their lives are shown in four general time periods, in chronological order when they attend the same college, their time in New York City during WWII, his life as a Hollywood screenwriter post-war, and his life as a writer for a New York based live television show.

The Way We Were is a 1973 American romantic drama film starring Barbra Streisand and Robert Redford, and directed by Sydney Pollack. The screenplay by Arthur Laurents was based on his college days at Cornell University and his experiences with the House Un-American Activities Committee.

A box office success, the film was nominated for several awards and won the Academy Award for Best Original Dramatic Score and Best Original Song for the theme song, “The Way We Were”,it ranked at number 6 on AFI’s 100 Years…100 Passions survey of the top 100 greatest love stories in American cinema. The Way We Were is considered one of the greatest romantic movies ever.

The soundtrack recording became a gold record and hit the Top 20 the Billboard 200 while the single became a million-selling gold single, topping the Billboard Hot 100 respectively, selling more than two million copies. Billboard named “The Way We Were” as the number 1 pop hit of 1974.

In 1998, the song was inducted into the Grammy Hall of Fame and finished at number 8 on AFI’s 100 Years…100 Songs survey of top tunes in American cinema in 2004. It was also included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts.

The Way We Were Movie Poster (1973)

The Way We Were (1973)

Directed by: Sydney Pollack
Starring: Barbra Streisand, Robert Redford, Bradford Dillman, Lois Chiles, Patrick O’Neal, Viveca Lindfors, Allyn Ann McLerie, Marcia Mae Jones
Screenplay by: Arthur Laurents
Production Design by: Stephen B. Grimes
Cinematography by: Harry Stradling Jr.
Film Editing by: John F. Burnett
Costume Design by: Dorothy Jeakins, Moss Mabry
Set Decoration by: William Kiernan
Music by: Marvin Hamlisch
Distributed by: Columbia Pictures
Release Date: October 19, 1973

…And Justice for All (1979)

...And Justice for All (1979)

Arthur Kirkland (Al Pacino), a defense attorney in Baltimore, is in jail on contempt of court charge after throwing a punch at judge Henry T. Fleming (John Forsythe) while arguing the case of Jeff McCullaugh (Thomas G. Waites).

McCullagh was stopped for a minor traffic offense, but then mistaken for a killer of the same name and has already spent a year and a half in jail; Fleming has repeatedly stymied Kirkland’s efforts to have the case reviewed. Though there is strong new evidence that Jeff is innocent, Fleming refuses McCullaugh’s appeal due to a minor technicality and leaves him in prison. After being released, Arthur takes another case, that of transgender individual Ralph Agee (Robert Christian), arrested for small crime and becoming a victim of the legal system.

When not working, Arthur pays regular nursing home visits to his grandfather Sam (Lee Strasberg), who is becoming senile, giving his grandson advice such as “If you’re not honest, you’re nothing.” It is revealed that Arthur was abandoned by his parents at a young age, and it was Sam who raised him and put him through law school. Arthur also begins a romance with a legal ethics committee member, Gail Packer (Christine Lahti).

One day, Arthur is shocked to find himself requested to defend Fleming, who to everyone’s surprise has been accused of brutally assaulting and raping a young woman. As the two loathe each other, Fleming feels that having the person who publicly hates him argue his innocence will be to his advantage. Fleming blackmails Kirkland with an old violation of lawyer-client confidentiality, for which Arthur likely will be disbarred if it ever comes to light. Gail confirms this off the record.

Judge Francis Rayford (Jack Warden), who has a friendly relationship with Arthur, takes him for a hair-raising ride in his personal helicopter over the harbor and Fort McHenry, laughing as he tests how far they can possibly go without running out of fuel, while a terrified Arthur begs him to land. Rayford, a veteran of the Korean War, is borderline suicidal and keeps a rifle in his chambers at the courthouse, a 1911 pistol in his shoulder holster at all times, and eats his lunch on the ledge outside his office window, four stories up.

...And Justice for All Movie Poster (1979)

…And Justice for All (1979)

Directed by: Norman Jewison
Starring: Al Pacino, Jack Warden, John Forsythe, Lee Strasberg, Jeffrey Tambor, Christine Lahti, Sam Levene, Robert Christian
Screenplay by: Valerie Curtin, Barry Levinson
Production Design by: Richard Macdonald
Cinematography by: Victor J. Kemper
Film Editing by: John F. Burnett
Costume Design by: Ruth Myers
Set Decoration by: Thomas L. Roysden
Art Direction by: Peter Samish
Music by: Dave Grusin
Distributed by: Columbia Pictures
Release Date: October 19, 1979

The Go-Between (1971)

The Go-Between (1971)

Summer 1900: Queen Victoria’s last and the summer Leo turns 13. He’s the guest of Marcus, a wealthy classmate, at a grand home in rural Norfolk. Leo is befriended by Marian, Marcus’s twenty-something sister, a beauty about to be engaged to Hugh, a viscount and good fellow.

Marian buys Leo a forest-green suit, takes him on walks, and asks him to carry messages to and from their neighbor, Ted Burgess, a bit of a rake. Leo is soon dissembling, realizes he’s betraying Hugh, but continues as the go-between nonetheless, asking adults naive questions about the attractions of men and women. Can an affair between neighbors stay secret for long? And how does innocence end?

The Go-Between Movie Poster (1971)

The Go-Between (1971)

Directed by: Joseph Losey
Starring: Julie Christie, Alan Bates, Margaret Leighton, Michael Redgrave, Dominic Guard, Michael Gough, Amaryllis Garnett
Screenplay by: Harold Pinter
Cinematography by: Gerry Fisher
Film Editing by: Reginald Beck
Costume Design by: John Furniss
Art Direction by: Carmen Dillon
Music by: Michel Legrand
Distributed by: Columbia Pictures
Release Date: November 13, 1971

Tess (1979)

Tess (1979)

Wessex County, England during the Victorian era. Christian values dominate what are social mores. These mores and her interactions with two men play a large part in what happens in the young life of peasant girl, the shy, innocent, proper yet proud Tess Durbeyfield. The first of these men is Alec d’Urberville. After learning from a local historian that they are really descendants of the aristocratic d’Urberville family which has died out due to lack of male heirs, Tess’ parents send her to a nearby mansion where they know some d’Urbervilles actually reside.

This move is in order for the family to gain some benefit from their heritage. Upon her arrival at the mansion, Tess quickly learns that the family of Tess’ “cousin” Alec are not true d’Urbervilles, but rather an opportunistic lot who bought the family name in order to improve their own standing in life. Tess is pulled between what she was sent to accomplish for her family against her general disdain for Alec, who will give her.

Tess is a 1979 drama film directed by Roman Polanski, an adaptation of Thomas Hardy’s 1891 novel Tess of the d’Urbervilles.[1] It tells the story of a country girl descended from a noble line who, when she makes contact with the apparent head of the family, is raped and left pregnant. After her baby dies, she meets a man who abandons her on their wedding night when she confesses her past.

Desperate, she returns to her seducer and murders him. The screenplay was written by Gérard Brach, John Brownjohn, and Roman Polanski. The film received positive critical reviews upon release and was nominated for six Academy Awards including Best Picture, winning three for Best Cinematography, Best Art Direction and Best Costume Design.

Tess Movie Poster (1979)

Tess (1979)

Directed by: Roman Polanski
Starring: Nastassja Kinski, Peter Firth, Leigh Lawson, Brigid Erin Bates, Jeanne Biras, Geraldine Arzul, Rosemary Martin
Screenplay by: Gérard Brach, Roman Polanski
Production Design by: Pierre Guffroy
Cinematography by: Ghislain Cloquet, Geoffrey Unsworth
Film Editing by: Alastair McIntyre, Tom Priestley
Costume Design by: Anthony Powell
Art Direction by: Jack Stephens
Music by: Philippe Sarde
Distributed by: Columbia Pictures
Release Date: December 12, 1980

Close Encounters of the Third Kind (1977)

Close Encounters of the Third Kind (1977)

Taglines: We are not alone.

Two parallel stories are told. In the first, a group of research scientists from a variety of backgrounds are investigating the strange appearance of items in remote locations, primarily desert regions. In continuing their investigation, one of the lead scientists, a Frenchman named Claude Lacombe, incorporates the Kodály method of music education as a means of communication in their work. The response,

in turn, at first baffles the researchers, until American cartographer David Laughlin deciphers the meaning of the response. In the second, electric company lineman and family man Roy Neary and single mother Jillian Guiler are among some individuals in Muncie, Indiana who experience some paranormal activity before some flashes of bright lights in the sky, which they believe to be a UFO. Roy becomes obsessed with what he saw, unlike some others, especially in some form of authority, who refuse to acknowledge their belief that it was a UFO in not wanting to appear crazy.

Close Encounters of the Third Kind is a 1977 American science fiction film, written and directed by Steven Spielberg and starring Richard Dreyfuss, François Truffaut, Melinda Dillon, Teri Garr, Bob Balaban, and Cary Guffey. It tells the story of Roy Neary, an everyday blue collar worker in Indiana, whose life changes after an encounter with an unidentified flying object (UFO).

Close Encounters was a long-cherished project for Spielberg. In late 1973, he developed a deal with Columbia Pictures for a science fiction film. Though Spielberg received sole credit for the script, he was assisted by Paul Schrader, John Hill, David Giler, Hal Barwood, Matthew Robbins, and Jerry Belson, all of whom contributed to the screenplay in varying degrees. The title is derived from UFO-ologist J. Allen Hynek’s classification of close encounters with aliens, in which the third kind denotes human observations of aliens or “animate beings.” Douglas Trumbull served as the visual effects supervisor, while Carlo Rambaldi designed the aliens.

Made on a production budget of $18 million, Close Encounters was released in a limited number of cities on November 16, 1977 or November 23, 1977 before expanding into a wide release the following month. It was a critical and financial success, eventually grossing over $337 million worldwide.

A Special Edition of the film, featuring additional scenes, was released theatrically in 1980. A third cut of the film was issued on VHS and laserdisc in 1998 (and later DVD and Blu-ray). The film received numerous awards and nominations at the 50th Academy Awards, 32nd British Academy Film Awards, the 35th Golden Globe Awards, the Saturn Awards and has been widely acclaimed by the American Film Institute. In December 2007, it was deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress and selected for preservation in the National Film Registry.

Close Encounters of the Third Kind Movie Poster (1977)

Close Encounters of the Third Kind (1977)

Directed by: Steven Spielberg
Starring: Richard Dreyfuss, Melinda Dillon, Roberts Blossom, Cary Guffey, Lance Henriksen, François Truffaut, Teri Garr
Screenplay by: Steven Spielberg
Production Design by: Joe Alves
Cinematography by: Vilmos Zsigmond
Film Editing by: Michael Kahn
Set Decoration by: Phil Abramson
Art Direction by: Daniel A. Lomino
Music by: John Williams
Distributed by: Columbia Pictures
Release Date: November 16, 1977

Butterflies Are Free (1972)

Butterflies Are Free (1972)

Taglines: I could love you if you’d let me.

In the San Francisco of the 1970s, Don Baker (Edward Albert), who was born blind, has lived all his life with his mother (Eileen Heckart). Don moves out into an apartment on his own, but Don finds himself all alone. He has made a contract that his mother will not come to see him for at least two months.

One month has passed. This is when Jill Tanner (Goldie Hawn) moves into an apartment next door to Don. She listens to Don talking to his mother over the phone and turns on the radio. When Don asks her to turn the volume down, she invites herself over for a cup of coffee. They start talking and find each other friendly. Jill does not realize that Don is blind until she sees him dropping his cigarette ash on the table.

Jill has never met a blind man before, so she asks all sorts of questions about how Don manages everyday chores. She tells Don that her favorite quote is: “I only ask to be free. The butterflies are free. Mankind will surely not deny to Harold Skimpole what it concedes to the butterflies.” (From Dickens’ “Bleak House”). Don makes up a song and starts to sing “Butterflies are free” on his guitar.

Surprising Don with a visit, Mrs. Baker sees that Don has attached himself to Jill. She fears that Jill will break Don’s heart. She takes Jill out for a lunch and tries to talk her out of Don’s life. Jill has strong feelings for Don and tells Mrs. Baker that if there is someone who should get out of Don’s life, it is she.

Butterflies Are Free is a 1972 American comedy-drama film based on the play by Leonard Gershe. The 1972 film was produced by M.J. Frankovich, released by Columbia Pictures, directed by Milton Katselas and adapted for the screen by Gershe. It was released on 6 July 1972 in the USA.

Goldie Hawn and Edward Albert starred. Eileen Heckart received an Academy Award for her performance. While the original play was set in Manhattan, New York, the screenplay written for the 1972 film was set in an unknown location in San Francisco.

Butterflies Are Free Movie Poster (1972)

Butterflies Are Free (1972)

Directed by: Milton Katselas
Starring: Goldie Hawn, Edward Albert, Eileen Heckart, Paul Michael Glaser, Michael Warren, Debralee Scott, Charlene Jones
Screenplay by: Leonard Gershe
Production Design by: Robert Clatworthy
Cinematography by: Charles Lang
Film Editing by: David E. Blewitt
Costume Design by: Moss Mabry
Set Decoration by: Marvin March
Music by: Bob Alcivar
Distributed by: Columbia Pictures
Release Date: July 6, 1972

La Nuit Américaine – Day for Night (1973)

La Nuit Américaine - Day for Night (1973)

Taglines: A movie for people who love movies.

Day for Night chronicles the production of Je Vous Présente Paméla (Meet Pamela, also referred to as I want you to meet Pamela), a clichéd melodrama starring aging screen icon Alexandre (Jean-Pierre Aumont), former diva Séverine (Valentina Cortese), young heart-throb Alphonse (Jean-Pierre Léaud) and a British actress, Julie Baker (Jacqueline Bisset) who is recovering from both a nervous breakdown and the controversy leading to her marriage with her much older doctor.

In between are several small vignettes chronicling the stories of the crew-members and the director; Ferrand (Truffaut himself) who tangles with the practical problems one deals with when making a movie. Behind the camera, the actors and crew go through several romances, affairs, break-ups, and sorrows. The production is especially shaken up when one of the secondary actresses is revealed to be pregnant. Later Alphonse’s fiancée leaves him for the film’s stuntman, which leads Alphonse into a palliative one-night stand with an accommodating Julie; whereupon, mistaking Julie’s pity sex for true love, the infantile Alphonse informs Julie’s husband of the affair. Finally, Alexandre dies on the way to hospital after a car accident.

Day for Night (French: La Nuit américaine) is a 1973 French film directed by François Truffaut. It stars Jacqueline Bisset and Jean-Pierre Léaud. It is named after the filmmaking process referred to in French as la nuit américaine (“American night”), whereby sequences filmed outdoors in daylight are shot using film stock balanced for tungsten (indoor) light and underexposed (or adjusted during post production) to appear as if they are taking place at night. In English the technique is called day for night, and the film’s title is thus translated as Day for Night.

La Nuit Américaine - Day for Night Movie Poster (1973)

La Nuit Américaine – Day for Night (1973)

Directed by: François Truffaut
Starring: Jacqueline Bisset, Jean-Pierre Léaud, François Truffaut, Valentina Cortese, Jean-Pierre Aumont, Nathalie Baye, Maurice Seveno
Screenplay by: François Truffaut, Jean-Louis Richard
Production Design by: Damien Lanfranchi
Cinematography by: Pierre-William Glenn
Film Editing by: Martine Barraqué, Yann Dedet
Costume Design by: Monique Dury
Art Direction by: Damien Lanfranchi
Music by: Georges Delerue
Distributed by: Columbia Pictures, Warner Bros. Pictures
Release Date: May 24, 1973

Shampoo (1975)

Shampoo (1975)

Taglines: Your hairdresser does it better…

Thirty-something George Roundy is a Beverly Hills hairdresser, who spends as much time sleeping with his female clients as he does doing their hair. Whether they want to admit it, all the women in his life are on the most part aware that they are are not the only one with whom he is sleeping. And some, such as the wealthy and married Felicia Karpf, have a stronger emotional dependence on George than they would like to admit. George’s current girlfriend is Jill, an up and coming actress.

Jill’s best friend is Jackie Shawn, one of George’s old girlfriends who left him because he couldn’t make a true commitment to her. In turn, Jackie is currently having an affair with Lester Karpf, Felicia’s wealthy businessman husband. George is unhappy working at a salon owned by Norman, with whom he is constantly butting heads. In his first act of wanting finally to be a grown up, George wants to open his own salon, but doesn’t have the financial resources to do it, and no bank will lend him money.

Shampoo Movie Poster (1975)

Shampoo (1975)

Directed by: Hal Ashby
Starring: Warren Beatty, Julie Christie, Goldie Hawn, Lee Grant, Jack Warden, George Furth, Luana Anders, Susanna Moore, Carrie Fisher
Screenplay by: Robert Towne, Warren Beatty
Production Design by: Richard Sylbert
Cinematography by: László Kovács
Film Editing by: Robert C. Jones
Costume Design by: Anthea Sylbert
Set Decoration by: George Gaines
Art Direction by: W. Stewart Campbell
Music by: Paul Simon
Distributed by: Columbia Pictures
Release Date: February 11, 1975