The producer of what 1970s film wanted to call it The Sidewalk Vigilante as he felt the title (which stayed) was too morbid?
"of the ""Nashville Scene"" called it ""a grindhouse classic"". Rodney Perkins of Twitch Film called it derivative of ""Death Wish"" but memorable for its cast and nihilistic tone. Chris Claro of DVD Verdict called it an incoherent ripoff of ""Death Wish"" that is still entertaining. Stuart Galbraith of DVD Talk rated it 2.5/5 stars and called it ""an undistinguished, forgettable throwaway"". Vigilante (film) Vigilante, later released on video as Street Gang, is a 1983 American vigilante film directed by William Lustig. It stars Robert Forster and Fred Williamson. Eddie Marino (Robert Forster) is a factory worker in New York City."
"low-budget film, and executive Ned Tanen had only modest expectations of its commercial success. However, Universal did object to the film's title, not knowing what ""American Graffiti"" meant; Lucas was dismayed when some executives assumed he was making an Italian movie about feet. The studio therefore submitted a long list of over 60 alternative titles, with their favorite being ""Another Slow Night in Modesto"" and Coppola's ""Rock Around the Block"". They pushed hard to get Lucas to adopt any of the titles, but he was displeased with all the alternatives and persuaded Tanen to keep ""American Graffiti"". The film's lengthy"
"movies were typically compilations of other controversial short films, stock footage, and medical reels. Millard spent his professional career producing and presenting these films around the United States. In one of Millard's most noteworthy presentations, Millard was forced to retitle his film ""Is Your Daughter Safe?"" to ""The Octopus"" in order to meet the demands of San Diego city officials who found the title objectionable. The film, which was a compilation of footage that was, in some cases, nearly fifteen years old, included medical footage of venereal diseases and stock footage depicting white slavery. (It is believed that nearly all"
"The Dunwich Horror (film) The Dunwich Horror is a 1970 American independent supernatural horror film from American International Pictures directed by Daniel Haller and produced by Roger Corman. The film was based on the short story of the same name by H.P. Lovecraft with a script co-written by Curtis Hanson. The leading role was offered to Peter Fonda, but he turned it down. Instead, Dean Stockwell played the role of Wilbur Whateley. The film was shot in Mendocino, California. A woman groans and writhes with the pain of childbirth in a bedroom from a bygone era as two elderly women"
"Cowards (1970 film) Cowards is a 1970 American drama film written and directed by Simon Nuchtern about the then-topical issue of draft evasion during the Vietnam War. It was screened at the Cannes Film Festival in 1970. Following the commercial failure of ""Cowards"", the film was re-edited with newly-shot erotic scenes featuring unrelated actors, and was reissued under the title Love-In '72 so that it could be remarketed as a sexploitation film. Nuchtern's name was removed from the credits of the recut version; the direction of ""Love-In '72"" was credited to Sidney Knight and Karl Hansen, and the writing to"
"Mechanic"" (1972), ""Scorpio"" (1973), and ""The Stone Killer"" (1973). The film was rejected by other studios because of its controversial subject matter, and the perceived difficulty of casting someone in the vigilante role. Winner attempted to recruit Bronson, but there were two problems for the actor. First, his agent, Paul Kohner, considered that the film carried a dangerous message. Second, at this point the screenplay followed the original novel in describing the vigilante as a meek accountant—hardly a suitable role for Bronson. ""I was really a miscast person,"" Bronson said later. ""It was more a theme that would have been"
"appeared as Tony's father in a small role. His scene was cut, and the film instead vaguely implies that he has died. ""Saturday Night Fever"" producer and writer Robert Stigwood and Norman Wexler started planning a sequel soon after the original film came out in 1977, due to the film's success. They came up with the title ""Staying Alive"", and Wexler wrote a script. Travolta was open to the idea of a sequel, but did not like the pessimism of the script, thinking that his character, Tony Manero, needed to see more success as a dancer. Stigwood and executives from"
"They Call Me Mister Tibbs! They Call Me Mister Tibbs! is a 1970 American DeLuxe Color crime drama film directed by Gordon Douglas. The second installment in a trilogy, the release was preceded by ""In the Heat of the Night"" (1967) and followed by ""The Organization"" (1971). The film's title was taken from a line in the first film. Sidney Poitier reprised his role of police detective Virgil Tibbs, though in this sequel, Tibbs is working for the San Francisco Police rather than the Philadelphia Police (as in the original film) or the Pasadena Police (as in the novels). Detective"
"""Run Silent, Run Deep"" (1958), ""I Want to Live!"" (1958), ""The Haunting"" (1963), ""The Andromeda Strain"" (1971), ""The Hindenburg"" (1975) and """" (1979). Wise was the president of the Directors Guild of America from 1971 to 1975 and the president of the Academy of Motion Picture Arts and Sciences from 1984 through 1987. Often contrasted with ""auteur"" directors such as Stanley Kubrick, who tended to bring a distinctive directorial ""look"" to a particular genre, Wise has been viewed as a craftsman, inclined to let the (sometimes studio-assigned) story concept set the style. Later ""cineastes"", such as Martin Scorsese, insist that"
"Man"" but the studio worried it would be mistaken for a western. The title was changed to ""The Bad and the Beautiful"" at the suggestion of MGM's head of publicity Howard Dietz who took it from F. Scott Fitzgerald. Houseman admitted he thought it was a ""dreadful title, it's a loathsome, cheap, vulgar, title"" but then when the film became successful ""it seemed like one of the greatest titles ever thought of. It's certainly been imitated enough: any time anybody's really hard up for a title, they just take two adjectives and string them together with an ""and"" in between."""
"changed the film's title from ""Scary Movie"" to ""Scream"". They were inspired by the Michael Jackson song of the same name. Bob Weinstein considered ""Scary Movie"" to be an unsuitable title as, in addition to the horror and violence, the film contained elements of satire and comedy; Weinstein wished for that to be better conveyed by the title. The change was effected so late into production that congratulatory gifts bore the original name. Williamson and Craven immediately disliked the new title, and considered it ""stupid"". Both later remarked that the change turned out to be positive, and that Weinstein had"
"would eventually share the writing credit with Hopper and Fonda, but there has been dispute over their various contributions to the screenplay. Hopper and Fonda later tried to downplay Southern's input, claiming that many sections of the film (such as the graveyard scene and the Mardis Gras sequence) had been improvised, whereas others involved in the production (including Southern himself) have asserted that most of these scenes were fully scripted and primarily written by him. Although the basic concept for the film was Fonda's, the title ""Easy Rider"" was provided by Southern (it is an American slang term for a"
"completely original and creepy."" Cohen says at one stage the financiers wanted a ""classier"" title than ""The Ambulance"" so he retitled it ""In Thin Air"". They changed their mind and the film went back to being called ""The Ambulance"". In the May, 1990 edition of his column Stan's Soapbox, Stan Lee mentions playing himself in a scene in ""an adventure mystery called 'Into Thin Air'."" Cohen wanted to cast John Travolta,Jim Carrey in the lead but his producers refused. Donald Trump made a small cameo in a deleted scene. Jamie Lee Curtis was originally considered to play Officer Sandra Malloy"
"as ""Death Race 2000"" which Griffith was called in to rewrite for producer Corman and director Paul Bartel. Griffith: Corman tried to make it serious. He was enraged with me for trying to make it funny, but he took me to see the cars and they were all goofy looking with decal eyes and rubber teeth. I said, 'You can't be serious,' and he tells me, 'Chuck, this is a hard-hitting serious picture!' Obviously, Bartel didn't think so either. He wrote ""The Swinging Barmaids"" (1975), had a small role in ""Hollywood Boulevard"" (1976), then wrote and directed the car chase"
"together with assorted orgy and lovemaking scenes, while shots of men in bed together in the ""Bedroom Beauties of 1929"" sequence were removed entirely. Writing in the Monthly Film Bulletin (March 1970) Jan Dawson remarked of the cuts: “paradoxically, the bowdlerized version of the film moves closer to pornography than the version from which its audience is being protected. …it's sad that censorship should function against its own long term purpose and re-enforce the man-in-the-mac’s sexual furtiveness by denying him the chance to view sex irreverently.” The film was briefly released uncut in America under the name ""Bizarre"" by New"
"omitted any reference to Harrison leaving the sessions and temporarily quitting the group, but managed to keep some of the interpersonal strains in the final cut, including the McCartney/Harrison exchange which he had captured by deliberately placing the cameras where they would not be noticed. He also retained the scene that he described as ""the back of Paul's head as he's yammering on and John looks like he's about to die from boredom."" In early 1970 it was decided to change the planned name of the film and the associated album from ""Get Back"" to ""Let It Be"", matching the"
"""Straw Dogs"" (1971). Suffering from a damaged reputation due to alcohol and drug addiction (noted most recently on the set of his 1978 film ""Convoy""), Peckinpah had been given the opportunity to do second unit work on Don Siegel's ""Jinxed!"" in 1981. The competence and professionalism he displayed made it possible for him to be considered as director of ""The Osterman Weekend"". Many studios did not want to work with Peckinpah because of his antagonistic relationship with producers. Additionally, the director's health was poor. Davis and Panzer were undaunted, because they felt that having Peckinpah's name attached to their film"
"not care for it and ordered more graphic violence and gore. While much of the plot remained the same, the alterations displeased Kneale, and he requested that his name be removed from the credits. Director Tommy Lee Wallace was then assigned to revise the script. Wallace told ""Fangoria"" that he created the title of the film as a reference to ""a plot point""—the three masks featured in the film—and an attempt to connect this film with the others in the series. He explained in the interview the direction that Carpenter and Hill wanted to take the ""Halloween"" series, stating, ""It"
"of invisibility, intending the film to be a bridge into less comedic roles. After two years of pre-production, when Reitman discovered that he would not be directing Chase in a broad comedy, he backed out of the film. Goldman left the project saying ""I'm too old and too rich for this shit."" He later said that Mark Canton, head of the studio, did not pay the writer for all his work causing Goldman to initiate a lawsuit against them. Chase found Goldman's script too comedic, ""Clark Griswold becoming invisible"", and sought screenwriters to rework it, reportedly to do something ""more"
"Gordon's visions for the film clashed: The former wanted a dramatic, serious science fiction film while the latter wanted a more audience-friendly, special effects-driven action film with stereotypical characters and stylized pseudo-science. In a one-and-a-half-page outline, Gordon inserted other elements into the plot, including the film's Cold War-era themes. Haldeman wanted to title the film ""The Mechanics"", but Gordon insisted on ""Robojox"". According to Haldeman: I would try to change the science into something reasonable; Stuart would change it back to Saturday morning cartoon stuff. I tried to make believable, reasonable characters, and Stuart would insist on throwing in clichés"
"Dorian Gray (1970 film) Dorian Gray (Italian: ""Il dio chiamato Dorian"") aka ""The Sins of Dorian Gray"" is a 1970 movie adaptation of Oscar Wilde's novel ""The Picture of Dorian Gray"" starring Helmut Berger. The Italian title translates as ""A God Called Dorian"". Directed by Massimo Dallamano and produced by Harry Alan Towers, the film stresses the decadence and eroticism of the story and changes the setting to early 1970s London. The sexual liberation of the late 1960s and early 1970s provides a fitting backdrop for Dorian's escapades in this version, and also the general clothing and fashion style of"
"subversive. The film's producer, Dore Schary, wanted Spencer Tracy for the leading role. Concerned that Tracy might not accept, Schary ordered the script changed so that Macreedy was a one-armed man. He concluded that no actor would turn down the chance to play a character with a handicap. Screenwriter Millard Kaufman, a World War II Marine platoon leader at age 25 thought Tracy too old for the role of a former platoon leader. As John Wayne had recently made a film called ""Hondo"" the producers feared that calling their film ""Bad Day at Honda"" would confuse filmgoers into thinking they"
"on what was tentatively titled Dracula is Dead...and Well and Living in London in November 1972. The title was a parody of the stage and film musical revue ""Jacques Brel is Alive and Well and Living in Paris"", but Lee was not amused. Speaking at a press conference in 1973 to announce the film, Lee said: I'm doing it under protest... [...] I think it is fatuous. I can think of twenty adjectives – fatuous, pointless, absurd. It's not a comedy, but it's got a comic title. I don't see the point. The film was eventually retitled ""The Satanic Rites"
"Andrei Tarkovsky's slow-paced ""Solaris"" (1972) and philosophical ""Stalker"" (1979) are two widely acclaimed examples of the renewed interest of film ""auteurs"" in science fiction. Science fiction films from the early 1970s explored the theme of paranoia, in which humanity is depicted as under threat from sociological, ecological or technological adversaries of its own creation, such as George Lucas's directional debut ""THX 1138"" (1971), ""The Andromeda Strain"" (1971), ""Silent Running"" (1972), ""Soylent Green"" (1973), ""Westworld"" (1973) and its sequel ""Futureworld"" (1976), and ""Logan's Run"" (1976). The science fiction comedies of the 1970s included Woody Allen's ""Sleeper"" (1973), and John Carpenter's ""Dark"
"its initial run, suffering about 20 minutes of studio-requested and director-approved cuts, while still in its roadshow engagements. Hoping to recoup some of its estimated $14 million cost, 20th Century Fox executive Richard Zanuck decided to do some primitive ""market research"" (testing three titles: ""Music for the Lady"", ""Those Were the Happy Days"" and ""Star!""), before withdrawing the film in the spring of 1969. The studio then proceeded to substantially cut and re-market the film under a new title, ""Those Were the Happy Times"". Wise, who did not believe cutting the film would work, declined to be involved in the"
"a vigilante who killed wealthy criminals who had escaped justice. Malick's ideas formed the basis for the sequel, ""Magnum Force"", though with a group of vigilante motorcycle cops instead of a single shooter. Details about the film were first released in film industry trade papers in April, September and November 1970, with Frank Sinatra attached as Harry Callahan and Irvin Kershner listed as director and producer, with Arthur Jacobson acting as associate producer. After Sinatra left the project, the producers started to consider younger actors for the role. Burt Lancaster turned down the lead role because he strongly disagreed with"
"Bone (1972 film) Bone, also known as ""Beverly Hills Nightmare"", ""Dial Rat for Terror"" and ""Housewife"", is a 1972 American comedy film directed by Larry Cohen. Bernadette and Bill are a bickering couple from Beverly Hills. One day, a stranger wanders onto their property and they mistake him for an exterminator. The man, who calls himself Bone, takes the couple hostage, intending to rob them. Bone discovers that his captives are not as wealthy as they seem. Nevertheless, he forces Bill, a car dealer, to go to a bank to get some money, threatening to rape or kill Bernadette otherwise."
"an entry point for mainstream audiences to grasp."" Trouble Man (film) Trouble Man is a 1972 Soul Cinema Classic film directed by Ivan Dixon and produced and released by 20th Century Fox. The film stars Robert Hooks as ""Mr. T."", a hard-edged private detective who tends to take justice into his own hands. It is still of note today for its soundtrack, written, produced and performed by Motown artist Marvin Gaye. An inner-city point man is on the run from both the cops and the crooks in this streetwise drama. T (Robert Hooks) is a combination pool shark, private detective,"
"prompted ""Cinema X"" magazine (vol 4, issue 4) to remark that her films ""are far removed from Miss Adair's more cozy world of ""Crossroads"""", Adair's other films include ""Clinic Exclusive"" (1971), ""Can You Keep It Up for a Week?"" (1974), ""Keep It Up Downstairs"" (1976) and the more mainstream ""Game for Vultures"" (1979). ""Klaus Vogel"", who wrote the script and the film's tie-in novelisation, was in fact ""Crossroads"" producer Beryl Vertue. ""Virgin Witch"" was filmed in Surrey during 1970 and previewed in the December editions of ""Mayfair"" and ""Continental Film Review"" (in which the title was referred to as ""The"
"like the other films of the era, the plot was secondary to the sexual content. Many of the presentations were introduced at the front door, with live nude women in glass booths at the entrances. Inside, the films were usually accompanied by a medical slideshow about venereal disease and a lecture from an alleged sexual education specialist. This was a typical presentation template for the time, and set an example for later exploiters. In San Diego, Millard was forced to retitle his film ""Is Your Daughter Safe?"" to ""The Octopus"" in order to meet the demands of city officials who"
"Forbes, who was head of the studio that financed the film, Sellers went through a depressive phase after filming was completed and he asked to buy back the negative and remake the movie. He also gave an interview where he said the film was a disaster. The film was not a success at the box office. The film did not screen in New York until 1982. In 1975 Gebler turned ""Call Me Daddy"" into a play. The BFI recently said the film had one of Seller's most interesting performances. Hoffman (film) Hoffman is a 1970 British film directed by Alvin"
"performance of the song ""A Little Brains"". For the film, Verdon's suggestive hip movements (as choreographed by Bob Fosse and performed on stage) were considered too risqué for a mainstream American film in 1958, and so, in the film, she simply pauses at these points. The film was released in the United Kingdom under the title What Lola Wants, to avoid use of the word ""Damn"" on posters, hoardings and cinema marquees. It was also possibly because the title's pun, alluding to the American Southerners' colloquial term for Northerners (""damn Yankee"") would be lost on foreign audiences. Joe Boyd is"
"to start the insurance company determined that the film was too risky, and tried to shut down production. Abbess struggled to find another company to insure the film, ultimately having to lie about the film's content to satisfy them (he claimed the film's dangerous climactic rooftop action scene was ""all green screen""). The company agreed, but only after they tripled their original price. This meant that certain scenes had to be dropped from the production, though they were ultimately shot as pick-ups. Abbess's initial idea for the film was his fondness for the name 'Gabriel.' He and co-writer Matt Hylton"