list http://www.spout.com/ Recent community activity around Night Moves on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Night_Moves/24619/default.aspx Title: Night Moves
Year: 1975
Director: Arthur Penn
Plot: Private eye Harry Moseby (Gene Hackman) is dedicated to his job, but his dedication does not make him happy or powerful in his personal life, and his wife (Susan Clark) is cheating on him. Aging actress Arlene Iverson (Janet Ward) hires Harry to find her trust-funded daughter Delly (Melanie Griffith), distracting Harry from his marital problems as he tracks the lascivious runaway teen to Florida. In the Keys, Harry has an affair of his own with Paula (Jennifer Warren), and he succeeds in locating Delly, even as he learns that finding her is only the beginning of a much larger case. As the "accidental" deaths multiply, Harry discovers that everyone has his or her own motives and that he cannot do much to stem the tide of deep-seated depravity. ~ Lucia Bozzola, All Movie Guide
Times Tagged: 1
Number of Lists: 2
Number of blog posts: 2
Number of discussion threads: 2
SpoutRating: 3
]]>Tue, 18 Nov 2008 20:01:58 GMTNight Moves1975Arthur PennPrivate eye Harry Moseby (<a href="/players/P____29486/default.aspx" style='text-decoration:underline'>Gene Hackman</a>) is dedicated to his job, but his dedication does not make him happy or powerful in his personal life, and his wife (<a href="/players/P____13434/default.aspx" style='text-decoration:underline'>Susan Clark</a>) is cheating on him. Aging actress Arlene Iverson (<a href="/players/P____74626/default.aspx" style='text-decoration:underline'>Janet Ward</a>) hires Harry to find her trust-funded daughter Delly (<a href="/players/P____28845/default.aspx" style='text-decoration:underline'>Melanie Griffith</a>), distracting Harry from his marital problems as he tracks the lascivious runaway teen to Florida. In the Keys, Harry has an affair of his own with Paula (<a href="/players/P____74780/default.aspx" style='text-decoration:underline'>Jennifer Warren</a>), and he succeeds in locating Delly, even as he learns that finding her is only the beginning of a much larger case. As the "accidental" deaths multiply, Harry discovers that everyone has his or her own motives and that he cannot do much to stem the tide of deep-seated depravity. ~ Lucia Bozzola, All Movie Guide1Slightly Tagged (1-5)2223http://www.spout.com/ProductImages/t59621cq2gd.jpghttp://www.spout.com/films/Night_Moves/24619/default.aspxFilm http://www.spout.com/blogs/karina/archive/2008/11/18/37409.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 11/18/2008 3:01:58 PM
Body: If I wasn’t going to be in Denver until the following morning, there’s no way I’d miss the Museum of the Moving Image’s event on Saturday night at the Times Center in Manhattan, wherein Jerry Lewis will be interviewed on stage by his long-time friend, Peter Bogdanovich. The event will include clips from Lewis’ films, which Chris Fujiwara considered in a piece posted on the Museum’s Moving Image Source yesterday. On Thursday, MoMA will begin their screening series dedicated to the titles nominated for the Not Coming to a Theater Near You award at the 2008 Gothams. Nina Paley’s Sita Sings the Blues kicks the series off; Wellness, Afterschool, The New Year Parade and Meadowlark will screen through Monday. Anthology Film Archives’ tribute to the films of Arthur Penn continues through Sunday. Tonight they’re screening Night Moves, which was recently the subject of one of Kevin B. Lee’s Shooting Down Pictures essays. Originally posted on:SpoutBlog » Karina Longworth
]]>Tue, 18 Nov 2008 20:01:58 GMTKarinaKarina on SpoutBlog11/18/2008 3:01:58 PM If I wasn’t going to be in Denver until the following morning, there’s no way I’d miss the Museum of the Moving Image’s event on Saturday night at the Times Center in Manhattan, wherein Jerry Lewis will be interviewed on stage by his long-time friend, Peter Bogdanovich. The event will include clips from Lewis’ films, which Chris Fujiwara considered in a piece posted on the Museum’s Moving Image Source yesterday. On Thursday, MoMA will begin their screening series dedicated to the titles nominated for the Not Coming to a Theater Near You award at the 2008 Gothams. Nina Paley’s Sita Sings the Blues kicks the series off; Wellness, Afterschool, The New Year Parade and Meadowlark will screen through Monday. Anthology Film Archives’ tribute to the films of Arthur Penn continues through Sunday. Tonight they’re screening Night Moves, which was recently the subject of one of Kevin B. Lee’s Shooting Down Pictures essays. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/11/18/37408.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/18/2008 3:01:16 PM
Body: If I wasn’t going to be in Denver until the following morning, there’s no way I’d miss the Museum of the Moving Image’s event on Saturday night at the Times Center in Manhattan, wherein Jerry Lewis will be interviewed on stage by his long-time friend, Peter Bogdanovich. The event will include clips from Lewis’ films, which Chris Fujiwara considered in a piece posted on the Museum’s Moving Image Source yesterday. On Thursday, MoMA will begin their screening series dedicated to the titles nominated for the Not Coming to a Theater Near You award at the 2008 Gothams. Nina Paley’s Sita Sings the Blues kicks the series off; Wellness, Afterschool, The New Year Parade and Meadowlark will screen through Monday. Anthology Film Archives’ tribute to the films of Arthur Penn continues through Sunday. Tonight they’re screening Night Moves, which was recently the subject of one of Kevin B. Lee’s Shooting Down Pictures essays. Originally posted on:SpoutBlog
]]>Tue, 18 Nov 2008 20:01:16 GMTSpoutBlogSpoutBlog on spout.com11/18/2008 3:01:16 PM If I wasn’t going to be in Denver until the following morning, there’s no way I’d miss the Museum of the Moving Image’s event on Saturday night at the Times Center in Manhattan, wherein Jerry Lewis will be interviewed on stage by his long-time friend, Peter Bogdanovich. The event will include clips from Lewis’ films, which Chris Fujiwara considered in a piece posted on the Museum’s Moving Image Source yesterday. On Thursday, MoMA will begin their screening series dedicated to the titles nominated for the Not Coming to a Theater Near You award at the 2008 Gothams. Nina Paley’s Sita Sings the Blues kicks the series off; Wellness, Afterschool, The New Year Parade and Meadowlark will screen through Monday. Anthology Film Archives’ tribute to the films of Arthur Penn continues through Sunday. Tonight they’re screening Night Moves, which was recently the subject of one of Kevin B. Lee’s Shooting Down Pictures essays. Originally posted on:SpoutBlog http://www.spout.com/groups/Top_5/Re_Top_Neo_Noir/190/6999/1/ShowPost.aspx Post By: Jymkata
Post To: Top 5
Post Date: 4/12/2007 11:51:24 PM
Body: Jim, I've seen all four - loved The Long Goodbye and After Hours, Sea of Love was OK, and I did not care for Night Moves very much (but I should preface it by saying I hate Melanie Griffith and I thought it was really dated). A lot of people think of The Long Goodbye as one of Robert Altman's most underrated films. It's not just a Marlowe movie and a neo noir, it's a satire on the 70s California culture. I don't see After Hours as a noir film, besides the existential nature of the plot and the effect on its protagonist. I love its quirky humor though and I've never seen anything quite like it. Sea of Love is really just an 80s crazy killer/thriller movie a lot like Basic Instinct. Like I said, Night Moves was kind of disappointing, dated (in a bad way unlike The Long Goodbye) and I hated the ending
]]>Fri, 13 Apr 2007 03:51:24 GMTJymkataTop 54/12/2007 11:51:24 PMJim, I&#39;ve seen all four - loved The Long Goodbye and After Hours, Sea of Love was OK, and I did not care for Night Moves very much (but I should preface it by saying I hate Melanie Griffith and I thought it was really dated). A lot of people think of The Long Goodbye as one of Robert Altman&#39;s most underrated films. It&#39;s not just a Marlowe movie and a neo noir, it&#39;s a satire on the 70s California culture. I don&#39;t see After Hours as a noir film, besides the existential nature of the plot and the effect on its protagonist. I love its quirky humor though and I&#39;ve never seen anything quite like it. Sea of Love is really just an 80s crazy killer/thriller movie a lot like Basic Instinct. Like I said, Night Moves was kind of disappointing, dated (in a bad way unlike The Long Goodbye) and I hated the ending http://www.spout.com/groups/Top_5/Re_Top_Neo_Noir/190/6544/1/ShowPost.aspx Post By: Puhnner
Post To: Top 5
Post Date: 3/28/2007 9:10:00 AM
Body: I picked up a library book this weekend and while admittedly, I have made only minimal progress through it, the opening preface sounds thoroughly intriguing; ( I don't know why I had not thought of 'Romeo is Bleeding ' before, for I think it fantastic...) The opening sentence seems to set the mood and tone and I will post more from the book after I get my collective anxieties and dark places in order.Mean Streets and Raging Bulls: the legacy of Film Noir in Contemporary American CinemaRichard Martin From the preface 'Classic film noir was Hollywood's "dark cinema" of crime and corruption, a genre underpinned by a tone of existential cynicism, which stripped bare the myth of the American dream and offered a bleak nightmare vision of a fragmented society that rhymed with many of the social realities of postwar America. Mean Streets and Raging Bulls explores how since its apparent demise in the late 50s, the noir genre has been revitalized in the post-studio era, post-Vietnam context of recent American cinema. The book is divided into two sections. In the first, the evolution of film noir, indeed its metamorphoses into post-sixties neo-noir, is contextualized in relation to both industrial transformation (that is, studio policy, technological innovation, and the influx of new personnel) and the post-Depression political history of the United States from the Second World War to present. In the second, the evolution of neo-nor and its relation to classic film noir is illustrated by detailed preference to temporary temporally specific text: Chinatown, Night Moves, and Taxi Driver in the 70s; After Hours, Blood Simple, and Sea of Love in the 80s; and Reservoir Dogs, Romeo is Bleeding, and One False Move in the 90s. Not only do these films suggest noir’s continuing exploration of the collective anxieties of American society, but they also reflect a sustained tradition of artistic creativity and technical virtuosity nurtured within the confines of America genre cinema. Such a tradition is epitomized by the work of the neo-noir auteur Martin Scorsese, whose influence of the recent evolution of the genre is considered in some detail.'
]]>Wed, 28 Mar 2007 13:10:00 GMTPuhnnerTop 53/28/2007 9:10:00 AMI picked up a library book this weekend and while admittedly, I have made only minimal progress through it, the opening preface sounds thoroughly intriguing; ( I don&#39;t know why I had not thought of &#39;Romeo is Bleeding &#39; before, for I think it fantastic...) The opening sentence seems to set the mood and tone and I will post more from the book after I get my collective anxieties and dark places in order.Mean Streets and Raging Bulls: the legacy of Film Noir in Contemporary American CinemaRichard Martin From the preface &#39;Classic film noir was Hollywood&#39;s "dark cinema" of crime and corruption, a genre underpinned by a tone of existential cynicism, which stripped bare the myth of the American dream and offered a bleak nightmare vision of a fragmented society that rhymed with many of the social realities of postwar America. Mean Streets and Raging Bulls explores how since its apparent demise in the late 50s, the noir genre has been revitalized in the post-studio era, post-Vietnam context of recent American cinema. The book is divided into two sections. In the first, the evolution of film noir, indeed its metamorphoses into post-sixties neo-noir, is contextualized in relation to both industrial transformation (that is, studio policy, technological innovation, and the influx of new personnel) and the post-Depression political history of the United States from the Second World War to present. In the second, the evolution of neo-nor and its relation to classic film noir is illustrated by detailed preference to temporary temporally specific text: Chinatown, Night Moves, and Taxi Driver in the 70s; After Hours, Blood Simple, and Sea of Love in the 80s; and Reservoir Dogs, Romeo is Bleeding, and One False Move in the 90s. Not only do these films suggest noir&rsquo;s continuing exploration of the collective anxieties of American society, but they also reflect a sustained tradition of artistic creativity and technical virtuosity nurtured within the confines of America genre cinema. Such a tradition is epitomized by the work of the neo-noir auteur Martin Scorsese, whose influence of the recent evolution of the genre is considered in some detail.&#39; http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
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