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Seven Rare Films To Watch Now Before Google Video Dies

Seven Rare Films To Watch Now Before Google Video Dies  (photo)

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This post will self-destruct in two weeks…well, not exactly, but the videos below will be since Google unceremoniously announced the end of Google Video over the weekend that they are putting a kibosh on the video service as of April 29th that unlike the one they eventually bought, YouTube, allowed users to upload video longer than 10 minutes. This development won’t be mourned by many, as the video quality was never that great and since 2009, users lost the ability to upload videos, so it became something of a barren wasteland in terms of content.

However, unrestricted by time and largely ungoverned, the site also became the place on the Internet where cinema’s orphans could be widely seen, either because they now belong to the public domain or because issues legal or otherwise have prevented their release through traditional means. Naturally, this meant there was plenty of piracy on the site of more recent films, much of which was eventually cleaned up, but for cinephiles, it also offered easy access to films that were mostly exclusive to the bootleg market, including a lot of early films that add context to some famous filmmakers’ later oeuvres or obscurities that must be seen to be believed. Here is a sampling:

“Fear and Desire”

Last year, there was word that a DVD edition of Stanley Kubrick’s first feature film may finally become available in the near future after Eastman House uncovered a print in a Puerto Rican film lab they inherited, but the late director long tried his best to keep the film out of circulation, which is why this online version is the closest most cinephiles have ever gotten to see the film, featuring future writer/director Paul Mazursky as one of four soldiers who must fend for themselves in an unidentified country after their plane crashes in enemy territory. After Kubrick raised the film’s $10,000 budget on his own, he sold the rights to foreign film distributor Joseph Burstyn, who subsequently went out of business, leaving “Fear and Desire”‘s rights in limbo and public screenings have been rare ever since.

“American Boy”

The last time this 1978 documentary from Martin Scorsese was widely available, it was still mostly for collectors as part of a laserdisc set The Voyager Company (of which the Criterion Collection descended) released of the director’s early nonfiction shorts in 1990. As Dave Kehr wrote for that disc’s liner notes, the film’s subject Steven Prince bears a resemblance to “The King of Comedy”‘s Rupert Pupkin as a storyteller in search of an audience, though Prince is genuinely captivating as he simply tells tales from his growing up, and the film is insightful not only in terms of Scorsese’s style (full of closeups) taking shape, but into the influences that shaped him as it’s clear Prince is a close friend. (It’s also obvious the film had an impact on Quentin Tarantino since one of the anecdotes is the basis for one of “Pulp Fiction”‘s most famous scenes.) If you find the time, after you see “American Boy,” you should do yourself a favor and watch Tommy Pallotta’s wonderful follow-up doc “American Prince” – also available for free online — which catches up with Prince in the present day when he’s as compelling as ever.

“HWY: An American Pastoral”

This experimental film starring Jim Morrison got a resurrection last year when Tom DiCillo dug it up to serve as the backbone for his documentary on The Doors, “When You’re Strange,” which had the surreal effect of bringing the late singer back to life since so few people had seen the original film and the image of a bearded Morrison coasting through the desert and ultimately ending up in Los Angeles is eerie to say the least, though it ultimately owed far more to the influences of Michelangelo Antonioni than it does the singer’s personal journey. As DiCillo told me during an interview last year, “There’s no way in hell we could’ve recreated that” and indeed, the clips in “When You’re Strange” get the best presentation the film has ever received, yet the film is currently only available in full online.

“Begotten”

No less than Susan Sontag labeled future “Shadow of the Vampire” director E. Elias Merhige’s highly experimental 1991 horror film “one of the 10 most important films ever made,” which surprised the writer/director since as he told Filmmaker magazine years later, “I had people telling me I’d be lucky if I could ever show the film for free.” Ultimately, that’s how it worked out since short of paying upwards of $60 on eBay for an out-of-print self-distributed DVD of the film, the version online is the only way to see this dialogue-free, black-and-white variation on the story of Genesis that’s extraordinary for what Merhige was able to do with the processing of the film for a surreal visual effect.

“Society of the Spectacle”

SnagFilms has cornered the market on delivering free documentaries to the public online, but Guy Debord’s 1973 adaptation of his own philosophical book about how society has been shaped by media and constant modernization, as told through a collage of film clips and other archival materials, is appropriately available on one of the widest platforms available.

“Superstar: The Karen Carpenter Story”

Short of a secret screening at SXSW in 2009 where the title had to be kept under wraps, Todd Haynes’ 1988 biography of the famed singer told only with Barbie dolls is rarely shown in public as a result of rights issues from the music, which Richard Carpenter used to keep the film from ever being widely distributed. Yet the film remains beloved by cinephiles as it demonstrates the empathetic and articulate filmmaker that would go on to make “Far From Heaven” and “I’m Not There.”

“The Conqueror”

Frankly, words can’t do much justice to this 1956 disaster that starred John Wayne as Genghis Khan and Susan Hayward as the Asian princess Khan attempts to romance. Sadly, it wasn’t just a bomb by movie standards, but was believed to have been responsible for cancer in many of the film’s cast and crew since the film was shot near an atomic testing range in Nevada. All these things led producer Howard Hughes to buy back the film’s rights to keep it out of the public eye, though Universal eventually released the film on VHS in 1992. Still, “The Conqueror” hasn’t been re-released since, leaving this version the only way to see Wayne don a mustache that droops below his lips. As commenter Derek Hill mentions below, “The Conqueror” did make its way to DVD in 2006 as part of the “John Wayne: An American Icon Collection” series.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.