Jimmy Cliff - THE HARDER THEY COME (1972)

...as the NIBSTOCK psych-o-delic haze lifts, welcome to sunsplashed jamaica and roots rock reggae DUBSTOCK with this weeks feature presentation...

...The Harder They Come is a 1972 Jamaican crime film directed by Perry Henzell.

It stars reggae singer Jimmy Cliff, who plays Ivanhoe Martin, a character based on Rhyging, a real-life Jamaican criminal who achieved fame in the 1940s. Martin is a poor Jamaican man in search of a job, before finally getting one as a reggae singer. Upon the verge of a hit record, he discovers the only way he can get a hit record is by signing away the rights. Eventually, Jose (played by Carl Bradshaw), one of the first people he met after he moved to Kingston, offers him an opportunity as a drug dealer|dealing marijuana]]. He turns to a life of crime and violence. There are two versions of the film — one with subtitles and one without — and each has a different ending.

Other major roles in the film were played by Janet Bartley as Elsa, Basil Keane as Preacher, the late Ras Daniel Hartman as Pedro, Beverly Anderson (who eventually married Michael Manley who became the Prime Minister of Jamaica) as the Upper St. Andrew Housewife, the late Bob Charlton as HiltonJamaican actor Volair Johnson as Pushcart Boy, and well known Jamaican comedians Ed 'Bim' Lewis as Photographer, and Aston 'Bam' Winter as the drunken husband.

The Harder They Come was released in February 1973 in New York City by Roger Corman's New World Pictures to little attention. It became more popular when it was played to midnight audiences nationwide the following April. The film is referenced in the Clash songs "Guns of Brixton" and "Safe European Home". In 2005, it was developed into a stage musical by the Theatre Royal Stratford East and UK Arts Productions in London. Adapted by Henzell, it opened on 25 March 2006. The soundtrack to the film is considered a breakthrough for reggae in the United States, get it from rfsMOJOfilter HERE

Sun Ra - SPACE IS THE PLACE(1974)

...as NIBSTOCK!!! peaks and the madness descends let MojoTV soothe your senses with this, mungo's number one psych-o-delic feature selection...

...Space Is the Place is an 82-minute film made in 1972 and released in 1974. ^{[1] [2]} It was produced by Jim Newman, directed by John Coney, written by Joshua Smith and features Sun Ra and his Arkestra. An alternate title is Sun Ra & His Intergalactic Solar Arkestra: Space Is the Place. A soundtrack for the film was released on Evidence Records .Like Ra himself, Space is the Place is one of a kind: part Blaxploitation film, and all polemic parable — a mythopoetic manifesto, made by people who believed in Ra's mystical message as much as they appreciated his Afro-psych-o-delica

Sun Ra, who has been reported lost since his European tour in June 1969, lands on a new planet in outerspace with his crew "The Arkestra" and decides to settle African Americans on this planet. The medium of transportation he had chosen is music. He travels back in time and returns to the Chicago jazz club where he used to play piano with the name "Sonny Ray" in 1943. There he confronts The Overseer (Ray Johnson), a pimp-overlord, and they agree on a duel at cards for the fate of the Black race. Each card drawn is a minor goal to achieve for Ra or The Overseer which will determine the winner of the duel. Then, to present time, Ra disembarks from his spaceship at Oakland and tries to spread his word by meeting with young Blacks at an Oakland youth centre and opening an "employment agency" to recruit people eager to move to the planet. He also agrees with Jimmy Fey (Christopher Brooks), the minion of The Overseer, to arrange radio interviews, a record album, and eventually a concert that will help him dictate his message. At the end, Ra takes Fey's "Black parts" with him to the spaceship, leaving him with his White parts. Fey, now acting white, leaves The Overseer and The Overseer loses the duel. The planet Earth is destroyed after Ra's spaceship flies into the space.

Ra's greatest adversary in his quest is The Overseer, incarnation of evil in the Black community who poses himself to be a community leader and a man of charity. But in fact, he is the tool of the power structure. Ra is also pursued by White government agents (presumably from FBI) who attempt to assassinate him. On the other hand, Jimmy Fey is representative of the Black people in entertainment industry and mass media.

LSD : the Beyond Within (1977)

...NOW viewers, no flippin' on THIS one, this BBC production is one of the best acid docus there is, you can trust MojoTV, it's NIBSTOCK!!!

HEMP for VICTORY!

...there's no debate on this one, the government denied all knowledge of this until Jack Herer personally found the gubby's own records of their making it in a complete aboutface urging farmers to grow the ever useful hemp for the war effort

...The film was made to encourage farmers to grow hemp for the war effort because the United States was facing a hemp shortage. The intended audience was probably corn farmers in Kentucky, since the narrator emphasizes that land used to grow corn could also grow hemp, and a segment from the song My Old Kentucky Home can be heard on the soundtrack. The film shows a history of hemp and hemp products, how hemp is grown, and how hemp processed into rope, cloth, cordage and other products.

Before 1989, the film was relatively unknown, and the United States Department of Agriculture library and the Library of Congress told all interested parties that no such movie was made by the USDA or any branch of the U.S. government. Two VHS copies were recovered and donated to the Library of Congress on May 19, 1989 by Maria Farrow, Carl Packard, and Jack Herer.

The only known copy, at the time 1976, was a 3/4" broadcast quality copy of the film that was originally obtained by William Conde in 1976 from a reporter for the Miami Herald and the Ethiopian Zion Coptic Church of Jamaica. It was given in trust that it would be made available to as many as possible. It was put into the hands of Jack Herer by William Conde during the 1984 OMI (Oregon Marijuana Initiative). The film 20 years later is now available HERE on MojoTV

REEFER MADNESS!!! (1936)

...NOW, let's take it WAAY back, all the way back to the state-sponsored propaganda film that started it ALL!

...NIBSTOCK continues with midweek matinee movie madness here on MojoTV...

...Considered THE archetypal sensationalized anti-drug movie, but it's really an exploitation film made to capitalize on the hot taboo subject of marijuana use. Like many exploitation films of the time, "Reefer Madness" tried to make a quick buck off of a forbidden subject while skirting the Motion Picture Production Code of 1930. The Code forbade the portrayal of immoral acts like drug use. (The illegal drug traffic must not be portrayed in such a way as to stimulate curiosity concerning the use of, or traffic in, such drugs; nor shall scenes be approved which show the use of illegal drugs, or their effects, in detail.)

The film toured around the country for many years - often being re-edited and re-titled ("Tell Your Children", "Dope Addict", "Doped Youth", "Love Madness", "The Burning Question"). It was re-discovered in the early 1970s by NORML (National Organization for the Reform of Marijuana Laws) and screened again as an example of the government's demonization of marijuana. NORML may have been confused about the film's sponsorship since one of the film's distributors, Dwain Esper, testified to the Arizona Supreme Court that "Reefer Madness" was not a trashy exploitation film but was actually sponsored by the U.S. Government - a convincing lie, but a lie nonetheless.

That being said, the film is still quick enjoyable since it dramatizes the "violent narcotic's ... soul destroying" effects on unwary teens, and their hedonistic exploits enroute to the bottom.

You can find more information regarding this film on its IMDb page.

Also, if you are interested in the rich, uniquely American history of exploitation films, there are two excellent books on the subject:

"Forbidden Fruit - The Golden Age of the Exploitation Film", Felicia Feaster and Bret Wood, Midnight Marquee Press, 1999.

"Bold! Daring! Shocking! True! A History of Exploitation Films, 1919 - 1959" Eric Schaefer, Duke University Press, 1999.

how to go out of your MIND...

...the LSD crisis(1966) is one of that rare breed, the drug documentary that truly looks at BOTH sides of the issue, made just before LSD was criminalized, it comes to us relatively free of the post prohibition paranoia and is the latest NIBSTOCK presentation here on MojoTV...

Woody on GRASS (1999)

...NOW we've had the official governmental word on the wicked weed, let's introduce some FACTS into the arena thanks to director ron mann and his expose of the so-called DRUG WARS in today's NIBSTOCK presentation...

...the film places much of the blame for marijuana criminalization on Harry Anslinger (the first American drug czar) who promoted false information about marijuana to the American public as a means towards abolition.

The film follows the history of federal policies and social attitudes towards marijuana, beginning at the turn of the twentieth century. The history presented is broken up into parts, approximately the length of a decade. Each decade is introduced by paraphrasing the official attitude towards marijuana at the time (e.g. "Marijuana will make you insane" or "Marijuana will make you addicted to heroin"), and closed by providing a figure for the amount of money spent during that period on the "war on marijuana."

The film is completely^[1] composed of archival footage, much of which is from public domain U.S propaganda films and feature films such as Reefer Madness made available by the Prelinger Archives. The documentary was narrated, free-of-charge^[2], by actor Woody Harrelson.

Richard Linklater's - WAKING LIFE (2001)

...NIBSTOCK!!! 3 weeks of multi-media mind-mapping continues with...
...Waking Life, a digitally enhanced live action rotoscoped film, shot using digital video and then a team of artists using computers drew stylized lines and colors over each frame. This technique is similar in some respects to the rotoscope style of 1970s filmmaker Ralph Bakshi, which was invented in the 1920s.

The title is a reference to George Santayana's maxim that "[s]anity is a madness put to good uses; waking life is a dream controlled."^[1]

...suggested reading HERE

• The Philip K. Dick essay being discussed is How to Build a Universe that Doesn't Fall Apart Two Days Later,[1] the introduction to his short story collection I Hope I Shall Arrive Soon.
• The final song in the theatrical trailer is "The Passenger" performed by Iggy Pop.
• The entire film was shot with a MiniDV camera.
• In the scene with the chimpanzee giving the lecture, scenes from The Last House on the Left, Akira Kurosawa's Dreams and live performances of Nirvana and Dead Kennedys are playing on the projector.
• The scene with the man in prison ranting about torture is taken almost directly from Hubert Selby Jr's 1971 novel The Room.
• The 1970s Bally pinball machine "Fireball" appears in the film.
• Since none of the characters are mentioned in the film by name, the closing credits show a clip from the film with the character's face on screen, with the actor's name beside it.
• The man simultaneously driving and shouting into the megaphone is Alex Jones, known for expressing even more controversial and conspiratorial viewpoints on his syndicated radio show.

TrippyToonTime...

...NIBSTOCK (formerly known as june's gin-soaked psych-o-delic summer of love trips festival) continues...
...and another occasional series starts today here on MojoTV with "200", an animated celebration of amerika's bicentennial, animated by vincent collins and produced by the United States Information Agency -the government's propaganda agency.

...wilf wolf says "Bicentennial" (aka "200") is pure 1970s psychedelia. The designs remind me strongly of Peter Max and Yellow Submarine. This short film is a series of flag and other American symbol motifs, almost done to abstraction. Interesting bits include the remnants of the hippie culture (the Woodstock logo, the flag shaped around a peace sign) contrasted with the symbols of mainstream consumer culture (a cornucopia spewing out cars, tvs, hamburgers, and hot dogs). Washington crossing the Delaware becomes a Fauvist riot of color. While trying to use all the American symbols it becomes a oblique critique of those symbols, as they are shown to be changeable and repeated unto abstraction. The fact this was made for the US Information Agency is all the more surprising.

...mungo says wow man, trippy (e's not ad much sleep bless him, EVERYthing's trippy)

a Pit of Despair in the Chemical Tomb...

...into the second week now of june's gin-soaked psych-o-delic summer-of-love trips festival, and now the lightweights have left the arena we can all settle down to two of THE CLASSIC anti-drug propaganda documentaries of ALL-TIME!!!...
...NOW, let's shake this square world and blast off for kicksville...

Count Five - Psychotic Reaction...

...june's gin-soaked psych-o-delic summer-of-love trips festival continues here at the rfs lounge with the second in the occasional series - it's what LESTER would have WANTED! (the first - LouReed's Metal Machine Music, is on our sister channel rfsmojofilter) - over to you, LESTER...

"...I tried and tried to buy the Psychotic Reaction LP- I'd go down to the Unimart stoned on grass, on nutmeg, vodka, Romilar or coming glassy eyed off ten Dexedrine hours spent working problems in geometry (I was a real little scholar - when I had the magic medicine which catapults you into a maniacal obsessive, craving for knowledge), I tried every gambit to weaken my resistance, but nothing worked. Shit, I had a fuckin' split personality! And all over a fuckin' Count Five album!"

...here's the performance that set lester off...go go girls...



"...they were a bunch of young guitar-slappin' brats from some indistinguishable California suburb, and just a few months after the Yardbirds' "I'm a Man" left the charts they got right in there with this inept imitation called "Psychotic Reaction". And it was a big hit, in fact i think it was an even bigger hit than "I'm a Man", which burned me up at the time but was actually cool now that i think about it, yeah, perfectly appropriate. The song was a schlockhouse grinder, completely fatuous. It started out with this fuzz guitar riff they stole off a Johnny Rivers hit, then went into one of the stupidest vocals of all time. It went, let me see, some jive like

i feel depressed, i feel so bad,
cause you're the best girl i've ever had,
i can't get your love, i can't get affection,
aouw, little girl's psychotic reaction...
an' it feels like THIS!

and then they'd shoot off into an exact "I'm a Man" ripoff. It was absolute dynamite. I hated it at first but then one day I was driving down the road stoned and it came on and I clapped my noggin: "What the fuck am I thinkin' of? That's a great song!"

Michael Antonioni's - ZABRISKIE POINT (1970)

...phew!, what a looong, strange trip it's been - MojoTV's gin-soaked psych-o-delic summer of love trips festival opening salvo triple bill continues with another largely ignored cult classic...

Zabriskie Point a 1970 film by Michelangelo Antonioni that depicts the U.S. counterculture movement of that time. It sympathetically tells the story of a young couple — an idealistic young secretary, and a militant radical — to put forward an anti-establishment message.

This cult film stars Mark Frechette and Daria Halprin, neither of whom had any previous acting experience. The screenplay was written by Antonioni, fellow Italian filmmaker Franco Rossetti, American playwright Sam Shepard, prolific screenwriter Tonino Guerra and Clare Peploe, wife of Bernardo Bertolucci. The film was the second of three English-language films that Antonioni had been contracted to direct for producer Carlo Ponti and to be distributed by MGM. The other two films were Blowup (1966) and The Passenger (1975).

The film was a notorious box office bomb, attacked by critics and ignored by the counterculture audience that the MGM was courting. The film cost $7 million to produce, and made less than $900,000 in its domestic release. In the booklet that was released with the CD soundtrack, it is unsympathetically declared that

... [c]ritics of all ideologies — establishment, underground, and otherwise — greeted the movie with howls of derision. They savaged the flat, blank performances of Antonioni's handpicked first-time stars, Mark Frechette and Daria Halprin, and assailed the script's confused, unconvincing mix of hippie-buzzword dialogue, self-righteous, militant debate, and free-love romanticism.

The name refers to Zabriskie Point in Death Valley, the location of the film's famous desert love scene, in which members of the Open Theatre simulate an orgy.

Today, free of the heavy air of debacle that haunted the film at its release, Zabriskie Point can be seen as a fascinating period piece with some startling qualities. It is combative in its thematic intentions, even for its time. Violence is presented as a justifiable tool in social change: Frechette buys a gun and attends a campus protest with the expressed purpose of killing a cop (almost 25 years before the rapper Ice-T outraged the conservative establishment with his revenge fantasy "Cop Killer"). Antonioni's contempt for commercial imperialism is symbolized by the long, ugly parade of advertising billboards and brand-name logos visible through Frechette's windshield as he drives through Los Angeles

But nothing symbolizes the grand designs Antonioni had for Zabriskie Point more -- and the lengths to which he would go to achieve his ends -- than the movie's musical soundtrack, a remarkable mélange of abstract sound sculpture, expansive solo-guitar reveries, full-blown psychedelic rock, old-time country ballads, and 1950s jukebox corn. Even Easy Rider, Peter Fonda and Dennis Hopper's 1969 smash about two bikers on an ill-fated cross-country odyssey, featured a relatively orthodox rock soundtrack comprised of music (by Jimi Hendrix, The Band, and Steppenwolf, among others) that Fonda pulled from his personal record collection. In Zabriskie Point -- a film about the collision of youthful innocence, hardboiled commerce, and social mutiny -- bizarre bedfellows such as Pink Floyd, The Grateful Dead, the Eisenhower-era siren Patti Page, the brilliant guitarist John Fahey, the ethnic-folk-rock fusion band Kaleidoscope, and the hillbilly country singer Roscoe Holcomb could all be heard in strange but effective juxtaposition.

...mungo says: i love the super-slow mo explosions of consumer items as the soundtrack kicks off... POETRY, MAN, mmm...

...MO' FACTS?, GO HERE...

The Monkees in HEAD (1968)

...MojoTV's PSYCH-O-DELIC SUMMER SEASON continues with another FULL LENGTH FEATURE PRESENTATION of one of mungo's personal favourites, it's "a fun-movie that encompasses every other movie form, western, desert saga, war film, musical, horror film, science fiction! It's memorable!" ...

Head is a psychodelic motion picture released in 1968, starring TV group The Monkees (in credit order: Peter Tork, Davy Jones, Micky Dolenz and Michael Nesmith), and distributed by Columbia Pictures. It was written and produced by Bob Rafelson and Jack Nicholson, and directed by Rafelson.

The name seems to be a sort of joke. The Beatles had released the film "HELP", and the physical beginning of a movie is called the "HEAD". "Head" is actually written on the beginnings of every reel of film produced just as "Tail" is written on the ends. A similar joke can be seen later in the movie, when they are playing a concert, you can see the word "Drum" on their drums instead of "Monkees". The name is also suggestive of oral sex. Additionally, a "head trip" was a common term in the late sixties and this can also part of the joke. It is also rumored that the title was chosen in the case of a sequel being produced, it would be advertised as coming from the filmmakers who gave you "Head". In 60s and 70s slang, "head" meant someone who used psychedelic drugs, as in "pot head," and "acid head."

The film featured Victor Mature as "The Big Victor" and other cameo appearances by Nicholson, Dennis Hopper, Teri Garr, Carol Doda, Annette Funicello, Toni Basil (the film's choreographer), Frank Zappa, and athletes Sonny Liston and Ray Nitschke.

Head begins (without any opening credits) at the dedication of a bridge. After a politician struggles with constant feedback with his microphone as he tries to give a speech, the Monkees suddenly interrupt the ceremony by running through the assembled officials, to the sound of various horns and sirens. The rest of the film is essentially plotless, a seemingly stream of consciousness stringing-together of musical numbers, satire of various film genres, elements of psychedelia, and references to topical issues such as the Vietnam War. The distorted consciousness and psychedelia elements resemble that of an LSD trip, a widespread recreational drug at the time. Trailers for the film summarized it as a "most extraordinary adventure, western, comedy, love story, mystery, drama, musical, documentary satire ever made (And that's putting it mildly)." Some film critics^{[citation needed]} now consider the film to be an allegorical deconstruction of the Monkees' experiences as pawns of the Hollywood starmaking machine that, like their real-life story itself, contains some sinister truths lurking underneath what appears to be a colorful, entrancing facade.

The storylines and peak moments of the movie came from a weekend visit to a resort in Ojai, California, where the Monkees, Rafelson and Nicholson brainstormed into a tape recorder, reportedly with the aid of a large quantity of marijuana. When the band learned that they would not be allowed to direct themselves or to receive screenwriting credit (since they didn't write the actual shooting script), Dolenz, Jones, and Nesmith staged a one-day walkout, leaving Tork the only Monkee on the set the first day. The incident damaged^{[citation needed]} the Monkees' relationship with Rafelson and Bert Schneider.

The song "Ditty Diego - War Chant" is a parody of the band's TV theme song written by Boyce and Hart; its lyrics illustrate the tone of self-parody evident in parts of the film:

Hey, hey, we are The Monkees
You know we love to please
A manufactured image
With no philosophies.
[...]
You say we're manufactured.
To that we all agree.
So make your choice and we'll rejoice
in never being free!
Hey, hey, we are The Monkees
We've said it all before
The money's in, we're made of tin
We're here to give you more!
The money's in, we're made of tin
We're here to give you...

(The final "We're here to give you..." is interrupted by a gunshot, with footage of the execution of Nguyen Van Lem.)

Elements of the movie were based in fact, including the stampede leaving the studio canteen when the Monkees break for lunch, and the "big black box" the band repeatedly becomes trapped in. (During the first season, veteran performers would regularly complain about the Monkees' presence – and walk out of the cafeteria whenever they came in – while members would sometimes wander off-set when they weren't needed on camera. The studio responded by building a break area on-set for the Monkees, with a meat-locker door and the walls painted black.)

A poor audience response at an August 1968 screening in Los Angeles eventually forced the producers to edit the picture down from its original 110-minute length. The 86-minute Head premiered in New York City on November 6, 1968. (The film later debuted in Hollywood on November 20.) It was not a commercial success. This was in part because Head, being an antithesis of The Monkees TV show, comprehensively demolished the group's carefully-groomed public image, while the older, hipper audience they'd been reaching for rejected the Monkees' efforts out of hand.

The movie was also delayed in its release (owing partly to the use of solarisation, a then-new technique both laborious and expensive), and badly under-promoted. The sole television commercial was a confusing, minimalist close-up shot of a man's head; after thirty seconds, the man smiled and the name HEAD appeared on his forehead. This ad was a parody of Andy Warhol's 1963 film Blow Job, which only showed a close-up of a man's face for an extended period, supposedly receiving 'head'.

Another part of the promotional campaign was placing "Head" stickers in random places. An urban legend has circulated for years that Jack Nicholson was arrested for trying to place on of these stickers onto the helmet of a New York City police officer while he was mounting his horse.

The film eventually found a cult following, although even fans tend to disagree whether the film is a landmark of surreal, innovative filmmaking or simply a fascinating mess. It was released on video by RCA/Columbia Pictures Home Video in September 1986 (taking advantage of the group's 20th Anniversary) and by Rhino Entertainment in January 1995...

...and thanx to Google video, it's available HERE, at MojoTV...

...go HERE for mo' HEAD related stuff...

Otto Preminger's - SKIDOO (1968)

...MojoTV's first feature presentation is...

Skidoo, a 1968 comedy film directed by Otto Preminger, written by Doran William Cannon and released by Paramount Pictures. It satirizes the modern world and its creature comforts, technology, anti-technology, hippies and free love, and features the use of LSD.

The movie featured a cast of stars and veteran character actors, including Jackie Gleason, Carol Channing, Cesar Romero, Frankie Avalon, Michael Constantine, Frank Gorshin, Richard Kiel, Peter Lawford, Burgess Meredith, Slim Pickens, George Raft, Mickey Rooney, Arnold Stang, and Groucho Marx in his final movie role. It has a score by singer-songwriter Harry Nilsson, who also appeared briefly in the movie.

* Groucho Marx's final movie.

* Faye Dunaway, under contract to Otto Preminger at the time, refused to appear in the film after her unexpected success in Bonnie and Clyde (1967) and was promptly sued by Preminger. The matter was settled out of court.

* Several writers were brought in to "fix" this while Preminger was shooting Doran William Cannon's original script. These "rescue writers" included Elliott Baker and Stanley Ralph Ross. By the time Ross was called in, the picture was nearly half done and the scenes that Ross suggested be cut had already been shot and roughly edited. Preminger never cheated on wages and paid Ross, Baker and several other writers in a vain attempt to add jokes. However, Preminger steadfastly refused to alter the structure of the story.

* Otto Preminger experimented with LSD to prepare for this film. It is rumored that Groucho Marx also experimented with Timothy Leary.

* Even though Groucho Marx was 78 years old and well past his Marx Bros. prime, Otto Preminger browbeat Groucho into wearing his old greasepaint-moustache get-up for the movie. He also berated Groucho on the set, causing his co-star Jackie Gleason to physically threaten Preminger to never try the same bullying behavior with him.

* In the film's TV-viewing opening, Preminger's film In Harm's Way (1965) is featured. Preminger always complained about having his films cut to pieces on TV. Thus, Carol Channing's character says, "No, I never watch films on TV... they always cut them to pieces."

* Towards the end, when George Raft marries Frankie Avalon and Luna, Raft's wedding-service manual is clearly seen as "The Death of God".

* Groucho Marx's LSD trip is the subject of the article "My Acid Trip with Groucho" by Paul Krassner, Yippie founder and editor/publisher of famed satirical magazine The Realist.

* God's yacht in the film was actually borrowed from John Wayne. Director Otto Preminger had directed Wayne in In Harm's Way (1965) and Wayne donated the yacht for use in the film.

* Otto Preminger became so fascinated with his son Erik's description of life as a drop-out in New York's Greenwich Village that when a mere writing sample from Doran William Cannon passed his desk, he wanted to shoot the writing sample as opposed to the actual script, because the sample explored the hippie existence and LSD-tripping.

* Otto Preminger originally wanted Bob Dylan to score the movie. He invited Dylan and his wife to screening a rough cut of the movie in his own Hollywood mansion. After the screening, Dylan surprised everybody from his entourage, who thought the film was a disaster, by requesting a second screening but at one condition: he wanted to be left alone with his wife in the house during it. Preminger happily obliged, convinced that Dylan would accept the job. However, Dylan showed no further interest in the movie. He acknowledged later that he and his wife weren't interested at all by 'Skidoo' but they had loved so much the mansion style that they had requested this second screening to freely explore the mansion, write down what they liked and take inspiration for their own house.

...mungo says - why are you reading this, WATCH THE MOVIE!!! LISTEN to that SOUNDTRACK! (the end credit song is worth the price of admission alone!) ENJOY...