Sally Kellerman in M*A*S*H (1970)
Let's face it, we are talking about a very male-oriented movement. Save for a few exceptions, women are often marginalized or treated as mere sex objects.
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Poll: The Dark Side of New Hollywood
The American cinema of the 1960s was dominated by big-budgeted tentpole productions in an attempt to lure viewers away from television. When the box office returns struggled to justify the expenses, the old studio system saw a shift towards more diverse and risk-taking movies. These were often made by young directors who saw themselves as the central creative forces, or auteurs.
This so-called "New Hollywood" came to an end in the late 70s and early 80s, after a number of ambitious "auteur" productions had flopped and the modern blockbuster era led to a renaissance of the studio system.
You may find more information on Wikipedia, newwavefilms, and screenprism.
It is impossible to define any movement in an all-satisfying way. However, these aspects are often mentioned to characterize the cinematic era we are dealing with:
-challenging narrative and technical conventions -a tendency to shoot movies on location as opposed to sound stages -potential for explicit violence and nudity -targeted towards a young demographic -reconciliation of artistic ambition and entertainment, or even favoring of the former -individual expression -critical of society -morally ambiguous -open or tragic endings
The word "New Hollywood" is usually used today in a positive way, but where there is light there is also shadow.
Which negative aspect do you think most applies to "New Hollywood"?
Make Your Choice
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Robert De Niro in Taxi Driver (1976)
We get that life can be tough, society is a mess, and politicians are corrupt, but it doesn't help much if most of the movies are so bleak and cynical either. Why not look at the bright side of life once in a while and have a little fun? -
Jack Nicholson in Five Easy Pieces (1970)
There's a point when examining your problems ceases to be psychologically interesting and just becomes whiny instead. New Hollywood frequently crosses it. -
Al Pacino in Serpico (1973)
The late 60s/70s were just not a very appealing time, and it shows in the movies. Talking of haircuts, clothes, color choices, and music. -
Gena Rowlands and John Marley in Faces (1968)
I like my movies to have a story that makes sense on a plot level, and too much fiddling with stylistic devices makes me go nauseous. It's better to do it like the classics and keep the narrative flow. -
Mark Frechette and Daria Halprin in Zabriskie Point (1970)
Experiments are all fine if they serve a point. Too many New Hollywood movies are simply pretentious, vain, and self-indulgent. -
Marlon Brando and Salvatore Corsitto in The Godfather (1972)
We should not fool ourselves, most of these movies were still rather conventional and owed much to the classical style. Sadly, New Hollywood is not as revolutionary as it is made out to be.
