1911. Chicago lawyer Leo Harrigan and Florida proverbial snake-oil salesman Tom "Buck" Greenway, neither particularly committed and thus good at their respective jobs, accidentally get ...
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The summer of 1984: 32 years after Duane Jackson captained the high school football team and Jacy Farrow was homecoming queen, the small town of Anarene, Texas prepares for its centennial ... See full summary »
Drifting floozy Billie Nash gets a bar job where she seduces the owner's husband by convincing him to defraud his drunkard wife in order to elope together to Mexico but a sleazy neighbor with designs on Billie jeopardizes her plans.
1911. Chicago lawyer Leo Harrigan and Florida proverbial snake-oil salesman Tom "Buck" Greenway, neither particularly committed and thus good at their respective jobs, accidentally get involved in the moving picture making business - one, two, three and four reelers shown at nickelodeons - Leo initially as a scenarist turned scenarist/director/editor and Buck as an action actor, despite neither initially knowing anything about their jobs and Buck in addition not knowing how to ride a horse and being afraid of heights, both things which he is asked to deal with in front of the camera. They both get into the business working for independent producer H.H. Cobb at a time when the big moving picture companies formed the Patents Company, using heavy handed tactics to prevent small companies, like Cobb's Kinegraph, from being able to make pictures by denying use of cameras under supposed patent. Via different routes, Leo and Buck initially meet at one of Cobb's secret sets located in the ...Written by
When the man shoots the movie camera, the hits on the camera do not match where his is pointing the gun, and the last flash on the camera has no corresponding gunshot sound. See more »
It's real simple, you'll have no problem.
Hell, no, any jerk can direct. Now you see over there? Marty & Kingsley putting on their makeup? Those are the actors.
Thank you very much.
Okay, now you see over there? That box on the sticks? John's putting a blanket on it. That's the camera. Now the first thing you do is tell me where to put it.
I'm about to.
No - I'm the cameraman.
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A black-and-white director's cut runs seven minutes longer. See more »
Overdone slapstick gags make for a tedious look at early film-making...
If director Peter Bogdanovich hadn't used such a heavy-handed slapstick treatment of his little epic about early film-making called NICKELODEON, there might have emerged a fond tribute to the pioneering days of silent films in the early part of the 20th Century.
But instead, he has filled NICKELODEON with a whole series of non-stop sight gags that become tiresome and repetitious, even more so because none of the characters involved really come to life. As the pretty heroine of the piece, JANE HITCHCOCK has very limited abilities beyond staring wide-eyed into the camera lens for comic effect. BURT REYNOLDS at least does derive several good chuckles from his comedy efforts as a reluctant participant in RYAN O'NEAL's troupe of silent film actors.
O'Neal has obviously chosen to play his role as though he has just watched a Harold Lloyd film, wearing spectacles for his first entrance and doing the bumbling sight gags on cue, as hapless a hero as Lloyd was in all his comedies. He's not too bad, but is never as funny as he was in WHAT'S UP DOC?, an earlier Bogdanovich film.
Tecbnically, the film is handsomely produced and pleasing to look at in color, but STELLA STEVENS is given little to do in what amounts to a supporting role. JOHN RITTER doesn't have too much opportunity to display his comic gifts. Entirely too much footage is devoted to a rough and tumble fight between Reynolds and O'Neal that takes up too much time with too many slapstick pratfalls to emerge as anything more than filler.
The film plods along without the benefit of a tight script or a really compelling story and suffers, mainly, from the heavy-handed approach to comedy.
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