Sometimes it seems that the more ferociously a movie is derided at first glance, the higher its reputation rebounds later on. By now everyone agrees “Heaven’s Gate” was a noble failure, if not an outright criminally underrated masterpiece. Smart folk have realized that “Ishtar” is, in fact, pretty funny, “Hudson Hawk” sporadically clever, and “Showgirls” is — well, it’s just “Showgirls.” It’s difficult to think of a film more immediately dissed and subsequently beloved than “Beyond the Valley of the Dolls,” whose deluxe DVD release is getting celebrated with a revival screening and live cast reunion at Peaches Christ’s Midnight Mass series this weekend.
Upon its release in September of 1970, BVD endured a public flogging in response to similarly X-rated transgression “Myra Breckinridge” and greeted with a mudslide of negative reviews. Incredibly, many seemed not to understand that it was a deliberately camp satire. (Newsweek’s Paul D. Zimmerman complained about the ludicrous paraplegic-walks-again fadeout as if it represented actual bogus sentimentality, rather than a parody of such.)
Those disgruntled by the opened floodgates of violence and sex that the new age-restrictive MPAA ratings system allowed found an easy target for their loathing. What had the world come to, after all, when a respectable studio gave a million bucks and carte blanche to “King of the Nudies” Russ Meyer? (Despite such angry dismissals, however, “BVD” was not a flop; it made a more-than-healthy $9 million in its original release.)
That “BVD” happened at all is a testament to Hollywood
Guy Maddin talks about movies, writing, himself—and the allure of the Osmonds, re-published on the occasion of Fandor's Maddin blogathon.
Leggat’s eventful six-year tenure with the San Francisco Film Society changed an institution as well as the filmmaking landscape in the Bay Area and beyond.
Lynn Hershman Leeson catalogues revolutions past and pushes the art and technology envelope well into the future.
Lynn Hershman Leeson catalogues revolutions past and pushes the art and technology envelope well into the future.
SFJFF covers broad geographic, political terrain.
A South Korean gem, Lee Chang-dong’s ‘Poetry’ inspires.
Weissman and Weber's 'We Were Here' pulls a surprising degree of hope and inspiration out of the AIDS tragedy.
Director Duane Baughman's day job in direct mail/political consulting brought him unbelievable access to Benazir Bhutto.