Subsequent Movie Film Quotes

FACT 4 – There is more to the creation of the Manson Family and their direction than has yet been exposed. There is more to the making of the movie Gimme Shelter than has been explained. This saga has interlocking links to all the beautiful people Robert Hall knew. The Manson Family and the Hell’s Angels were instruments to turn on enemy forces. They attacked and discredited politically active American youth who had dropped out of the establishment. The violence came down from neo-Nazis, adorned with Swastikas both in L.A. and in the Bay Area at Altamont. The blame was placed on persons not even associated with the violence. When it was all over, the Beatles and the Rolling Stones were the icing on this cake, famed musicians associated with a racist, neo-Nazi murder. By rearranging the facts, cutting here and there, distorting evidence, neighbors and family feared their own youth. Charles Manson made the cover of Life with those wide eyes, like Rasputin. Charles Watson didn’t make the cover. Why not? He participated in all the killings. Manson wasn’t inside the house. Manson played a guitar and made records. Watson didn’t. He was too busy taking care of matters at the lawyer’s office prior to the killings, or with officials of Young Republicans. Who were Watson’s sponsors in Texas, where he remained until his trial, separate from the Manson Family’s to psychologically distance him from the linking of Watson to the murders he actually committed. “Pigs” was scrawled in Sharon Tate’s house in blood. Was this to make blacks the suspects? Credit cards of the La Bianca family were dropped intentionally in the ghetto after the massacre. The purpose was to stir racial fears and hatred. Who wrote the article, “Did Hate Kill Tate?”—blaming Black Panthers for the murders? Lee Harvey Oswald was passed off as a Marxist. Another deception. A pair of glasses was left on the floor of Sharon Tate’s home the day of the murder. They were never identified. Who moved the bodies after the killers left, before the police arrived? The Spahn ranch wasn’t a hippie commune. It bordered the Krupp ranch, and has been incorporated into a German Bavarian beer garden. Howard Hughes knew George Spahn. He visited this ranch daily while filming The Outlaw. Howard Hughes bought the 516 acres of Krupp property in Nevada after he moved into that territory. What about Altamont? What distortions and untruths are displayed in that movie? Why did Mick Jagger insist, “the concert must go on?” There was a demand that filmmakers be allowed to catch this concert. It couldn’t have happened the same in any other state. The Hell’s Angels had a long working relationship with law enforcement, particularly in the Oakland area. They were considered heroes by the San Francisco Chronicle and other newspapers when they physically assaulted the dirty anti-war hippies protesting the shipment of arms to Vietnam. The laboratory for choice LSD, the kind sent to England for the Stones, came from the Bay Area and would be consumed readily by this crowd. Attendees of the concert said there was “a compulsiveness to the event.” It had to take place. Melvin Belli, Jack Ruby’s lawyer, made the legal arrangements. Ruby had complained that Belli prohibited him from telling the full story of Lee Harvey Oswald’s murder (another media event). There were many layers of cover-up, and many names have reappeared in subsequent scripts. Sen. Philip Hart, a member of the committee investigating illegal intelligence operations inside the US, confessed that his own children told him these things were happening. He had refused to believe them. On November 18, 1975, Sen. Hart realized matters were not only out of hand, but crimes of the past had to be exposed to prevent future outrages. How shall we ensure that it will never happen again? It will happen repeatedly unless we can bring ourselves to understand and accept that it did go on.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

when a volunteer learned of other people’s answers to the test questions, their amygdala was activated. The amygdala then communicated with a nearby region that is essential for creating memories—the hippocampus—and that interaction resulted in changes to how the person remembered the film.13 We found that these socially induced changes to memory could subsequently be corrected by frontal lobe activity.14 When participants in our experiment later discovered that we had provided them with the fake recollections of others, those with highly active frontal lobes were able to recover their original memory of the movie. But this correction did not always work. When your amygdala reacts very strongly to other people’s opinions, it triggers a biological reaction that prevents your frontal lobes from subsequently correcting false beliefs. When the volunteers in our experiment went along with the false recollections of others, about half the time they truly came to believe that those recollections were correct. They were not simply agreeing to save face or avoid conflict; their memory trace was physically altered.

The initial guiding principle was simple: “Buy the rights to a fine play, hire the biggest names available, and hope the public will listen.” But competition for big names was fierce in New York. When film stars came east—usually on a train between movies, en route to Europe—they were mobbed by agents seeking their appearances on the big variety shows. An appearance on The Rudy Vallee Hour or Shell Chateau paid more and was less demanding—a bit of fluff between musical selections, which an actor could learn in a single rehearsal. The demand for top stars was so desperate that Lux scouts created devious ways of snaring them. One “bright young fellow,” as described by Radio Guide, simply grabbed up Leslie Howard’s suitcases and led him through a gauntlet of competing agents to a waiting cab. Only when they were settled in the car did it occur to Howard to ask who he was. “I’m from The Lux Radio Theater, and you’re going to act for us tomorrow night,” said the brash young fellow. He had caught (and subsequently booked) a hot young star by knowing that “a man will always follow his suitcases.

The conceptual auto-disaster. The volunteer panels were shown fake safety propaganda movies in which implausible accidents were staged. Far from eliciting a humorous or sardonic response from the audience, marked feelings of hostility were shown towards the film and medical support staff. Subsequent films of genuine accidents exerted a notably calming effect. From this and similar work it is clear that Freud’s classic distinction between the manifest and latent content of the inner world of the psyche now has to be applied to the outer world of reality. A dominant element in this reality is technology and its instrument, the machine. In most roles the machine assumes a benign or passive posture - telephone exchanges, engineering hardware, etc. The twentieth century has also given birth to a vast range of machines - computers, pilotless planes, thermonuclear weapons - where the latent identity of the machine is ambiguous even to the skilled investigator. An understanding of this identity can be found in a study of the automobile, which dominates the vectors of speed, aggression, violence and desire. In particular the automobile crash contains a crucial image of the machine as conceptualized psychopathology. Tests on a wide range of subjects indicate that the automobile, and in particular the automobile crash, provides a focus for the conceptualizing of a wide range of impulses involving the elements of psychopathology, sexuality and self-sacrifice.