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    Monte Hellman
    The document provides information about the film "Road to Nowhere" directed by Monte Hellman. It summarizes that Hellman was part of the generation of independent American cinema in the 1960s-1970s. His films like "Ride in the Whirlwind" and "Two-Lane Blacktop" were misunderstood but have since influenced many prominent independent filmmakers. More than 20 years after his last film, efforts have gathered to support Hellman's new film "Road to Nowhere" which deconstructs narrative and explores the boundaries of reality and fiction. The film takes influence from David Lynch and film noir, particularly Alfred Hitchcock's "Vertigo." Hellman integrates

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    Da Casa Amarela - Blogspot

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    The document provides information about the film "Road to Nowhere" directed by Monte Hellman. It summarizes that Hellman was part of the generation of independent American cinema in the 1960s-1970s. His films like "Ride in the Whirlwind" and "Two-Lane Blacktop" were misunderstood but have since influenced many prominent independent filmmakers. More than 20 years after his last film, efforts have gathered to support Hellman's new film "Road to Nowhere" which deconstructs narrative and explores the boundaries of reality and fiction. The film takes influence from David Lynch and film noir, particularly Alfred Hitchcock's "Vertigo." Hellman integrates

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    The document provides information about the film "Road to Nowhere" directed by Monte Hellman. It summarizes that Hellman was part of the generation of independent American cinema in the 1960s-1970s. His films like "Ride in the Whirlwind" and "Two-Lane Blacktop" were misunderstood but have since influenced many prominent independent filmmakers. More than 20 years after his last film, efforts have gathered to support Hellman's new film "Road to Nowhere" which deconstructs narrative and explores the boundaries of reality and fiction. The film takes influence from David Lynch and film noir, particularly Alfred Hitchcock's "Vertigo." Hellman integrates

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    21 views2 pages

    Da Casa Amarela - Blogspot

    Uploaded by

    Monte Hellman
    The document provides information about the film "Road to Nowhere" directed by Monte Hellman. It summarizes that Hellman was part of the generation of independent American cinema in the 1960s-1970s. His films like "Ride in the Whirlwind" and "Two-Lane Blacktop" were misunderstood but have since influenced many prominent independent filmmakers. More than 20 years after his last film, efforts have gathered to support Hellman's new film "Road to Nowhere" which deconstructs narrative and explores the boundaries of reality and fiction. The film takes influence from David Lynch and film noir, particularly Alfred Hitchcock's "Vertigo." Hellman integrates

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    of 2

    Da Casa Amarela

    Monday, April 4, 2001


    Road to Nowhere - Sem Destino

    original title: Road to Nowhere


    director: Monte Hellman

    If cinema is the territory of ghosts, or dreamed of lives lost, the "myth" that can be created from
    the career of Monte Hellman may be, if anything, the destruction of a dead art of cinema (or
    rather an art of parallel life that escapes the eyes less sensitive to that formed in the construction
    industry). Monte Hellman is part of the generation of free American cinema of the 60s and 70s,
    early anchored by a working relationship with Roger Corman, a name central to independent
    film and the start of the careers of Scorsese, Coppola, Bogdanovich, Demme, among others.
    Hellman would make some of the most unique films of that time such as Ride in the Whirlwind
    (1965), The Shooting (1968) and Two-Lane Blacktop (1972; film that will appear next Saturday
    at Cinema Nimas in Lisbon) . Hellman's films, misunderstood by his industry, were kept out of
    movie theaters and sent directly to video tape, and their slow recovery and his discovery by later
    generations have influenced, discreetly, a good many of the names most charismatic in American
    independent film (Jim Jarmusch comes to mind).

    Behold, more than twenty years after his last feature film, efforts gather around Hellman to
    launch his latest film - Road to Nowhere – a work passed for a prize at the last Venice Film
    Festival by the forgettable and inconsequential Somewhere (Hellman would receive a prize for
    the whole of his career). However, Hellman is not hidden, nor does he try to create an image of a
    forgotten independent, or resume a paused brand (in terms of time and style) that gave us his best
    films. Instead, Hellman, in a gesture that reveals the size of a unique and inimitable author,
    deconstructs a linear narrative to present us an idea about the limits and boundaries between
    reality and fiction, thinking that surely will not have ceased to feed us after the long years of
    absence and oblivion into which his films unfairly dropped.

    So, for what could be an influence of Lynchian mazes and adoration of his figures and ghosts,
    Hellman admits another influence for the engine of his movie, a crime story "serie noire" or
    "film noir", the ideas of each of its actors and scholars (the evil that lies at the heart and essence
    of the life of this little masterpiece): Vertigo (1958) Hitchcock. We have, therefore, a man
    obsessed with a reproduction of a death and an actress (the wonderful and incredibly filmed
    Shannyn Sossamon) who finds himself worshipping something misunderstood and untouchable,
    except for the larger dimensions of an art such as cinema, its movement and imagination.

    Hellman also outlines, in a gesture rare and entirely laudable, many of the difficulties in
    producing the film, integrating them into the narrative and showing even the miraculous
    technical props and cameras (Hellman shooting with a Canon 5D camera, making it a character
    in his own movie - like everything else that is revealed here, as the Hitchcockian participation of
    the viewer). But above all, is the failure of a life of oblivion and death that is used for the
    production of this work, aware that its success can no longer be dissociated from it. An in-depth
    work, free and clear proof of how Hellman’s extraordinary faith in his way of seeing and living
    cinema, Road to Nowhere eventually becomes one of the most original and essential evidences
    of a mature creation and a youthful worship. The combination of these feelings is only reserved
    to the major authors, Hellman is certainly among them.

    Road to Nowhere debut this Thursday, April 7.

    Posted by Francisco Valente at 14:41

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