[bomp] psychedelic movies in prints so sharp you'll think they came out last week

["Its Boss 9" <itsboss9@xxxxxxx>]

Friends in Bomp-ness,

The film series based on the book "Riot on Sunset Strip: Rock 'n' Roll's Last
Stand in Hollywood" makes it to New York City and San Francisco this summer,
at the IFC Center in Greenwich Village:

bRIOT ON SUNSET STRIP: ROCK, REBELLION AND HOLLYWOOD HIPPIESb
Weekends at midnight, July 25-September 27
July 25-26: WILD IN THE STREETS (1968, Barry Shear)
August 1-2: RIOT ON SUNSET STRIP (1967, Arthur Dreifuss)
August 8-9: LORD LOVE A DUCK (1966, George Axelrod)
August 15-16: PSYCH-OUT (1968, Richard Rush)
August 22-23: MARYJANE (1968, Maury Dexter)
August 29-31: MONDO HOLLYWOOD (1967, Robert Carl Cohen)
September 5-6: YOU ARE WHAT YOU EAT (1968, Barry Feinstein)
September 12-13: THE LOVE-INS (1967, Arthur Dreifuss)
September 19-20: THE COOL ONES (1967, Gene Nelson)
September 26-27: THE TRIP (1967, Roger Corman)

... and, at The Red Vic Movie House on Haight Street in San Francisco...

Thursday, August 28: "You Are What You Eat"
Friday, August 29: "The Trip"
Saturday, August 30: "Riot on Sunset Strip"
Sunday, August 31: the Love documentary, "Love Story"

As mentioned in the subject line, last year when we showed these prints at The
Egyptian Theater in Hollywood, what surprised me was:

1.) just how much color is missing in all the prints we're used to seeing; for
example, "Riot on Sunset Strip" at least, a new print was struck just for the
Egyptian screening.  This is the same print that will be seen this summer in
New York and San Francisco.  Other films like "The Trip" and "The Cool Ones"
are also fascinating in just how many different colors are used without much
clashing.  How did they pull this off?  Anyway, the colors in the prints we're
putting on display are deeply rich, especially compared to what we're used to
seeing on TV.

2.)  Just how few of these films we've all seen on any medium other than the
late late show on TV.

3.)  Just how much incredible detail can be noticed on the big screen, in such
beautiful prints, especially considering the widescreen format.  "The Cool
Ones" is especially loaded with bitchen Sunset Strip ephemera

4.)  How good the soundtracks can be heard on the theater speakers.  The
instrumental music sequences, especially in "Riot on Sunset Strip," "The Love
Ins," "The Trip," "You Are What You Eat" and "Mondo Hollywood" really come
alive, and Lee Hazelwood's soundtrack for "The Cool Ones" really breathes
(with some of its frantic "Tantrum" numbers and dramatic ballads ghost-voiced
by Nancy Sinatra)

Hope to see you this summer in New York, and San Francisco.  I'll be hosting
all the S.F. screenings, and the first three weekends in New York.  The
screening of "Riot on Sunset Strip" looks like it'll have a special guest from
the film for Q&A, details later.

- Domenic Priore
author, "Riot on Sunset Strip: Rock 'n' Roll's Last Stand in Hollywood"

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