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Easy Riders Raging Bulls: How the Sex-Drugs-And Rock 'N Roll Generation Saved Hollywood Paperback – Apr 4 1999

3.9 out of 5 stars 79 customer reviews

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Product Details

  • Paperback: 512 pages
  • Publisher: Simon & Schuster; 1st Touchstone Ed edition (April 4 1999)
  • Language: English
  • ISBN-10: 0684857081
  • ISBN-13: 978-0684857084
  • Product Dimensions: 14 x 3 x 21.4 cm
  • Shipping Weight: 499 g
  • Average Customer Review: 3.9 out of 5 stars 79 customer reviews
  • Amazon Bestsellers Rank: #39,093 in Books (See Top 100 in Books)
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Product Description

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Not only is Peter Biskind's Easy Riders, Raging Bulls the best book in recent memory on turn-of-the-'70s film, it is beyond question the best book we'll ever get on the subject. Why? Because once the big names who spilled the beans to Biskind find out that other people spilled an equally piquant quantity of beans, nobody will dare speak to another writer with such candor, humor, and venom again.

Biskind did hundreds of interviews with people who make the president look accessible: Scorsese, Spielberg, Lucas, Coppola, Geffen, Beatty, Kael, Towne, Altman. He also spoke with countless spurned spouses and burned partners, alleged victims of assault by knife, pistol, and bodily fluids. Rather more responsible than some of his sources, Biskind always carefully notes the denials as well as the astounding stories he has compiled. He tells you about Scorsese running naked down Mulholland Drive after his girlfriend, crying, "Don't leave me!"; grave robbing on the set of Apocalypse Now; Faye Dunaway apparently flinging urine in Roman Polanski's face while filming Chinatown; Michael O'Donoghue's LSD-fueled swan dive onto a patio; Coppola's mad plan for a 10-hour film of Goethe's Elective Affinities in 3-D; the ocean suicide attempt Hal "Captain Wacky" Ashby gave up when he couldn't find a swimsuit that pleased him; countless dalliances with porn stars; Russian roulette games and psychotherapy sessions in hot tubs. But he also soberly gives both sides ample chance to testify.

Easy Riders, Raging Bulls is also more than a fistful of dazzling anecdotes. Methodically, as thrillingly as a movie attorney, Biskind builds the case that Hollywood was revived by wild ones who then betrayed their own dreams, slit their own throats, and destroyed an art form by producing that mindless, inhuman modern behemoth, the blockbuster.

When Spielberg was making the first true blockbuster, Jaws, he sneaked Lucas in one day when nobody was around, got him to put his head in the shark's mechanical mouth, and closed the shark's mouth on him. The gizmo broke and got stuck, but the two young men somehow extricated Lucas's head and hightailed it like Tom and Huck. As Peter Biskind's scathing, funny, wise book demonstrates, they only thought they had escaped. --Tim Appelo --This text refers to an out of print or unavailable edition of this title.

From Library Journal

A former executive editor of Premiere on 1970s Hollywood.
Copyright 1997 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

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Customer Reviews

Top Customer Reviews

Format: Hardcover
I only watch foreign films because I feel it is below me to watch an american made film. I insist on sofistication in my cinema and will always have a devout belief in the positives of intellectual pursuits. This novella undercores in an effective, yet effeminate manner, the decline of modern Hollywood and the subsequent rise of neo-realism in the disguise of pop culture. A subtle retelling of a not so subtle story. We see a landscape of mediocrity superimposed on a screen of perceived greatness. One must wonder what our forefathers are thinking when they witness this degradation in the name of "fine arts." Still this is a book that is worth reading, in part, because it underscores all that is wrong in today's Hollywood, only it is talking about yesterday's Hollywood. This ironic vision makes for some startling revelations yet the overall effect is somewhat tepid. With many extreme antedotes rehashed, only a Fruedianist would not be somewhat intrigued, yet for all it's pompasity, the book ultimately fails in it's primary objective: To educate us.
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Format: Paperback
I'm very puzzled by the purpose and intent of this book. The author seems to have a genuine appreciation for the revolution in extraordinary, personal filmmaking in American film in the 1970s. Yet the book itself is filled with the nastiest, pettiest, disgusting portrayals of the remarkable filmmakers, writers, actors, and cinematographers who made those films. The basis of the entire book appears to be extensive interviews with hundreds of people in the industry -- all of whom have personal vendettas and scores to settle (because they are all ex-husbands, ex-wives, ex-lovers, or bitter competitors). The result is that the portrayal of every director, producer, filmmaker, and actor is that of a loathsome, arrogant, egotistical, infantile monster. Personally, it was no pleasure for me to see Robert Altman, Warren Beatty, Pauline Kael, Francis Coppola, Martin Scorcese, Terry Malick, and dozens of others presented as inhuman, venal, insane, and vicious. Some of the gossip is no doubt true, and I imagine the world of producing and making movies is quite unpleasant. But there is no balance, or insight, to counter the ugly gossip that Biskind exclusively relies upon. Most surprisingly of all, there is no appreciation of the greatness, the sensitivity, the richness of the films that were made. At the very least, the book would have been much more fascinating if Biskind demonstrated how out of all the Hollywood self-indulgence, back-biting, arrogance, and egotism arose the sensitive, powerful, complex, humane, and moving, and often funny works of art, like The Godfather films, McCabe & Mrs. Miller, Chinatown, Cabaret, Nashville, Taxi Driver, Days of Heaven, Five Easy Pieces, Bonnie & Clyde, Reds, The Last Picture Show, and The Deer Hunter.Read more ›
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Format: Hardcover
The last golden age of American cinema is certainly a ripe subject for a behind-the-scenes book, and Biskind's interviewed most of the major living players. Sadly, his findings only confirm what those in "the business" already know--the motion picture industry is a hotbed of infidelity, mistrust, substance abuse, self-destruction and disloyalty. It's interesting that so many quality films emerged from such dysfunction (before that word was in common usage). But then as now, the powers-that-be at the studios were pretty clueless, basically playing musical chairs with their jobs and waiting to strike gold (the GODFATHER films) or strike out (HEAVEN'S GATE). Unless prospective readers relish a fantasy that the film artists of the '70s were NOT cutthroat, insecure, power-hungry, mean-spirited junkies, EASY RIDERS, RAGING BULLS is an enjoyable long, strange trip. (Parenthetically, though, I can't remember the last time I read a book from a major publisher with as many typographical errors.) Caveat: As with Julia Phillips' YOU'LL NEVER EAT LUNCH IN THIS TOWN AGAIN, most of the interviewees' remembrances have been filtered through a veil of booze, coke, pot and resentment, but enough truth emerges to make this a reasonably vivid portrait of the era.
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Format: Paperback
While Easy Riders/Raging Bulls is a very interesting book, and does tend to keep you turning the next page, it may not appeal to everyone. Someone looking for an in-depth analysis of the film industry in the 70`s may be a little disappointed. Biskind`s main point is that a new group of directors temporarily destroyed, or at least disrupted, the Hollywood studio system of the previous decades, and were able to make a handful of classic movies in the process. They then basically handed the power back to the studios in the 80`s due to overblown egos and budgets to match. There does tend to be a lot of gossip-like material in it and the detail sometimes verges on lurid.. So, if you want to know the various girlfriends of some director, look no further. A little more technical information here and there might have been nice to sate the film student readership. However, that`s not what this book is about. It really is a good indication of the atmosphere of Hollywood in the 70`s and does show up some of these big names to be quite un-likeable characters. And that is quite an understatement. You may find yourself never wanting to watch some of these directors' movies again, based only on their personalities.
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