Quote:
On his deathbed, billionaire O.M. Rivers (Howard Duff) is tricked into altering his will by a grasping Catholic priest (Jim Haynie). The dying man is persuaded to add a stipulation to his bequests: one of Rivers’ two offspring must produce an heir within a year of his death or his millions will go to the church. The catch is that Rivers’ son Sonny (Eric Idle) is gay and his daughter Bitsy (Andrea Martin) is a lesbian.

Next, real-estate agent wannabees–Frank Della Rocca, Jr. (Ralph Macchio) and Reed Richmond (Robert Downey, Jr.)–enter the fray. These two hustlers hope to cut themselves in on the action, as does super vixen Gracia (Jennifer Rubin), who is hired to prod Sonny’s libido in a heterosexual direction. Will Gracia succeed when Bitsy’s lover, Susan Connor (Laura Ernst), has already tried to “straighten” Sonny out? Will Sonny’s boyfriend, George Bianco (Leo Rossi), grow weary at Sonny’s failed attempts to convert?
If that doesn’t grab you, how about this?

Too.Much.Sun.1990.AMZN.WEB-DL.DD+2.0.H.264-alfaHD.mkv

General
Container:	Matroska
Runtime:	1h 38mn
Size:	1.52 GiB
Video
Codec:	h264
Resolution:	640x480
Aspect ratio:	4:3
Frame rate:	29.970 fps
Bit rate:	2 000 kb/s
Audio
English 2.0ch E-AC-3 @ 224 kb/s

https://nitro.download/view/DA3504B074BC4F0/Too.Much.Sun.1990.AMZN.WEB-DL.DD+2.0.H.264-alfaHD.mkv

Language(s):English
Subtitles:English

The post Robert Downey Sr. – Too Much Sun (1990) first appeared on Cinema of the World.

Quote:
Assuming he is incapable of winning, all of the members of a prestigious Madison Avenue advertising firm accidentally vote to appoint the company’s only black executive, Putney Swope, as chairman of the board. His unexpected win behind him, Swope changes the company’s name to ‘Truth and Soul, Inc,’ fires nearly all of its elderly white employees, and focuses solely on creating subversive, outlandish, and shocking campaigns. As the company is catapulted to new heights of success, Swope finds that he has drawn the ire of the U.S. President, who seeks to declare him and his renegade staff a threat to national security.

Considered one of the masterpieces of late 60s counterculture cinema, Robert Downey Sr.’s (Greaser’s Palace) PUTNEY SWOPE remains a vital cinematic satire on race, politics and pop culture. Featuring a supporting performance from character actor Allen Garfield (Nashville) alongside a cameo from Mel Brooks, Vinegar Syndrome is proud to present the world Blu-ray debut of PUTNEY SWOPE in a stunning new 4k restoration created by The Academy of Motion Picture Arts and Sciences and The Film Foundation.

Putney Swope.1969.576p.BDRip-AVC.ZONE.mkv

General
Container:  	Matroska
Runtime: 	1 h 25 min
Size: 	1.85 GiB
Video
Codec: 	x264
Resolution: 	790x576 
Aspect ratio:  	1.372
Frame rate: 	23.976 fps
Bit rate: 	2 500 kb/s
BPP: 	0.229
Audio
#1:  	English 1.0ch AC-3 @ 224 kb/s (Mono)
#2:  	English 2.0ch AC-3 @ 192 kb/s (Commentary features writer/director Robert Downey.)
#3:  	English 2.0ch AC-3 @ 192 kb/s (Commentary features film critic Sergio Mims.)

https://nitro.download/view/C7369292F24606F/Putney_Swope.1969.576p.BDRip-AVC.ZONE.mkv

Language(s):English
Subtitles:English, English SDH, Russian

The post Robert Downey Sr. – Putney Swope (1969) first appeared on Cinema of the World.

Quote:
Following the 1966 underground success of CHAFED ELBOWS, and before his (comparatively) mainstream trio of PUTNEY SWOPE, POUND and GREASER’S PALACE, director Robert Downey [a prince] and ELBOWS-editor Robert Soukis concocted this 46-minute cinematic goulash, which finally emerged from decades of obscurity thanks to The Criterion Collection, with a newly-restored print struck from the film’s only remaining 16mm copy.

Like most of Downey’s early, most personal efforts, it’s a deliriously irreverent blend of politics, sex, humor, and assorted weirdness that bounces crazily from one segment to another. Opening with a reverse-chronological montage of American warfare — from (then-current) Vietnam back to the Civil War — the filmmakers visit Manhattan singles bars for impromptu conversations with their horny clientele (both male and female) about one-night-stands and the modern-day preference for sex over love; there’s crude reenactment of (a bald) President James Garfield’s assassination by Charles Guiteau, plus professional hoaxer Alan Abel portrays the uptight spokesman for the Society for Indecency to Naked Animals (S.I.N.A.), whose goal is to make all animals wear clothes and spouts absurdities like “Who should [a dog] be denied the right to walk down the street in a tuxedo at night?” [Note: Abel created this faux-organization back in 1959, with then-unknown Buck Henry as its spokesperson, and managed to prank several news outlets including THE TODAY SHOW and THE CBS EVENING NEWS.

Some of the most amusing moments involve a wounded Union soldier, Private Thompson (played by Downey himself), who escapes from the battlefield and suddenly finds himself in 20th Century New York City — confused and wandering the crowded city streets in his old-timey uniform (complete with rifle!), checking out the subway, getting picked up by a biker, and finally getting tossed out of Yankee Stadium after wandering onto the field, in the middle of an actual game! And for more prurient thrills, a lecherous stalker (mustached Don Calfa, RETURN OF THE LIVING DEAD) comically busts into a fat chick’s apartment, strips her on the floor and they make love — only to end up interviewed (mid-coitus) for the 6 o’clock news, and with Calfa rudely kicked out of bed in favor of a randy chimp, along with (unlicensed?) use of THE MONKEES theme song. Plus in the most prescient twist, Calfa’s pervert turns out to be a Priest! Along with photography by Stan Warnow (another ELBOWS alumnus, who worked as an editor on WOODSTOCK and HAIR) and secondary camerawork by Sheldon Rochlin (future director of indie fare like DOPE and SIGNALS THROUGH THE FLAMES), NO MORE EXCUSES achieves a near-perfect mix for late-’60s underground fare — it’s topical, radical, disjointed, often extremely silly, and also mercifully brief.

660MB | 46m 13s | 720×540 | mkv

https://nitro.download/view/E3C5BF2F1D92F63/Robert_Downey_Sr._-_(1968)_No_More_Excuses.mkv

Language(s):English
Subtitles:English

The post Robert Downey Sr. – No More Excuses (1968) first appeared on Cinema of the World.

Quote:
Taylor Mead plays the president of the United Status, who, when he isn’t at the White House—a dilapidated Victorian—conducts his top-secret affairs on a deserted beach. Robert Downey Sr.’s first feature is a rollicking, slapstick, ultra-low-budget 16 mm comedy experiment that introduced a twisted new voice to the New York underground.

803MB | 56mn 15s | 720×540 | mkv

https://nitro.download/view/9CD08890724D2FA/Robert_Downey_Sr._-_(1964)_Babo73.mkv

Language:English
Subtitles:English

The post Robert Downey Sr. – Babo 73 (1964) first appeared on Cinema of the World.

Quote:
Also known as TWO TONS OF TURQUOISE TO TAOS TONIGHT, and even as JIVE, this is a movie you’ve most likely never seen. Highly personal and at the same time completely illogical, this cacophonous comedy has virtually no semblance of a storyline or plot. The great Elsie Downey, the director’s then-wife and the mother of his children (who are featured prominently throughout), drives the film with her boisterous performance in what may very well be more than 10 roles. Shot and edited piecemeal over a few years, MOMENT TO MOMENT is a collage of everything from staged scenes to home movies, and features a soundtrack by the legendary Jack Nietszche and David Sanborn. No matter what you call it, this film is surely Downey at his most avant-garde and absurd.—Anthology Film Archives.

http://nitroflare.com/view/D92B45DCB0397FE/Moment_to_Moment__Robert_Downey_Sr.__1975_.avi

Language:English

The post Robert Downey Sr. – Moment to Moment (1975) first appeared on Cinema of the World.

Quote:
There’s something liberating about director Robert Downey’s films, even when by rights they should be put on a leash by their small budgets and settings. Never was the case truer than in POUND, the kind of project that major studios would run a mile from. Long out of circulation, Downey’s film populates a dog pound with different human characters who pace about their cage, uncertain about their future. Some wait in hope for their owners to redeem them, others plot to escape, but most wait to see if they will make it to the end of the day without getting ‘The Needle’. It seems like a cute gimmick to have human characters playing dogs, but Downey has never been one to play by the rules, even if they would provide an interior logic to his story. The dog-human switcheroo isn’t as straightforward as it should be: the first camera angle inside the pound shows us the characters as dogs, the second shows them again as people. But are we still to treat them as ‘dogs’? They have a TV set in their cage; can understand human speech; and are revealed in flashbacks as having human lives outside of the pound. It doesn’t help that there’s one real mutt in there with them, and made even more confusing when the flashbacks merge into fantasies. Are the dogs imagining they are human? Are they canine reincarnations of people who have lived previous lives? Is this a form of human hell? There is an ‘afterlife’ theme which includes scenes of the pound’s inmates traveling on a train (a fairly standard death metaphor) and walking through the pearly gates. Does Downey even care about these ideas? Based on his track record, my guess is that he is just goofing around. POUND was based on Downey’s early off-off-Broadway production ‘The Comeuppance’, and it shows its stage origins – by the time the actors are all mugging and prancing about with complete abandon you may be reminded of those terrible, ‘significant’ dramatics you saw performed by art students on campus. Thankfully, Downey’s humorous approach makes his movies more accessible and less pretentious than other underground, experimental, or avant-garde productions. For example: the different breeds of dogs are represented by different ethnic types (there’s a cat and a bird thrown in, too), but it’s just a gag, not a statement. The characters don’t exploit the microcosmic setting by sharing ideologies but instead spout single-minded monologues, irrespective of what anyone else is saying. Nobody is listening to each other (just the way dogs would all yap in pound, I guess). There’s also a background story about a sniper who kills random victims in the city, complaining that “it’s too free” out there, but it’s hard to tell what this has to do with the rest of the film and we don’t take it seriously anyway (But if you want to be thrown a bone, how about ‘Freedom is an illusion’ ‘Society has gone to the dogs’, or ‘It’s a dog-eat-dog world, regardless of where you are’?) Downey’s fractured dialogue (all non-sequiturs, puns and one-liners), use of songs, wild humor, and broadly-played performances keep the first half of POUND energetic, but there are too many musical interludes and bizarre diversions in the second. Still, you can sense the fun that his stock company is having and it may get you interested in some of Downey’s other films. The director’s wife Elsie (a regular player in all his films) and two kids Allison and Robert Jr (as an angel and a puppy) add to the familial feel of the cast. It would be interesting to hear the reaction of a viewer who started watching this film halfway through and assumed that the characters were ordinary people incarcerated in a cell – now there’s someone who would have a completely different perspective on the whole thing. – Shane Burridge

http://www.nitroflare.com/view/94B0981ACDEDECF/Pound__1970_.avi

Language:English
Subtitles:Hebrew (hardcoded)

The post Robert Downey Sr. – Pound (1970) first appeared on Cinema of the World.