Quote:
Documentary filmmaker Emil DeAntonio’s In the Year of the Pig was financed by New York society matron Mrs. Orville Schell; her fund-raising dinners earned her an executive producer credit on the completed film. An extremely radicalized view of the still-raging war in Vietnam, Pig was so unabashedly provocative that it earned DeAntonio the tireless scrutiny of FBI head J. Edgar Hoover (whose file on the filmmaker inspired yet another DeAntonio production of 1990, Mr. Hoover and I). The film’s highlight is an interview with the late general George S. Patton, adroitly re-edited to make it seem as though Patton (who died in 1945) is characterizing the boys in Nam as “a bloody good bunch of killers.” Bracketed between his Rush to Judgment (based on the highly suspect findings of JFK-conspiracy theorist Jim Garrison ) and his America is Hard to See (a chronicle of the Eugene McCarthy Presidential campaign), DeAntonio’s In the Year of the Pig is an amalgam of the best and worst elements of those two offerings. The film says what needs to be said, but it often ends up preaching only to the converted.

2.31GB | 1h 44mn | 716×537 | mkv

https://nitro.download/view/AC758977A3DDBD5/In.the.Year.of.the.Pig.1968.DVDRip.x264-HANDJOB.mkv

Language(s):English
Subtitles:English

The post Emile de Antonio – In the Year of the Pig [+ Commentary] (1968) first appeared on Cinema of the World.

Quote:
Underground is a 1976 documentary film about the Weathermen, the militant faction of the Students for a Democratic Society (SDS) who fought to overthrow the U.S. government during the 1960’s and 1970’s. The film consists of interviews with members of the group after they went underground and footage of the anti-war and civil rights protests during this time period. It was directed by Emile de Antonio, Haskell Wexler and Mary Lampson, who were subpoenaed by the Federal Bureau of Investigation in an attempt to confiscate the film footage in order to gain information that would help them arrest the Weathermen.

Underground combines interviews with and archival footage of the Weathermen to provide a picture of this group, their opinions on American society, and their hopes for the future. The filmmakers use the material from their interactions with the Weathermen Bill Ayers, Kathy Boudin, Bernadine Dohrn, Jeff Jones and Cathy Wilkerson to structure its exploration of the formation and direction of the group. The film begins by presenting images and words that describe the Weathermen’s process of being radicalized in the 1960’s through the Civil Rights Movement, the anti-war movement, and communist revolutionary struggles in Cuba, Russia and China, as well as historical struggles in the United States over Native American Rights and labor issues. The film moves on to discuss the Weathermen’s analysis of American society, addressing those who have inspired them, and further explaining the reasons behind their militancy, while also introducing the issue of tactics. The final section of the film addresses the group’s use of property destruction as a way to bring about change and destabilize the current, and in their view, corrupt system. They state that “no revolution can take place successfully without an armed confrontation with the state.” While the radicals themselves are reluctant to discuss the specifics of their bombings due to their unstable position as underground fugitives, the filmmakers provide us with a list of actions which they have undertaken. Underground provides an intimate look at the inner workings of the Weather Underground, and we see their discomfort with being filmed, their strong internal collective identity, and their isolation from society at large. The filmmakers do not use the interviews and juxtaposed images to promote the group or support their actions, and it is apparent that their motives for the film differ from those of the subjects that they are presenting. In the end this film provides an unprecedented look at how a bunch of middle-class Americans became self-styled militant revolutionaries, raising questions not only about the merits of their struggle, but also about past and future radical actions.
–Wikipedia

1.20GB | 1h 27m | 888×480 | mkv

https://nitro.download/view/33CF5A21F5C8FB4/Underground.1976.DVDRip.x264.mkv
or
https://tezfiles.com/file/1efc93f22299f/Underground.1976.DVDRip.x264.mp4

Language(s):English
Subtitles:None

The post Emile de Antonio & Mary Lampson & Haskell Wexler – Underground (1976) first appeared on Cinema of the World.

Plot Synopsis [AMG]
Documentary filmmaker Emil DeAntonio’s In the Year of the Pig was financed by New York society matron Mrs. Orville Schell; her fund-raising dinners earned her an executive producer credit on the completed film. An extremely radicalized view of the still-raging war in Vietnam, Pig was so unabashedly provocative that it earned DeAntonio the tireless scrutiny of FBI head J. Edgar Hoover (whose file on the filmmaker inspired yet another DeAntonio production of 1990, Mr. Hoover and I). The film’s highlight is an interview with the late general George S. Patton, adroitly re-edited to make it seem as though Patton (who died in 1945) is characterizing the boys in Nam as “a bloody good bunch of killers.” Bracketed between his Rush to Judgment (based on the highly suspect findings of JFK-conspiracy theorist Jim Garrison ) and his America is Hard to See (a chronicle of the Eugene McCarthy Presidential campaign), DeAntonio’s In the Year of the Pig is an amalgam of the best and worst elements of those two offerings. The film says what needs to be said, but it often ends up preaching only to the converted.

Extra:

https://nitro.download/view/1AD6C2DAFB6D3A0/In_the_Year_of_the_Pig.avi
https://nitro.download/view/88AEC248C5F0EE3/In_the_Year_of_the_Pig.srt
https://nitro.download/view/346BBF5CF38AC81/PBS_Interview_with_Director.avi

Language(s):English
Subtitles:English .srt (main feature only)

The post Emile de Antonio – In the Year of the Pig [+Extras] (1968) first appeared on Cinema of the World.

Description:
Turning the camera on himself and his 10,000-page FBI file, radical documentary filmmaker Emile de Antonio skewers the legacy of FBI chief J. Edgar Hoover while offering up a fascinating self-portrait in his final film. A lengthy conversation with the composer John Cage, a discussion with a college crowd about McCarthyism and numerous witty observations by de Antonio himself also contribute to this discursive yet sharply observed documentary.

“Before seeing Mr. Hoover and I (1989), my attitude toward the work of Emile de Antonio was always a bit confused and uncertain. I admired his first film, Point of Order–a remarkable reorganization and distillation of 188 hours of kinescopes of the 1954 Army-McCarthy hearings into about 90 minutes that reinvented the meaning of Joseph McCarthy for subsequent generations. But my spotty sense of de Antonio’s later work led me to view him as a courageous radical and intellectual who was more a polemicist and invaluable 60s gadfly than an artist. I knew that some of my non-American friends whose politics and aesthetics I highly respected regarded him as the greatest and noblest living American documentary filmmaker, but having seen only Point of Order, Millhouse, and Underground (directed with Haskell Wexler, 1975), I found it difficult to see precisely what they meant. Millhouse had the nerve to shower Nixon with abuse and scorn when he was at the height of his power as president–de Antonio was the only filmmaker on Nixon’s notorious “enemies” list–and Underground performed the valuable and audacious service of interviewing the Weather Underground at a time when they were the FBI’s most sought-after radical fugitives. But both of these films seemed more meaningful as potent contemporary gestures than as lasting works of art that genuinely explored the possibilities of the medium. Having lived abroad for almost eight years, I’d managed to miss such films as In the Year of the Pig, America Is Hard to See (1969), and Painters Painting, and after I returned, I hadn’t made it to In the King of Prussia (1982) either.

Seeing the fascinating and hugely entertaining Mr. Hoover and I at the Toronto film festival last fall, about three months before de Antonio died of a heart attack at age 70, made me seriously rethink my ideas about him. I’ve seen the film several times more recently, and encountered for the first time on tape some of the de Antonio films I had missed. In the Year of the Pig is the first and best of the major documentaries about Vietnam, infinitely superior to the better known Hearts and Minds–and perhaps the only one that’s truly about Vietnam, not this country’s national ego. I also saw the (to me) disappointing and relatively conventional Painters Painting. I can’t pretend to assess his career as a whole here because I’m still discovering or rediscovering parts of it, but I can at least say that Mr. Hoover and I, a singular and remarkable testament, has made me realize the importance of forming this acquaintance. ” Jonathan Rosenbaum
Read the complete Rosenbaum essay.

https://nitro.download/view/32A744180C5E646/Mr.Hoover.and.I.DVDRip.avi

no pass

The post Emile de Antonio – Mr. Hoover and I (1989) first appeared on Cinema of the World.