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America Lost & Found: The BBS Story (Head / Easy Rider / Five Easy Pieces / Drive, He Said / The Last Picture Show / The King of Marvin Gardens / A Safe Place) (The Criterion Collection)


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America Lost & Found: The BBS Story (Head / Easy Rider / Five Easy Pieces / Drive, He Said / The Last Picture Show / The King of Marvin Gardens / A Safe Place) (The Criterion Collection) + Five Easy Pieces + The Last Detail
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Product Details

  • Actors: Davy Jones, Michael Nesmith, Dennis Hopper, Peter Fonda, Jack Nicholson
  • Directors: Dennis Hopper, Jack Nicholson, Bob Rafelson, Henry Jaglom, Peter Bogdanovich
  • Format: Multiple Formats, Box set, Color, NTSC, Surround Sound, Widescreen
  • Language: English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.77:1
  • Number of discs: 9
  • Rated: Unrated
  • Studio: Criterion Collection
  • DVD Release Date: December 14, 2010
  • Run Time: 691 minutes
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (60 customer reviews)
  • ASIN: B003ZYU3SM
  • Amazon Best Sellers Rank: #80,393 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "America Lost & Found: The BBS Story (Head / Easy Rider / Five Easy Pieces / Drive, He Said / The Last Picture Show / The King of Marvin Gardens / A Safe Place) (The Criterion Collection)" on IMDb

Special Features

Head
  • New, restored high-definition digital transfer
  • Audio commentary featuring Monkees Micky Dolenz, Davy Jones, and Peter Tork
  • New video interview with director Bob Rafelson
  • New documentary about BBS, featuring critic David Thomson and historian Douglas Brinkley

    Easy Rider
  • New, restored high-definition digital transfer
  • Audio commentary featuring director Dennis Hopper
  • Easy Rider: Shaking the Cage, a 1999 documentary featuring behind-the-scenes footage
  • Footage of Hopper and star Peter Fonda at Cannes in 1969
  • New video interview with BBS’s Steve Blauner

    Five Easy Pieces
  • New, restored high-definition digital transfer
  • Audio commentary featuring director Bob Rafelson and interior designer Toby Rafelson
  • Soul Searching in Five Easy Pieces, a 2009 video piece in which Rafelson discusses the film
  • BBStory, a 2009 documentary
  • Excerpts from an audio recording of Rafelson at the American Film Institute in 1976

    Drive, He Said
  • New, restored high-definition digital transfer
  • A Cautionary Tale of Campus Revolution and Sexual Freedom, a 2009 video piece in which director Jack Nicholson discusses the experience of making this film
  • Theatrical trailer

    A Safe Place
  • New, restored high-definition digital transfer
  • Audio commentary featuring director Henry Jaglom
  • Henry Jaglom Finds A Safe Place, a 2009 video piece in which the director discusses the film
  • Notes on the New York Film Festival, a 1971 video piece featuring an interview conducted by critic Molly Haskell with directors Peter Bogdanovich and Jaglom about their films The Last Picture Show and A Safe Place
  • Deleted scene and screen tests
  • Theatrical trailer

    The Last Picture Show
  • New, restored high-definition digital transfer
  • Two audio commentaries, one featuring director Peter Bogdanovich and the other featuring Bogdanovich and actors Cybill Shepherd, Randy Quaid, Cloris Leachman, and Frank Marshall
  • Picture This, a 1990 documentary by George Hickenlooper
  • The Last Picture Show: A Look Back, an hour-long 1999 documentary
  • 2009 interview with Bogdanovich
  • Screen tests and location footage
  • Theatrical trailers and more!

    The King of Marvin Gardens
  • New, restored high-definition digital transfer
  • Selected-scene audio commentary featuring director Bob Rafelson
  • Reflections of a Philosopher King, a 2009 documentary about the making of the film
  • Afterthoughts, a short 2002 documentary about the film, produced by Rafelson
  • Theatrical trailer

  • Editorial Reviews

    Product Description

    Like the rest of America, Hollywood was ripe for revolution in the late sixties. Cinema attendance was down; what had once worked seemed broken. Enter Bob Rafelson, Bert Schneider, and Steve Blauner, who knew that what Hollywood needed was new audiences—namely, young people—and that meant cultivating new talent and new ideas. Fueled by money made from their invention of the superstar TV pop group the Monkees, they set off on a film-industry journey that would lead them to form BBS Productions, a company that was also a community.

    The innovative films produced by this team between 1968 and 1972 are collected in this box set—works created within the studio system but lifted right out of the countercultural id, and that now range from the iconic (Easy Rider, Five Easy Pieces, The Last Picture Show) to the acclaimed (The King of Marvin Gardens) to the obscure (Head; Drive, He Said; A Safe Place).

    Head (1968)
    Hey, hey, it’s the Monkees . . . being catapulted through one of American cinema’s most surreal '60s odysseys. In it, Mickey Dolenz, Davy Jones, Michael Nesmith, and Peter Tork become trapped in a kaleidoscopic satire that’s movie homage, media send-up, concert movie, and antiwar cry all at once. Head escaped commercial success on its release but has since been reclaimed as one of the great cult objects of its era.
    (85 minutes, color, monaural/surround, 1.78:1 aspect ratio)

    Easy Rider (1969)
    This is the definitive counterculture blockbuster. The former clean-cut teen star Dennis Hopper’s down-and-dirty directorial debut, Easy Rider heralded the arrival of a new voice in film, one planted firmly, angrily against the mainstream. After Easy Rider’s cross-country journey—with its radical, New Wave-style editing, outsider-rock soundtrack, revelatory performance by a young Jack Nicholson, and explosive ending—the American road trip would never be the same.
    (96 minutes, color, surround, 1.85:1 aspect ratio)

    Five Easy Pieces (1970)
    Jack Nicholson plays the now iconic cad Bobby Dupea, a shiftless thirtysomething oil rigger and former piano prodigy immune to any sense of romantic or familial responsibility, who returns to his childhood home to see his ailing estranged father, his blue-collar girlfriend (Karen Black, like Nicholson nominated for an Oscar) in tow. Moving in its simplicity and gritty in its textures, Bob Rafelson’s Five Easy Pieces is a lasting example of early 1970s American alienation.
    (98 minutes, color, monaural, 1.85:1 aspect ratio)

    Drive, He Said (1971)
    Based on the best-selling novel by Jeremy Larner, Drive, He Said is free-spirited and sobering by turns, a sketch of the exploits of a disaffected college basketball player and his increasingly radical roommate, a feverishly shot and edited snapshot of the early '70s (some of it was filmed during an actual campus protest). Jack Nicholson’s audacious comedy (starring Bruce Dern and Karen Black) is a startling howl direct from the zeitgeist.
    (90 minutes, color, monaural, 1.85:1 aspect ratio)

    A Safe Place (1971)
    In this delicate, introspective drama, laced with fantasy elements, Tuesday Weld stars as a fragile young woman in New York unable to reconcile her ambiguous past with her unmoored present; Orson Welles as an enchanting Central Park magician and Jack Nicholson as a mysterious ex-lover round out the cast. A Safe Place was directed by independent cinema icon Henry Jaglom.
    (92 minutes, color, monaural, 1.85:1 aspect ratio)

    The Last Picture Show (1971)
    The Last Picture Show is one of the key films of the American cinema renaissance of the '70s. Set during the early '50s in the loneliest Texas nowheresville to ever dust up a movie screen, this aching portrait of a dying West, adapted from Larry McMurtry’s novel, focuses on the daily shuffles of three futureless teens—enigmatic Sonny (Timothy Bottoms), (Jeff Bridges), and desperate-to-be-adored rich girl Jacy (Cybil Shepherd)—and the aging lost souls who bump up against them in the night like drifting tumbleweeds. This hushed depiction of crumbling American values remains the pivotal film in the career of the invaluable director and film historian Peter Bogdanovich.
    (126 minutes, black and white, monaural, 1.85:1 aspect ratio)

    The King of Marvin Gardens (1972)
    For his electrifying follow-up to the smash success of Five Easy Pieces, Bob Rafelson dug even deeper into the crushed dreams of wayward America. Jack Nicholson and Bruce Dern play estranged siblings David and Jason, the former a depressive late-night radio talk show host, the latter an extroverted con man; when Jason drags his younger brother to a dreary Atlantic City and into a real-estate scam, events spiral into tragedy.
    (104 minutes, color, monaural, 1.85:1 aspect ratio)

    Amazon.com

    Head (1968)
    While the Beatles delighted fans with A Hard Day's Night, the Monkees confounded theirs with Head. Bob Rafelson, who cocreated the prefab four's hit television series, penned this psychedelic showbiz satire with Jack Nicholson, star of the director's acclaimed follow-up Five Easy Pieces. In an accompanying interview, Rafelson acknowledges, "Quite frankly, there was a bit of acid involved." That's clear from the start as drummer Micky Dolenz jumps from the Golden Gate Bridge to the lilting, lysergic strains of Carole King and Gerry Goffin's "The Porpoise Song." Unharmed, Dolenz, Davy Jones, Michael Nesmith, and Peter Tork proceed to play pop stars, soldiers, and cowboys at war with the public, actor Victor Mature ("The Big Victor"), and the star-making machinery (Rafelson and Nicholson break the fourth wall with their brief cameos). Jones also boxes Sonny Liston, woos Annette Funicello, chats with Frank Zappa ("The Critic"), and dances with choreographer-turned-singer Toni Basil of "Hey Mickey" fame. It's rambling and discursive, but the musical sequences, which anticipate the video era to come, are great. This Criterion edition comes with a swell selection of extras, including commentary from the band, trailers and promo spots, a snazzy slide show, an awkward TV interview, screen tests in which the quartet's innate charm shines through, and an informative documentary about BBS (the production company of Rafelson, Bert Schneider, and Steve Blauner) with historian Douglas Brinkley and critic David Thomson, who describes Rafelson and associates as "hippies, dopers, party animals to the max." --Kathleen C. Fennessy

    Easy Rider (1969)
    This box-office hit from 1969 is an important pioneer of the American independent cinema movement, and a generational touchstone to boot. Peter Fonda and Dennis Hopper play hippie motorcyclists crossing the Southwest and encountering a crazy quilt of good and bad people. Jack Nicholson turns up in a significant role as an attorney who joins their quest for awhile and articulates society's problem with freedom as Fonda's and Hopper's characters embody it. Hopper directed, essentially bringing the no-frills filmmaking methods of legendary, drive-in movie producer Roger Corman (The Little Shop of Horrors) to a serious feature for the mainstream. The film can't help but look a bit dated now (a psychedelic sequence toward the end particularly doesn't hold up well), but it retains its original power, sense of daring, and epochal impact. --Tom Keogh

    Five Easy Pieces (1970)
    This subtle, existential character study of an emotionally distant outcast (Nicholson) forced to confront his past failures remains an intimate cornerstone of American '70s cinema. Written and directed with remarkable restraint by Bob Rafelson, the film is the result of a short-lived partnership between the filmmaker and Nicholson--the first was the zany formalist exercise, Head, while the equally impressive King of Marvin Gardens followed Five Easy Pieces. Quiet and full of long, controlled takes, this film draws its strength from the acutely detailed, nonjudgmental observations of its complex protagonist, Robert Dupea--an extremely crass and frustrated oil worker, and failed child pianist hiding from his past in Texas. Dupea spends his life drinking beer and sleeping with (and cheating on) his annoying but adoring Tammy Wynette-wannabe girlfriend, but when he learns that his father is dying in Washington State, he leaves. After the film transforms into a spirited road movie, and arrives at the eccentric upper-class Dupea family mansion, it becomes apparent that leaving is what Dupea does best--from his problems, fears, and those who love him. Nicholson gives a difficult yet masterful performance in an unlikable role, one that's full of ambiguity and requires violent shifts in acting style. Several sequences--such as his stopping traffic to play piano, or his famous verbal duels with a cranky waitress over a chicken-salad sandwich--are Nicholson landmarks. Yet, it's the quieter moments, when Dupea tries miserably to communicate and reconcile with his dying father, where the actor shows his real talent--and by extension, shows us the wounded little boy that lurks in the shell of the man Dupea has become. --Dave McCoy

    Drive, He Said (1971)
    Jack Nicholson's first directing effort is a sports movie as it might have been conceived by Jean-Luc Godard, rife with kinetic editing and easy eroticism (as well as the casual sexism of the time). Hector (William Tepper, who later played Tom Hanks's father in Bachelor Party) is a rising college basketball star in a troubled relationship with dance student Olive (Karen Black, Five Easy Pieces), while his roommate, guerrilla theater student/political activist Gabriel (Michael Margotta, Can She Bake a Cherry Pie?), keeps himself awake so long to avoid the draft that he slips into madness. There is no plot per se, though the ebb and flow of Hector's relationship with his bullying coach (Bruce Dern, Silent Running) runs throughout the movie. Drive, He Said is mostly a state-of-consciousness film, striving to capture the mood of student unrest of the late 1960s/early '70s, a mix of manic frustration and existential dislocation (some scenes were shot during an actual student riot). The opening sequence, in which the guerrilla theater troupe disrupts a basketball game, is stunning, and the raw immediacy of how Nicholson, a notorious basketball fan, shot the playing was hugely influential. Contemporary audiences may grow impatient with the loose narrative, but visually intriguing moments and empathetic turns of character abound--if you surrender to the movie's idiosyncratic flow, Drive, He Said is a rewarding experience. --Bret Fetzer

    A Safe Place (1971)
    A Safe Place, Henry Jaglom's first feature film, succeeds on so many levels it is difficult to name a mere few. In attitude, one could call it kin to Easy Rider, the film Jaglom assistant edited with Dennis Hopper, and which led to Jaglom's affiliation with Jack Nicholson, who plays Mitch, Susan's unscrupulous ex-boyfriend in A Safe Place. While the film technically tells the story of Susan, a.k.a. Noah (Tuesday Weld), and her tenuous relationship with the more conservative Fred (Phil Proctor), A Safe Place operates more like a poetic, colorful dip into the consciousness of the characters who star in the film. Editing goes chronologically awry, flashing back and forth, repeating and skipping scenes; settings and conversations tie loosely together according to Susan's skewed logic; and a few key plot digressions create a melancholy, psychedelic mood more than they fortify Susan's tale in any straightforward way. These traits make the film. While time slips away under the spells of a homemade Ouija board that Susan and her friends play with, and is marked by her preoccupations with a mysterious Magician (Orson Welles) pulling rainbows out of boxes and trying to make zoo animals disappear, A Safe Place evokes the mystical, idealistic climate of the 1960s. In its intimate portrayal of Susan/Noah, constantly staring into the camera and revealing her thoughts through breathy dialogue, the film also lays the groundwork for Jaglom's desire to make women's films, as he did with Eating: A Very Serious Comedy About Women and Food and Babyfever. Somehow, through Jaglom's abstract, theatrical storytelling method, which is further explained in some informative director interviews in the extras, themes reveal themselves elegantly. On one level a simple love story, A Safe Place invites viewers to dig deeply into the universal fears inherent to most relationships: fears of repeating the same mistakes, fears of inability to love, fears of the future, fears of becoming too attached. All these fears, collaged into a patchwork of scenic moments and clips, miraculously express levels of human awareness that far exceed those in the average romantic comedy. --Trinie Dalton


    The Last Picture Show (1971)
    Like Easy Rider, Bonnie and Clyde, The Wild Bunch, and The Graduate, The Last Picture Show is one of the signature films of the "New Hollywood" that emerged in the late 1960s and early '70s. Based on the novel by Larry McMurtry and lovingly directed by Peter Bogdanovich (who cowrote the script with McMurtry), this 1971 drama has been interpreted as an affectionate tribute to classic Hollywood filmmaking and the great directors (such as John Ford) that Bogdanovich so deeply admired. It's also a eulogy for lost innocence and small-town life, so accurately rendered that critic Roger Ebert called it "the best film of 1951," referring to the movie's one-year time frame, its black-and-white cinematography (by Robert Surtees), and its sparse but evocative visual style. The story is set in the tiny, dying town of Anarene, Texas, where the main-street movie house is about to close for good, and where a pair of high-school football players are coming of age and struggling to define their uncertain futures. There's little to do in Anarene, and while Sonny (Timothy Bottoms) engages in a passionless fling with his football coach's wife (Cloris Leachman), his best friend Duane (Jeff Bridges) enlists for service in the Korean War. Both boys fall for a manipulative high-school beauty (Cybill Shepherd) who's well aware of her sexual allure. But it's not so much what happens in The Last Picture show as how it happens--and how Bogdanovich and his excellent cast so effectively capture the melancholy mood of a ghost town in the making. As Hank Williams sings on the film's evocative soundtrack, The Last Picture Show looks, feels, and sounds like a sad but unforgettably precious moment out of time. --Jeff Shannon

    The King of Marvin Gardens (1972)
    In The King of Marvin Gardens, Jack Nicholson plays against type; he's a depressive, introspective radio host, while Bruce Dern costars as his wild, dreamy brother always at work on his next scheme. When Dern invites Nicholson to get involved in a plot to buy a tropical island with someone else's money, Nicholson goes along for the ride. Everything about the film is surreal, from Ellen Burstyn as Dern's girlfriend, who begins to realize she's aging out of the games Dern plays, to the way the film is shot, with conversations on horseback and a private reenactment of the Miss America pageant with Nicholson in the Bert Parks role, singing "Here she comes, Miss America…." While the movie is not satisfying on every level, what director Bob Rafelson does best is to keep the audience off kilter, wondering who, if anyone, is the sane one. Extras include interviews with Burstyn, Dern, and Rafelson in which Rafelson admits Nicholson's opening monologue comes from a college essay that got him kicked out of class. --Paige Newman

    Customer Reviews

    If you like film at all you must get this.
    Dr. Morbius
    There were only two films in here I'd seen before, Easy Rider and The Last Picture Show, either of which was worth buying this box for.
    Changed Daily
    Criterion does an excellent job with the HD transfers and the extras on each film.
    Bob

    Most Helpful Customer Reviews

    52 of 57 people found the following review helpful By A. Wolverton VINE VOICE on August 31, 2000
    Format: VHS Tape
    The film opens with Nicholson in a tight shot talking to someone. We aren't sure at first to whom he's talking or why. From that opening scene I was hooked. Nicholson is a radio personality (David) who one day gets a phone call from his brother Jason (Bruce Dern) who is in jail. Jason is basically a big-time loser who has been trying all his life to make something big happen. His latest scheme is to encourage his brother to join him and his female companions (played by Ellyn Burstyn and Julia Anne Robinson) in Atlantic City while contemplating the purchase of an island near Hawaii. Many strange events happen along the way, not the least of which finds the two women competing for Jason's affection. A very strange scene occurs involving a fire on the beach. Without giving too much away, I will say that this is a turning point that has tremendous impact later in the story. So few films today have even slightly interesting characters. These characters are so vivid and interesting that you can't help but be intrigued, wondering what's going to happen next. Each scene seems to have no rhyme or reason, until finally the pieces fall into place. When the pieces do come together, you realize that you've witnessed something very unique, original, and haunting.
    The four leading actors are all at the top of their form. I have never seen Nicholson timid, unsure, or at a loss for words before. Dern is hopelessly reckless. Robinson is an innocent in an evil environment. Burstyn is perfect as the key to the whole story, which is one that I'll never forget. You'll think about this quiet little film long after the credits are over.
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    31 of 33 people found the following review helpful By Bob on January 3, 2011
    Format: Blu-ray Verified Purchase
    I hadn't heard about this collection until i ran a search for Head on Blu Ray here at Amazon. At first I was ecstatic that it was on Blu Ray but dismayed that it was only available as part of a collection. When I saw the other films included coupled with the price being right i decided to buy it. I have now watched all the films and wasn't disappointed. Criterion does an excellent job with the HD transfers and the extras on each film.

    Head was a lost gem I first saw on the CBS Late Movie in the early 1970s. To understand it, it helps to have some background about the Monkees and the myths surrounding them, as well as their desire to be taken seriously as a 1960s rock group. I already owned the Rhino DVD version, which professed that the 1:33 to 1 aspect ratio was original intended version. Nothing could be further from the truth; here it is presented in its original 1:78 to 1 aspect ratio (16:9 in the parlance of our times). The extras are very informative as is the commentary by Michael Nesmith, Peter Tork, Davy Jones and Micky Dolenz. Finally, an honorable version of this wonderful cult film!

    I have seen Easy Rider several times over the years; the last time I saw it was a DVD presentation and I found it to be somewhat dated. However, due to the excellent HD transfer I was less focused on the lingo of the day and more on Laszlo Kovac's excellent cinematography. It's amazing how great the film looks with a proper transfer and it gave me a greatly renewed interest. Again, the extras are top-notch and very informative. It's equally impressive how much "bang for the buck" BBS got from all their films.

    Five Easy Pieces was another film I already owned on DVD but again, this version looks wonderful.
    Read more ›
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    61 of 69 people found the following review helpful By Kevin Stafford on December 5, 2010
    Format: DVD
    Since I am mostly commenting on the "HEAD" portion of this set, I should include that already having "Five Easy Pieces" in a restored version on DVD and "Easy Rider" has been reissued numerous times with not much bonus material here, this print of "HEAD" is from the original 35mm negative! Where-as the awful DVD release from Rhino, who lies in a leader frame that the Full Frame format is how the film was meant to be seen! I beg to differ and bow to Criterion for releasing this incredible movie in glorious widescreen and in a true 5.1! Don't worry, those purist that still listen through a Stereo Reciever (because MOST humans only have 2 ears),like myself..the stereo seperation will blow you away, especially if you have the inferior RHINO release, you need not do a side by side comparison! Not only are the songs in true stereo but the entire soundtrack through-out the entire movie. Including the closing credits (Known on the Colgems soundtrack as "PLus Strings") by Ken Thorne. Which also gives RHINO another bad mark. In October, RHINO released a "HEAD Deluxe CD boxset" and list the "Plus Strings as "stereo" and they are most certainly not, yet Criterion goes the extra mile and finds true masters to all the Stereo songs plus Ken thorne's excellent incidental music! "Porpoise Song" has the nice deep low ends and crystal clear highs. Special credit with the live "Circle Sky" and "As We Go Along" where the vocals were burried on the RHINO release. Not so on this print. You feel as if the movie were filmed yesterday! Not bad for a 42 year old film! The colors are vibrant and the print is so sharp you may want to keep your hands away from the screen! Criterion deserves an award for thier excellence!
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    Most Recent Customer Reviews


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    Blu Ray deal of the week.. but is this really a good price?
    I had only seen The Last Picture Show, Easy Rider, and Five Easy Pieces when I got this set. As soon as I popped The Last Picture Show into the PS3, I knew the set was totally worth it. The picture was beautiful and there is plenty of interesting extra content as well. I still haven't gotten... Read More
    Apr 6, 2011 by L. Hansen |  See all 8 posts
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