REVIEWS
" It's always refreshing
to stumble across an obscure, bizarre and baffling relic from the
groovy late-60s, when coherence was at a minimum and radical ideas
were happily embraced by open-minded viewers. This begins with an
opening-credit montage that includes police brutality, dead Vietnamese
children, JFK's assassination, Kent State, etc. - so I was expecting
a heavy message flick. But instead, it offered up a hippie-hodgepodge
of political metaphor, barely-baked philosophy, sing-a-longs, bizarre
camerawork, tinted stock, solarization, split screen, and gratuitous
sex scenes that makes you wonder if the cameraman was on peyote. In
other words, "Yow!" In addition, this no-budget odyssey
stars improvisational comedy legend Del Close, along with fellow member
of San Francisco's The Committee, Gary Goodrow.
Its baffling story is set in an anachronistic Old West town (which
contains electric guitars and miniskirts), with all of the townsfolk
in search of precious gold! Along the way, they're attacked by modern-day
soldiers and seduced by right-wing conspirators (led by a stick-in-the-mud
referred to as "The Law," played by Goodrow). There's also
a rigged election, trampled personal rights, evicted citizens, and
"The Law" getting pissed whenever he spots nude flower children
cavorting in the woods. No surprise, these elected-assholes feast
on their power, by murdering anyone who represents freedom (or runs
around in the nude) and by keeping all 'lawbreakers' in an animal
pen.
Let's not forget a wild-eyed rebel (Del) who roams the countryside
and is the only voice of reason. Oh, look, he's hauling a big-ass
cross! Could it be any more obvious?! Eventually he teaches
the jailed common folk Revolution 101 (including Molotov cocktails
and guerrilla tactics), so they can rise up against their lowly oppressor,
bulldoze their prison, fire off scrap-metal cannons, and to celebrate,
everyone gets naked! Yep, there's always some excuse to strip off
your clothes for an orgy or skinny dip.
The film was shot in 1968, in Northern California, but wasn't released
theatrically (in London) until 1972, and didn't premiere in America
until 1996(!), with director/producers Bob Levis and Bill Desloge
credited as "organizers." Frankly, I wouldn't be surprised
to learn that most of the script was improvised on the spot. Since
Close and Goodrow were both experts at double-talk, they're pretty
amusing when left to their unique talents. Optical FX consultant Zoran
Peristic later graduated to films like SUPERMAN and RETURN OF OZ,
and there are evocative music contributions from Rambling Jack Elliot
and Motor City 5. Full of good intentions and crude as hell, this
is an indulgent, energetic, 90-minute burst of hoary symbolism and
lovable counterculture craziness. No question, it looks like everyone
had a blast filming it, and with the proper 'medication,' most viewers
will too " - Shock Cinema (Fall-Winter 2002-03)
" Like
Hair, the film reflects the time when West Coast flower children were
slowly evolving a rudimentary political consciousness. And so the loose
plot centers on a baddie (in a Chicago gangster suit) who is at once
a bent cop, a "fascist" thug, a corrupt politician, a capitalist
and worst of all, a killjoy. Occasional witty perceptions (like the
cop distracting the crowd with a busty stripper while eliminating the
rival election candidate) are outweighed by the sheer vacuousness of
the hippies, who lie around masturbating complacently in their compound
while awaiting liberation. It's punishment park as pleasurama, clouded
only by throwaway identifications of the lead characters with Nixon
and Kennedy, Castro and Che. Yet ultimately the film's naivete is almost
charming. Enough of the gags work, the sex is as innocent as the days
when nudists played volleyball (though there are still fewer naked men
than women), and the cast play like a hippie theatre commune on holiday.
The makers (who prefer to be called "organizers" than directors)
have edited it to a pace that keeps interest awake. In fact, in its
quaint, very American way, the film survives as a piece of revolutionary
baroque " - Tony Rayns , London
" All
is not gold that glitters, and the unexpected emergence of the 1972
underground indie comedy "Gold" is not exactly a glittery discovery.
This small, strange film was never theatrically released and seems to
have been laying around in oblivion before being dug up and given an
overdue chance to shine by Bob Levis, who created the film with Bill
Desloge (the men were billed as "organizers" in the credits).
"Gold" is basically an endless (or seemingly endless) stream of jokes,
sight gags and caustic political commentary tied to the oddball plot
of a crooked cop (improv comic Del Close, inexplicably dressed like
an Al Capone-era gangster) who coerces a hippie ally (Garry Goodrow)
into some sort of unclear plot involving a train full of flower children
(some dressed in 19th century clothing) who are on their way to a field
where gold has been discovered. There is also a pretty blonde woman
who gets to take off her clothing every now and then; her exact function
in the scheme of things is never quite clear, but the distraction created
by her magnificent mammaries is more than welcome..."
[more]
- Phil Hall (2003-04-20)
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