45 had the widest opening of any of his films-in 93 theaters-using this strategy. The film was originally self-distributed-mostly to theaters in New York-with the filmmakers driving prints to the theaters themselves. New York in 1981, on the other hand, has a striking specificity, and would have had the shock of the familiar to the film’s original audiences in the grindhouses of Times Square and beyond. While it’s true, for example, that The Texas Chain Saw Massacre is set in a specific place, “Texas” is more of an idea than a concrete locale in that film, and Texas is the size of France. Its main setting in New York’s garment district (with side trips to Central Park and the Brooklyn Bridge) ties it to its setting more tightly than other exploitation films. The film feeds on its zeitgeist and its setting.
#Jumpcut rape revenge movie#
At its most basic level, it is a rape revenge movie derived from the likes of The Executioner, I Spit On Your Grave, and Death Wish, but it also inhabits a space and time between the Son of Sam murders three years before and Bernie Goetz, the subway vigilante, three years later, both of whom are part of the psychic warp and weave of New York in the late 1970s/early 1980s. 45 is an amalgam of both types of exploitation. Some of those events are cultural-landmark films, movements in music (how many movies tried to ride the disco craze), characters from television-but others derive from real-world events. For example: Jaws was an earthquake in 1975 that set of a tsunami in the culture so powerful that Jaws rip-offs are still being made in the late 2010s (for example: 2018’s The Meg). Some motivating event sets off a wave in the culture and exploitation films try to ride that wave. Exploitation filmmaking operates on the surfing principle. Made for a pittance as a follow-up to Ferrara’s Driller Killer and arguably set in the same universe as that film, it is ultimately opportunistic in the way it synthesizes its sources. 45 should be understood first and foremost as an exploitation film. She died in France in 1999 of cocaine-related heart failure. Living in Europe at the end of her life, she traded heroin for cocaine, which damaged her heart. Lund’s name is nowhere on the film, so who knows how much of her input informed Ferrara’s work. She planned another collaboration with Ferrara that never came to fruition during her lifetime, a biography of Pier Paolo Pasolini that Ferrara finally made in 2014. Drug liberalization formed part of her activism. 45 to the almost skeletal figure she cuts in Bad Lieutenant. You can see the effect on her if you compare her physique from Ms. In her original script, her character was named Magdalene, which suggests a specific meaning to her presence as a woman who shoots up Harvey Keitel’s Lieutenant. Above all, you can feel the anguish that is ‘transformed into history.’ All other drugs either achieve or are taken in an attempt to achieve the escape from that anguish.” Her life as an addict informs her appearance in Ferrara’s Bad Lieutenant. In the words of her friend, Richard Hell, “She believed in it.” In her own words: “On heroin, you can cry. She had begun to write, too, and she worked in television, most prominently on Miami Vice. 45, she made Special Effects for Larry Cohen, another low-budget auteur who alternately specialized in blaxploitation and monster movies. Ferrara once noted that she was paid about $3.50/hour to appear in Ms. She was the kind of underground bohemian who was loaded with talent and creativity but who was chronically without means. Lund was part of that fabric, too: she hung out with artists and revolutionaries, including her romantic partners. This was the era of garbage strikes in New York and rampant street crime and the underground avant garde and punk rock, all of which inform the film. Like that film, it has a vision of urban disintegration and alienation that Ferrara was able to capture mainly by just pointing his camera at it. 45, which was made on the cheap by Ferrara as his follow up to his debut film, Driller Killer. She didn’t get the gig, but she had been spotted. The headshot she took to the audition was taken in a photo booth. She auditioned for the 1980 film, Times Square, on a lark. 45, she was attending Columbia University on a music scholarship. She was a prodigy, excelling at music from a young age, and beautiful in the way of fashion models, with huge eyes, bee-stung lips, and an almost gaunt figure. Zoë Tamerlis (later Lund) was born to a Swedish American mother and a Romanian father in 1962.
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