Boulevard of Broken Dreams ... and preposterous satire!

Hollywood Sign, Hollywood Hills, Los Angeles, California, USA

P.J. Soles, Clint Howard, Vincent Van Patten, and Dey Young in Rock 'n' Roll High School (1979)

Angie Dickinson, Robbie Lee, and Susan Sennett in Big Bad Mama (1974)

Amy Yip, Chikako Aoyama, Peter Cheung, Anthony Chow, Billy Chow, Ken Goodman, James Wong, Siu-dan Hui, Wang-Hung Ng, Mark King, Lam Chua, Chung Lam, Jamie Luk, Vincent Lyn, David Wu, Fung Woo, Man Sing So, Jim Yeung, Siu Hung Yeung, Stuart Ong, Oni Tsuka, Richard Edward, Wing-Hin Ho, Bruce Shutten, Hoi-sing Cheung, Efi Hetz, Hin Ming Lee, Roger Thomas, Chi-Fung Yuen, Kwan-Luen Tam, Yiu-Bong Tsang, and Yuet-Wah Au in Robotrix (1991)

Asia Argento in The Stendhal Syndrome (1996)

Teri Guzman and Candice Rialson in Pets (1973)

Yeah, it rolls down one hill and can 'ardly get up the next.

Tara Strohmeier in Hollywood Boulevard (1976)

Rita George in Hollywood Boulevard (1976)

Paul Bartel, Mary Woronov, Jonathan Kaplan, and George Wagner in Hollywood Boulevard (1976)

Dick Miller in Hollywood Boulevard (1976)

Jonathan Kaplan in Hollywood Boulevard (1976)

Candice Rialson in Hollywood Boulevard (1976)

Mary Woronov

Paul Bartel

George Wagner

Danny Opatoshu

A young woman arrives in Hollywood to try her luck as an actress. An incompetent agent hooks her up with a production company which specializes in low budget B-movie fair, plagued by strange deadly accidents.

Allan Arkush

Joe Dante

Hollywood Boulevard

Lunacy with a Sneaky Subtext

The flick doesn&apos;t so much satirize or parody drive-in cheapos as it mocks them. And what movie series is easier to mock than the rubber monsters, cheezy sets, and sloppy directing from the 50&apos;s. In fact those earlier flicks pretty much made fun of themselves, and I can imagine what went on behind those set-ups. Here, those behind-the-scenes come to imagined life and add up to the flick&apos;s goofy core. But no teen of that era cared what critics thought, including myself. Then too, I really liked the drive-in crowd scene here, where anything goes including make-out teens on car fenders and wholesome 50&apos;s type families who actually watch the screen.

Anyhow, the action never stops after the first part. It&apos;s all explosions, gunfire, and production crew misfires, and shouldn&apos;t overlook the many topless actresses who are anything but misfires. Speaking of actresses, Rialson and Woronov&apos;s characters Candy and Mary are not mocked, being more abused by the quickie industry than lampooned. In fact the opening scenes of the stage-struck Candy getting taken-in by fast-talking operators like Walter (Miller) strike a more somber and realistic note than the movie&apos;s goofy remainder. In fact, despite the overlying lunacy, there&apos;s a somber subtext: namely, that Hollywood exploits the heck out of young women, making them readily dispensable like Jill and Mary. Perhaps that&apos;s not a surprising reality to most of us, but a worthwhile under-current to the tom-foolery, nevertheless.

On a lighter note, good to see real veterans of Roger Corman&apos;s drive-in empire getting lead roles here - I&apos;ll bet they had fun mocking their past. Anyway, brace yourself for an hour-plus of nonstop action and lots of laughs from a nutzoid look at good-times past at the beloved drive-in.

Trailer

https://m.media-amazon.com/images/M/MV5BYzJiZDRkZjgtMjMyZi00NGU1LThkNmQtNjk4MjE2NDI1OWZjXkEyXkFqcGdeQWRpZWdtb25n._V1_.jpg

The flick doesn't so much satirize or parody drive-in cheapos as it mocks them. And what movie series is easier to mock than the rubber monsters, cheezy sets, and sloppy directing from the 50's. In fact those earlier flicks pretty much made fun of themselves, and I can imagine what went on behind those set-ups. Here, those behind-the-scenes come to imagined life and add up to the flick's goofy core. But no teen of that era cared what critics thought, including myself. Then too, I really liked the drive-in crowd scene here, where anything goes including make-out teens on car fenders and wholesome 50's type families who actually watch the screen.

Anyhow, the action never stops after the first part. It's all explosions, gunfire, and production crew misfires, and shouldn't overlook the many topless actresses who are anything but misfires. Speaking of actresses, Rialson and Woronov's characters Candy and Mary are not mocked, being more abused by the quickie industry than lampooned. In fact the opening scenes of the stage-struck Candy getting taken-in by fast-talking operators like Walter (Miller) strike a more somber and realistic note than the movie's goofy remainder. In fact, despite the overlying lunacy, there's a somber subtext: namely, that Hollywood exploits the heck out of young women, making them readily dispensable like Jill and Mary. Perhaps that's not a surprising reality to most of us, but a worthwhile under-current to the tom-foolery, nevertheless.

On a lighter note, good to see real veterans of Roger Corman's drive-in empire getting lead roles here - I'll bet they had fun mocking their past. Anyway, brace yourself for an hour-plus of nonstop action and lots of laughs from a nutzoid look at good-times past at the beloved drive-in.

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Hollywood Boulevard

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