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Ride a Wild Pony

Scott, a poor farm boy, is given a wild pony from a wealthy ranch owner's herd to ride to and from school. Scott and his pony soon become an inseparable team, until one day the pony suddenly disappears. Soon after, the ranch owner's handicapped daughter Josie has a wild pony especially trained to pull her cart. But Scott is convinced that Josie's pony is actually his, which leads to a court battle that divides their small Australian town. One child must ultimately lose the pony when true ownership is decided.

Ride a Wild Pony

6.6 1975
Funeral for an Assassin

Michael Cardiff is a professional revolutionary highly trained in a variety of techniques of assassination, infiltration and evading law enforcement. After escaping from prison he places identification items on a decomposed body to make him appear dead as he plans his revenge against the government. Cardiff uses his skills to murder a prominent judge making his death look like an accident in order to plant an improvised explosive device at his funeral attended by the movers and shakers of the regime. Only one non conformist police captain is on to his plans.

Funeral for an Assassin

5.2 1974
The Stranger Within

Who is the father of Ann Collins’ baby? Her husband had a vasectomy years ago. And Ann hasn’t been with another man. Even more mysterious: as the baby grows inside her, Ann begins to change. She is beset by strange illnesses, pours tablespoons of salt on her food, turns the thermostat to 50 degrees, speed-reads academic tomes. But much bigger shocks are yet to come. Barbara Eden stars in this hypnotic, swiftly paced blend of horror and sci-fi from Richard Matheson, the popular and prolific writer who also penned the novel I AM LEGEND and several notable THE TWILIGHT ZONE scripts.

The Stranger Within

6.6 1974
Aaron Loves Angela

Aaron and Angela, two young adults living in the Harlem ghetto of New York City, are deeply in love with each other. The only thing standing in the way of their love is their families. Aaron is black, while Angela is Puerto Rican, and neither family wants one of their own to associate with the others. As the pair rebel against the prejudices of their families, they soon find the conflict spreading out to their friends and neighbors, until the hatred threatens to spiral out of control.

Aaron Loves Angela

5.4 1975
The Birth of Venus

The basic material consisted of about 30 photos showing some close friends, and a dead pig we had found on a road. The pictures of the pig are used as a symmetric motion-montage. I took proper and left/right-inverted photos which are moved back and forth symmetrically over the central axis. The introduction-scene shows Botticelli’s “Birth of Venus,” cross-fading the figures at both sides and following the title, also Venus with a symmetrical pig-montage. A detail of B.’s picture appears at the end of the film on a wrapper of a lavoratory-deodorant (snif). Three Beatles songs emphazise the performance with their text. The pig is used as a symbol for the woman as a victim. It also stands for any associations to pig as proverbial: poor swine, filthy pig, greedy pig or it may allude to a pigsty or a pig in a poke, etc. The friends appear as: two dancing women, two lovers, a cock, a sex-changing head, etc. Part of the photos were shot by Marc Adrian. (M.B.)

The Birth of Venus

7.0 1972
Keep Off My Grass!

A group of merchants convinces the hippies who crowd the sidewalks of their town to start their own Utopian community in a nearby ghost town. Micky Dolenz appears as a sweet kid with a dream, tending to a single pot plant. This ill-fated comedy, which was filmed in 1971 but not released until four years later, was both the first and last directorial credit for comedian Shelley Berman. Only seen by a few in its limited theatrical run, the film has also never been released on video or DVD.

Keep Off My Grass!

9.0 1975
The Distant Drummer: Flowers of Darkness

The life of man is poor and nasty. A few plants give temporary relief: marijuana, alcohol, and opium. After a history of opium, including the 19th-century Opium Wars, we learn of the discovery of heroin; the rest of the film examines heroin trade and addiction in the U.S. Two tons a year enter the U.S., with only 100 pounds interdicted. Most is used in New York City. Interviews with customs officials, prosecutors, medical doctors and junkies provide points of view. The harsh 1956 law and the medically-oriented law of 1966 are contrasted, with the film on the side of treatment and rehabilitation. It ends with advocating reducing use here and finding other cash crops for farmers abroad.

The Distant Drummer: Flowers of Darkness

4.7 1972