In Hollywood ist der Teufel los

but probably nobody else.

A young, beautiful woman (Candice Rialson) comes to Hollywood to become a star. She starts working with Miracle Pictures ("If it's a good picture, it's a miracle") as a stunt girl. Miracle makes nothing but ultra cheap t&a movies. There's the star director (Parl Bartel) who supposedly thinks he's making art and an arrogant diva (Mary Woronov) who wants all the film to herself. Then woman are being killed on the set. Who's doing it...and why?

Film was actually shot in 10 days with directors Joe Dante and Allan Arkush using tons of footage from previous Roger Corman movies. The movie never takes itself too seriously and does have some VERY funny lines. But the plot is way too feeble even at 83 minutes (there's LOTS of padding); the acting is pretty bad (except for Bartel, Woronov and Dick Miller--all having a GREAT time); there is an unnecessary (and stupid) wet T-shirt sequence; there's a very sick rape scene played for laughs (and repeated twice); a very brutal knife slashing and plot holes galore (why DOES that guy at the end have all that stuff about victims in his little shed?).

What kept me watching is the tons of funny little injokes for movie fans. They're way too numerous to mention but they are there. Also it was just released in a 25th anniversary edition and looks just great. Most casual viewers will probably find this dull, stupid and sick--they're right, but it is fun for film fans.

Don't miss the jokes during the closing credits and one right after them.

Ultra-cheap even by New World Pictures standards, naive go-getter with stars in her eyes Candice Rialson ("my friends call me Candy") finds herself the reluctant débutante in a z-grade Phillipino actioner when her shonky agent (Miller) signs her up for stunt work in the latest film of the "Miracle Pictures" assembly line. The last stunt girl died as a result of the paltry set conditions but Candy is willing to give almost anything a go if it means an opportunity to make it big. Initially duped into robbing a bank that she thinks is a hidden camera role, "Hollywood Boulevard" chronicles Candy's coming of age as she matures in the sordid, tempestuous industry of exploitation film.

Really just a self parody, directors Dante and Arkush have spared much expense cobbling together this endless parade of in-jokes and raunch, with dialogue to die for ("now get it up, or I'll cut if off") and enough skin to make a porn star blush. Bartel is amusing as the ultra efficient director, desperate to placate his high maintenance leading lady (Woronov) and come in under budget, while Jeffrey Kramer (fresh from "Jaws") trundles out the banal scripts like confetti at a wedding, while wooing Candy on the side.

Lots of bare flesh, flying limbs, simulated sex and corny double entendres to offend almost everybody, and, a bizarre blue grass musical number of zero relevance thrown in for good measure. If you're not a devotee of the New World Pictures experience, then doubtful "Hollywood Boulevard" will be your cup of tea; for everyone else, it's a trademark romp down to the usual standards.

This is a fun movie, especially if you like filmmaking you can apreciate the silly movie making gags. I wasn't expecting much when i rented this movie, but i ended up being entertained from beginning to end. It is stuffed full of nudity and silly humor to make this a sugercoated fluffy bunnyhop throught the Glitter Dome.

Joe Dante got his start as a director in collaboration with director Allan Arkush on this zany send-up of low-budget film-making, lampooning their own mentor/boss Roger Corman with "Miracle Pictures - if it's a good movie, it's a Miracle!" It's also an homage to an obscure Bela Lugosi flick, The Death Kiss, about a death on a horror movie set. This story takes that premise a little further by making it about a series of deaths, seemingly (at first) unrelated, but soon enough showing a pattern of the female stars being targeted. Who is the culprit isn't really as important, or as entertaining until the last few minutes anyway, as seeing the whole fun/rotten atmosphere of down-and-dirty B-movie-making.

It's not that every joke (intended or not) always works, and some of the acting, even if intentionally, is quite pitiful. But Dante and Arkush are putting so much there on the screen via Patrick Hobby's screenplay that enough of it really does stick. Some of it attributable to the plucky can-do attitude of the character Candy Hope (and equally fun to watch, Candice Rialson) and how she observes and becomes apart of the insanity and snobish-ness of the film crew. Lines also stick out as being the kind you want to quote for weeks ("Your motivation is to kill hundreds of Philippine soldiers!"), and acting from the likes of Dick Miller as the well-meaning agent and Paul Bartel as the pretentious director Erich von Leppe.

The jokes and gags keep coming, and often at a quick enough pace - there's a big shootout between the girls and (stock footage of) Philippene soldiers that is a lot of fun, and a car that's brakes are cut off which allows for a tremendously goofy car chase scene (the car itself possibly on loan from Death Race 2000). And there's a hysterical sequence at a drive-in movie theater for the premiere of Candy's big-screen debut that turns out horribly. It's a sometimes sloppy comedy but that's part of the charm, and a lot of ingenuity goes a long way (one sequence at the movie set after hours where a killer lurks after one of the girls is actually very well directed and moody, a sign of things to come from Dante especially).

I spent the best years of the 1970s at the drive-in, and this film is a most enjoyable look at drive-in movies and the people who made them. If you don't count the Ingmar Bergmans, it may be the best picture ever released by New World Studios. I saw this on big screen, before the print had gotten very many scratches, and more recently on video where it held up as any other classic does.

New World editors Joe Dante and Allan Arkush were allowed by boss Roger Corman to direct a picture, within very strict budgetary limitations, and they produced this classic look at drive-in films and the people who make them, just a few years before the whole genre was kicked into limbo by the VCR. Through clever use of action footage from older New World films, Arkush and Dante brought their film in on budget and earned their first professional directorial credits.

Aspiring actress Candice Rialson (wow!) hits town, fresh from Indiana, and secures the services of scruffy talent agent Walter Paisley (okay!), who gets her work in lowbudget pix from Miracle Studios ("It it's a good picture, it's a Miracle!") -- where they make movies like BAD GIRL IN BOYS TOWN and ATOMIC WAR BRIDES, where director Paul Bartel reminds Godzilla, "Your motivation in this scene is to step on as many people as possible," and where Mary Woronov is the queen of the lot. Skinny snarling starlets blast away with machine guns. Extras from THE HOT BOX fall out of trees in the Philippines. Model-Ts crash in BIG BAD MAMA. Candy jumps to dodge rolling car debris. Wait a minute, somebody is killing the starlets here at Miracle! Rita George dies! Tara Strohmeier dies (NOOO!!!!). Who's doing it? Is Candy next on the list? Who will survive and what will be left of them?

We also visit a glam movie premiere at a Valley drive-in, watch a boy-girl scene scored to a somewhat revised version of "Everybody's Truckin'," with the band serenading the gropers live, and we see Paisley audition Robby the Robot ("Let me hear you say 'Frankly, Scarlett, I don't give a damn'"). Candice Rialson is perfect (in her best role) as the naive Candy, Mary Woronov goes gleefully over the top as movie legend Mary McQueen, and Dick Miller should be in EVERY motion picture that comes out of Hollywood. The treatment of the wacky world of drive-in moviemaking is affectionate, there are a lot of cameos, and anyone who likes Dante's or Arkush's other work will find this well worth the 80-odd minutes it takes to watch. However, I have never been able to spot Belinda Balaski anywhere in this, and she's not named in the IMDB credits. Is this the only Dante film she's not in?

Corman remade the film in 1989 as HOLLYWOOD BOULEVARD 2, with Ginger Lynn Allen in the lead, but it is just a remake, not a sequel, and even though the budget is considerably larger it is not as fresh or as funny (though it's not as bad as the remakes of BIG BAD MAMA or ROCK 'N' ROLL HIGH SCHOOL).

This film belongs on a drive-in screen, not on your tv set, but since that is the only place you're ever going to see it now, crank up your living room Rolls Canardly and have some fun. I used to give this a rating of 9 on the IMDB scale, but having finally seen THE PASSION OF JEANNE D'ARC in the meantime, I have lowered BOULEVARD to a more realistic 8.