Taking Off

This is the first Milos Forman's movie in America. It's still got the European style, a very special way to describe the story. Bourgeois parents tries to find why their quiet teenage girl ran away from home. It's a story about the gap of generation, between the straight parents and the hippies children. Forman present a funny and tender look at the youth of America of the early seventies. While the teenage girl is very gentle and quiet, the parents, who are afraid she will take drugs, get drunk and plays strip poker. The movie is now a little bit of a kind of oldie film! Just a take a look at all those typical seventies long hairs boys and girls, the way they dressed. Kinda funny, like seeing teenagers in a Doris Day movie of the fifties. There are lot of very funny sequences of the young girls singing at an audition for a show. We can see young Carly Simon in it. There is also a sequence with the Ike & Tina Turner Revue. I like it, even if it's a little bit old today. It's strange to say that, because I was a teenager myself when this film was shot by Forman.

Milos Forman's first American release is part social satire, part farcical look at two morose, middle-class parents (Buck Henry, Lynn Carlin, both outstanding)

who begin to enjoy life only after their teenage daughter (sad-eyed Linnea

Heacock) runs away. At once funny and touching, Forman and veteran Bunuel

collaborator Jean-Claude Carriere ("Belle du Jour," "Diary of a Chambermaid") concoct a simple story of unexpected depth, a wry comedy that unfolds

gradually, gently lampooning marriage and family life while painting a sensitive portrait of the confused, disenfranchised youth scene of the 1960s. Forman

regular Vincent Schiavelli makes his debut here as a bell-bottomed marijuana

"expert," who carefully instructs a banquet hall full of clueless parents in the fine art of getting high. A young Kathy Bates and a spirited Carly Simon appear

briefly singing at a theatrical audition, while Georgia Engel and Audra Lindley turn in subtle, nuanced performances several years before their television

debuts on "The Mary Tyler Moore Show" and "Three's Company," respectively.

A beautifully observed, underrated gem.

I discovered this by accident, and have to wonder why it has been so ignored these last 22 years. Forman's take on the America of the late sixties is a beautiful mood piece, at times amusing, at times moving, but always acted, directed and written with subtlety and wit. I would reccomend this as a definative film about the culture of the Sixties.

I remember seeing this on tv years ago. The scene that stands out in my memory is the one where, at a seminar, Paul Benedict (Mr. Bentley from Tv's The Jefferson's) schools a group of middle aged parents on the proper way to smoke marijuana. They do this so that they may better understand their children. A scene that really belongs in a late 60's/early 70's time capsule. It is a halarious classic scene that alone makes the film worth seeing. Hopefully this title will be out on video soon.

I first saw this in 1989. It was old then, but nearly 20 years later its just as fresh and witty. Superb sound editing, great comic set pieces (the how to smoke a joint scene or the black salute), poignant (finding the smokes in the Jeannie's room with "Even the white horses" playing), the music performances (Ode to a Screw) and such acute observation of American Society. Nothing is missed: the comic potential of the fact that there is a "Society for the Parents of Lost Children(SPLC)", the realization that it is the parents who are lost; the lucrative potential of the counter culture and the "establishment's" realization of this (best seen in the hilarious speech by Jeanies boyfriend toward the end). Much of the comedy is drawn from the characters' little crises in their lives and their attempts to solve them, but it is always a warm and affectionate comedy. Forman likes these people, he likes America, he's willing them on, every slightly misguided step of the way.