Nickelodeon

The critical "view" of this film is that it's a dog. But that's only true if you want to see films through the eyes of critics; and when this one came out, the critics were gunning for Bogdanovich. Why? Who knows. They were gunning for Spielberg when "1941" came out, the difference being that Spielberg bounced back. Bogdanovich never really did, but that doesn't make "Nickelodeon" a bad film. True, it has no appreciable story, but it's a nifty little love letter to the makers of those early movies; which is why it has equal parts slapstick and straight drama. It's affectionate rather than melodramatic, and has a convincing evocation of what it must have been like to be around, scuffling on the edges of fame and fortune with this weird new invention, motion pictures. It's not going to scare you, or thrill you with wall to wall CGI pyrotechnics, it doesn't have a cast of thousands, and it didn't bankrupt a studio to make it. It's a good little film, well made, solidly cast and directed, and in general, well acted. A lot of what we like in film depends on our expectations. The critics were gunning for Bogdanovich because they were expecting Art with a capital A; instead what they got were a lifelong film fan's notes. Enjoy.

Nickelodeon must have been a labor of love for Peter Bogdanovich as both a filmmaker and film historian. Whatever else you can say about Nickelodeon it was certainly meticulously researched.

This film is a portrait of the early years of motion pictures. Forthose who doubt the veracity of the film you can find stories like this in the autobiography of Cecil B. DeMille. Back in the early teen years DeMille went to Californiawith his troop and made The Squaw Man against the trust who are the villains here.

His name is not mentioned, but the trust was an effort by Thomas Edison to control all aspects of film making with patents. Unfortunately while it is arguable he was the first to invent moving pictures, he was not alone. Melies in France and Friese-Greene in Great Britain were doing te same work not to mention others in the USA. Ultimately Edison lost the patent wars as portrayed here.

Lawyer Ryan O'Neal and conman Burt Reynolds become director and action star working for Brian Keith an independent producer. They also become romantic rivals for Jane Hitchcock.

Tatum O'Neal as a nicepartas a precocious adolescent with a good imagination who becomes a screenwriter. John Ritter is an early cameramanand Stella Stevens another actress.

I'm surprised at the tepid reviews that Nickelodeon got. It's a well crafted film that shows the love Peter Bogdanovich has for his profession.

I had no idea this film cost so much. As charming and entertaining as it is, it is a million more than STAR WARS of 1977(and even THE BETSY...., sorry,) and 3 million more than Bogdanovich's previous film AT LONG LAST LOVE. At the time it was severely criticised by purists for lifting gags from his own 1972 comedy WHAT'S UP DOC? and for not really making a funny film about a topic falling all over itself with possibilities. Viewed THIRTY years later (Jeez!) NICKELODEON is an almost masterpiece of film craft and highly evocative, and I would like to say, as maligned as some other Bogdanovich films. It does stand the test of time and for a new audience, uneducated on silent films, would be a refreshing and often hilarious comedic revelation. Well, compared with Adam Sandler films and common day multiplex cine-stupidity, NICKELODEON is hilarious. It actually has production values, sight gags, engaging characters, actors and actually IS funny and endearing. It deserves re appraisal and I recommend it above CHAPLIN ....SINGIN IN THE RAIN it ain't, but PERILS OF PAULINE it is close................... NICKELODEON is well made fun.

As Peter called it his Director's Cut and this was also a World Premiere. It was completely in black in white in a movie theatre for the first time ever. PB said he hadn't seen it ever on the big screen in this new and preferred way either. What a wonderful ode to the way that it was back in the 1910's.

I laughed frequently to the gags, film in-jokes, and silent film style action. Period detail was fun to see with the clothing, cars, white face for silent scenes, and silent inter-titles between scenes. All around this is one of those fun movies that's filled with a lot of info layered into the story. Even more so to those fans that know what it took to create and record performances on the first motion picture film stocks. The film score by Richard Hazard sounded like it was lifted from one of the Keystone Kops films. The cinematography by Laszlo Kovacs was superb. I loved the closing credits sequence showing a studio of glass with bright lights at night and showing the filming of soldiers marching through the set and then coming outside to go around again and again. The level of authenticity was undeniable and enjoying both at the same time. A Rare Feat.

Within the film it would show people watching silent films and what it took for those employees of that theatre to recreate with the in house orchestra and sound / special effects to be heard alongside the audibly silent film performance.

I miss John Ritter, Jane Hitchcock was gorgeous, James Best in his western garb, George Gaynes (the Commandant who got blown away in Police Academy 1), Harry Carey Jr, M. Emmet Walsh, Brian Keith, and the juicy Stella Stevens.

* Before the movie started there was a Q&A. Among the facts before the screening were these: Peter stated that the studio wouldn't let him use Cybil for this film (even though it was written only for her) or that if she would do Nickelodeon they would NOT let her do Taxi Driver. Also Peter wanted to go with Jeff Bridges in Burt's role.

That the then head of Columbia said it would be OK to film it in color and then we'll let you release it black and white. The studio also forced him to remove a scene of Ryan romancing Ritter's girl Stella. It was nothing more than Ritter seeing Ryan go into Stella's room and close the door. Ritter in that moment had Tatum at his side.

The copy we saw last night was on a Beta type tape. So there was a delay of perhaps 15 seconds in the theatre for switching the tapes. It came from the acting Columbia library mgr within the last few months. PB had only seen this print once before at Quentin Tarantino's house. QT has the gadgets necessary to play this apparently rare type of Beta stock. QT's quote for last night's theatrical screening was "It's F'ing Rad"; although QT was not in attendance.

Peter said that he hopes that there will be a future director's cut release onto DVD here in the states. As the abused Columbia release is so far only on DVD in the UK. I told him I'd love to hear his commentary for the movie. What a movie!!!

Just finished watching the color version on Turner Classic Movies. I loved "Paper Moon," especially the wonderful depression-era music, and "The Last Picture Show" (I grew up in Texas not so far from Archer City in the same era), so that's what I knew about Peter Bogdonovich, the director. I echo many of the reviews, without having known about the reception the film apparently received at the time. Even though I was grown when it came out, I just never got around to seeing it. Maybe I wouldn't have enjoyed it as much as now, as I approach 60.

Yes, it's filled with slapstick, sometimes goofy, but the audience is in on the jokes. I felt like I was invited to the party, with all these wonderful actors (not in the thespian sense, but in the popular sense)as friends. The magic is that it makes you feel comfortable, because loving movies and movie making is part of my life, too. It appreciates the audience and wants us to have a good time with it.

The director obviously loves the medium. In many ways, there was a Fellini-esque quality to it, as another reviewer wrote. The magic of Fellini was similar: he used the everyday strangeness of reality to make his films real. Hollywood is the make-believe; reality makes a better film.

This is art imitating life. It celebrates the birth of the industry and the magic of the universal language of moving pictures, captured beautifully and simply in Brian Keith's closing monologue. It is Peter's love letter to the industry and to the audience, as only a lover could compose. It is beautifully crafted, the acting balanced throughout the ensemble, and the message delivered with wry humor. Though I didn't see it when released, it may look better now, in nostalgic retrospect. It IS a love letter, and at my age, it is a delightful homage to an industry that just "doesn't make 'em like this anymore." Thank you, Mr. Bogdonovich and all the cast. Love you, too.