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IMDbPro

Symbiopsychotaxiplasm: Take One

  • 1968
  • Not Rated
  • 1h 15min
VALUTAZIONE IMDb
7,2/10
2742
LA TUA VALUTAZIONE
Symbiopsychotaxiplasm: Take One (1968)
Documentary

Aggiungi una trama nella tua linguaFilmmaker William Greaves auditioned acting students for a fictional drama, while simultaneously shooting the behind-the-scenes drama taking place.Filmmaker William Greaves auditioned acting students for a fictional drama, while simultaneously shooting the behind-the-scenes drama taking place.Filmmaker William Greaves auditioned acting students for a fictional drama, while simultaneously shooting the behind-the-scenes drama taking place.

  • Regia
    • William Greaves
  • Sceneggiatura
    • William Greaves
  • Star
    • Patricia Ree Gilbert
    • Don Fellows
    • Jonathan Gordon
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,2/10
    2742
    LA TUA VALUTAZIONE
    • Regia
      • William Greaves
    • Sceneggiatura
      • William Greaves
    • Star
      • Patricia Ree Gilbert
      • Don Fellows
      • Jonathan Gordon
    • 24Recensioni degli utenti
    • 24Recensioni della critica
    • 71Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 2 vittorie totali

    Foto

    Interpreti principali10

    Modifica
    Patricia Ree Gilbert
    • Self - Actress Testing for Alice
    Don Fellows
    Don Fellows
    • Self - Actor Testing for Freddy
    Jonathan Gordon
    • Self - Soundman
    Bob Rosen
    • Self - Production Manager
    • (as Bob Rosen)
    William Greaves
    William Greaves
    • Self - Director
    Susan Anspach
    Susan Anspach
    • Self - Actress Testing for Alice
    • (non citato nei titoli originali)
    Audrey Heningham
    • Self - Black Lady Clapping her Hands
    • (non citato nei titoli originali)
    Stevan Larner
    • Self - Cameraman
    • (non citato nei titoli originali)
    Terence Macartney-Filgate
    • Self - Cameraman
    • (non citato nei titoli originali)
    Maria Zeheri
    • Self - Camera Assistant
    • (non citato nei titoli originali)
    • Regia
      • William Greaves
    • Sceneggiatura
      • William Greaves
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti24

    7,22.7K
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    Recensioni in evidenza

    7Jeremy_Urquhart

    We can't work it out

    It's simple.

    It's a documentary (or is it?) about people trying to film a scene, and the people filming the scene are themselves being filmed, and Miles Davis is playing consistently in the background, and there's interludes where people talk behind the scenes about the nature of the film they're both in and making - including whether they're actually acting or not, and whether anyone will see the film, and how things may or may not be edited - and all the while, everyone has to deal with various interruptions as well as general existential dread and confusion, and then a very interesting homeless man (or is he?) hijacks the film and it then ends, and then there's an apparent part 2 made almost four decades later.

    I might've missed something.

    Like I said... simple.
    10TonyKissCastillo

    I Can Look You in the Eye and Say, Unflinchingly, the Words: "GENIUS! Pure, Unadulterated GENIUS!"

    ......................................................from Pasto,Colombia...Via: L.A. CA...and ORLANDO, FL

    After my first viewing: Total shock! Upon some reflection, I didn't feel I was ready to write a review, so I watched the Special Features segment on William Greaves (At 1 hour, almost as long as the film) and then watched SYMBIO again. Here's the comment I was going to use after viewing once: "Is it an extremely original concept in film-making? Yes, undoubtedly! Is it enjoyable and watchable? For me, at least, the answer to that is 'Not so much' 7*" Just how stupid am I, anyway? (Rhetorical question, that!)

    Here I am, nearly 66 years old, yet it wasn't till yesterday that I became aware of William Greaves! Can't remember the last time I could look anyone and everyone in the eye and say the words, with soulful and unabashed conviction: "GENIUS! Pure, Unadulterated GENIUS!" Sitting here at my computer, focusing on authoring this review, the SYMBIO-experience has inspired me to an extent unparalleled by any other film in recent years.

    My job now: Articulate this in a way that, in turn, will inspire you to watch and perhaps produce a review of your own. Here, perhaps the most challenging aspect of review-writing is to avoid anything resembling a spoiler. Don't read the Blurbs. One definitely contains a spoiler, which could easily deprive you of the joy of "Getting It" all on your own! The two things which stand out most in retrospect? First, the sheer simplicity of the applied concept itself is truly inspirational, in and of itself. Second, that it took a 1/4 of a century, after the fact, for Mr. Greaves to get a decent screening and begin to get some of the recognition he so sorely deserved for this cinematic milestone.

    Couldn't help but notice that SYMBIO-was shot in August 1968, just a few months after the release of Stanley Kubrick's 2001. What do both films have in common? Well, thematically, not much, really. But it's hard to imagine someone like Greaves not having seen it soon after its release, so...Who knows? We could always ask him!

    10*.....ENJOY/DISFRUTELA!

    Any comments, questions or observations, in English o en Español, are most welcome!
    tedg

    Grade School

    This was recommended by a reader, and I'm glad to have seen it. But that's only because I'm interested in anything that contributes to the vocabulary of folding or self-reference. But I would not recommend this to you as a film experience. It is a clever idea: film acting students in Central Park doing a screen test. The lines they play with are capriciously malleable. Meanwhile a camera documents the events behind the first camera. There's sometimes a third camera as well, and from time to time that camera focuses on a discussion of the crew. They're discussing — with amazing vacuity — the advanced implications of the film.

    In other words it is explicitly self-referential in the simplest of ways. There are many more clever folds in the film world, and certainly from that period, so this isn't rare or even novel. It would be something to recommend if all this relatively sophomoric enlightenment had been turned to something that had blood and muscle of some kind.

    But it hasn't. Its one tool in a collection of several that have to be applied to the real building material of life. It lacks any of that and isn't a particularly sharp tool at that.

    Perhaps Part 2 1/2 will be worth it.

    Ted's Evaluation -- 2 of 3: Has some interesting elements.
    10valis1949

    Love Or Confusion

    In 1968 when, "SYMBIOPSYCHOTAXIPLASM: Take One", was released, it came from out of nowhere, and struck like a psychedelic thunder bolt. Afro-American actor and film maker, William Greaves, aimed to forever alter the 'news-reel' style of documentary film-making, and to this day, there has never been anything quite like it. The movie is a film about 'the making of a film', and intentionally written and directed so as to create as much controversy and contradiction as possible. Set in New York's Central Park, the action and scant dialog concern a couple who fight and bicker about homosexuality and abortion. The woman wants out of the relationship, and the man wants an explanation. Near the end of this interaction, a drunk homeless man interrupts the proceedings and offers his commentary, and personal back-story. Then, after the principle footage has been shot, the film crew add their own views of the film-maker and what they feel is his inept handling of the movie. And during the entire film, multiple cameras are employed to record the action within the scene, and extraneous commentary by cast, crew, and onlookers. I would certainly recommend this film to anyone who has an interest in Avant Garde film makers such as Andy Warhol, John Cassavetes, or Jim Jarmusch. William Greaves attempts to show that a thing cannot be truly observed and understood because the viewing itself would alter the reality. "SYMBIOPSYCHOTAXIPLASM: Take One" can be seen as a cinematic representation or application of The Uncertainty Principle. This is only one possible explanation, and Greave's true intent is certainly open for speculation. Above all else, this film seeks to confound, confront. and stimulate, and without a doubt, succeeds admirably.
    10Tony-Kiss-Castillo

    CAN LOOK YOU RIGHT IN YOUR EYES AND SAY.... "PURE GENIUS!"

    I AM IN SHOCK!!!

    After my first viewing, I was in shock! After some reflection, I really didn't feel one viewing was enough to write a review, so I watched the Special Features segment on William Greaves (At one hour, almost as long as the feature itself!) and then I watched the entire movie again...Here is the comment I was going to use after just my first viewing: "Is it an extremely original concept in film-making? Yes, undoubtedly! Is it enjoyable and watchable? For me, at least, the answer to that question is 'Not so much!'

    8*******" Boy, just how stupid am I, anyway? (Rhetorical question, of course!) Here I am, at 76.2 years of age, and it wasn't until yesterday that I became aware of the name William Greaves! I really can't remember the last time I could look anyone and everyone in the eye and say the words, with soulful and unabashed conviction..."GENIUS!... Pure, Unadulterated GENIUS!"

    Sitting here at my computer, focusing on authoring this review, the SYMBIO-experience has inspired me to an extent unparalleled by any other film in recent years. My job now: Articulate this in a way that, in turn, will inspire you to Queue, watch and perhaps produce a review of your own. Here, perhaps the most challenging aspect of review-writing is to avoid anything resembling a spoiler. Don't read the NF Blurbs. One definitely contains a spoiler, which could easily deprive you of the joy of "Getting It" all on your own! The 2 things which stand out most in retrospect? First, the sheer simplicity of the applied concept itself is truly inspirational, in and of itself. Second, that it took a quarter of a century, after the fact, for Mr. Greaves to get a decent screening and begin to get some of the recognition he so sorely deserved for this cinematic milestone.

    Couldn't help but notice that "SYMBIO" was shot in August 1968, just 3 months after the release of Stanley Kubrick's 2001. What do the 2 films have in common? Well, thematically, not much, really. It's hard to imagine a person like Greaves not having seen it, so...Who knows? We could always ask him! REVISED RATING... 10**********

    ENJOY! / DISFRUTELA!

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    Trama

    Modifica

    Lo sapevi?

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    • Quiz
      After completing the film in 1971, William Greaves believed that he had made a masterpiece, and that the only place to première it was the Cannes Film Festival. So he carried the print to France himself, where it was screened for programmers. However, the projectionist made the mistake of showing the reels out of order. The film was turned down. Greaves came home, figured he had made a mistake, and put the film in his closet.
    • Citazioni

      Viktor - Homeless Painter: I never say goodbye. I like to say Ciao.

    • Curiosità sui crediti
      Coming Soon Symbiopsychotaxiplasm Take Two
    • Connessioni
      Featured in Is That Black Enough for You?!? (2022)
    • Colonne sonore
      In A Silent Way
      Written by Joe Zawinul

      Performed by Miles Davis

    I più visti

    Accedi per valutare e creare un elenco di titoli salvati per ottenere consigli personalizzati
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    Domande frequenti13

    • How long is Symbiopsychotaxiplasm: Take One?Powered by Alexa

    Dettagli

    Modifica
    • Data di uscita
      • 28 ottobre 1968 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Sito ufficiale
      • William Greaves
    • Lingue
      • Inglese
      • Francese
      • Italiano
    • Celebre anche come
      • Симбиопсихотаксиплазм. Дубль один
    • Luoghi delle riprese
      • Central Park, Manhattan, New York, New York, Stati Uniti
    • Azienda produttrice
      • Take One Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      1 ora 15 minuti
    • Colore
      • Black and White
      • Color
    • Mix di suoni
      • Mono
    • Proporzioni
      • 1.37 : 1

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