Bobby Dupea

Criterion Files

Bob Rafelson’s highly underrated The King of Marvin Gardens (1972) works as something of an unofficial sequel to his beloved previous film and the rightful centerpiece of the BBS Story, Five Easy Pieces (1970). After the “farcidelia” of Head, Rafelson’s second film could not be further from its opposite in tone, aesthetics, and overall relation to the counterculture, whose narrative absence is used to great effect in the latter film. It wasn’t until Rafelson’s third film as director that his identity as a filmmaker started to solidify through his continued exploration of themes shared between films. Like many filmmakers of the New Hollywood generation, Rafleson possessed symptoms of the self-conscious auteur, but the similarities between Five Easy Pieces and The King of Marvin Gardens go far beyond surface connections that denote a consistent cinematic personality behind the camera in terms of themes and style, but instead point to a rare kind of filmmaker altogether during New Hollywood or any era.

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Criterion Files

The most difficult thing about watching seminal, groundbreaking, paradigm-shifting movies is that it’s impossible to see them, feel them, or experience them the way they were in the moment, before they became influential enough to seem almost unexceptional by retrospective comparison. It’s difficult to marvel at the audacious camera angles or fragmented narrative of Citizen Kane in an age where Gaspar Noe and Guillermo Arriaga exist, or be shocked by the expertly-crafted profanity of Who’s Afraid of Virginia Woolf in a post-David Mamet world. These movies may remain strong and, in other ways, timeless, but even with the very best, the “moment” of greatness is lost by the sheer force of its effect on cinema that came after. Films, after all, aren’t made in a vacuum. They are the constant subject of influence, and rarely anything influences a film more than another great film.

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