The director is Arthur Penn, who's great "Bonnie and Clyde" kicked off the shift into New Hollywood sensibility. And that's the lasting reputation of the film, that it pulls off this kind of modernized noir world with originality. These are nitpicks, for sure, because the larger feeling takes over and is commanding. It's not a perfectly nuanced drama in this way. We are led along at times, and frankly told things that might have been better revealed through the plot. Not all of the plot is supported very well. But clarity has a cost, and the movie will take several surprising turns. So eventually the movie is less about who killed who for this or that reason, and more about this man and his quest for clarity. And we see a kind of generosity that is based on this selfish need to do something right, and all its conflicting meanings. And we even feel him starting to get a grounding for his drifting self amidst these miscellaneous people. There are mysterious motives everywhere, and it's only Moseby we trust. The trail for this daughter takes us to the Florida Keys and out into the ocean. It also feels dated, too, making you wonder if it was really so sexually liberated back then. This was for the sake of an audience still astonished that the movies could do such things (they couldn't before 1967) and it's still kind of raw and edgy in a lasting way. The artifacts of New Hollywood liberation are plain to see: nudity (female only) and a kind of sexed up background even when the plot is going somewhere else. He ends up mixed up in a Dashiell Hammett kind of plot, for sure, looking for the daughter of a rich woman and then getting way over his head. Gene Hackman is terrific, and he plays Harry Moseby, a down and out ex-football player with a drained candor that makes him pathetic as much as likable. The hero is a kind of watered down Bogart-not as romanticized, and with less exaggerated one-liners (which film noir lovers will miss but which those who like realism will appreciate). Henson in a “Get Out of Denver” video or Randall Park and Sofía Vergara one for “Ramblin’ Gamblin’ Man.” They’d be as wonderfully bizarre as this “Night Moves” video.Night Moves (1975) An odd convolution of 1940s film noir and 1970s New Hollywood. Maybe he can cast Jim Parsons and Taraji P. He can even promote with them “Night Moves”-style videos. Let’s hope by then there’s some movement on getting the rest of his catalog back into print. When Seger hits the road in late August for his first US tour in two years, “Night Moves” will almost certainly come at a key moment in the encore section. It’s a wonder they didn’t find roles for Wayne Knight, Calista Flockhart, Jenna Elfman and Dave Coulier. If the video wasn’t packed full of enough 1990s TV icons, Johnny Galecki from Roseanne (and later The Big Bang Theory) is also in it. Got all that? It filmed months before Matt LeBlanc got cast as Joey Tribbiani on Friends, so he was willing to take a role as the love interest to Daphne Zuniga, then in the middle of her run on Melrose Place. So, it features 1994 Bob Seger lip-syncing to 1976 Bob Seger singing about 1962 Bob Seger. He didn’t get around to making a video for “Night Moves” until 1994 when he released his first greatest hits package. Grateful Dead, Tower of Power, Santana and More Feature in 'San Francisco Sounds: A Place in Time' The song takes place during his teenage years in 1962, but he wrote it in 1976 when he was entering his thirties and beginning to look back nostalgically at a time when he was trying to make “front page drive-in news” by hooking up with a “black-haired beauty with big dark eyes” in the back of his 1960 Chevy. One song you can definitely hear is “Night Moves.” The title track to his breakthrough LP has been a mainstay on classic rock radio for decades, and you can check out the official video right here, though it requires a great deal of context. They finally came to their senses last week, though a very sizable chunk of his work remains unavailable. It was like his team felt if they just held out long enough this whole Internet fad would go away and people would go back to shelling out 20 bucks whenever they wanted to hear an album. Very few albums were on iTunes and absolutely nothing was on the streaming services, meaning you had to buy physical CDs to get the famous albums or resort to expensive collectible vinyl for his early catalog, which has been out of print for decades. Up until last week, hearing most of Bob Seger‘s catalog without committing some sort of minor copyright violation was no easy task.
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