Read part one of this series here.

In William Strauss and Neil Howe’s Generations, the babies born 1925-1942 are classified as members of the “Silent Generation.” These were the kids who grew up during the crises of the Great Depression and World War II, entered young adulthood at the postwar high of the 1950s, and hit middle age during the cultural chaos of the late 1960s and ’70s. This life sequence puts them in Howe and Strauss’ “Adaptive” archetype, a recessive generation less populous in numbers than the ones before (the GI Generation) and after (the Baby Boomers.)

When this generation started making movies they transformed Hollywood. Peter Biskind’s 1998 book Easy Riders, Raging Bulls: How the Sex-Drugs-and Rock ‘N Roll Generation Saved Hollywood lays out the popular narrative. The tail of the Silent Generation and the beginning of the Boomers (filmmakers born 1939-1946) put out major dramatic work that challenged the more bland conventions of mid ‘60s Hollywood cinema. The 1970s were the R-rated decade. Francis Ford Coppola made “The Godfather.” Martin Scorsese released “Mean Streets” and “Taxi Driver.” New serious actors like Jack Nicholson, Warren Beatty, Jon Voight, and Robert De Niro delivered legendary performances. This was a film generation inspired by the French New Wave to treat movies as serious art.

Oscar Nominated-screenwriter, award-winning mystery novelist, and now Pajamas Media CEO Roger L. Simon was a member of this clique. Born in 1943, Simon is like others born at the edges of generations, a blending of both appears in his re-titled memoir Turning Right at Hollywood and Vine, recently released in paperback with new material. (more…)

Over the weekend, I was pondering why the low budget, standard genre pic The Haunting in Connecticut (Lionsgate) has become a nifty little box office hit. The film added almost $9.5M over the weekend for a new 10-day cume of $37M, and the only conclusion I have been able to reach is that it’s all about the poster.

Creepy, right? I have not seen Haunting and will probably wait for DVD or pay cable, but that is a weird, startling, attention-grabbing image. As a movie junkie, I love good movie art. The best movie posters are evocative. They capture what a movie is all about without giving away the mystery. There are certain movie posters that instantly put me back in that theatre experiencing the film for the very first time. The best movie posters are not just promotional tools. They stand as a work of art on their own. These are my favorites, buit it is by no means a definitive list. Feel free to add your favorites (and subtract any of mine).

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