<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>New Hollywood - vo.rs</title><link>https://vo.rs/tags/new-hollywood/</link><description>Latest from the New Hollywood desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Sat, 06 Apr 2024 11:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/new-hollywood/" rel="self" type="application/rss+xml"/><item><title>Point Blank (1967): Boorman's Revenge Told in Fragments</title><link>https://vo.rs/screen/point-blank-1967-boormans-revenge-told-in-fragments/</link><description>&lt;p&gt;A man walks down a long, echoing corridor at Los Angeles International Airport, heels hammering the terrazzo in hard mechanical strikes, and the sound keeps going after Boorman cuts away from him — over his ex-wife applying make-up, over the city sliding past a car window, over scenes he is not in yet. That corridor walk is the most famous thing in &lt;em&gt;Point Blank&lt;/em&gt;, and it tells you everything about the film&amp;rsquo;s method. The footsteps are a heartbeat and a threat and a piece of pure rhythm, and they belong to Walker, played by Lee Marvin as a slab of grey granite with a grievance. He has been shot and left for dead on Alcatraz by his partner and his wife. He has come back for his money. The sum is $93,000, and the film treats that figure as a kind of holy number, the one clean fact in a story that keeps dissolving around it.&lt;/p&gt;</description><pubDate>Sat, 06 Apr 2024 11:00:00 +0000</pubDate></item></channel></rss>