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20 years before "Blue Velvet" George Kuchar was obsessed with pop culture and kitsch. Part of the New York underground, George & brother Mike were unusual in wanting to make lavish melodramas. Hand-painted titles, lurid color & sound, tabloid-type tales, startling hair-dos and vivid costumes blend and sometimes clash inimitably in these four startling, funny & bittersweet films.

1. HOLD ME WHILE I'M NAKED (1966) - A filmmaker's slow decent into self-pity after his lead starlet drops out of the picture he's fiming. A very sad yet funny look at nothing more than sexual frustration & aloneness. in it's economy & cogency of imaging, it surpasses any of Kuchar's previous works. The odd blend of Hollywood glamour & drama with all too real life creates and inspires a counterpoint of unattainable desire against unbearable actuality. Starring Donna Kerness, George Kuchar, & Stella Kuchar.

2. The Mongreloid (1978) - George & his dog Bocko are seen cavorting outdoors along with filmmaker Curt Mcdowell. George later shows his dog some of the footage and comments on it, reminding him of the places they visited.

3. Forever & Always (1978) - Great sound bytes from 1950's romance records narrate the story of a crumbling marriage and the death of a mother and her children in a car crash. Featuring sumptious color footage shot at the "Hooray For Kids" convention.

4. A REASON TO LIVE (1976) - 30 minutes of fever-pitched melodrama, complete with infidelities, suicide, bowel dysfunction, alcoholism, tragic accidents, & crummy weather. Brilliantly over-performed by a cast of cult players including Thundercrack's star (Marion Eaton) and director (Curt McDowell) & masterfully lensed by Kuchar with an eye for high camp and low morals.

5. I, An Actress (1977) - Teaching filmaking at the San Francisco Art institute, George insisted that each class collaborate on a project. Student Barbara Lapsley had wanted a short film to launch her acting career, and the class obliged by staging a classic Hollywood screen test. By the time the crew was ready to shoot, only 10 minutes of class time remained. Lapsley launches into her monologue, an appeal to her philandering lover played by a draped post topped with a wig, with reckless abandon. Kuchar initially gives direction off-screen but finally rushes into the scene to demonstrate what he wants. The student cannot summon up the hysterical excess of her director but finishes her screen test all the same. (9 min.)

approx 70 minutes total
ships in a palin sleeve with no artwork