<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>BFI &#8211; Robin Johnson</title>
	<atom:link href="http://robinjohnson.net/wp/tag/bfi/feed/" rel="self" type="application/rss+xml" />
	<link>http://robinjohnson.net/wp</link>
	<description>The Life and Career of the Actress Robin Johnson</description>
	<lastBuildDate>Tue, 31 May 2016 16:51:19 +0000</lastBuildDate>
	<language>en-US</language>
	<sy:updatePeriod>
	hourly	</sy:updatePeriod>
	<sy:updateFrequency>
	1	</sy:updateFrequency>
	<generator>https://wordpress.org/?v=7.0</generator>
	<item>
		<title>Monthly Film Bulletin, Vol. 47 No. 562, November 1980</title>
		<link>http://robinjohnson.net/wp/monthly-film-bulletin-vol-47-no-562-november-1980/</link>
					<comments>http://robinjohnson.net/wp/monthly-film-bulletin-vol-47-no-562-november-1980/#respond</comments>
		
		<dc:creator><![CDATA[Sean]]></dc:creator>
		<pubDate>Tue, 31 May 2016 14:54:31 +0000</pubDate>
				<category><![CDATA["Times Square"]]></category>
		<category><![CDATA[1980]]></category>
		<category><![CDATA[BFI]]></category>
		<category><![CDATA[British Film Institute]]></category>
		<category><![CDATA[Gilbert Adair]]></category>
		<category><![CDATA[magazine]]></category>
		<category><![CDATA[Monthly Film Bulletin]]></category>
		<category><![CDATA[review]]></category>
		<guid isPermaLink="false">http://robinjohnson.net/wp/?p=2378</guid>

					<description><![CDATA[Pictures, but not of Robin. What a cheap post. &#160; Robin is mentioned quite a bit though in Gilbert Adair&#8217;s surprisingly positive and intellectual review, about which Karen (DefeatedandGifted) has written a much more incisive piece than I could ever hope to. So I suggest you just click that link and read it. &#160; Karen [&#8230;]]]></description>
										<content:encoded><![CDATA[<p><a href="http://robinjohnson.net/wp/wp-content/uploads/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-205_1080px.jpg" rel="attachment wp-att-2379" data-rel="lightbox-image-0" data-rl_title="" data-rl_caption="" title=""><img fetchpriority="high" decoding="async" src="http://robinjohnson.net/wp/wp-content/uploads/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-205_1080px-211x300.jpg" alt="Cover of the November 1980 Monthly Film Bulletin, Vol. 47 No. 562, published by the British Film Institute   Photo of Jack Nicholson in &quot;The Shining&quot;  Text:  November 1980 bfi  MONTHLY FILM BULLETIN VOL. 47 NO. 562 FEATURE FILMS Alternative Miss World, The	207 And Give Us Our Daily Sex/Malizia erotica .......	216 Attack of the Phantoms	207 Awakening, The	208 Babylon .......	208 Battle Beyond the Stars	209 Big Brawl, The......................209 Blue Lagoon, The	.	210 Chuquiago .	.	.210 Clones of Bruce Lee, The/Shen-Wei San Meng-Lung	...	221 Come Play with Me 2 .	211 Dark Intruder, The .	211 Death Ship .......	212 Dérobade, La/The Life .	.	.	212 Dressed to Kill .	.	.	.	213 El Salvador Revolution or Death 213 Fog, The............................214 He Knows You&#039;re Alone	214 Hunter, The .	....	215 Kiss Meets the Phantom see Attack of the Phantoms	207 Last Embrace	216 Last Feelings/L&#039;Ultimo sapore dell&#039; aria ........	224 Life, The/La dérobade .	.212 Lupa mannara, La/Werewolf Woman 216 Malizia erotica/And Give Us Our Daily Sex .	.	.	.	.216 Mary Millington 1946-1979 Pro-logue/Mary Millington&#039;s True Blue Confessions .	.217 Mountain Men, The	217 Nurse Sherri........................218 Poseban Tretman/Special Treatment 218 Prom Night..........................218 Sauve qui peut (La Vie)/Slow Motion .......	219 Scandal in the Family/Scandalo in famiglia—grazie zio .	.	.	.	220 Scandalo in famiglia—grazie zio/ Scandal in the Family	220 Scandinavian Erotica	220 Semaine de vacances, Une/A Week&#039;s Holiday..........................220 Shen-Wei San Meng-Lung/The Clones of Bruce Lee	221 Shining, The	221 Slow Motion/Sauve qui peut (La Vie) ........	219 Special Treatment/PosebanTretman 218 Swedish Nympho Slaves/Dîe teuflischen Schwestern .	222 Teuflischen Schwestern, Die/ Swedish Nympho Slaves	222 That Sinking Feeling ...	223 Times Square ......	223 Ultimo sapore dell&#039;aria, L&#039;/Last Feelings .......	224 Week&#039;s Holiday, A/Une semaine de vacances ......	220 Werewolf Woman/La lupa mannara 216 Wholly Moses!	.	224 Willie &amp; Phil ...... .	225 RETROSPECTIVE Germania, anno zero/Germany Year Zero ........	225 Germany Year Zero/Germania, anno zero ....	  225 Paisà ........	226 Stromboli/Stromboli, terra di dio .	227 Stromboli, terra di dio/Stromboli 227 50p" width="211" height="300" class="alignleft size-medium wp-image-2379" srcset="https://storage.googleapis.com/rjnet-wordpress/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-205_1080px-211x300.jpg 211w, https://storage.googleapis.com/rjnet-wordpress/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-205_1080px-719x1024.jpg 719w, https://storage.googleapis.com/rjnet-wordpress/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-205_1080px.jpg 758w" sizes="(max-width: 211px) 100vw, 211px" /></a><br />
Pictures, but not of Robin. What a cheap post.</p>
<p>&nbsp;</p>
<p>Robin is mentioned quite a bit though in Gilbert Adair&#8217;s surprisingly positive and intellectual review, about which <a href="https://defeatedandgifted.wordpress.com/2011/02/14/ts-review-monthly-film-bulletin/" target="_blank">Karen (DefeatedandGifted) has written a much more incisive piece than I could ever hope to.</a>  So I suggest you just click that link and read it.</p>
<p>&nbsp;</p>
<p>Karen opens, however, by saying &#8220;Due to its format and very small typeface, I won’t scan this review&#8230;&#8221;  I have no such compunctions.  Here is what it looks like.  But she&#8217;s right: it&#8217;s two long, dense paragraphs in a tiny font.  I&#8217;ll add the text in a more readable form if I get enough requests to do so, which I won&#8217;t.  Check Karen&#8217;s blog for the important parts of what it actually says.</p>
<p>&nbsp;</p>
<p>Tantalizingly, the exhaustive list of the film&#8217;s credits ends with &#8220;111 mins. Original running time—113 mins,&#8221; perhaps the first ever indication that there&#8217;s <em>something missing</em>. </p>
<div style="clear:left"></div>

<a href='https://storage.googleapis.com/rjnet-wordpress/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-223_layers_detai_768pxl.jpg' title="" data-rl_title="" class="rl-gallery-link" data-rl_caption="" data-rel="lightbox-gallery-1"><img decoding="async" width="154" height="300" src="https://storage.googleapis.com/rjnet-wordpress/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-223_layers_detai_768pxl-154x300.jpg" class="attachment-medium size-medium wp-stateless-item" alt="Review of &quot;Times Square&quot; in Monthly Film Bulleting Vol. 47 No. 562 Text: Times Square U.S.A., 1980 Director: Alan Moyle Cert—AA. dist—Columbia-EMI-Warner. p.c—RSO Films. For EMI. A Butterfly Valley production, exec, p—Kevin McCormick, John Nicolella. p—Robert Stigwood, Jacob Brackman. assoc, p—Bill Oakes. p. manager—Judith Stevens, location manager—Ron Stigwood. unit manager—Lou Fusaro. 2nd Unit d—Edward Bianchi, John Nicolella. asst, d—Alan Hopkins, Robert Warren, sc—Jacob Brackman. story— Alan Moyle, Leanne Unger, ph—James A. Contner. col—Technicolor. camera op—Enrique Bravo, opticals—Movie Magic, ed—Tom Priestley, (music sequence) Norman Gay. collaborating ed—Michael Kirchberger. p. designer—Stuart Wurtzel. set dec—Leslie Bloom, set dresser—David Goodnoff. original m—Blue Weaver, songs—“You Can’t Hurry Love” by Holland, Dozier, Holland, performed by D. L. Byron; “Dangerous Type” by Ric Ocasek, performed by The Cars; “Grinding Halt” by Tolhurst, Dempsey, Smith, performed by The Cure; “The Night Was Not” by Desmond Child, performed by Desmond Child and Rouge: “Pretty Boys” by and performed by Joe Jackson; “Innocent Not Guilty” by and performed by Garland Jeffreys; “Flowers in the City” by David Johansen, performed by David Johansen, Robin Johnson; “Damn Dog” by Billy Mernit, Jacob Brackman, performed by Robin Johnson; “Your Daughter Is One” by Billy Mernit, Norman Ross, Jacob Brackman, performed by Robin Johnson, Trini Alvarado; “Help Me” by Robin Gibb, Blue Weaver, performed by Marcy Levy, Robin Gibb; “Down in the Park” by and performed by Gary Numan; “Talk of the Town” by Chrissie Hynde, performed by The Pretenders; “Rock Hard” by Mike Chapman, Nicky Chin, performed by Suzi Quatro; “I Wanna Be Sedated” by and performed by The Ramones; “Walk on the Wild Side” by and performed by Lou Reed; “Same Old Scene” by Bryan Ferry, performed by Roxy Music; “Babylon’s Burning” by John Jennings, Dave Ruffy, Malcolm Owne, Paul Fox, performed by The Ruts; “Pissing in the River” by and performed by Patti Smith; “Life During Wartime” by David Byrne, performed by Talking Heads; “Take This Town” by Andy Partridge, performed by XTC. cost—Robert DeMora. make-up—Peter Wrona Jnr. titles—Dan Perri. opticals—Movie Magic, sup. sd. ed—Jerry Ross. sd. ed—Anthony J. Ciccolini, Bernie Hajdenberg, Kate Hirson, Michael Jacobi, Harvey Rosenstock, Julie Tanser, (music) Greg Sheldon. sd. rec—Robert Sciretta. sd. mixer—Les Lazarowitz. pre-mix rec—Mel Zelniker. sd. re-rec—Dick Vorisek. stereo consultant—John Hampton. p. assistants—Daniel Martin, Peter Pastorelli, Anne Prager, Roger Pugliese, Sherri Taffel, Harvey Waldman, Todd Winters, stunt coordinators—James Lovelett, Alex Stevens, stunts—Bill Anagnos, Tammas J. Hamilton, Franklyn Scott, Jane Solar, Victoria Vanderkloot. l.p—Tim Curry {Johnny LaGuardid), Trini Alvarado {Pamela Pearl), Robin Johnson {Nicky Marotta), Peter Coffield {David Pearl), Herbert Berghof {Dr. Huber), David Margulies {Dr. Zymansky), Anna Maria Horsford {Rosie Washington), Michael Margotta {Jojo), J. C. Quinn {Simon), Miguel Pinero {Roberto), Ronald “Smokey” Stevens {Heavy), Billy Mernit, Paul Sass and Artie Weinstein {The Blondells), Tim Chaote {Eastman), Elizabeth Pena {Disco Hostess), Kathy Lojac {Nurse Joan), Susan Merson {Nurse May), George Morfogen {Don Dowd), Charles Blackwell {Speaker), Steve W. James {Dude), Jay Acovone and Peter Iacangelo {Plainclothes Cops), Alice Spivak {Magda), Calvin Ander {George), Michael Riney ( Young DJ), Louis Bolero {1st Policeman), Gerald Kline {2nd Policeman), Ben Slack {Hold-up Man), Aaron Hurst and Sean Hurst {Beer Vendors), Peter Lopiccolo {Shop Owner), Roger Camacho and Steve Pabon {TV Drop Kids), Danielle Tiletnick {Daughter), Donna Sirotta {Daughter’s Friend), Tulane Howard II {Movie Theatre Reactor), Karen Evans {Waitress), Rodi Alexander {Cigarette Girl), Ramon Franco {1st Sleez Bag Vendor), Riki Colon {2nd Sleez Bag Vendor), Melanie Henderson {Renaissance Aide), Larry Silvestri {Cop on Marquee), Mandy Cameron and Paula Naples {Beer Buyers), Scott P. Sanders {Intern), Tiger Haynes {Andy), Cammi Lynn Buttner, Sarah Dougherty, Amy Gabriel, Sandra Lee Goga, Pamela Gotlin, Shuna Lydon, Kelly McClory and Marlena Seda {Sleez Girls). 9,959 ft. Ill mins. Original running time—113 mins. Pamela Pearl, the disturbed teenage daughter of a rising New York politician, and Nicky Marotta, a violently antisocial 42nd 223" srcset="https://storage.googleapis.com/rjnet-wordpress/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-223_layers_detai_768pxl-154x300.jpg 154w, https://storage.googleapis.com/rjnet-wordpress/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-223_layers_detai_768pxl.jpg 393w" sizes="(max-width: 154px) 100vw, 154px" data-image-size="medium" data-stateless-media-bucket="rjnet-wordpress" data-stateless-media-name="2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-223_layers_detai_768pxl.jpg" /></a>
<a href='https://storage.googleapis.com/rjnet-wordpress/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-224_detail_1080px.jpg' title="" data-rl_title="" class="rl-gallery-link" data-rl_caption="" data-rel="lightbox-gallery-1"><img decoding="async" width="109" height="300" src="https://storage.googleapis.com/rjnet-wordpress/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-224_detail_1080px-109x300.jpg" class="attachment-medium size-medium wp-stateless-item" alt="Second page of the review of &quot;Times Square&quot; in Monthly Film Bulleting Vol. 47 No. 562 Text: street urchin, find themselves sharing a room in a hospital where both are undergoing psychological tests. Although the shy Pamela is initially shocked by Nicky’s foul language, ragamuffin appearance and coarsely irreverent antics, she gradually warms to her roommate and agrees to join her in stealing an ambulance and setting up a makeshift home on a derelict pier. A local disc-jockey, Johnny LaGuardia, hears of their ‘elopement’ and, recognising Pamela as the girl who earlier wrote him a despairing letter, encourages the “Sleez Sisters”, as they now call themselves, in their bid to find their own brand of freedom. Nicky and Pamela engage in a variety of fruitless occupations to scrape a living, narrowly escape recapture by an undercover policeman, and eventually find employment in a squalid night-club—Pamela as a go-go dancer and Nicky as singer with the resident band, The Blondells. With the aid of LaGuardia’s broadcasts, and their own weird hodge-podge of dress and television-hurling antics on Broadway rooftops, their fame spreads throughout the city. As Pamela’s father, the police and hospital staff close in on them, however, Nicky announces on LaGuardia’s show that the cult which has grown up around them will climax with an illegal midnight rock concert performed on a Times Square rooftop. There Nicky belts out her autobiographical song before leaping into the crowd of hundreds of similarly dressed ‘sleez sisters’ . . . With the possible exception of outer space, downtown Manhattan is currently the most overexposed cinematic landscape of the early 1980s; and (though given fair warning by the film’s title) the heart sinks as yet another set of jazzy credits unroll over the tediously familiar neon graffiti of Broadway at 42nd Street. Nor is there much evidence in the establishing montage which follows—peopled exclusively by livewire blacks, pavement con-men and porn-show barkers—to suggest that Alan Moyle (a relative newcomer with only one Canadian feature, The Rubber Gun, to his credit) is about to break fresh ground. A sibilant voice-off parodically intoning the introduction to the old Naked City television series—“There are eight million stories . . —would appear to intimate the presence of some weary, omniscient disc-jockey maintaining, like a mediaeval watchman, his lonely vigil above the nocturnal hum (as indeed it proves, though his role as a genial Big Brother, privy to the city’s most minor incidents apparently as they occur, sits less plausibly on the metropolitan vastness of New York than on the small town setting of American Graffiti, an obvious model). For such a studied concentration of clichés to ‘work’ at all would constitute some sort of achievement. That, as it happens, this is not only the most interesting film by far to have been produced under the problematic aegis of Robert Stigwood but one of the most rejuvenating to have emerged from anywhere in recent years is little short of miraculous. Much of its success may be attributed to Moyle’s confident reluctance ever to collar his audience, either visually or emotionally (or aurally: his is surely the first rock musical to endorse the outmoded but never wholly erroneous view that a film score is best appreciated by the inner ear). The gradual rapprochement of the two ill-matched teenage girls, Pamela warily circling the unpredictable Nicky until capitulating on little more than a whim to her loutish tomboy charms, is exactly timed to the spectator’s own shifting sympathies, as is the embarrassment-cum-relief inspired by Pamela’s endearingly amateurish début at the Cleopatra Club. Times Square is essentially a fairy-tale—a casual updating of Babes in the Wood, perhaps, with the “Sleez Sisters” leaving shattered TV sets like breadcrumbs in their wake. And though no doubt occasioned by the noticeable lack of verisimilitude in every single element of the scenario (beginning with the basic premise of a politician’s daughter remaining several weeks at large in a city as well-policed as New York), Moyle’s cautious tactic of never jumping a step, painstakingly generating conviction from scene to scene, is itself so natural to the whole fairy-tale tradition that even the metamorphosis of the runaways’ warehouse hideout into a bargain basement Ali Baba’s cave hardly raises an eyebrow. What the film lacks in credibility, moreover, it makes up in sheer narrative verve, with the pair’s vertiginously horizontal free fall through the city’s seamy underside, a folie à deux not unworthy of comparison with that of Céline and Julie, culminating in two genuinely haunting shots: one of Pamela and Nicky curled up in bed together—“like two spoons in a drawer”, in Colette’s arresting phrase; the other of Nicky, a black plastic garbage bag serving as a smart waistcoat and a highwayman’s mask painted on her face, perched atop a cinema marquee overlooking Times Square (a Feuilladesque image no less evocative of Rivette’s film). But it’s difficult to predict how effectively all this would have jelled without the unique presence of Robin Johnson, who monopolises the screen from her initially unsavoury appearance trundling along 42nd Street with a shopping cart, filled with her electric guitar, amplifier and battery, to her climactic apotheosis as she suicidally leaps into a milling horde of ‘Sleez’ fanatics. In a hair-raising performance pitched halfway between Nicole Stéphane’s Elizabeth in Les Enfants terribles and Mickey Rooney’s punkish Puck in A Midsummer Night&#039;s Dream, this fifteen-year-old unknown is charisma incarnate. GILBERT ADAIR" srcset="https://storage.googleapis.com/rjnet-wordpress/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-224_detail_1080px-109x300.jpg 109w, https://storage.googleapis.com/rjnet-wordpress/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-224_detail_1080px-372x1024.jpg 372w, https://storage.googleapis.com/rjnet-wordpress/2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-224_detail_1080px.jpg 392w" sizes="(max-width: 109px) 100vw, 109px" data-image-size="medium" data-stateless-media-bucket="rjnet-wordpress" data-stateless-media-name="2016/04/1980-11-Monthly-Film-Bulletin-V47-N562-p-224_detail_1080px.jpg" /></a>

<p>&nbsp;</p>
<div style="clear:left"></div>
<p>&nbsp;</p>
<div style="font-size:85%">
<em>Adair, Gilbert. &#8220;Times Square.&#8221; Rev. of <strong>Times Square</strong>. <strong>Monthly Film Bulletin</strong> Nov. 1980: 223-24. Print.</em>
</div>
<p>&nbsp;</p>
<div style="font-size:85%">
<em><strong>Monthly Film Bulletin</strong> Copyright © The British Film Institute, 1980</em>
</div>
<p>&nbsp;</p>
]]></content:encoded>
					
					<wfw:commentRss>http://robinjohnson.net/wp/monthly-film-bulletin-vol-47-no-562-november-1980/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
			</item>
	</channel>
</rss>
