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A movie directed by Milos Forman

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  • Jul 4, 2011
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As one who loathes the filthy, trashy, moronic hippie subculture that this cinematic atrocity (and the play from which it was adapted) were inspired by, I must admit to a peculiar bias against Hair. This abhorrently stupid film is notable for being the culmination of a '70s trend wherein corporate interests had entirely co-opted a witless counterculture; this particular disaster was produced almost a decade after the expiration date of that phenomenon. That Forman directed this doesn't make it any less painful. After all, he's also responsible for Ragtime.

My entirely natural revulsion for the trappings of this movie didn't draw my attention from its forced, wooden performances and hokey songs. Almost every aspect of its production - musical arrangements, choreography, set design - is hopelessly dated, and no more charming or nostalgic for it. It's merely embarrassing.

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July 04, 2011
My impression of the movie was that it was dated and self-conscious as soon as it was released. But then, we all are in one way or another. The stage show, on the other hand (I saw it on Broadway and then in a touring production in Chicago) was that Hair was cheerful, fun, harmless, naïve and thin. The lyrics too often seemed to me to be ironic or banal. Galt McDermot’s score, on the other hand, was first rate: Inventive, catching and decidedly not “Broadway.” I still smile at just how good “Frank Mills” is. Without McDermot, I doubt if Hair would be in anyone’s memory cells today.
July 05, 2011
Surely the cast and studio were self-conscious, but Forman proved himself as confidently out of touch with American culture here as he did when he explained to Michael Douglas that Burt Reynolds was the man to play R.P. McMurphy. Even Antonioni captured the zeitgeist of student rebellion in Zabriskie Point, if a few years too late.
I can't speak for the stage play's merits, but lyrics and music alike of the songs in the film version seemed diluted by adaptation. Is this so?
More Hair reviews
review by . June 03, 2000
posted in Movie Hype
Pros: ..     Cons: ...     Somewhere in the middle of TOMMY and JESUS CHRIST, SUPERSTAR we received the wonderful release of HAIR. This movie, based on a successful Broadway play, was released a day late and a dollar short. Trying to get the 70's generation, who had changed their moral, emotional and physical outlook from free-love to free-enterprise, to fall back into an era that was both disturbing and disruptive was virtually impossible. This was unfortunate …
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Robert Buchanan ()
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I'm a bibliophile, ailurophile, inveterate aggregator, dedicated middlebrow and anastrophizing syntax addict. My personality type is that of superlative INTJ.
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About this movie


In what is widely considered to be even better than the Broadway stage musical, this film version of HAIR, directed by Milos Forman, gives a boost to what was, on the stage, a nonexistent plotline, and highlights the already fabulous score with this epic musical. Filmed on location in and around New York City, the main plotline follows Claude (John Savage) a farm boy turned draftee from Oklahoma on his way to Vietnam. In New York, he is adopted by a group of flower children, led by Berger (Treat Williams) and including Jeannie (Annie Golden), who take him on a series of counter-cultural adventures that introduce Claude to hallucinogens and to a flaky but loveable debutante named Sheila (Beverly D'Angelo). Along with this experience come an introduction to issues of race, gender, politics, and war. The performances--both the acting and the singing--are extraordinary, and choreographer Twyla Tharp stages some of the most inventive and exquisite dance sequences ever seen, including a "horse ballet" by mount...
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Cast: John Savage
Director: Milos Forman
Release Date: 1979
MPAA Rating: PG
DVD Release Date: 20th Century Fox Home Entertainment (May 20, 2008)
Runtime: 2hr 1min
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