Born to Win
Some of the characters in the film were played by actual New York City junkies at the time, people who Writer and Director Ivan Passer encountered while researching the film.,[first lines]
J: They same I'm a charmer... that I charm the people I hustle. Well, that comes after dealing with women, after hairdressing. I love to dress hair! But being that I know what to do, being that I'm hip enough to know, I do it! That's love and peace. Love and peace. You just gotta keep sending it out. Love. That love and peace.,The budget video releases of this film feature an edited-for-TV print that cuts out the following scenes: Segal and Prentiss putting tourniquets on in a back room of the nightclub in preparation for taking heroin, an exchange involving Karen Black's character's breast size (and a retort involving Segal's breast size), an extension of the scene featuring Segal in the pink robe giving the "up-yours" sign to the girl on the balcony, dialogue when Black and Segal are making love, and assorted others. The 2005 German MGM DVD features the uncut version of the film.,Features Applause (1973),Ooh Poo Pah Doo
Written by Jessie Hill (uncredited)
Performed by Ike Turner and Tina Turner,One of the great joys of being a movie addict is loving unreasonably. There's probably no rational way to convey my adoration for this 1971 Ivan Passer movie, which was made for nothing back in the day when movies like this actually could get made and released--today, it'd be shot on digital video in someone's basement and never see the light of day. George Segal gives one of the performances of his career as J, a hairdresser turned heroin addict who vamps his way through the day with a torrent of improvised Lenny Bruce hipsterisms. Karen Black is the "straight," broken girl who falls in love with him for no good reason except that he's broken too--I can't think of a more haunting moment in a movie romance than the one where she drops him off in midtown Manhattan to score dope and implores, "J--remember to come back home." The movie fleetly conveys the romance, the soft-edgedness and wombiness of heroin--and then in short order takes you all the way down to the bitterest consequences. And it reminds you of the beauties of hard-knuckle, dirty-formica naturalism--pleasures unavailable to more stylized or more conceptual pictures. Has there ever been an actress as free as Karen Black? The way she lifts up ten fingers, over and over again, to count off the number of men she's slept with; or the strange little hair-bite she does when she oaths her love to Segal on the beach--everything is as fresh and unaffected and right as if it were playing out in your living room right this minute. The locations, the smoky, salty, funereal-blues soundtrack--Ivan Passer can't put a foot wrong in this movie. Why is this guy not being given all the work in the world? And why is this movie not acclaimed a masterpiece in a world where rusty chestnuts by Rafelson and Bogdanovich are still held in high esteem?,