Dennis Hopper 17. maj 1936 – 29. maj 2010.

baš mi je žao.

pomislim na njega uvek mi je u glavi scena iz filma ''True Romance'', bez obzira sto je glumio u mnogo vecim i boljim filmovima...

Sad sam se logovala samo da vidim da li si postavio blog o njemu i hvala ti.
U subotu me kosnula vest o njegovoj smrti - pa mi druga misao bila: ma, ako je otišao lako iz fizičkog života, dobro je, iz filmskog neće nikad.
Odličan tip, odličan.

Neka mu je večna slava i hvala.

Eto, danas sam prvi put odgledao The Last Movie...



Citiraću drugog velikana:

“There he goes. One of God's own prototypes. Some kind of high powered mutant never even considered for mass production. Too weird to live, and too rare to die.”

S druge strane,
danas je 80. rođendan Klinta Istvuda.

kakav markantan tip!
kakav glumac!

He, he ...

S' obzirom na lifestyle u mladosti, naziveo se Dennis!

Slušao sam da je bio odvratna osoba. Marlon Brando ga nije podnosio. Razveo se sa petom ženom zbog nasledstva. Ima još toga.

Ne mislim da o mrtvima mora sve najbolje.

Jedan članak

http://www.guardian.co.uk/film/1999/jan/30/features.johnpatterson

Drugi članak, kome nisam našao link

Would you buy a new car from this man?

On TV most nights, a suited Dennis Hopper clambers into a slick new car and races against his Easy Rider self. The counter-culture icon has sold out - and not for the first time says John Patterson

Guardian Unlimited

Saturday March 6, 1999

Dennis Hopper? Dennis Hopper? oh, the spectrum of images instantly conjured up by that much-storied name. There's Hopper the counter-cultural icon, protector of the sacred red jacket of his Rebel Without A Cause co-star James Dean, driving an imaginary Porsche Spyder at 100 mph to the end of the night in the name of his fallen thespian comrade. There's Hopper as the actor who would not - Goddamnit, could not - buckle under the fascistic restrictions imposed upon him by the soul-destroying, art-phobic fantasy-factories of Machine Hollywood, and who endured a decade on the studios' blacklist for his troubles.

Then? revenge, with Easy Rider, as the bushy-faced, motormouth counterpart to Peter Fonda's Captain America, thundering along America's highways on a chopped hog as The Byrds sing Wasn't Born To Follow. Suddenly the same studios beat a path to his door, begging that he save them, giving him the keys to the kingdom, and making him, however briefly, the monarch of all he surveyed?

And then, to borrow from Easy Rider's script, he "blew it", with the presciently titled The Last Movie, and retreated into a semi-psychotic, pharmacologically enhanced exile for another decade, before emerging after Blue Velvet as a rehabbed, scarred survivor of America's culture wars, happy to make his living as a respected character actor in Paris Trout, Speed, and Basquiat.

To this we can add numberless anecdotal accounts - many furnished by the chatshow-seasoned Hopper himself - of walking, blitzed out of his box, onto airplane wings during takeoff; breaking his wife's nose in a drunken brawl conducted, perhaps unwisely, at a sixties Love-In; getting his addictions mixed up at a Narcotics Anonymous meeting and announcing, "I'm an alcoholic" (go on, tell me another?), and pulling knives on his fellow actors. And recently, his appearance in that horrid little Ford Cougar ad on TV, in which the well-shorn, clean-shaven Hopper of 1999 races and chats with his 1969 alter ego.

Reactions stirred by the ad are complicated and contradictory. The first, and perhaps most natural, is: "You bullshit hippie sell-out fraud." The second, more common to those familiar with the images used, is: how did they airbrush Fonda and Jack Nicholson out of the shots? And the third, from those irked by the elevation to iconic status of a very ordinary actor like Hopper, is: how has this guy managed to fool everyone for so long?

Many of the answers can be found by re-evaluating Easy Rider and more importantly, some of the sharp business practices - definitely not au fait with the great counter-cultural experiment - that many have claimed Hopper used to cheat his friends and collaborators out of the massive profits the film reaped (a $400,000 outlay pulled down $60 million) in 1969 and 1970. Recent accounts, by Fonda in his autobiography, by actor, journalist and screenwriter John Gilmore in his memoir Laid Bare, by the son of Easy Rider's screenwriter Terry Southern, and by Southern's friend Rip Torn, all make a palpable mockery of Hopper's continued claims of sole authorship, and suggest that Easy Rider itself, not the Ford commercial, was the point at which Dennis Hopper both sold out and sold his partners down the river.

"This is my fucking movie," he once cried in anguish, but in order to believe that, Hopper had to perform the mental equivalent of airbrushing everyone else out of the picture - just as the commercial does.

John Gilmore knew Hopper well from the beginning. He was one of the inner circle of James Dean's friends, most of whom were informally blacklisted after the troublesome actor's demise. Hopper, who appeared in very minor roles in both Rebel Without A Cause and Giant, was a much more peripheral figure who, to the surprise and disgust of many of Dean's grieving friends, began parading himself as the authentic inheritor of Dean's rebellious mantle. Gilmore, whose girlfriend Brooke Hayward later married Hopper (it was her nose he broke), remembers being in a studio men's room with Hopper in the mid-fifties: Hopper "saw in some way that the duty to carry on Jimmy's enigmatic rebellion had fallen upon his shoulders. Very much alone in this presumption, he said, 'Only they don't know it yet,' and wagged his penis in the direction of the Warner Bros front office. "But they're going to find out, man?'"

And when they found out, they ran him out of Tinseltown on a rail.Say what you will about the studio system, it was their money to spend, and the old crooks in charge weren't chuffed about some upstart brat with drink, drug and attitude problems wasting thousands of their dollars with his sub-Method on-set bullshit. After putting Henry Hathaway (a "three-takes-and-print-it" pro) through 100 takes on the set of From Hell To Texas in 1958, Hopper was unceremoniously dumped and spent a decade in rotten B-movies.

While Hopper bitched about Hollywood's blindness to his talents, Lee Wallace, head of casting at 20th Century Fox offered a more sanguine assessment: "Hopper is a boring and shallow person - not a pretty boy but a runt. Not only is he a boring actor and a boring person, he's devoid of any screen personality. Without that, you have no commercial appeal - the only unforgiveable sin in this town." With considerable prescience, Wallace added, "When he's older, he might make an interesting character actor, but right now, he's dead meat."

(Ovde preskačem nekoliko pasusa)

And what of Easy Rider today, three decades of acrimony and disillusionment later? It still works, but as was true in 1969, it goes down much more easily if you skin up a few fat numbers before you enter the cinema. It was a "head-movie" - it couldn't get you stoned on its own merits, as great movies should; it was one of the first vertically integrated soundtrack-album movies; it drove the studios into a f renzy trying to repeat its elusive formula for success; and it helped make the counter-culture (or a de-fanged version thereof) part of US "official culture" - the first step towards the current, nonsensical idea of independent cinema that is neither independently financed nor independently minded. And watching the Ford Cougar ad, one sees in grotesque miniature how "rebellion", which was once good for getting your head busted by the Chicago Police Dept or blown off by soldiers at Kent State University, is now little more than a potent sales weapon in an advertising agency's arsenal of lies. Way to go, Dennis.

,jedna od najvećih faca koje sam gledao na filmu...tužna vest.

Hopper's major comeback was 1969's Easy Rider, which also featured Jack Nicholson, Terry Southern and Peter Fonda.

The story of two motorcyclists in search of freedom as they ramble through the southern U.S., the movie was released at the peak of the hippie movement. Capturing the zeitgeist of the time and resonating both with audiences and critics, it landed Hopper a host of honours, including best first film at the Cannes Film Festival and an original screenplay Oscar nomination (which he shared with Fonda and Southern).

His notoriety grew during the 1970s as he balanced roles in movies like Apocalypse Now with three short-lived marriages (to Brooke Howard, Michelle Phillips and Daria Halprin) and an ongoing battle with drugs.U.S. actor and director Dennis Hopper, pictured here in 2008, filed for divorce in January from his fifth wife, Victoria Duffy, as his illness progressed.U.S. actor and director Dennis Hopper, pictured here in 2008, filed for divorce in January from his fifth wife, Victoria Duffy, as his illness progressed. (Christophe Ena/Associated Press)

Hopper entered a drug rehabilitation program in the early 1980s, after which he began another prolific period of creativity, as an actor (in acclaimed movies like Hoosiers and Blue Velvet), a filmmaker (for 1988's Colours ) and a visual artist.

More recent credits include villainous turns in the 1994 hit Speed, 1995's Waterworld, the first season of TV anti-terrorism thriller 24 and a role in the TV adaptation of the Oscar-winning movie Crash.
Pop art champion

Throughout his film career, Hopper was also an active artist, visual arts champion and collector.

His own oeuvre — which spanned abstract expressionism, black-and-white photo portraiture and massive canvases inspired by Los Angeles billboards — was exhibited in museums and galleries around the globe.Dennis Hopper, striking a pose in 1971, was also an abstract painter and a photographer. Dennis Hopper, striking a pose in 1971, was also an abstract painter and a photographer. (File/Associated Press)

Hopper cultivated friendships with such seminal artists as Jasper Johns, Roy Lichtenstein, Andy Warhol, David Hockney and Ed Ruscha.

Often describing himself as "an art bum," he amassed one of the world's most enviable collections of contemporary American art, started when he began buying works by artist friends living and working in California and by artists he admired.

In some cases, he purchased paintings at an artist's early — even first — show. He reportedly picked up one of Warhol's first paintings of Campbell's Soup cans for just $75 US.

He lost the Warhol, and other works from his early collection, in a costly divorce from his fourth wife, Katherine La Nasa, in 1992.
Late-life controversy

Hopper revealed in October 2009 that he had been battling prostate cancer for about seven years. He returned to the headlines just three months later when he filed for divorce from his fifth wife, Victoria Duffy. The couple was together for nearly two decades and were raising a young daughter together, Galen.

At the time, the actor said he wanted to focus on his health.

"I wish Victoria the best, but only want to spend these difficult days surrounded by my children and close friends," said the actor in a statement released on Jan. 18, 2010. He was starting another round of chemotherapy.

Hopper is survived by his three adult children, Marin, Ruthanna and Henry, young daughter Galen, and a granddaughter, Violet.

Read more: http://www.cbc.ca/arts/film/story/2010/05/29/hopper-obit.html#ixzz0pXNn1gYn

blistava karijera, uzbudljiv život.

Gledao sam sve filmove u kojima je igrao ili ih režirao...tako sam mislio dok jednog dana prolazeći pored Kinoteke nisam video da igra film Vima Vendersa:
Prijatelj iz Amerike u kojem glavne uloge igraju Denis Hoper i Bruno Ganc.
Savršeno filmski ispričana priča!

Bio je i za života legenda

Pedja1008 je gore vec postavio legendarnu scenu iz True Romance. Zato, Easy Rider.