Joan Murphy Adler

Joan Murphy Adler

N/A

N/A

Most Known for...

Movie Picture

Thieves and Robbers 1983 (6.134)

A Lothario, in trouble for fooling around with a Senator's wife, becomes an unwitting witness to a mob murder. Police Lieutenant Parker tries to solve the case in enough time to take his long-suffering family on vacation.
Joan Adler

Joan Adler

N/A

Most Known for...

Movie Picture

Chinese Checkers 1965 (4.1)

His Oriental predator is at first clothed in black, her 'victim' in white; slowly the costumes change, the victim acquiring a veil of mourning, until finally - as if to underline the ambiguity and interchangeability of their respective roles - the colours are reversed altogether. Still more interesting is the way in which, as the game becomes more ambiguous, Dwoskin adds fresh layers of make-up to his characters' faces, until they become almost caricature masks of their original selves.
Movie Picture

Soliloquy 1967 (5.5)

Featuring Joan Adler (who also appears in Chinese Checkers), Soliloquy is one of the four early Stephen Dwoskin films that were awarded the Solvey prize at the EXPRMNTL festival in Knokke, Belgium in 1967. “In Soliloquy a girl broods uncertainly over a failed love affair, while the camera roves over her fingers, her cigarette, her knuckles, her lips and the hand mirror in which she peers. In its dark reflection one isolated eye seems a dead thing, twitching; the split between her body and her spoken thoughts becomes a strange bilocation of consciousness; towards the end, an aeroplane drones overhead” (Raymond Durgnat)
Joan Adler

Joan Adler

N/A

N/A

Most Known for...

Movie Picture

Normal Love 1964 (7)

The feature length Normal Love is Jack Smith’s follow up to his now legendary film Flaming Creatures. This vivid, full-color homage to B-movies is a dizzying display of camp that clearly affirms Smith’s role as the driving force behind underground cinema and performance art of the post-war era. The cast includes Mario Montez, Diane de Prima, Tiny Tim, Francis Francine, Beverley Grant and John Vaccaro. Smith was known to constantly re-edit the film, often during screenings as it was still unspooling from the projector.