Directed by:
Miloš FormanCinematography:
Miroslav OndříčekComposer:
Galt MacDermotCast:
John Savage, Treat Williams, Beverly D'Angelo, Annie Golden, Dorsey Wright, Don Dacus, Cheryl Barnes, Richard Bright, Nicholas Ray, Charlotte Rae, Miles Chapin (more)VOD (2)
Plots(1)
Fresh from the farm, Claude Bukowski (John Savage) arrives in New York City for a date with the Army Induction Board, only to walk into a hippie "happening" in Central Park and fall in love with the beautiful Shelia (Beverly D'Angelo). Befriended by the hippies' pacifist leader, Berger (Treat Williams), and urged to crash a formal party in order to declare his love for Shelia, Claude begins an adventure that lands him in jail, Central Park Lake and, finally, in the army. But Berger's final effort to save Claude from Vietnam sets in motion a bizarre twist of fate with shocking consequences. (official distributor synopsis)
(more)Videos (1)
Reviews (7)
I may not be a big music fan or expert, so I can't fully appreciate the often praised musical aspect of the film, but the strong anti-war message resonates deeply within me. The final scene, with the endless line of soldiers marching towards the plane and the camera focusing on the main character's face, is one of the most powerful scenes ever in a film with an anti-war theme. It's a snapshot of a time when the word "freedom" was echoed in every corner and the term "flower children" hadn't yet lost its meaning. Overall impression: 80%.
()
From an ancient school screening, I remembered Hair dimly as a good musical with good songs and a number of scenes that made us feel different things as teenagers. But today I finally saw Hair again, in the movie theatre, and I had to update my opinion. It is a great musical with genius songs and scenes directed in such a world-class way that one must once again admire the talent of Milos Forman. Whether it's the carefree odes sung and danced around parks, a hallucinogenic wedding scene or the finale with a troop-eating plane, it’s all amazing. It also of course concerns the acting and singing performances, and the lightness with which humor alternates with chills is also admirable. The world is about friendship, love, and freedom, says this film. Or at least that should be the point. And that applies all the time. Or at least it should.
()
I'm finally getting a bit more into Miloš Forman's work and I have to say I'm getting very excited. I was really looking forward to this musical. And it didn't disappoint, not one bit. It has great hippie songs, a fantastic anti-war atmosphere, and an absolutely brilliant ending where you don't know whether to laugh or just shake your head. This was great.
()
An engaging story, a lovely soundtrack, and a gripping ending. And yet Miloš Forman did not incorporate any divine choreography, unmistakable atmosphere, or anything a period musical should have. And I cannot forgive that, especially since this is not an original work. The songs are perfect, but they are simply arranged one after another, which the fans of the musical would expect, and as they should and must be. And yet there's a lack of surprise, and I only get the divine music, which is unacceptable for a film adaptation.
()
I completely and intentionally avoided having any hair for two decades. Not because it's a musical or maybe because of "display of long-haired guys" but because I once suffered watching a classic version. Which is basically a 90s, TV Nova pell-mell variety show where every single excellent but poorly arranged song was followed by at least two terrible ones (and of course poorly arranged too), moreover, the song was so obviously intrusively agitating that perhaps even the hippies would get annoyed. I never wanted to see it again, not even from Forman, though it kept bothering me "what the hell made him do this". After all, if I finally dared to watched. I would say that no other film proves Forman's greatness like this one. To be able make such a nonsense to have at least some meaning and as a result unexpectedly impressive story (you can read the original course of the plot on wikipedia), to focus only on (with one exception) performances, moreover not significantly stylized in terms of music, to change the order of songs, their singers and, in fact, almost everything, it is simply a proof that he could perhaps even transform Olmer's post-revolutionary works "into timeless classics".
()
Ads