Milestones (1975)
DVD5 | ISO+MDS | PAL 4:3 | 03:26:27 | 3,44 Gb
Audio: English AC3 2.0 @ 256 Kbps | Subs: None
Genre: Art-house, Drama
DVD5 | ISO+MDS | PAL 4:3 | 03:26:27 | 3,44 Gb
Audio: English AC3 2.0 @ 256 Kbps | Subs: None
Genre: Art-house, Drama
Directors: John Douglas and Robert Kramer
Stars: Mary Chapelle, Sharon Krebs, Jim Nolfi
A many-faceted portrait of those individuals who sought radical solutions to social problems in the United States during the 1960s and 1970s. It cuts back and forth between six major story lines and more than fifty characters, and across a vast landscape, to explore the lifestyles and attitudes of the American left who faced both personal and hhistorical transitions in the period following the Vietnam War.
This epic film represents an essential landmark within the political, intellectual and artistic entreprise of the 60's and 70's, following the Vietnam War. Milestones cuts back and forth between different story lines and features over fifty different characters, from Vietnam veterans to ex-convicts, parents and kids, native americans…. In 3 hours and 15 minutes, Kramer and Douglas expose the 'tribe' where all the alternatives of this generation are experimented. The film questions these experimentations's success and failures, as well as the directing methods of Newsreel cinema. In 1976, Serge Toubiana wrote in Les Cahiers du Cinema: "If in Milestones one deals with new relationships between human beings and with a new way of life which also integrates the vegetal world as well as the biological world, one also deals primarly with cinema, with a new form of cinema, as if Hollywood would not exist. Kramer and Douglas don't make Milestones against Hollywood, they shoot as if Hollywood doesn't exist."
While Milestones is ostensibly about the years following a historical movement, and the film does very much take place in the ashes of the 60s, it is a film of tragic specificity and genuine intimacy that reveals more to the viewer than political or social agenda. The film is remarkably successful because it tunnels through the superficial, and it achieves feelings of both documentary and fiction (it has to be both documentary and fiction, because there is a major moment towards the end of the film that could only have been partially staged), spreading out across human experience, examining stories of betrayal, redemption, bonding, sacrifice, disappointment, and hope. It has stories of beginnings and ends, family stories, stories between friends, lovers - I don't think there is any other film with such an amazing diversity of characters and situations with such meaningful focus on each character.
This large ensemble narrative, then, which possesses a narrative that is both indifferent and engaging, is special for having a structure emblematic of its major social intention. While a film may be about caring, it seems that this film is about caring and does care.
Describing the actual film would be a matter of detailing the myriad of characters' paths, and I won't do that for you because the mystery of the journey is part of the fun of the film, but I will say that some of the characters are: a three person hippie family unit searching for a place of true meaning out across the roads of America, a commune that feels similar to Moodysson's much later film Together, a father trying to find a relationship with his son he left behind years ago, an elderly woman who has worked her entire life, a pregnant woman, a man wanted for murder in a way similar to Days of Heaven, a blind potter, a gentle, sincere radical recently released from prison, and a musician trying to make living money. They come to mean so much more though, than that I can describe.IMDB Reviewer
Following the lives of over a dozen individuals as they move about the country, Robert Kramer's Milestones maps the different paths taken by the New Left during the first half of the 1970s. Mixing documentary and fictional modes, Kramer sympathetically observes this collective attempt to articulate new forms of politics in the wake of the 60s. Needless to say, memories of the previous decade's political urgency haunt almost every character.
One individual has just been released from prison after serving time for helping draft resisters; another, when meeting with an old comrade, expresses nostalgia for the Days of Rage and The Black Panthers. Fortunately, the film avoids condescendingly attacking that former radicality. For most of the characters, it is isn't a question of giving up politics, but of broadening their conception of it. In contrast to the "dichotomy" in the 60s between political actions and the rest of life, the characters are all seeking in one way or another to prove that "a revolution is not just a series of incidents, but a whole life."
The collapse of strong political organizations has left most of these fragile individuals relying heavily on collective love as they rebuild their lives (the emphasis on expressing emotions does perhaps push the film too far into a therapeutic mode). They regularly move in and out of different communal living situations, which range from a pack of "back to the land" hippies to a group of strongly bonded men. Kramer is particularly interested in the problem of politics and the generations. Many of the characters try to repair relationships with parents who were politically estranged in the 60s. And after many scenes of fighting and misery, Milestones ends with a hopeful–and explicit–birth.
The film's title comes from a quotation attributed to Ho Chi Minh: "Neither high nor far away, on neither emperor's nor king's throne, you're only a little slab of stone standing on the edge of the highway. People ask you for guidance; you stop them from going astray, and tell them the distance they must journey. The service you render is no small one; people will remember what you've done."
Special Features: None
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