Ex-band member Dave (Dean Stockwell), living in a room on the roof of an abandoned warehouse, admonishes Stoney for selling out. Stoney, meanwhile, is less interested in tripping, particularly when a promoter offers Stoney's band a chance to perform at "the Ballroom" (apparently the Avalon Ballroom). The most memorable of these begins with the memorable cry, "Warren's freaking out at the gallery!" An artist friend of Stoney's, Warren (future director Henry Jaglom, with absurdly unreal muttonchops), is on a bad STP trip, hallucinating that his friends are the walking dead, and that his own arm has turned into rotting, diseased flesh, which he tries to cut off with a circular saw. There are various subplots and side roads in the narrative that are variously good, bad, and completely ridiculous.
#PSYCH BLU RAY BOX SET MOVIE#
The movie mostly follows this foursome in their search for Steve, known locally as "the Seeker," with clues leading them to an automobile graveyard where they rumble with intolerant thugs also looking for the wayward sibling. Womanizer Stoney is sincerely attracted to Jenny, and though she accepts his offer to crash at his pad (a house he shares with about a dozen others) she's hesitant about embarking upon a sexual relationship. Her only clue to his whereabouts is a cryptic postcard from him reading, "Jess Saes: God is alive and well and living in a sugar cube."Īt a hippie coffee shop she meets Stoney (Jack Nicholson) and his two band mates, Ben (Adam Roarke) and Elwood (Max Julien). Jenny (Susan Strasberg) is a deaf - but not mute - runaway searching Haight-Ashbury for her brother, Steve.
Originally released at 82 minutes, the Blu-ray restores director Rush's original 101-minute cut, which helps flesh out the characters, and the high-def transfer is stellar throughout. The picture, about a deaf young woman's search for a brother last seen in the vicinity of San Francisco's Haight-Ashbury district, has many good points but these are outweighed by some supremely bad choices. The same can't be said of Richard Rush's Psych-Out (1968), another AIP feature geared for the drive-in market. Olive Films' concurrent Blu-ray release of Roger Corman's The Wild Angels (1966) unexpectedly turned this reviewer's opinion around, from what had been perceived as a merely shrewd if laughable exploitation picture to something far more influential and artful.
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