Roger Corman - Bloody Mama (1970)

Category: Action , Drama , All-In-One Movie

Tag: All-In-One-Movie

Description for Roger Corman Bloody Mama 1970

Roger Corman - Bloody Mama (1970)
01:30: Min | Xvid 704x388 | 1625 kb/s | 23.976 fps | Mp3 128 Kbps. | 1.13 GB
English | Subtitles: English .sub and Spanish .srt | Genre: Crime
A psychological gangster film based on fact. Machine gun totin' Ma Barker lead her family gang (her sons) on a crime spree in the Depression era. Her loyal brood have every perversion imaginable. The sadistic Herman sleeps with his Ma. When Fred Barker is released from prison, he brings home his cell mate/lover Kevin Dirkman, who also sleeps with Ma, much to Fred's chagrin. Lloyd Barker is a spaced-out drug addict who sniffs glue if nothing better is around. Ma kidnaps happy-go-lucky millionaire Sam Adams Pendlebury and holds him for ransom. Arthur Barker - Ma's wallflower son - and Herman's hooker lady friend Mona Gibson also figure in the story. The bloody finale is virtually choreographed and a visual stunner. Filmed in the Ozarks IMDB

Drama. Crimen / SINOPSIS: Basado en una historia real. Kete Barker ha criado a sus cuatro hijos de forma autoritaria, pero indulgente ante todas las fechorÃas y brutalidades cometidas por los muchachos. Ellos la veneran y al mismo tiempo la temen. Sus hijos son los suficientemente mayores y Kate ha decidido abandonar a su dÃ©bil marido y partir con ellos a hacer fortuna. Inician una vida de delincuencia, perversidad y crÃmenes que los aleja de la miseria y del anonimato. Ma Baker fue una de las figuras mÃ¡s insÃ³litas de la Ã©poca del gangsterismo norteamericano. (FILMAFFINITY)
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"En una de sus mejores pelÃculas, Corman resume la idea del delirio. LÃrico, patÃ©tico y violento viaje al fondo de los sentires emponzoÃ±ados. Winters, por su parte, cautiva" (Luis MartÃnez: Diario El PaÃs)
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"Perversa y delirante, una obra maestra" (Fernando Morales: Diario El PaÃs)

Roger Cormanâ€™s Bloody Mama is loosely based on the true story of Kate â€˜Maâ€™ Barker and her criminal offspring, whose exploits in the American Midwest from the early 1920s to the mid-1930s led to avid media coverage and inspired James Hadley Chase to pen his 1939 novel No Orchids for Miss Blandish, which concerned a mob controlled by their matriarch. Their crime spree lasted 15 years, although the pace of Cormanâ€™s account, and the few concessions made to the ageing process, suggest a shorter timescale. His film also embraces the myth of â€˜Machine Gun Maâ€™ as the head of the operation, a legend that was reportedly cultivated by the FBI in order to justify their eventual killing of an elderly woman.

An unsettling opening scene, in which a teenage Ma is raped by a gang led by her father, is one of Cormanâ€™s few attempts to speculate on the roots of her attitude towards society, with the director preferring to revel in the amoral activities of her outlaw family, and to evoke period trappings on a typically shoestring budget. Robert Altmanâ€™s Thieves like Us (1974) provides a more authentic snapshot of criminal life in Depression-era America, but Cormanâ€™s film is of interest to an audience beyond his core following of cultists, despite its inaccuracies. As Ma and her four sons â€“ Herman, Fred, Lloyd and Arthur â€“ travel across the United States, committing crime and occasionally lying low under the alias of â€˜The Huntersâ€™, they pick up two associates: Mona, a prostitute who has become Lloydâ€™s girlfriend, and Kevin (Bruce Dern), a sexually sadistic addition to the gang who â€˜befriendsâ€™ Fred during a term behind bars. Their freewheeling lifestyle is curtailed by an overly ambitious kidnapping, which leads to a brutal shoot-out with the law.

Shelley Winters takes centre-stage as the domineering Ma, and Don Stroud is genuinely threatening as Herman, who becomes her second-in-command and ultimately overthrows his own mother to take control of the gang. Bloody Mama functions as a satire of the American family unit, with Ma effectively adopting the roles of both father and mother; keeping them afloat economically by masterminding robberies and kidnapping plots, and administering â€˜tough loveâ€™ by physically scolding her brood whenever they have disappointed her, yet also comforting Herman when he has experienced one of his â€˜bad momentsâ€™ and insisting that he â€˜sleep with Maâ€™ to avoid having bad dreams. Herman is truly a product of her unconventional upbringing, a violent thug who is even described by his girlfriend as a â€˜freakâ€™; yet he is capable of moments of tenderness, allowing his lover to leave for Miami rather than risk her being killed in the inevitable climactic bloodshed.

However, it is a young Robert De Niro as Lloyd who offers the most fully-formed characterisation, one that runs the gamut from amusing to disturbing, to strangely sympathetic as he struggles to fit in with his more criminally proficient siblings. Lloyd becomes chemically dependent at an early age, initially getting high from sniffing glue while putting together plastic models, but is soon injecting dope, and De Niro reportedly shed 30 pounds for the role. His stoned seduction of an attractive female swimmer initially plays as an exercise in deadpan humour, but events take a more sinister turn as he pins the girl down to the deck and then kidnaps her, tying her to one of the beds in the family holiday home. â€˜She was so cute I had to take a shot at herâ€™, is his feeble justification for his actions. Lloyd is less volatile than Johnny Boy, the self-destructive character who would provide De Niro with his breakthrough in Martin Scorseseâ€™s Mean Streets (1973), but he is as equally misguided. Despite being part of a tightly-knit family, Lloyd is arguably one of the many socially alienated loners, prone to moments of intense introspection, that the actor portrayed during his 70s peak.

It is often difficult to evaluate Corman as a director, and to pinpoint his authorial signature, as his cinematic legacy is forever intertwined with the filmmakers who served their professional apprenticeships within his â€˜Bâ€™-movie factory; directors such as Scorsese, Francis Ford Coppola, Peter Bogdanovich and Jonathan Demme, who would re-invigorate the Hollywood mainstream in the 1970s and the early 1980s. Corman stages his action scenes efficiently, identifying the marketable attributes of the gangster film, yet his subversive spirit does filter through to elevate Bloody Mama above the status of a low-budget programmer to something more memorable, even if the film is, at times, an uncomfortable hybrid. Consequently, Bloody Mama has much in common with Cormanâ€™s Death Race 2000 (1975): it is a fast-moving exploitation item, yet one which exhibits some finely observed, almost throwaway, satire at the expense of American society. These elements of Bloody Mama are more interesting today than the still shocking scenes of violence that were the filmâ€™s main selling point on its initial release.

John Berra

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