Head

"Head" is a surreal and groundbreaking film that catapults the audience into a psychedelic journey through the bizarre mindscape of The Monkees, the iconic pop-rock band of the 1960s. Released in 1968, during the peak of the counterculture movement, the film stands as a testament to the era's experimental and anti-establishment spirit.

Directed by Bob Rafelson and co-written by Rafelson and Jack Nicholson, "Head" challenges traditional narrative structures and blurs the lines between reality and fantasy. The movie unfolds as a series of disjointed and seemingly unrelated vignettes, featuring The Monkees-Davy Jones, Micky Dolenz, Peter Tork, and Michael Nesmith-in a variety of surreal scenarios. From a war zone to a giant Coca-Cola machine, the film takes the audience on a wild ride that defies conventional storytelling.

One of the film's strengths lies in its self-awareness and willingness to deconstruct The Monkees' manufactured image. "Head" serves as a meta-commentary on fame, the music industry, and the constraints imposed on artists by commercial interests. The Monkees, who were initially created for a television show to be an American analog of the Beatles, use the film as a platform to break free from their manufactured personas and express their frustration with the industry.

The soundtrack, featuring music by The Monkees and compositions by Jack Nicholson and Harry Nilsson, adds to the film's psychedelic atmosphere. The eclectic mix of songs complements the film's disjointed narrative and contributes to its overall trippy vibe.

"Head" was ahead of its time in its approach to filmmaking and storytelling. While it was not a commercial success upon its release, it has gained a cult following over the years, appreciated for its bold experimentation and artistic ambition. The film's non-linear structure and unconventional style make it a unique and memorable piece of 1960s cinema, offering a glimpse into the counterculture's influence on popular media.

I've seen "Head" 3 times: twice on video, and just recently on the big screen. I've decided I like it.

"Head" came at a time when the Monkees' popularity had waned, their TV show had been cancelled, and their breakup inevitable. They were the first band ever to be a pure creation of the media -- and took the heat for it. The Monkees were, to the showbiz world at large, the first band to be assembled via auditions and head shots, right when color TV was hitting its first stride. Only Mike Nesmith had any real musical ambitions as a songwriter and performer.

Their records in fact were not terrible, by any means, but the "manufactured" attacks kept coming. And when their short-lived media success was over, and they were staring down their own archaic nature right in the face, they did something you'd expect from an Andy Warhol creation: They willfully committed career suicide with "Head."

It helps to look at "Head" right now, when the music industry's boy bands and teen queens -- many of them manufactured exactly the same way as the Monkees were -- are starting to see the mortality of their OWN careers. The Monkees were scrubbed, goofy, shriek-inducing teen stars, and for their last act they just said "The hell with it," and deconstructed themselves in a way people have not yet gotten used to.

I've spent 20 years seeing "Head" and not really developing an opinion on it. In my last screening I was surprised at how well-shot and interesting most of the scenes were. The film LOOKS quite good. And while you can't accuse the film of having any kind of plot, knowing the background of the Monkees' story, maybe juxtaposing it with how, say, the Bay City Rollers quietly faded out, you definitely get a sense of "story" if you pay close attention.

"Head" satirizes EVERYTHING of its time -- drug culture (the Monkees never look stoned in this movie, I noticed), the star-making studio system, the iconoclasm of Hollywood, and especially hippie culture. Frank Zappa's appearance alone -- he despised hippies -- proves that point. In their own way the Monkees even playfully deflated the spiritual and philosophical pretensions of -- egad -- the Beatles. In a scene where Peter Tork, sick of being "the dumb one," relates to the band, word-for-word, what he learned from a mystic guru in a sauna, he completes by saying, "Why listen to me -- I know nothing." Davy Jones indignantly stands up and says, "What are you talking about? You made us listen to you all this time and you know NOTHING?" It's that kind of annoying neutrality that bugged the Monkees, even if they were products of a TV executive's imagination.

Jack Nicholson and Bob Rafelson "wrote" the script, but it was obviously just a set piece with contained social commentaries, linked together by thin transitions, kinda like an acid trip. In fact I'm pretty sure "Head" is making fun of LSD too, even as it gets a pretty good grasp of its narrative qualities. As ramshackle and anarchic as the images in "Head" are, they're really not pointless at all. These are not random flashes from a freakout; most of them are very clever bits of symbology.

It drags a little bit, but the constructs are quite interesting most of the time, and there were a lot of laugh-out-loud moments in the theater where I saw it. The loudest laughs came at the end of the movie, where the placard informs us that "Head" was rated "G". It's the most subversive G-rated movie in cinema history.

Not the greatest rock and roll movie ever -- nowhere close -- "Head" is nonetheless one of the bravest, up with "Gimme Shelter." Every boy band should be required to watch it. And it's a hell of a lot more fun than "Woodstock."

I have never been a fan of the Monkees mostly because they are from another generation than mine. However, I am one of those movie viewers that would try everything, and since it was on Youtube, I had to see it.

HEAD hasn't really a plot to talk about. It's just like an extended music video for one of the Monkees' songs with also lots of scenes of hippies from newsreels and some cameos by Victor Mature, Abraham Sofaer, Dennis Hopper and Jack Nicholson. Some vignettes (like the ones with Mature and Sofaer) were actually funny.

Overall, while I didn't loved HEAD, I found it ok. Just something that could have been made only in those years with the generation that had something to say.

You would really need to remember the Monkees and have a clear understanding as to where and how they fitted into the second half of the 1960s in order to fully appreciate this movie.

There is no plot as such. Basically, it's a crazy, mixed up pastiche of various, unrelated sequences. But, it IS interesting AND entertaining in its own peculiar way once you get onto its wavelength. In short, it was a classic, cleverly conceived and well crafted example of late '60s experimental cinema. It contains some good songs, some ultra-groovy cinematography and plenty of other worthwhile ideas in terms of film technique.

I give it 8 out of 10 for several reasons. First, it took a lot of courage to make such an unorthodox movie in the commercial mainstream where both its stars and its producers were firmly ensconced at the time (whether they liked it or not). It seems that almost everyone who was associated with the project (with the exception of Columbia who paid for it) knew that it was probably not going to be a big money maker. Their reasons for wanting to do it were as unorthodox as the film itself. Secondly, it was, for the most part, a creative success. And, finally, as already mentioned, it is, unquestionably, a classic of the genre and, as such, it is now historically important.

Unfortunately, "Head" came too late in the Monkees career. But, there again, they wouldn't have been allowed to make it earlier on because it was essentially a very pointed and cynical satire of their own image.

Clearly, the members of the group knew, only too well, that the whole Monkeemania thing had pretty well run its course when they started work on this movie. In a way, it was to be their swan song and they were determined to let it all hang out. They were tired of being treated like mere pawns in the high powered corporate game in which they had been manipulated and exploited over the preceding few years. In short, they "wanted out" and they were going to say a few things before they left.

History, however, has vindicated the band. Let the critics be damned. The Monkees, left behind some of the best, most polished and successful pop records of the decade. Yes, they had plenty of help. But at the end of the day, THEY stood in front of the studio mikes, THEY fronted the movie and TV cameras and THEY did the concerts. They were fun and just a little bit crazy. But, unlike some of their contemporaries, they were never threatening. You could safely introduce a Monkey to your elderly aunt.

"Head" probably borrows a bit too heavily from the Beatles "Hard Day's Night" but it's still worth another look for those who were around at the time or for younger retro fans who can appreciate its significance.

Enjoy!

This is one of those films where it is easy to see how some people wouldn't like it. My wife has never seen it, and when I just rewatched it last night, I waited until after she went to bed. She might have been amused by a couple small snippets, but I know she would have had enough within ten minutes.

Head has nothing like a conventional story. The film is firmly mired in the psychedelic era. It could be seen as filmic surrealism in a nutshell, or as something of a postmodern acid trip through film genres. If you're not a big fan of those things--psychedelia, surrealism, postmodernism and the "acid trip aesthetic" (assuming there's a difference between them), you should probably stay away from this film. On the other hand if you are a fan of that stuff, you need to run out and buy Head now if you haven't already.

Oddly, the film has never received much respect. That probably has a lot to do with preconceptions. After all, it does star The Monkees--Micky Dolenz, Davy Jones, Michael Nesmith and Peter Tork--and The Monkees were a musical group of actors put together by producers Bob Rafelson and Bert Schneider to be a kid-friendly, bubble-gummy Beatles for a television series. In their era, they had as much respect as, say, Menudo, New Kids on the Block, The Spice Girls, and so on. As a fellow IMDb reviewer rightly notes--"Perhaps people in 1968, thinking of the Monkees as a silly factory-made pop band rip-off of the Beatles, refused to see (Head)".

The Monkees and Head have never been quite able to shed that negative public perception. It's a shame, because there was a lot of talent, both musically and otherwise, in The Monkees. It's probably odder that Rafelson, who directs here and co-produces with Schneider, and Jack Nicholson (yes, _that_ Jack Nicholson), who wrote the script and also co-produces, decided to take The Monkees in this unusual direction. It's as if New Kids on the Block suddenly put out an album equivalent to Pink Floyd's Ummagumma (1969) or Atom Heart Mother (1970). In fact, the songs in Head, written by The Monkees and frequent collaborators such as Carole King and Harry Nilsson, have a Floyd-like quality, somewhere between the Syd Barrett era and the immediate post-Barrett era. This is much more prominent than any Beatles similarity. Some people have complained about the music in the film, but to me, all the songs are gems. For that matter, some people dislike Barrett era (or other) Floyd, which is just as difficult for me to empathize with.

But what _is_ Head about? The basic gist is just that The Monkees are taking a trip through various film genres--there are war scenes, adventure scenes, horror scenes, comedy scenes, drama scenes, western scenes, sci-fi scenes, romance scenes, and on and on. Except, in the film's reality, this turns out to be happening primarily (if not exclusively) on a studio lot. At root, we're watching The Monkees shoot a film. Of course all of the scenes in the various genres have something surreal and self-referential about them, and they, and individual shots within a scene, tend to lead to one another using dream logic not dissimilar to the Monty Python television show. As a dream, Head tends to vacillate between a good dream and a nightmare, while often being one that would cause you to laugh in your sleep (something that I frequently do, by the way).

Technically, Rafelson uses a wide variety of techniques to realize the above. There are scenes with extensive negative images, there are a lot of very fast cuts (including a great sequence that features Davy Jones and Tony Basil dancing alternately in a white and a black room, wearing a combination of white and black reversed in each, that occasionally toggles back and forth as quickly as two frames at a time), there are a lot of bizarre segues, there is an animated cow mouth, there are odd editing devices, and so on. For my money, I wish this stuff wasn't just a relic of the psychedelic era. This is the kind of artistic approach I relish. It seemed like a good idea back then and I still think it's a good idea. I'd like to see films like The Life Aquatic with Steve Zissou using (2004) using these types of extended techniques. Now that would make that film surreal.

Interpretationally, some folks who aren't so in tune with the acid trip aesthetic have complained that it's basically b.s. to offer meanings for something intended to not have any. I disagree with such a pessimistic/nihilistic view; Head was intended to have a lot of meaning(s), and it's not just films without conventional plots that have multiple interpretations. Nicholson, Rafelson and Schneider have a lot of interesting things to say about The Monkees--the film postmodernistically comments on their manufactured status; pop stardom--way before Pink Floyd, Head conflates pop stardom and violence, from images of war to images of fans cannibalistically dismantling their idols; and naïve U.S.-oriented ideas of international perceptions and respect--well-armed foreigners in a desert surrender to Micky Dolenz just because he's an American, then later they blow up a Coke machine (again in the desert) for him because he's thirsty and can't gain access. The film comments on many other topics--from big Industry to police, surveys, spectatorship (especially in relation to tragedies), and on and on. Head is full of ideas, appropriately enough, with intelligent, multifaceted things to say about them.

Head deserves to be considered a classic--it's basically shooting for the same vibe as The Beatles' Yellow Submarine. Both premiered in November of 1968, interestingly enough, and both were intended as something of a summation of the psychedelic aesthetic. Yellow Submarine wasn't quite successful. Head is everything Yellow Submarine should have been.