Harold Conrad

Muhammad Ali's life story up to the late 1970s, which includes his Olympic boxing triumphs as Cassius Clay, his conversion to Islam, his refusal of the Army draft and the legal battle after being stripped of his World Title.

Over a booze-fueled, increasingly hectic five-day shoot in East Hampton, Norman Mailer and his cast and crew spontaneously unloaded onto film the lurid and loony chronicle of U.S. presidential candidate and filmmaker Norman T. Kingsley debating and attacking his hangers-on and enemies. This gonzo narrative, “an inkblot test of Mailer’s own subconscious” (Time), becomes something like a documentary on its own making when costar Rip Torn breaks the fourth wall in one of cinema’s most alarming on-screen outbursts.

A TV worker has fickle designs on an aspiring singer for whom she arranges an audition.

Takes place over the course of one feverish night in a Manhattan police precinct and neighboring bar.

Norman Mailer’s first feature filmmaking effort stars the director and his two longtime collaborators Buzz Farbar and Mickey Knox as a trio of gangsters holed up in a ramshackle New York apartment, drinking, braying, and fighting.