Maidstone (film)

Maidstone is a 1970 American independent film drama written, produced, and directed by Norman Mailer. It stars Mailer, Rip Torn, and Ultra Violet. In it, famous film director Norman Kingsley runs for President, and a group of friends, relatives, employees, and lobbyists gather to discuss possible assassination plots against Kingsley's life.[1] While producing his latest film about a brothel, Kingsley's brother Raoul continues to cling to him for his money.

Maidstone
Original promo card
Directed by	Norman Mailer
Produced by	Buzz Farber Norman Mailer Leo Garen
Written by	Norman Mailer
Starring	Norman Mailer Rip Torn Beverly Bentley Robert Gardiner Carolyn McCullough Lenny Morris Ultra Violet Harris Yulin
Music by	Isaac Hayes Wes Montgomery Carol Stevens
Cinematography	Nick Doob Richard Leacock D. A. Pennebaker Nicholas T. Proferes Sheldon Rochlin Diane Rocklin Jan Welt
Edited by	Lana Jokel Norman Mailer Jan Welt
Production company	Supreme Mix Productions
Distributed by	Supreme Mix Productions The Criterion Collection (DVD)
Release date	1970
Running time	110 minutes
Country	United States
Language	English

The film's title refers to a town in England called Maidstone. Critical reviews were generally negative.

Plot

Norman T. Kingsley is a filmmaker who is known as the "American Buñuel", and he is working on a sexually provocative drama about a brothel. Kingsley has his friends, actors, "wanna-be" actresses, and others join him on his estate in Upstate New York to audition for and work on his sexual drama. The twelve chapters in Maidstone are filmed in documentary form, and it depicts Kingsley's everyday life as an actor and filmmaker. Kingsley chooses the cast for his film which is made of several different men and women. Kingsley refers to himself as a narcissist. Several nice looking women are shown auditioning for a role in Kingsley's film, and Kingsley is shown criticizing them heavily. He places himself within the film to show the women actresses what he is looking for in his film. Kingsley is very realistic and convincing in his own acting. In addition to directing his film, he is also campaigning to become the president and, in doing so, he attracts journalists, scholars, and some African American radicals who question him about his campaign. Some of the attention that he draws leads to a group of people, known as PAX,C, discussing the need to have Kingsley assassinated.

Chapter One: A Meeting of High Officials

The film opens with a male voice presenting a series of news casts by British commentator, Jean Cardigan, who is known in England for the intimacy in her portraits of the great and the near great. She is also described as "The sauciest bite in Britain." Next, Jean Cardigan appears and begins speaking about Norman T. Kingsley running for president. Her purpose is to keep a watch on Kingsley. The next scene is "The Meeting of High Officials", in which a group of men and women are sitting in a living room and listening to a man describe Norman T. Kingsley. They provide a background for Kingsley. They say that Kingsley's dominant nationality is Welsh, and that he went to different schools in pursuit of a degree in architecture. Kingsley is described as "indigenous, original, and a bit bizarre." The movie then changes to a clip where Kingsley begins auditioning women for his film. It then returns to the High Officials discussing Kingsley and his biography.

Chapter Two: The Director

In chapter two which is entitled "The Director", Kingsley continues auditioning woman and critiquing them heavily. Kingsley asks the women if they would be prepared to take off their clothes if the film called for it. At the same time, the High Officials provide psychoanalytic theories of Kingsley. The High Officials mention that Kingsley lives in New York, is separated from his wife, and has had no contact with his five children. One High Official wants to know Kingsley's position on Red China, Soviet Russia, The New African States, Israel, the Arab States, presumably in reference to Kingsley's presidential campaign. They introduce Mrs. Oswald, who works for Kingsley, because she knows the most about him. Mrs. Oswald claims that she knows about Kingsley as much as everyone else. The High Officials mention the Buñuel movie, and right after is their first mention of Kingsley being right for assassination. The chapter concludes with a backyard boxing fight between Kingsley and Raoul Rey O'Houlihan. Kingsley demands not to be hit in his face because he will appear in his own film.

Chapter Three: PAX, C & Cash Box

In chapter three of the film, Jean Cardigan talks about the new secret elite peace organization- Prevention of Assassination Experiments, Control (PAX,C). Cardigan says she heard that PAX,C excites assassinations rather than prevents them. She was accused of being a member of the British equivalent of PAX,C, but she denies involvement. The scene changes back to the High Officials discussing the Cash Box. In this scene it is explained that Rey is Kingsley's half-brother. Again, the scene changes back to Kingsley who says that he is on top of the Cash Box and Rey is right under him. This changes into a photographer taking pictures of the potential actresses, and then to an older woman speaking with Kingsley about using her estate for filming.

Chapter Four: Instructions to the Cast

Chapter four is titled "Instructions To The Cast". It opens with Kingsley speaking with his chosen film cast. He explains that the film is a movie about a brothel in which men work to mate women. He explains the sexual nature of the film. The scene changes back and forth between two men fishing and Kingsley speaking to the cast. This concludes chapter four.

Chapter Five: Politicking in the Grass

Chapter five is titled "Politicking in the Grass". It starts with the Cash Box talking to each other. The scene changes to Ms. Cardigan talking about how Kingsley is receiving political delegations while he is making his "sex movie." She says that she saw one girl undress another while they were filming on the lawn of the estate, with the Cash Box to be seen in the open. She feels the Cash Box is not the best thing for a man who is running for president to be associated with, and that the film shoot is chaotic. After that, Kingsley speaks to a group of African American males about poverty and life. The men are convinced that Kingsley says what he says because he is seeking the black vote in his run for president. Then the president of the ladies college appears. This woman says she does not want to have a myth in the presidential office, and asks Kingsley about his credentials as a candidate. An argument ensues between a few African American males, and then we see a shirtless Kingsley lying on a lawn, speaking to a woman about voting. Then we see a conversation with Kingsley and other people discussing sexual freedom in America, and someone who hangs himself while having an erection.

Chapter Six: A Commencement of Filming

Chapter six is titled "A Commencement of Filming." It begins with Kingsley and the cast clearing out a room to start filming. It transitions into a semi-sexual scene between a male and a female who are presumably cast members of Kingsley's movie. The next scene is Kingsley speaking to a different female cast member. They discuss the type of men she has been with and prefers. She talks in depth about her sexual curiosity to be with an African American man. She states "I heard they are good." Kingsley kisses her and they get into a bed together. The next scene change is Kingsley again, talking to a different woman about an Irish poet who said, "The devil is the most beautiful creature God ever created." This is a paraphrase from John Milton's[2] Paradise Lost. Next, Ms. Cardigan tells that the latest bulletin from NTK sexual front is that "Ultraviolet" who is the star of Andy Warhol movies, is going to be in Kingsley's film having sex with a black man. This is supposed to be a "cinematic first" for Kingsley. More conversation is shown with the cast members. Kingsley is then shown sexually caressing yet another female.

Chapter Seven: Portents

Chapter seven then begins, and it is titled "Portents." The High Officials discuss the manner in which they think Kingsley should be assassinated. A man from Kingsley's filming is then shown making unusual whooping noises with his mouth.

Chapter Eight: Return of an Old Love

Chapter eight, titled "Return of an Old Love," starts with a man interrupting Kingsley to tell him that "Valarie Bruenelle" is at the estate. Kingsley says that the last time he saw her, she was very "rapid." Kingsley meets with Bruenelle and they sit at a table smoking, talking, and singing a random musical tune. Kingsley asks why Bruenelle came to see him and asks if it was to wish him well. Bruenelle says she does not know if she wishes him well. Some photos are flashed across the screen showing Ms. Bruenell in her younger years.

Chapter Nine: The Death of A Director

Chapter nine is titled "The Death of the Director." Sexually induced moaning from a female is heard in the background. A man is shown falling to the floor, and then a man is shown playing the piano. This chapter changes scenes quickly, in a random flashing manner, showing images of back roads, Ms. Cardigan, Kingsley, Kingsley's wife and children, the estate, and other miscellaneous events. A sexual scene is shown with Kingsley speaking about his film becoming pornographic. The chapter then transitions into flashes of events occurring during Kingsley's presidential campaign. Several flashes of Kingsley and women are then shown, one with a fully nude woman. Kingsley is shown saying his film is awfully close to sexual exploitation. Several more sex scenes are shown, one with Ms. Cardigan exposing her almost-bare chest as her dress is open and loose on top. Ms. Cardigan is shown very disheveled, in an almost demonic state, holding a baby doll and screaming, "I hate NTK!" The final scene shows several people walking down a dirt road, away from the camera.

Chapter Ten: The Grand Assassination Ball

Chapter ten, titled " The Grand Assassination Ball," opens with a party for Kingsley's presidential campaign. The High Officials and Kingsley's wife are in attendance. The scene opens with two of the cast members saying that the "King has been assassinated" and a sudden scream emits from both men. After this occurs, Kingsley makes his way on stage. Once there, he yells out something along the lines of "Silence! The King is ready to speak!" He makes a speech about how much he trusts everyone who is there until they betray him for the first time. As the music continues to play, everyone is dancing and appears to be enjoying themselves, except for the High Officials, who look mad. Next, one of the young black men from the cast tries to attack Kingsley. It takes several men to subdue him to the ground and to walk him out of the ball. After this, the music stops, Kingsley's brother walks up to his brother and yells out to the crowd "Is my brother for freedom?", to which his wife yells out, "Come on! Play some freedom! Play some freedom! You don't know nothing about freedom!" This scene ends by going completely black, and into the next scene where Kingsley's wife is sitting in his house smoking a cigarette.

Chapter Eleven: A Course in Orientation

Chapter eleven is titled "A Course in Orientation." This scene shows Kingsley entering his home where his wife awaits him. He sits down and she begins to raise her voice at him in anger. She talks about him getting "even" with her by not calling her into work. He then begins to discuss the actors and actresses he worked with during the film. His wife says he is afraid of real talent because it might steal something from him. This scene ends and the next scene shows Kingsley, his wife, and his kids on a sail boat in the ocean. This scenario changes to a yard scene where Kingsley is discussing the film with the cast and his crew. He says they have made a movie by a "brand new process". He adds that they have made a movie like a military operation. With a military operation, the troops take on the town and as they go forward, they encounter many obstacles and they have to get through them in the film. Kingsley says they have been making an attack on the nature of reality. He asks "What is reality?" The cast and crew begin to discuss what they do and don't like about Kingsley and the movie. One of the females did not like the ball, because she felt that since the cast trusted him, they had been "manipulated, exploited, developed and educated" by Kingsley. Kingsley then says he made the film to show how a man runs for president, and how his character running for president was a complete contradiction to the actor himself. He said in a fantasy world, his character could run for president. He and his cast and crew give a thankful round of applause to their host throughout the movie, Robert Gardiner. This scene ends with the camera crew riding away from the house where the movie was filmed.

Chapter Twelve: The Silences of An Afternoon

Chapter twelve is titled "The Silences of an Afternoon." The scene displays Kingsley's wife and kids walking on a dirt road with their mother and some other cast members walking around, relaxing since filming is over. It then changes over to a clip where Rey grabs his hammer and carries it with him. It changes again to another short clip where Rey is talking to one of the High Officials, and then it changes again to where Rey suddenly attacks Kingsley with the hammer and says Kingsley must die but not Mailer. Kingsley and Rey both fall into the grass, wrestling. Kingsley says, "No baby, you trust me." He repeats this four or five times to calm his brother down while his hands are pinned to the ground. His wife starts screaming when she sees Kingsley on top of Rey; not because he is trying to hurt Rey, but because Rey tried to strangle Kingsley. At some point in the fight, Rey bites Kingsley's ear and draws blood. This all happens in the midst of his wife screaming and hitting Kingsley and Kingsley's children crying. Rey then claims that he had to do what he did, and that the movie would not be a movie without Kingsley's death. Rey then asks Kingsley why he thinks he came back. Rey says he doesn't need to come back. After the two brothers start walking up the dirt road, they start calling each other offensive names, and soon after Rey proclaims that everything that just happened was a scene from a "Hollywood whorehouse movie." This scene ends with the continuing of slander and name-calling between Kingsley and Rey. The last scene shows the two dirt roads surrounded by woods.

Cast

Actor	Role
Norman Mailer	Norman Kingsley
Rip Torn	Raoul Rey O'Houlihan
Joy Bang	Joy Broom
Beverly Bentley	Chula Mae Kingsley (Kingsley's wife)
Jean Campbell	Jean Cardigan
Lee Cook	Lazarus
Terrayne Crawford	Terry Crawford
Buzz Farber	Luis
Robert Gardiner	"Secret Service Chief"
Leo Garen	"The Producer"
Luba Harrington	"Russian Delegate"
Ultra Violet	Ultra Violet

Rest of cast listed alphabetically:

• Paul Austin
• Ann Barry
• Eddie Bonette
• Steve Borton
• Robert Byrne
• Paul Carroll
• Lang Clay
• Harold Conrad
• Billy Copley
• John De Menil
• Tony Duke
• Tim Hickey
• Ron Hobbs
• Kahlil
• Evelyn Larson
• Robert Lucid
• Mara Lynn
• Diana MacKenzie
• John Maloon
• John Manazanet
• Michael McClure
• Carolyn McCullough
• David McMullin
• Penny Milford
• Glenna Moore
• Leonard Morris
• Adeline Naiman
• Ula Ness
• Alfonso Ossorio
• Noel E. Parmentel, Jr.
• Maggie Peach
• Alice Raintree
• Jack Richardson
• Joe Roddy
• Lee Roscoe
• Bianca Rosoff
• Peter Rosoff
• Barney Rosoff
• Shari Rothe
• Cliff Sager
• Lucy Saroyan
• Brenda Simley
• Lane Smith
• Sally Sorrell
• Greer St. John
• Carol Stevens
• Danae Tom
• José Torres
• Hervé Villechaize
• Jan Pieter Welt
• Bud Wirtschafter
• Harris Yulin
• Penelope Milford

Justin Bozung points out Norman Mailer's determination to cast non-actors in Maidstone and other films supports his belief that "we are all actors in our daily lives".[3] Mailer's determination to blur reality and fiction as scenarios unfold could only be achieved by capturing true responses to situations.[3] Many of Mailer's casts were chosen from friends who "reflect facets of his persona".[4]

Production

Maidstone, is the final of three underground[5] films written and directed by Norman Mailer in the late 1960s and was his biggest production in terms of capital expenses and physical and emotional expenditures.[6] The film began production in 1968 and was not completed until 1970. Production occurred over five days on various East Hampton estates, "The actors worked without a script, without a net, and often, without any idea what they were doing."[7] Mailer relied on his own acting as a method of directing while prodding cast members to react on film rather than read from a script.[8]

The original footage was 45 hours long, but after the editing process the producers came up with a 110-minute film. It took them three weeks to watch the 45 hours recordings, then about 6 months to cut it into 7.5 hours. According to Mailer, the crew worked a long time before they could get down to the 3.5 hours version, that no longer exists. "At that point, down from 7 ½ hours, it's a totally different film. It was endlessly long and slow and had all sorts of interesting corners, pursued all sorts of angles, that never quite got developed enough."[9]

After inadvertently becoming a film-producer, Mailer points to his lack of experience as the main factor for inflated spending on his films Wild 90, Beyond the Law, and Maidstone.[10] The financing for this film was $200,000 causing Mailer to sell part of his interest in The Village Voice. The film would eventually bankrupt Mailer before completion. There is no official soundtrack for the film, but it did use scores created by composers Isaac Hayes and Wes Montgomery.

Filming Location

New York, USA

Four estates in the Hamptons were rented, providing five continuous miles of estate to five different camera teams.[6] Barney Rosset let the crew use his estate for shooting, and a lady named Elizabeth Brackman also gave the film crew permission to use her house as the shooting scene. The mansion that was used in one of the scenes belonged to Alfonso Ossorio. The crew worked "from mansion to estate back to another mansion to an island."[9] Along with a cast of 50-60 individuals, cameramen were prompted to follow unprompted actions for Mailer to piece together in production.[6]

Music

The theme music for this film was composed and sung by Carol Stevens.

Other music:

Performed by Isaac Hayes:

• "Precious, Precious"
• "I Just Want to Make Love to You"
• "Rock Me Baby"

Performed by Wes Montgomery:

• "Love Theme from The Sandpiper (The Shadow of Your Smile)"

Background

Produced during the media height of Armies of the Night and leading to the writing of Miami and the Siege of Chicago, Maidstone was produced during a politically and culturally changing era of American history. Although released during 1970-1971, Maidstone's production was one month after the assassination of Bobby Kennedy and three months following Martin Luther King, Jr.'s assassination, Maidstone was "awash in the rage and fear of 1968".[11] John D'Amico couples Maidstone with chants of "The whole world is watching!" on the American political timeline of the 1960s and along a year of "nerve-wracked" cinema "desperately grasping for a new way of living".[12] Although 1960s cinema is typically disregarded as drug-induced, D'Amico credits the totalitarian-littered world in which these film-makers were born as fuel in their rage against the political oppressive utilization of perfect order.[12]

Analysis

Michael Mailer credits Maidstone as a sociological statement and an embodiment of the "indulgence to the point of mental hazard" which ultimately caused the 1960s to "implode".[13]

Following the assassinations of Bobby Kennedy and Martin Luther King, Jr., Mailer's maidstone was filmed, taking inspiration from Bobby Kennedy to create Mailer's character Norman Kingsley as the next "cool" political candidate.[14] According to Sarah Bishop, Maidstone's purpose was to "demonstrate the violence" caused by media representations of individuals who had the cultural authority and technological power to shape these representations.[14] Driven by the assassinations of the 1960s, Maidstone serves as a test to counterculture's promised political equality and social freedoms' ability to "hold up under the spotlights".[14]

Feminist response

Mailer's director character was considered a male chauvinist. At one point in the film, referring to his ability to analyze women, Kingsley says, "I wish women were horses. I would be a multi-millionaire." His take on the Hollywood casting couch portrayed a director conducting cruel interviews with women. Lines were sometimes blurred between his character and Norman Mailer himself, so he received a lot of scorn from supporters of the women's movement in the 1970s. "In Maidstone, all the interviews are with women and each is crueler than the next. I paid for that for 40 years," said Mailer. "The women's movement picked it up as if it were manna from heaven. They had found their number-one sexist pig in America."[9] Mailer viewed feminism as "potentially, part of the drift toward totalitarianism," which inspired the book "The Prisoner of Sex," in which he wrote as a response to the movement. Additionally, during a town hall meeting hosted by a group of feminists, Mailer stated "the whole question of women's liberation is the deepest question that faces us."[15]

John D'Amico references Chapter Four: Instructions to the Cast to illustrate the treatment of actresses as "needling and taunting", as Mailer's character Kingsley calls one woman a "ninny" if she won't strip her clothes for a scene.[16] In addition to nitpicking over one actress' wrinkles, Kingsley makes racist remarks towards one black actress by demanding she "be a slave to be a good actor".[16]

Reception

Release

An early edit was previewed at the Whitney Museum of American Art in New York. The film ran for two weeks, five times a day, and sold about 7,000 tickets, breaking several house records for the theater. With some extra money in the bank, and feeling optimistic about its reception, Mailer opened the film at The Lincoln on 57th Street. It ran for seven days, and delivered the worst business in the history of the theater. A friend with film expertise commented on its poor performance: "Norman, the answer is that there were just 7,000 people in New York who were interested in seeing that film."[9]

Maidstone was shown in a select few theaters in 1971. After that, it all but disappeared from the public eye until 35 years later when a DVD was released in France in 2006. This led to a number of public screenings at that time, but until then the film remained in obscurity. These limited screenings may have lessened its potential direct influence on future films.[17]

The film was shown at several festivals and movie theaters since its first release. In 2008, it appeared at the film festival "Cinema '68" in the UK. Five years later, it was shown in New York at the Film Forum.

Critical response

According to Mailer, Maidstone never received "the one great review we were hoping for."[9]

Vincent Canby of The New York Times lauds Mailer's creativity and ambition, but his review remains negative:

Maidstone is a sometimes hilarious, often boring, but always adventurous ego trip, a very expensive, 110-minute home movie that has been edited, rather fancily, out of something like 45 hours of original footage. That, in turn, prompts the thought that almost anybody should be able to get 110 minutes of something out of 45 hours of anything, even if it's simply the filmed record of a chic, chaotic, seven-day brawl in East Hampton, which is the raw, not-so-base material of Maidstone.[18]

Like many viewers, he found the Rip Torn hammer attack to be the only intriguing moment:

Nothing else in Maidstone is as interesting, not the satire of the news media, not the soft-core sex scenes, not Mailer's put-downs of actresses auditioning for Norman T. Kingsley ... not even Mailer's flights of fancy about politics, Presidents, blacks and whatnots.[18]

Likewise, Sam Adams of The Los Angeles Times, calls the Torn/Mailer fight "the greatest scene in Norman Mailer's filming career." Moreover, Adams he states that "watching the film doesn't lack for force. It is indeed like being attacked, and it is Mailer that is doing the attacking."[7]

Legacy

The film is now famous for the improvised fight between Norman Mailer and Rip Torn. As the camera rolled, Torn struck Mailer in the head with a hammer, intending to "kill his character". Mailer's scalp opened up, and a vicious fight ensued. With the camera still rolling, Torn energetically strangled Mailer until the fight was broken up by Mailer's wife, Beverly, and their wailing children. During the melee, Mailer bit off a small chunk of Torn's ear. The fight, in which the actors called each other by their real names, made it into the film. This "Maidstone Brawl" has over 490,000 views on YouTube, despite the film's remaining 101 minutes having less popularity.[11]

The fight was later used as evidence in Torn's case against Dennis Hopper, who claimed that Torn attacked him with a knife after being replaced by Jack Nicholson in Easy Rider.[19] Torn won his case on the claim that "he could not have possibly killed Hopper as he was, at the time, on the set of Maidstone trying to kill Norman Mailer."[19]

In his essay "Overexposed: My First Taste of Film-Making", Michael Mailer recounts this final scene as his first experience with trauma.[20] Shortly before Norman Mailer's death, he spoke with his son about the final scene of Maidstone and its impact as the "clear" force which drove Michael into the film business.[20]

See also

• List of American films of 1970
• Independent drama film
• Norman Mailer

References

Citations

1. Bishop 2012, p. 302.
2. Whalen-Bridge 2010.
3. Bozung 2017, p. 1.
4. Gelmis 1970, p. 43.
5. Dangerous Minds 2012. sfn error: no target: CITEREFDangerous_Minds2012 (help)
6. D'Amico 2017, p. 162.
7. Adams 2012.
8. Gelmis 1970, p. 48.
9. Chaiken 2007.
10. Gelmis 1970, p. 46.
11. D'Amico 2017, p. 161.
12. D'Amico 2017, p. 163.
13. Mailer 2011, p. 201.
14. Bishop 2012, p. 301.
15. Menand 2013.
16. D'Amico 2017, p. 164.
17. Miller 2012.
18. Canby 1971.
19. Mailer 2011, p. 203.
20. Mailer 2011, p. 202.

Bibliography

• Adams, Sam (August 24, 2012). "The Films of Norman Mailer". Slate.
• Bishop, Sarah (Fall 2012). "The Life and Death of the Celebrity Author in Maidstone". The Mailer Review. 6: 288–209.
• Bozung, Justin (2017). "Introduction: Mailer's Film Aesthetics". The Cinema of Norman Mailer. New York: Bloomsbury Publishing. pp. 1–30. ISBN 9781501325533.
• Chaiken, Michael (2007). "Riding the Whirlwind: Norman Mailer Interview". Film Comment.
• Canby, Vincent (September 24, 1971). "Film: Mailer's 'Maidstone' Opens Whitney Series". The New York Times.
• D'Amico, John (2017). "Maidstone: The Unilinear Abstract". The Cinema of Norman Mailer: 161–200.
• Drain, Heather (October 8, 2002). "Mailer Must Die: The 'Maidstone' Fight". Dangerous Minds.
• Gelmis, Joseph (1970). "Norman Mailer: Interview". The Film Director as Superstar. Double Day. ISBN 9780385022293.
• Mailer, Michael (2011). "Overexposed: My First Taste of Film-Making". The Mailer Review. 5: 167–169.
• Menand, Louis (October 21, 2013). "The Norman Invasion". The New Yorker.
• Miller, Cynthia (2012). Too Bold for the Box Office: The Mockumentary from Big Screen to Small. Scarecrow Press. ISBN 9780810885189.
• Rotten Tomatoes. "Maidstone". Rotten Tomatoes.
• Scott, A. O. (20 July 2007). "Norman Mailer, Unbound and on Film: Revisiting His Bigger-Than-Life Selves". The New York Times. Retrieved 2007-08-03.
• Whalen-Bridge, John (2010). Norman Mailer's Later Fictions: Ancient Evenings Through Castle in the Forest. New York: Palgrave Macmillan. ISBN 9780230109056.

External links

• Thank you letter to Norman Mailer Thank You One and All
• Maidstone at IMDb
• Maidstone at AllMovie