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HISTORY

       Cameramen James McCarthy and Ken Kobland, as well as audience members, were visible throughout filming of the stage production. The audience was scattered around the stage and often responded to the characters with nods and facial expressions.
       The Tooth of Crime was screened at the Whitney Museum of American Art in New York City, the 18 Sep 1975 NYT reported. There is no record of the film being theatrically released.
      End credits contain the following acknowledgements: “Grateful thanks to: Fibonacci Corp., Kevin McCarthy, Elsie C. Woodward, Fanton Foundation, Jeanette Bonnier, Beatrice Straight, Scott & Robbie Stegler, Joanna & Clement Fiore, William Monroe, Ellen LeCompte, Peter Miranda, Judy Peabody, Daphne Hellman, E.G. Marshall, Marry Ellen Bute, William Jovanovich, Edward & Selma Fischer, Martin & Aletha Swensen, Ruth Pollack, Charlotte Jones, Nancy Rowell, James Clayburgh, Spalding Gray, James Griffiths, Elizabeth LeCompte, Amalie Rothschiild, Carter Lord, Hart Perry, Paul Goldsmith, Peter Hliddal, Claudia Weill, Patricia Barnes, Norman Young, Theresa Barnes, Maxine Herman, [and] Leeny Sack. The stage production was made possible in part through the assistance of The National Endowment for the Arts, New York State Council on the Arts, Ford Foundation, [and] Shubert Foundation.” The credits also include the following information: “This film is an adaptation of The Performance Group’s production of The Tooth of Crime.” Non-play moments were edited into the film, and several scenes were rearranged. The story is an allegory with highly stylized characters and dialogue.
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       Cameramen James McCarthy and Ken Kobland, as well as audience members, were visible throughout filming of the stage production. The audience was scattered around the stage and often responded to the characters with nods and facial expressions.
       The Tooth of Crime was screened at the Whitney Museum of American Art in New York City, the 18 Sep 1975 NYT reported. There is no record of the film being theatrically released.
      End credits contain the following acknowledgements: “Grateful thanks to: Fibonacci Corp., Kevin McCarthy, Elsie C. Woodward, Fanton Foundation, Jeanette Bonnier, Beatrice Straight, Scott & Robbie Stegler, Joanna & Clement Fiore, William Monroe, Ellen LeCompte, Peter Miranda, Judy Peabody, Daphne Hellman, E.G. Marshall, Marry Ellen Bute, William Jovanovich, Edward & Selma Fischer, Martin & Aletha Swensen, Ruth Pollack, Charlotte Jones, Nancy Rowell, James Clayburgh, Spalding Gray, James Griffiths, Elizabeth LeCompte, Amalie Rothschiild, Carter Lord, Hart Perry, Paul Goldsmith, Peter Hliddal, Claudia Weill, Patricia Barnes, Norman Young, Theresa Barnes, Maxine Herman, [and] Leeny Sack. The stage production was made possible in part through the assistance of The National Endowment for the Arts, New York State Council on the Arts, Ford Foundation, [and] Shubert Foundation.” The credits also include the following information: “This film is an adaptation of The Performance Group’s production of The Tooth of Crime.” Non-play moments were edited into the film, and several scenes were rearranged. The story is an allegory with highly stylized characters and dialogue.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
6 Oct 1975
---
New York Times
18 Sep 1975
p. 49
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
The Performance Group in their production of
a play by Sam Shepard
a film by Ken Kobland James McCarthy
NAME
CREDITED AS
CREDIT
DIRECTORS
Dir for the stage by
PRODUCERS
Asst prod
WRITER
A play by
PHOTOGRAPHY
Photog
Cam asst
Lighting for the stage
Key grip
SET DECORATOR
Environment
COSTUMES
Cost des
MUSIC
Electric mus
Electric mus
PRODUCTION MISC
In assoc with
Video
Video
Gen mgr
Attorney
ANIMATION
SOURCES
LITERARY
Based on the plays The Tooth of Crime and Geography of a Horse Dreamer, by Sam Shepard (London, 1972).
LITERARY SOURCE AUTHOR
SONGS
"Born To Be Wild," written by Mars Bonfire, performed by Steppenwolf; "Ain't Worth Shit Or Shinola," written by Sam Shepard, sung by Stephen Borst; "Ain't The Highway Fine," written by Sam Shepard, sung by Joan MacIntosh; "I'm So Glad," written by Skip James, sung by Timothy Shelton; "Home On The Range," lyrics by Brewster M. Higley, music by Daniel E. Kelley.
SONGWRITERS/COMPOSERS
+
DETAILS
Release Date:
18 September 1975
Premiere Information:
New York opening: week of 18 Sep 1975
Production Date:
filmed Aug 1973 at The Performing Garage, New York City, NY
Copyright Info
Claimant
Date
Copyright Number
Sam Shepard
12 December 1974
DP9262
Physical Properties:
Sound
Color
Duration(in mins):
97
Country:
United States
Language:
English
SYNOPSIS

“Cheyenne,” confidant of rock music superstar “Hoss,” tells his friend that “Crow,” a young “Gypsy” rival, is coming for him. Appearing unconcerned, Hoss tells Cheyenne to welcome Crow and direct him to the swimming pool. Hoss lies down and curls up with his girl friend, Becky Lou. “Star,” Hoss’s female manager, later reminds him that he is powerless without the “Keepers,” who control the “Game,” and Becky Lou warns him that he must never get comfortable at the top. “Galactic Max,” Hoss’s astrologer and swami guru, tries to convince him he is still the best, still “number one with a bullet,” and his young competitors cannot compete, but Becky Lou punctures Hoss’s euphoria by confiding she heard a Gypsy mock him. Later, Hoss wonders aloud to Cheyenne if they have become too safe and respectable. He is unnerved by the news that his main rival, “Mojo Root Force,” now occupies his former Las Vegas, Nevada, territory, and when he seeks reassurance from his old friend, Willard, Becky Lou breaks the news that Willard committed suicide. After “Doc” gives the pop star a drug injection to calm him, Hoss reminisces with Becky Lou about the early days, and wonders if he should try to reclaim his youth by restarting his career. However, she warns that he can’t go outside the Game anymore, because it is controlled by powerful forces. As Becky Lou serenades Hoss to sleep, he dreams of wide-open spaces and the luxury of no longer having to compete. Cheyenne wakes him to announce that Crow has broken through Zone 5 in a 1958 black Chevrolet Impala and will arrive soon. Hoss reminisces about the time in high school ...

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“Cheyenne,” confidant of rock music superstar “Hoss,” tells his friend that “Crow,” a young “Gypsy” rival, is coming for him. Appearing unconcerned, Hoss tells Cheyenne to welcome Crow and direct him to the swimming pool. Hoss lies down and curls up with his girl friend, Becky Lou. “Star,” Hoss’s female manager, later reminds him that he is powerless without the “Keepers,” who control the “Game,” and Becky Lou warns him that he must never get comfortable at the top. “Galactic Max,” Hoss’s astrologer and swami guru, tries to convince him he is still the best, still “number one with a bullet,” and his young competitors cannot compete, but Becky Lou punctures Hoss’s euphoria by confiding she heard a Gypsy mock him. Later, Hoss wonders aloud to Cheyenne if they have become too safe and respectable. He is unnerved by the news that his main rival, “Mojo Root Force,” now occupies his former Las Vegas, Nevada, territory, and when he seeks reassurance from his old friend, Willard, Becky Lou breaks the news that Willard committed suicide. After “Doc” gives the pop star a drug injection to calm him, Hoss reminisces with Becky Lou about the early days, and wonders if he should try to reclaim his youth by restarting his career. However, she warns that he can’t go outside the Game anymore, because it is controlled by powerful forces. As Becky Lou serenades Hoss to sleep, he dreams of wide-open spaces and the luxury of no longer having to compete. Cheyenne wakes him to announce that Crow has broken through Zone 5 in a 1958 black Chevrolet Impala and will arrive soon. Hoss reminisces about the time in high school when he realized he was in a class war with rich kids, yet now he is trapped in a mansion, waiting to be killed by a hungry “kid” like he used to be. Handsome young Crow arrives, snaps his fingers, and leads everyone with a new rhythm. Hoss challenges the interloper in a duel of words and music, but Crow kisses him on the lips, begins a “style match,” and makes Hoss dance until he drops. Each man tries to intimidate the other, each taking on identities of iconic figures, including Old West gunslingers and Mississippi Delta blues men. Eventually, Hoss is undermined by his insecurities, and acknowledges that he is out of style. He asks Crow to teach him how to be relevant again, but when that fails, he takes Crow’s pistol and shoots himself. Cheyenne delivers a eulogy, and Hoss is pulled into a trap-door grave. Crow takes over Hoss’s chair, but laments that he is only the latest man on top.

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GENRE
Sub-genre:
Show business


Subject

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.