Head (1968)

G | 86 mins | Musical, Fantasy | 6 November 1968

Director:

Bob Rafelson

Cinematographer:

Michel Hugo

Editor:

Mike Pozen

Production Designer:

Sydney Z. Litwack

Production Company:

Raybert Productions
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HISTORY

The film marked the motion picture debut of The Monkees, a rock ‘n’ roll band created for The Monkees television program (NBC, 12 Sep 1966--19 Aug 1968), which was cancelled after its second season. In the wake of the cancellation, The Monkees’ executive producer Bob Rafelson went on to make Head as his feature film directorial debut. The project was originally named Untitled, which Rafelson intended to keep for the official release, as noted in the 14 Apr 1968 NYT. However, a 9 Oct 1968 DV brief announced the title change to Head. The film was said to be “loosely budgeted” between $1 and $2 million, according to the 26 Feb 1968 DV.
       A 19 Feb 1968 DV article stated that principal photography began that day at Columbia Pictures studios. Locations filmed outside the studio included a Los Angeles sewage plant, as noted in the 26 Feb 1968 DV.
       According to a 19 Mar 1968 DV brief, a “championship drill team” from Jordan High School was set to be featured in the picture. Also scheduled to appear was a “dune-buggy-type” automobile designed by Mike Nesmith of the Monkees and engineer Dean Jeffries, who had designed the “Monkeemobile” featured on the television program.
       The world premiere was scheduled to take place on 6 Nov 1968 in New York City, the 18 Oct 1968 DV reported. A West Coast premiere was scheduled for 19 Nov 1968 at the Vogue Theatre in Los Angeles, according to an LAT item published that day, with regular screenings ...

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The film marked the motion picture debut of The Monkees, a rock ‘n’ roll band created for The Monkees television program (NBC, 12 Sep 1966--19 Aug 1968), which was cancelled after its second season. In the wake of the cancellation, The Monkees’ executive producer Bob Rafelson went on to make Head as his feature film directorial debut. The project was originally named Untitled, which Rafelson intended to keep for the official release, as noted in the 14 Apr 1968 NYT. However, a 9 Oct 1968 DV brief announced the title change to Head. The film was said to be “loosely budgeted” between $1 and $2 million, according to the 26 Feb 1968 DV.
       A 19 Feb 1968 DV article stated that principal photography began that day at Columbia Pictures studios. Locations filmed outside the studio included a Los Angeles sewage plant, as noted in the 26 Feb 1968 DV.
       According to a 19 Mar 1968 DV brief, a “championship drill team” from Jordan High School was set to be featured in the picture. Also scheduled to appear was a “dune-buggy-type” automobile designed by Mike Nesmith of the Monkees and engineer Dean Jeffries, who had designed the “Monkeemobile” featured on the television program.
       The world premiere was scheduled to take place on 6 Nov 1968 in New York City, the 18 Oct 1968 DV reported. A West Coast premiere was scheduled for 19 Nov 1968 at the Vogue Theatre in Los Angeles, according to an LAT item published that day, with regular screenings at the Vogue beginning on 20 Nov 1968.
       Reviews were mixed. The 7 Nov 1968 NYT described Bob Rafelson and Jack Nicholson’s script as “dreadfully written” and the Monkees as talentless, while a 20 Nov 1968 LAT review deemed the picture “one of the year’s most imaginative movies.” A month into the release, the 18 Dec 1968 Var noted that Columbia Pictures had “drastically restyled” its promotional campaign to appeal to the teenage crowd. Previously, advertisements had focused on “psychedelic appeal” for more sophisticated viewers, presenting Head as “a slick underground-style film.”
       The 27 Nov 1968 Var noted that a soundtrack was released on Colgems Records.
       Head contains clips from the following films: Gilda (1946, see entry), Golden Boy (1937, see entry), City of Conquest (1940, see entry); and footage of Vietnam War atrocities.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
19 Feb 1968
p. 8
Daily Variety
23 Feb 1968
p. 10
Daily Variety
26 Feb 1968
p. 2
Daily Variety
19 Mar 1968
p. 6
Daily Variety
22 Mar 1968
p. 2
Daily Variety
9 Oct 1968
p. 22
Daily Variety
18 Oct 1968
p. 8
Daily Variety
6 Nov 1968
p. 3, 18
Los Angeles Times
23 Feb 1968
Section C, p. 15
Los Angeles Times
19 Nov 1968
Section E, p. 23
Los Angeles Times
20 Nov 1968
Section G, p. 18
Los Angeles Times
4 Dec 1968
Section I, p. 21
New York Times
14 Apr 1968
Section D, p. 15
New York Times
7 Nov 1968
p. 51
Variety
27 Nov 1968
p. 52
Variety
18 Dec 1968
p. 5
Variety
18 Dec 1968
p. 22
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Exec prod
WRITERS
PHOTOGRAPHY
Dir of photog
ART DIRECTOR
FILM EDITOR
Film ed
SET DECORATOR
Set dec
COSTUMES
MUSIC
Incidental mus comp & cond
Mus coordinator
SOUND
Sd rec
Music ed
VISUAL EFFECTS
Spec eff
Photog eff
Sp col eff
Sp col eff
DANCE
Choreog
PRODUCTION MISC
Unit prod mgr
Asst to the prod
Prop master
SOURCES
SONGS
"Porpoise Song," words and music by Gerry Goffin and Carole King; "Circle Sky," words and music by Michael Nesmith; "Long Title: Do I Have To Do All This Over Again," words and music by Peter Tork; sung by The Monkees; "Daddy's Song," words and music by Nilsson; sung by Davy Jones; "As We Go Along," words and music by Carole King and Toni Stern.
PERFORMED BY
SONGWRITERS/COMPOSERS
+
DETAILS
Alternate Titles:
Changes
Untitled
Release Date:
6 November 1968
Premiere Information:
World premiere and New York opening: 6 Nov 1968; Los Angeles premiere: 19 Nov 1968; Los Angeles opening: 20 Nov 1968
Production Date:
began 19 Feb 1968
Copyright Info
Claimant
Date
Copyright Number
Raybert Productions
1 November 1968
LP36397
Physical Properties:
Sound
Color
Technicolor
Duration(in mins):
86
MPAA Rating:
G
Country:
United States
Language:
English
PCA No:
21917
SYNOPSIS

After leaping off San Francisco's Golden Gate Bridge to escape from Mayor Feedback and his establishment cronies, the Monkees perform an underwater ballet. They attack a non-functioning Coca-Cola machine in the middle of a desert, pursue the Black Sheik and his Arab horsemen, and watch a World War II Italian regiment surrender to a single Allied soldier. The quartet then arrives at Columbia Pictures studios to appear in a filmed commercial, portraying dandruff in the hair of The Big Victor, a muscular movie idol of the 1940's. One of the Monkees, Davey, tries his luck in the boxing ring with a movie extra but takes a beating. Attempting to escape from the film lot, the boys wander into a Western setting, fake their way through a shoot-out, exchange insults with an overly-dramatic female impersonator, and conclude by tearing apart a studio set. As their adventures end, the Monkees are again seen free-falling from the Golden Gate Bridge. ...

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After leaping off San Francisco's Golden Gate Bridge to escape from Mayor Feedback and his establishment cronies, the Monkees perform an underwater ballet. They attack a non-functioning Coca-Cola machine in the middle of a desert, pursue the Black Sheik and his Arab horsemen, and watch a World War II Italian regiment surrender to a single Allied soldier. The quartet then arrives at Columbia Pictures studios to appear in a filmed commercial, portraying dandruff in the hair of The Big Victor, a muscular movie idol of the 1940's. One of the Monkees, Davey, tries his luck in the boxing ring with a movie extra but takes a beating. Attempting to escape from the film lot, the boys wander into a Western setting, fake their way through a shoot-out, exchange insults with an overly-dramatic female impersonator, and conclude by tearing apart a studio set. As their adventures end, the Monkees are again seen free-falling from the Golden Gate Bridge.

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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.