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I like this. Is this heavy or something else cuz I want moooore. Lost in america download free pc. YouTube. Quote: In this hysterical satire of Reagan-era values, written and directed by Albert Brooks, a successful Los Angeles advertising executive (Brooks) and his wife (Julie Hagerty) decide to quit their jobs, buy a Winnebago, and follow their Easy Rider fantasies of freedom and the open road. When a stop in Las Vegas nearly derails their plans, they’re forced to come to terms with their own limitations and those of the American dream. Brooks’s barbed wit and confident direction drive Lost in America, an iconic example of his restless comedies about insecure characters searching for satisfaction in the modern world that established his unique comic voice and transformed the art of observational humor. In the final third of Lost in America (1985), David and Linda Howard wind up in Safford, Arizona, bringing an abrupt and arbitrary end to their bold experiment of dropping out of society and finding themselves, like Peter Fonda and Dennis Hopper in Easy Rider. Depleted of all but $800 of their “nest egg, ” the yolk of which has splattered all over a roulette table in Las Vegas, the Howards steer their Winnebago off the highway and into the unknown?perhaps the first truly spontaneous act of the whole misadventure, because they’ve run out of better choices. They may not be “touching Indians, ” as David initially envisions, but they’re finally roaming the country without a map or a compass, living wholly in the present, with the future as shrouded in darkness as the exit ramp. “My legs are asleep, ” says David. “Let’s live here. ” In the morning, the Howards explore the job market in Safford, which they soon discover is a modest destination for retirees, with a “sweet little creek” down the road and men on horseback clomping through the streets of the town. It’s possible to imagine that Fonda and Hopper once fueled up or camped out here on the road between Los Angeles and New Orleans, but the reality for David and Linda is significantly less romantic, more grounded in humbling practicality. David heads to the local employment office with dazzling creden?tials, including eight years as creative director at one of the biggest advertising agencies in the world, a job that earned him an $80, 000 base salary and a bonus package that pushed him into six figures. He asks the employment officer if there’s a “box” for high-paying, white-collar job openings in Safford. The man laughs incredulously. “You mean the $100, 000 box. ” It is the latest in a series of humiliations dealt to him by noncoastal America, and not the last. For Albert Brooks, who directed Lost in America from a script he wrote with Monica Johnson?his partner on five features, including his previous two, Real Life (1979) and Modern Romance (1981)?the $100, 000 box is both joke and metaphor, a sign of David’s hilarious disconnect from ordinary Americans and the bourgeois prison in which he finds himself from the beginning. If there’s a defining mood to Brooks’s work as writer/director/star, it’s one of profound restlessness and dissatisfaction, often followed closely by the shame of leading a life of privilege and comfort and its never being enough. As David, Brooks wants for nothing but perspective, and the price for that perspective is the liquidated value of his material possessions and a sizable share of his dignity and self-worth. In the film’s moral reckoning, it’s a fair sum. The $100, 000 box is too small. That much is clear from the beginning of Lost in America, as David frets endlessly to his wife on the eve of a promotion so certain that they’ve already boxed up for a bigger house. Will he get the job and be happier in the new place? Are they moving far enough from the current place for it to feel like a real change? Should they have gotten a house with a tennis court, even if they don’t know how to play? (“If you have a court, you learn. ”) As the patient and put-upon Linda, Julie Hagerty calmly swats away his concerns like Chris Evert Lloyd, all while masking her own lingering dissatisfaction, about which David is too self-involved to inquire. Linda knows that a bigger box won’t make a difference: the next morning, she confesses to a coworker that she cried over the burnt-orange tiles she picked out for the new kitchen. Hagerty’s quivering voice harmonizes beautifully with Brooks’s thundering comic whims, but moments like these suggest that Linda harbors private pains and desires she’s too browbeaten to express. Her meltdown on the casino floor, with Hagerty chanting the same cursed number in a state of sleepless, trancelike delirium (“twenty-two, twenty-two, two-two”), was a long time coming. Linda knows what dropping out of society really entails, and, subconsciously, she gets them where they need to be. Lost in America is an era-defining comedy about the state of baby boomer values in the Reagan years, but more specifically, it’s about a man learning to come to terms with his car upholstery. In the minutes before meeting with his boss about the senior vice president position, David is on the phone haggling with his Mercedes dealer over his new car. It’s top-of-the-line, only it doesn’t come with a leather interior; it comes with “Mercedes leather, ” which the dealer describes as “thick vinyl. ” Brooks would return to a similar dilemma in his afterlife comedy Defending Your Life (1991), in which his character dies in a BMW convertible that looks pitiful in comparison to the better model across the lot. These are beautiful cars?they would turn heads in Safford, including, in the end, David’s own?but the folly of an Albert Brooks character is that the vinyl will make him itch, knowing someone more fortunate than him, someone better than him, is sitting on genuine leather. This film continued Brooks’s yen for comic deconstruction, which was cele?brated well before he started making movies. In stand-up performances, talk-show appearances, Saturday Night Live shorts, and two conceptually striking albums, Comedy Minus One (1973) and A Star Is Bought (1975), Brooks made delicious sport of picking apart the techniques and clichés of comedy. He appeared as “Dave and Danny, ” the world’s worst ventriloquist act, on The Flip Wilson Show; toured the Famous School for Comedians, which offers a class on spit takes, in a Great American Dream Machine short; and in the early eighties, nearly brought Johnny Carson to tears with a food-based “impersonation kit” that included a bitter lemon for Gone with the Wind?era Clark Gable and a hot potato for Burt Lancaster and Curly from the Three Stooges. That same conceptual shrewdness followed him into his features, which are often about grand experiments undone by the flaws of their originators. Real Life riffed on the contrivances of the landmark PBS documentary An American Family, which posited the Loud family of Santa Barbara, California, as a stand-in for the suburban middle class. In Brooks’s hands, the presence of a Hollywood film director and a swarming camera-helmet-clad crew distorts and perverts “reality” at every turn. In thumbing his nose at documentary realism, he wound up predicting a dominant TV genre before the Kardashian sisters were even born. Later, in Mother (1996), Brooks would play a science-fiction novelist who moves back into his childhood home to figure out where his life went astray, and to pin the guilt on his befuddled mother. These experiments do eventually yield insight into human nature, but they make a mess of things first. In putting himself at the center of his comedies, Brooks could play it cute and self-deprecating, like the fumblings of a well-intentioned guy whom the universe is scolding lightly for his hubris. And once his filmmaking career shifted to Defending Your Life and beyond, Brooks learned to be less caustic and more forgiving of himself?to open the door, however slightly, to the possibility that he could learn and grow and become a wiser and more substantive person. But the Brooks of Lost in America, and Modern Romance and Real Life before it, has no interest in ingratiating himself with the audience, which may explain why these movies struggled so much at the box office. As a Hollywood director trying to eke authentic drama out of a suburban family in Real Life, his ego and crass commercialism perpetually inter?fere with the project, to the point where he literally destroys their home to get the ending he needs. The pathological jealousy that binds his character to the miserable on-again, off-again relationship in Modern Romance is so extreme that he could be the undercard to Jake LaMotta from the previous year’s Raging Bull. Not long after Lost in America, Brooks would bring that same irascibility to the role of a heartsick journalist in James L. Brooks’s Broadcast News. He shares a telling wish: “Wouldn’t this be a great world if insecurity and desperation made us more attractive? If ‘needy’ were a turn-on? ” In that world, perhaps, Brooks would be the most beloved comedian in America, not merely the most beloved by other comedians. Brooks’s gift for conceptual comedy on film has been evident since those early shorts, which presaged the current viral wave of digital shorts, but his filmmaking style is rigorously observational, scoring laughs less on throwaway banter than through the steady accumulation of misfortune. Fans of Lost in America can talk about it in the shorthand of set pieces?the “Desert Inn has heart” scene, the “nest egg” scene, the “$100, 000 box” scene?that have the patience to work themselves into a comic lather, as David sinks deeper and deeper into an existential crisis. When David loses his job, Brooks watches as he goes through three of the five stages of grief, a hoped-for promotion leading to denial (“Let’s bring in Allen Funt and end this thing”), bargaining (“You h
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