goodbye seventies movie review

The Queer Review

Exclusive Interview: New Queer Cinema digital pioneer Todd Verow on his latest feature Goodbye Seventies “all of my films have led up to this one”

Todd Verow’s 1995 feature debut Frisk elicited strong reactions, resulting in a near riot, when it world premiered on as the closing night of the 19th San Francisco International Lesbian & Gay Film Festival (now Frameline) at the iconic Castro Theatre, before going on to screen at Sundance, Berlin and Toronto. Based on Dennis Cooper’s infamous gay serial killer novel, Verow’s adaptation featured an outstanding indie cast including Craig Chester, Parker Posey, Alexis Arquette, and actor-turned-editor James Lyons, with a score by British experimental band Coil. The confrontational tale of murder and sadism, which used a mix of 16mm, Super8, PXL vision and video formats, secured him a spot alongside filmmakers such as Todd Haynes, Derek Jarman, Tom Kalin and Gregg Araki in the unapologetic, often subversive New Queer Cinema movement.

The following year the Maine-born Verow established his own production company with creative partner James Derek Dwyer, Bangor Films, going on to produce, write, direct, photograph and edit over forty narrative feature films, documentaries, shorts and experimental works, all made independently, with minimal budgets. Verow was named one of the first Digital Directors To Watch by Variety in 2000 and his early vow to make ten digital features in four years saw the story make the cover of Time magazine. Notable features include Little Shots of Happiness , Shucking the Curve , The Trouble with Perpetual Déjà-vu , A Sudden Loss of Gravity , Once and Future Queen , Take Away , Anonymous (in which Verow also stars), Vacationland , The Final Girl , Between Something & Nothing , The Boy with the Sun in His Eyes , Bad Boy Street , This Side of Heaven , Squirrels , and recent LGBTQ film festival hit Age of Consent (co-directed with veteran queer filmmaker Charles Lum); a documentary exploring the history of London’s Berlin-style leather sex club, The Hoist. As well as lensing all of his own films, Verow was the cinematographer on Jon Moritsugu’s early 1990s features Terminal USA and Mod Fuck Explosion , and he lit Gregg Araki’s Totally Fucked Up .

Todd Verow’s latest narrative feature Goodbye Seventies will world premiere at Out on Film Atlanta’s LGBTQ Film Festival on Monday September 28th, and have its European premiere next month as the closing night selection of the 15th Pornfilmfestival Berlin (PFFB). Set in the world of New York’s creative gay adult filmmaking scene of the 1970s, PFFB calls it “a nostalgic and melancholic homage to the Golden Age of Gay Porn”. Ahead of these screenings The Queer Review’s editor James Kleinmann spoke with the filmmaker about why he admires the gay adult filmmaking of the era, his guiding principles for making a period movie, why he chose not to make it a sexually explicit work and the impact William Friedkin’s Cruising made on him when he first saw it in the 80s. Update: Goodbye Seventies is available on DVD and on demand Tuesday February 16th 2021 via Ariztical Entertainment .

James Kleinmann, The Queer Review: What is it that interests you about that golden era of gay pornographic filmmaking in the 1970s?

Todd Verow: “Well, I’m interested in it because it’s the beginning of it as far as making real films is concerned. I mean there was certainly pornography before that of course, but this is the beginning of making real films that would play in cinemas for an audience, rather than loops that people would watch at private parties for instance. It was after Stonewall and gay liberation was happening so there was more visibility and more of a sense of community about it all.”

Are there any filmmakers who you think were doing particularly creative work back then that elevated it beyond what people might expect when they hear the word pornography?

“Yes, Peter de Rome and Wakefield Poole immediately come to mind. There were a lot of different filmmakers who were interested in making films that were interesting in themselves, regardless of whether they were pornography or not.”

Interesting movies that didn’t shy away from the fact that they were sexually explicit I guess?

“Yeah, exactly, and the filmmakers weren’t making the films for a profit, they were making them because they wanted to make them, and also they were themselves unafraid to be associated with their work. Whereas in the straight pornography world I think it’s kind of the opposite. Anyone making straight pornography was doing it to make a buck. Yes, they might be doing interesting films too, but at the end of the day they’re still interested in making money. Whereas I think a lot of the gay pornographers of the time when they actually made money they were kind of surprised and shocked in the early days! That’s what interests me about it, the fact that they were making these films because they were passionate about them.”

And those are some of the things that we see play out in Goodbye Seventies, but was there anything in particular that sparked your imagination when it came to writing the screenplay?

“Well, I mean in a lot of ways it’s a culmination of my work from the very beginning. My very first short film, V is for Violet , was in some ways similar because it was about pornography through the decades. I feel like I’ve actually been doing research for this film for about 30 years. So, in a lot of ways all of my films have led up to this one.”

Tell us about casting the film, what was your approach?

“As far as doing a period film I didn’t want to fall into the trap of having everyone look like they were from the 70s because not everyone in the 70s looked like they were from the 70s, you know what I mean?! So, I did a broad casting call and I saw a lot of different people and I just cast who thought would be good for each part. Then I adjusted some things and even rewrote some stuff based on who I cast. Chris Rehman who plays Bradford, the writer and director in the film, I had worked with before on my movie Squirrels , and so I thought of him because he’s a dancer, and he also does drag performances and other kinds of performance art. He’s from a small town in the Midwest and he just had a lot of the characteristics of the character. Then Ken Kaissar plays Bradford’s best friend Vinny. He just had this enthusiasm and this kind of slyness to him that I thought would be perfect for that character, but also a real heart to him, and Vinny’s really the heart and conscience of film.”

“Justin Ivan Brown plays Horse, one of the stars on the films Bradford’s making. Immediately, the second that I met Justin I thought, that’s Horse, he’s perfect for it! And he was perfect for it. Ashlie Burgun plays Beth, a budding makeup artist and part of their filmmaking family. That role was actually really hard to cast and I saw a lot of different people and nobody really had the right tone, but then Ashlie came in and instantly I could tell that she understood who Beth was. Fatima Lewis plays Melody, a permanent fixture at the Times Square theater where Bradford’s films play. That was another role that was hard to cast, but Fatima just got it and she also brought something extra to the character, there was an unexpected shyness and quietness that I wasn’t thinking about for Melody that really opened up my mind to something different. I’m really happy with what she brought to the film. Andrew Cawley plays Matt, one of the porn performers in Bradford’s films and he’s actually the character that goes through the biggest transformation. Andrew was fantastic, really great to work with and he was just ready and willing to do anything and just go with it.”

“New York actress Marie Smalley plays Esta, and not only is she Vinny’s mom but she’s also the surrogate mom of everyone. When Marie came in she really understood the time period, because she lived through the 1970s, and she understood the character really well too and brought this sort of earthy quality to it, but also a sense that she’d been around the block, a protective sort of hard edge that was needed and helped elevate the character. Julie Chapin plays Lexxy, the owner of the porn theater in the movie. She’s based on a real woman who owned a bunch of porn theaters in New York in the 70s. She’s a really interesting character and you could make a movie just about her. Julie came in to the casting room and immediately she got it. She understood the character completely and she was a lot of fun to work with and always really willing to go the extra mile. Everyone in the movie becomes a family so I needed there to be that dynamic between all the actors, so it was a bit of a puzzle and it was difficult to get everyone together, but I was really happy when I did because they really did feel like a family and I think that comes across.”

You’ve also got some legendary downtown figures in the film haven’t you.

“There are also a few people in the cast that I’ve known for a long time like Jack Waters who I met back when I first moved to New York in the late 80s. I’m a big fan of his work so I definitely wanted him to be in it. Hucklefaery, a prominent Radical Faerie and Sister of Perpetual Indulgence, I’ve also known for a while and I knew he’d be great. Also the legendary New York drag queen Flotilla Debarge is in it. I’ve been an admirer of Flotilla’s for a long time and the character that she plays is inspired by the underground cable access TV of the 80s.”

You mentioned that family dynamic that you wanted to create, was there anything that you think helped the cast to bond, aside from just being on set and making the film?

“Well, I definitely wanted to shoot all the scenes set in the porn theater first partly for that reason. We found this great movie theater in Providence, Rhode Island, the Avon cinema, which had actually been a porn theater for a while back in 70s. It’s impossible to find a theater like that in New York City, because they’ve all been renovated, but the Avon still looks like a theater from the 70s. So I had most of the cast come to Providence for about a week and that was a really good bonding experience because we all stayed in a hotel together, we’d rehearse and go for meals and go out dancing at night. That really helped create a sense of family on and off screen I think.”

Obviously most of the characters are involved in making gay porn films but the film itself isn’t sexually explicit, how intentional was that?

“It was always my intention that Goodbye Seventies would be about the making of the films and this family that develops, so I didn’t want it to be explicit at all. Ultimately the explicit sex that they’re filming isn’t the important thing, the important thing is that they made the films and that they were successful. I’m certainly not someone who shies away from explicit material, but for Goodbye Seventies I wanted it be about the filmmaking and the characters rather than the sex.”

Let’s talk about your guiding principles for creating that 70s look in terms of production design, costumes and the cinematography.

“Going back to the very first short film that I made just over 30 years ago, V is for Violet , that was a period piece and I’ve always been sort of a cultural anthropologist and really interested in different time periods; what people wore, how they thought and talked, what kind of films they watched and what the architecture was like. That’s always been something that’s really fascinated me and I love doing the research. It was a lot of fun working with the younger actors who hadn’t lived through the period, getting them to understand how to talk, hold themselves, how to wear their costumes and how to interact with other people. Essentially how a lot was different back then. I think the problem with a lot of period films is they tend to focus on the period in a way that can end up feeling like a costume party, but really in the 70s people were still wearing clothes from the 60s and the 50s and other time periods sort of have influences over them as well. So I didn’t want everyone to have long hair and moustaches and wear bellbottoms and have polyester shirts because that’s not what people looked like in the 70s.”

“When it came to the cinematography, I’ve always been a big fan of star filters, and that’s something that was popular in the 70s, so it was a good excuse to pull out a star filter. People don’t really use them anymore, but I still use them quite a bit anyway. I didn’t want to do a lot of zooming, because I think that’s become sort of a parody of the 70s. With the lighting I wanted it to reflect what the 70s felt like, not necessarily what movies from the 70s were like. Originally, I wanted to shoot the whole thing on Super 8 film and I was actually in contact with Kodak about a new Super 8 camera they were developing. I was going to be one of the people who got to test it, but the camera never ended up getting made. So in the end I decided to shoot all of the movie-within-a-movie stuff on Super 8 film and then everything else digitally, but with the same aspect ratio as Super 8 film. So that was my artistic decision, but I also wanted it to look and feel sort of like a documentary as well, as if a lot of it was found footage. The whole film is structured as two interviews one in 2000 and one in the early 80s about what happened back in the 70s, so that was my framework that I built off. When it came to the costumes and the props it was a lot of fun finding old phones and clothes, and props; things like a vintage Crisco can! And we found this great vintage fashion collector in Maine who really helped us out. And then it was fun finding things like unopened underwear, which was pretty great because even if you never see them on screen, for an actor there’s nothing like wearing 70s underwear and 70 socks! Small details like that help you get into character I think.”

And also there’s some archive footage from the 1970s?

“Yes, Jack Fritscher was kind enough to let me use some footage that he shot on super 8 in 1970, which was fantastic. I also used some footage from my own super 8 films as well. That really helped sort of set the tone for the period I think.”

And although you weren’t very old in the 70s, you’re recreating a time period that you actually lived through and have a personal connection to rather than just a remote idea of what it was like purely through research.

“Yes, exactly, I do think that helps a lot. I’m a child of the 70s so it’s a time period that’s very vivid to me. I can remember my aunts and uncles, and my parents at that time. And I think the period is fascinating because this sexual revolution is going on and gay liberation, but at the same time there’s a naiveté. It’s easy to say, ‘oh, they were so naive back then’, because then AIDS happened, the 80s happened and everything changed. But I think even at that time there was a sense of, you know, we’re living on borrowed time, this isn’t gonna last, so let’s just enjoy it while we can. That is really interesting to me, that there was this sort of naiveté, but also the self-awareness. There was freedom, but it’s a fleeting freedom, it’s also a kind of irresponsible freedom because there was a lot of negative things that happened then too. So the film is partly about that, and it’s also about how AIDS changed everything and drugs changed everything and how money changed everything. In the porn industry, and in the culture as a whole really.”

Finally, what’s your favourite LGBTQ+ either film, TV series, play, book, musical, piece of music or artwork? Or it could be a person. Someone or something that’s had an impact on you and resonated with you throughout the years.

“I would have to say William Friedkin’s Cruising . I remember when it came out in 1980. It shows so much of New York from the end of the 70s; the leather scene, and leather men, and just the city’s gay scene in general at that time. It really is a time capsule. I mean, you can hate it for the plot or because of its political incorrectness, but if you look at it as a time capsule of that period it’s fascinating. And, I’d have to add Wakefield Poole’s movies as well because Boys in the Sand and Bijou are both works of art and capture that time period and that sort of innocence that’s lost.”

By James Kleinmann

Update: Goodbye Seventies is available on DVD and on demand Tuesday February 16th 2021 via Ariztical Entertainment .

Todd Verow’s Goodbye Seventies will have its world premiere at Out on Film Atlanta’s LGBTQ Film Festival on Monday September 28th 2020 followed by a cast and filmmaker Q&A. For more information and to purchase tickets head to Out on Film’s official website . The European premiere will be the closing night of the 15th Pornfilmfestival Berlin on Sunday 25th October 2020, with tickets going on sale October 1st.

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In the 1970s, the golden age of gay pornography in New York City, a promising chorus boy is injured and told he will never dance again. Distraught and unimpressed with the "art" films playing seedy Times Square theaters, he gets his friends and lovers together and they start making their own hardcore movies. Against all odds the films are wildly successful until drugs, AIDS and cheap video technology bring it all crashing down

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Goodbye seventies.

Directed by Todd Verow

In the 1970s, the golden age of gay pornography in New York City, a promising chorus boy is injured and told he will never dance again. Distraught and unimpressed with the "art" films playing seedy Times Square theaters, he gets his friends and lovers together and they start making their own hardcore movies. Against all odds the films are wildly successful until drugs, AIDS and cheap video technology bring it all crashing down

Ken Kaissar Chris Rehmann Justin Ivan Brown Jack Waters Marie Smalley Andrew Cawley Julie Chapin James Kleinmann Fatima Lewis Ashlie Burgun Graham Straus Mike Dreyden Todd Verow Hucklefeary Charles Lum Flotilla DeBarge Tom Galindo Jono Mainelli Alain Laforest Rico Noguchi Chris Shields Sarah Fensom Bair Garret Hole Wendy Delorme Judy Minx Véronique Lindenberg

Director Director

Producers producers.

Todd Verow Charles Lum James Kleinmann

Writer Writer

Editor editor, cinematography cinematography, production design production design, set decoration set decoration, composer composer.

Colin Owens

Costume Design Costume Design

Todd Verow James Kleinmann Marie Smalley Justin Ivan Brown Ashlie Burgun Seth Foss

Bangor Films

Alternative Title

Releases by date, theatrical limited, 28 sep 2020, releases by country.

• Theatrical limited NR

92 mins   More at IMDb TMDb Report this page

Popular reviews

Review by B E R T ★★★½ 2

Super dooper lo-fi, low-budget, softcore at times and hardcore at others skin flick about 2 gays who are fed up with the mediocre porn that shows at their local theatre so they decide to go into business of their own. It has some major problems, when I say lo-fi I really mean it, the cheapest porn from the 70s is probably more high budget than this, but the cheap aesthetic works in its favour. Plenty of hard dicks to be seen, a bevy of naked men throughout, it’s a cheap and sleazy good time. Kinda like ‘Knife + Heart’ but just way cheaper, very early Bruce Labruce-esque.

Review by Krautsalat ★★★★

The Porn of A Man Called Horse .

Review by Anthony ★★★

Low budget love letter to a key period in gay porn. The story arc is similar to Boogie Nights but this is unmistakably, unapologetically queer, pushing aesthetic boundaries (hard dicks, softcore sex), mixing wit and kaleidoscopic imagery. Film as metaphor: a document of social history that refuses to be erased.

Review by Sexy Ghoulies ★★½

Honey, I Shrunk The Watchlist! 2024 - Watch the movie that is the least popular.

I was about to turn this off and then there was a close up of a penis and it actually got a lot better.

Review by edslowly ★★½

Todd Verow is a legend. Brad Ford looks like Mark Zuckerberg. This movie has porn acting (read: bad) and I love it

Review by Jacob ★★

FIVE dollars to watch a porno in the ‘70s?! Hasn’t Verow seen Taxi Driver ?

🏳️‍🌈🏳️‍⚧️ #5

Review by Iego ★

The movie should be called Goodbye to 1h30 of my life watching this horrible film. They're hot and beautiful, but the interpretation and writing of the movie is terrible

Review by Christopher Velasco ★★★

This was a decent film and I like the effort put forth. The mix of documentary style and narrative helps with the cinematography and style/look of the era. 

I would say the acting was stiff and could of use some refinement. Overall better than most lgbtq cinema out there. 

Why do I want to take a ride on Justin Ivan Brown’s stache? 

Also, Andrew Cawley with a stache was hot and with short hair!

Review by Ash ★★½

bit gay ngl

Review by hartleysane ★★

Based on other reviews, I went into this film with very low expectations and while Goodbye Seventies may have slightly exceeded my initial expectations, this film is a mess.

The acting in this film is equivalent to that of the terrible acting you'd skip past in a pornographic film, yet the film is far less explicit than expected. Sound editing for this movie is god awful, which may or may not have been intentional.

The occasional plot piece yields some strength to the film, but is quickly tanked off the rails. There is an indecisiveness between this being a drama or being something completely camp, creating an emotionless blend of confusion.

Goodbye Seventies seems lost in every direction. At most, it's an interesting project, but it feels like it's trying far too hard to achieve some inorganic cult status.

Review by ZacharyBinx ½

Review by Leandson ★★★

Filme bem underground sobre uma galera também fazendo cinema underground, mas pornô, gay, nos anos 70 quando não se tinha a mesma liberdade encontrada hoje pra se fazer livremente esse tipo de produção. As boas intenções dos personagens também refletem na realização do próprio filme, as limitações de produção que o diretor provavelmente encontrou não impediram dele fazer um filme bem bacana e honesto sobre uma memória antiga do cenário gay.

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• Director : Todd Verow ,
• Writer : Todd Verow ,
• Producer : Todd Verow ,
• Cinematographer : Todd Verow ,
• Editor : Todd Verow ,
• Cast : Chris Rehmann , James Kleinmann , Andrew Cawley , Ken Kaissar , Justin Ivan Brown ,
• Screenplay : Todd Verow ,

Technical specifications

• Country: United States
• Language: English
• Release: September 28, 2020
• Duration: 92 min
• Genres: Drama

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Fancy watching ' Goodbye Seventies ' on your TV or mobile device at home? Hunting down a streaming service to buy, rent, download, or watch the Todd Verow-directed movie via subscription can be confusing, so we here at Moviefone want to do the heavy lifting. Read on for a listing of streaming and cable services - including rental, purchase, and subscription options - along with the availability of 'Goodbye Seventies' on each platform when they are available. Now, before we get into the fundamentals of how you can watch 'Goodbye Seventies' right now, here are some details about the Bangor Films drama flick. Released September 28th, 2020, 'Goodbye Seventies' stars Ken Kaissar , Chris Rehmann , Justin Ivan Brown , Jack Waters The NR movie has a runtime of about 1 hr 32 min, and received a user score of 48 (out of 100) on TMDb, which compiled reviews from 4 top users. Want to know what the movie's about? Here's the plot: "In the 1970s, the golden age of gay pornography in New York City, a promising chorus boy is injured and told he will never dance again. Distraught and unimpressed with the "art" films playing seedy Times Square theaters, he gets his friends and lovers together and they start making their own hardcore movies. Against all odds the films are wildly successful until drugs, AIDS and cheap video technology bring it all crashing down" 'Goodbye Seventies' is currently available to rent, purchase, or stream via subscription on Vudu, Amazon Video, Google Play Movies, Apple iTunes, Plex, Amazon Prime Video , Plex Channel, Amazon Prime Video with Ads, YouTube, and Tubi TV .

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Goodbye Seventies Reviews

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Goodbye Seventies

Represents the plight of gay men in the 70's and 80's. The AIDS epidemic is not washed over to make it palatable but I fear it sheds a negative light on the promiscuity of the era. There is nudity, sexual situations, smoking & drugs! Goodbye Seventies featuring Ken Kaissar and Chris Rehmann is streaming with subscription on Prime Video, and available for rent or purchase on Prime Video in the UK. It's a drama and LGBTQ film with a low IMDb audience rating of 4.3 (333 votes).

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Currently you are able to watch Goodbye Seventies streaming on Prime Video. It is also possible to buy Goodbye Seventies on Prime Video or rent it on Prime Video.

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Streaming availability last updated: 03:01:06 AM, 09/27/2024 PST

More Information onGoodbye Seventies

Ken kaissar, chris rehmann, justin ivan brown, jack waters, marie smalley, andrew cawley, julie chapin, james kleinmann, fatima lewis, ashlie burgun, graham straus, mike dreyden, hucklefeary.

Razor Robber

Charles Lum

Flotilla debarge, tom galindo.

Broadway Director

Jono Mainelli

Alain laforest, rico noguchi.

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Cast & Crew for Goodbye Seventies

Goodbye Seventies (2020)

Directed by todd verow.

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In the 1970’s, the golden age of gay pornography in New York City, a promising chorus boy is injured and told he will never dance again. Distraught and unimpressed with the "art" films playing seedy Times Square theaters, he gets his friends and lovers together and they start making their own hardcore movies. Against all odds, the films are wildly successful until drugs, AIDS and cheap video technology bring it all crashing down.

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Goodbye Seventies

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Chris Rehmann

Ken Kaissar

Andrew Cawley

James Kleinmann

Justin Ivan Brown

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Goodbye Seventies

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In the 1970s, the golden age of gay pornography in New York City, a promising chorus boy is injured and told he will never dance again. Distraught and unimpressed with the "art" films playing seedy Times Square theaters, he gets his friends and lovers together and they start making their own hardcore movies. Against all odds, the films are wildly successful until drugs, AIDS and cheap video technology bring it all crashing down.

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• Aspect Ratio ‏ : ‎ 1.77:1
• MPAA rating ‏ : ‎ Unrated (Not Rated)
• Product Dimensions ‏ : ‎ 7.5 x 5.25 x 0.5 inches; 5.76 ounces
• Director ‏ : ‎ Todd Verow
• Media Format ‏ : ‎ NTSC, DVD
• Run time ‏ : ‎ 1 hour and 32 minutes
• Release date ‏ : ‎ February 16, 2021
• Actors ‏ : ‎ Chris Rehmann, Ken Kaissar, Andrew Cawley, James Kleinmann, Justin Ivan Brown
• Language ‏ : ‎ English (Stereo)
• Studio ‏ : ‎ Ariztical
• ASIN ‏ : ‎ B08NWQZQFP
• Number of discs ‏ : ‎ 1
• #100 in LGBT (Movies & TV)
• #7,811 in Drama DVDs

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In the 1970s, the golden age of gay pornography in New York City, a promising chorus boy is injured and told he will never dance again. Distraught and unimpressed with the “art” films playing seedy Times Square theaters, he gets his friends and lovers together and they start making their own hard co

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A dancer in the 1970's learns he will never dance again and in turn starts making his own popular gay adult films with his friends.

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Goodbye Seventies (2020)

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Is there a better live sonic feast than Jeff Lynne's ELO? Not a chance.

WASHINGTON – Six years ago, Jeff Lynne delighted fans when he brought his Electric Light Orchestra to the U.S. for the first time in decades.

Never one to tiptoe out of his preferred studio confines with any regularity, Lynne nonetheless crafted an absolutely dazzling production stocked with gripping visuals (in a pre-Sphere world ) and perhaps the most pristine sound ever heard at a rock show.

Guess who’s back and as aurally flawless as ever?

This Over and Out Tour – a believable farewell given his age (76) and the reality that he isn’t a road dog – is in the middle of its 31 dates and will wrap Oct. 26 in Los Angeles. At Capital One Arena in D.C. Wednesday, Lynne, still shaggy, sporting tinted glasses and mostly in supple voice, didn’t have much to say other than many humble acknowledgements of the crowd’s affection. But who needs to blather on when there is a brisk 90-minute set of lush ‘70s and ‘80s classics to administer?

More: The Eagles deploy pristine sound, dazzling visuals at Vegas Sphere kickoff concert: Review

ELO dropped a setlist that romped through '70s classics

Aside from the opening “One More Time” – obviously chosen for its literalness – from ELO’s 2019 album “From Out of Nowhere,” the sonic feast concentrated on the band’s ‘70s output, seesawing from Top 10 rock smashes (“Don’t Bring Me Down”) to deep cuts (“Showdown”).

Complementing these impeccably recreated gems was a slew of eye candy. Lasers and videos and spaceships (oh my) buttressed each offering in the 20-song set, with an animated witch morphing into a creepy eyeball (“Evil Woman”) and green lasers enveloping the arena like ribbons in the sky (“Telephone Line”).

Lynne’s band was loaded with familiar names from the previous tour, including the rich string section of Jessie Murphy (violin) and Amy Langley and Jess Cox (cello) and standout vocalists – really more than mere backup singers – Iain Hornal and Melanie Lewis-McDonald, who handled the heavy lifting on the giddy “Rockaria!”

One unexpected offering, “Believe Me Now,” was added to the setlist a couple of weeks ago. An instrumental album track from ELO’s 1977 mega-selling double album, “Out of the Blue,” the song, an intro to the equally moving "Steppin' Out," exhales chord changes so sumptuous, they’ll make your eyes water.

More: Bruce Springsteen and the E Street Band still rock, quake and shake after 50 years

Jeff Lynne and ELO say goodbye with a smile

But that’s a feeling frequently evoked during the show, coupled with the joy of hearing these sculpted beauties one final time.

The crisp opening guitar riff of “Do Ya,” the disco-fied “Last Train to London,” the wistful dreamscape “Strange Magic,” all unfurled with precision, but not sterility.

A sea of phone lights held aloft accented “Can’t Get it Out of My Head,” a technological illumination replacing the lighters that reigned 50 years ago when the song was released.

But that all preceded the standout in a show stuffed with them – the musical masterpiece “Turn to Stone.” Between the rapid-fire vocal breakdown nailed by Hornal and Lewis-McDonald – which earned its own ovation – and the furious, frenetic build to a musical climax, the orchestral pop dazzler electrified the arena.

Close to the bliss of that corker was show closer “Mr. Blue Sky,” an anthem of optimism that still sounds like sunshine. Bassist Lee Pomeroy high-stepped through its Beatles-esque bouncy rhythm while Lynne and the band traded layered harmonies on the pop treasure.

It was as obvious a closer as “One More Time” was the opener, but really, how else could Lynne leave a multigenerational throng of fans other than with a smile?

Screen Rant

10 best neo-noir movies of the 1970s.

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10 Worthy Remakes Of Classic Noir Movies

Gene hackman's 10 best movies, ranked, 10 moments from the godzilla franchise that make absolutely no sense.

Neo-noir is a relatively recent wave of cinema that brought the success and popularity of the film noir genre back into the spotlight through great movies. The 1970s saw an uptick in neo-noir projects, and the decade has come to define the inception of neo-noir. However, these films couldn't exist without the original works of the noir genre and the actors that helped to create the archetypes seen frequently onscreen. The best film noir movies of all time were primarily produced between the 1940s and 1960s, so many actors of the Hollywood Golden Age starred in these crime thrillers.

While there are still dark shadows, detectives, and horrible crimes, there's much more to the neo-noir genre. There are many underrated neo-noir movies from the 1980s , as the 1970s and '80s were the peak of the revival of film noir. It's hard to know where to begin when unpacking the neo-noir genre, as it's been going strong since its inception in the '70s, but many of the classics are a good place to start (via BFI ). Most of the films from this period have been highly influential in the trajectory of crime films and feature outstanding actors and filmmakers.

10 Dirty Harry (1971)

Directed by don siegel.

Dirty Harry

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Clint Eastwood stars in the western Dirty Harry as a no-nonsense San Francisco cop who takes the law into his own hands in pursuit of a serial killer, Scorpio. Directed by Don Siegel and featuring a memorable score by Lalo Schifrin, the film is known for its iconic catchphrases and intense action scenes, and has influenced countless films and TV shows in the years since its release.

Dirty Harry features some of the best Clint Eastwood movie quotes , as Eastwood's character, Dirty Harry Callahan, recites his famous "Do I feel lucky? Well, do ya, punk?" speech. Made at the beginning of the decade, Dirty Harry takes an interesting stance on the role of police work and the judicial system in the U.S., often interpreted as a film that glorifies working outside the law and without due process. However, it could also be viewed through the neo-noir lens that shows Harry as the last holdout of a failing and outdated ideology.

This character was instrumental in allowing Eastwood to transcend the Western genre.

Loosely based on the true events surrounding the real serial killer, the Zodiac Killer, Dirty Harry has plenty of action and chase scenes to make it as thrilling as the best films within the crime genre. A huge success at the box office, Dirty Harry has a complex legacy but has influenced many great thrillers like Zodiac , which references Dirty Harry within the script. This character was instrumental in allowing Eastwood to transcend the Western genre.

9 Get Carter (1971)

Directed by mike hodges.

One of the best British neo-noir films, Get Carter stars Michael Caine as Jack Carter, a gangster who returns home after learning about the mysterious circumstances surrounding his brother's death. Though no character in Get Carter can take the moral high ground, Jack Carter is the traditional overtly masculine and uncaring neo-noir protagonist who will do anything to exact his revenge. However, also along the lines of the neo-noir, he is destined for tragedy and struck with horrible events at every turn.

In 2000, Get Carter received a remake starring Sylvester Stallone, which paled in comparison to the original film. Other movies, like the gentlemen gangster films of Guy Ritchie, are more similar to Get Carter and could be described as spiritual successors to the British movie. Overall, Get Carter is a brutal and depressing addition to the neo-noir genre, and its overt violence and lack of thriller elements separate it from some of the more popular American movies.

8 The Long Goodbye (1973)

Directed by robert altman.

The Long Goodbye

The Long Goodbye, directed by Robert Altman, is a neo-noir film adaptation of Raymond Chandler's novel. Starring Elliott Gould as private investigator Philip Marlowe, the story unfolds in 1970s Los Angeles where Marlowe becomes embroiled in a complex case involving murder, deception, and high society. With a relaxed and unconventional approach, Altman's film provides a unique take on classic detective narratives.

Robert Altman's The Long Goodbye is in direct conversation with the best noir films of the decades past, centering on the famous fictional detective Philip Marlowe but painting him in an entirely new light. Marlowe is best known for being portrayed by Humphrey Bogart in The Big Sleep , which depicts him as the suave, confident, and incredibly intelligent protagonist who's always one step ahead of the bad guys. This couldn't be further from the truth in Elliott Gould's take on the detective.

There was strong opposition to this take on Marlowe when the film first premiered, but this has changed over the last several decades.

Set in the 1970s instead of the classic noir eras of the '40s and '50s, The Long Goodbye sees Marlowe as a bumbling fool who's disconnected from the cultural and social developments around him. There was strong opposition to this take on Marlowe when the film first premiered, but this has changed over the last several decades. Today, The Long Goodbye is considered one of the films that embody the neo-noir genre perfectly and capture the changing viewpoints toward the leading man behind the noir.

The 1940s and 1950s featured countless incredible film noirs, so it's no surprise that filmmakers have continued to remake them in the years since.

7 Serpico (1973)

Directed by sidney lumet.

Serpico (1973)

An honest New York cop named Frank Serpico denounces corruption in the Force only to have his comrades turn against him.

The biographical drama Serpico draws its story from a real case of corruption in the New York City Police Department and the real Frank Serpico's whistleblowing. Al Pacino plays Serpico, an NYPD detective who's continuously targeted and eventually injured because of his refusal to participate in the department's corruption. Even when he tries to take his findings further up the ladder, even going to the press, the chain of people protecting the amoral officers goes higher than he realizes and puts him in danger.

Pacino gives a landmark performance as Serpico, and though it differed from some of his earlier work, it successfully demonstrated his range as an actor. Though Serpico doesn't always go about his investigation in the right way, it's not the man who's at fault in the film but the failing systems of justice that are supposed to protect him. Though it makes strong points about the nature of police work in the U.S., Serpico belongs to the neo-noir genre because of its melancholic and cynical tones that prevail throughout the story.

6 Klute (1971)

Directed by alan j. pakula.

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Klute is a suspense thriller directed by Alan J. Pakula, released in 1971. The film stars Jane Fonda as Bree Daniels, a call girl who becomes embroiled in the investigation of a missing person case led by small-town detective John Klute, played by Donald Sutherland. Known for its atmospheric cinematography and gripping performances, Klute delves into themes of loneliness and paranoia within the urban landscape.

Klute is one of Donald Sutherland's best movies and features an equally astounding performance from Jane Fonda in the neo-noir classic that has come to define both actors' careers. Fonda went on to win Best Actress at the Academy Awards for her nuanced and compelling turn as Bree Daniels, the young woman who upends the life of the private detective, John Klute (Sutherland). As much about the crime at the heart of the story as it is the doomed relationship between Klute and Daniels, Klute is a dark and timely film.

Well ahead of its time, Klute explores themes of surveillance and paranoia, which have come to define modern crime thrillers thanks to the influx of recording and tracking technologies.

Well ahead of its time, Klute explores themes of surveillance and paranoia, which have come to define modern crime thrillers thanks to the influx of recording and tracking technologies. Though the film's titular character is Klute, he is representative of a time gone by, whereas the film's thesis is more in line with the philosophies of Daniels. She struggles with the dichotomy of her desires for both freedom and security, which was a major issue facing the U.S. during the period.

5 Night Moves (1975)

Directed by arthur penn.

Night Moves (1975)

Night Moves is a 1975 neo-noir film directed by Arthur Penn, starring Gene Hackman as private investigator Harry Moseby. While dealing with personal troubles, Moseby is hired to find a runaway teenage girl, leading him into a complex web of deception and danger. The film explores themes of disillusionment and moral ambiguity, set against the backdrop of 1970s Los Angeles and the Florida Keys.

Night Moves came out a few years after Gene Hackman established himself as a hallmark of the neo-noir genre in The French Connection . In Night Moves , Hackman's character, Harry Moseby, lives in LA instead of New York and is a private investigator, which automatically frees him from the more obvious constraints of the law in terms of investigations. As time has progressed, Night Moves has grown in critical and audience acclaim, largely thanks to its open-ended conclusion and the intricate plot that the movie weaves.

Though Harry isn't as violent and amoral as some of Hackman's other characters, he takes on a more pathetic and depressing outlook as he fails to understand the crimes he sees at every turn. He's easily outwitted by the people using him and is unable to stay true to the beliefs he so desperately wants to hold dear. It would be easy to feel sorry for Harry if not for the fact that he is the person who entangles himself further in the mess, and Hackman's wonderful performance makes the man all the more deflated.

4 Wanda (1970)

Directed by barbara loden.

Wanda, directed by and starring Barbara Loden, is a drama that follows the life of a disaffected woman in Pennsylvania who drifts through a series of aimless and destructive relationships. Released in 1970, the film presents a stark exploration of alienation and survival, capturing the protagonist's struggle against the socio-economic constraints of her environment.

Barbara Loden wrote, directed, and stars in Wanda . The film is an underrated cult classic that follows the story of Wanda Goronski, a young woman who leaves her husband and goes on a solo odyssey akin to Bonnie and Clyde . Set in rural Pennsylvania, Wanda focuses on an often untouched niche of U.S. life, as many traditional neo-noirs and crime thrillers take place in major cities like New York or Los Angeles. While Wanda is rarely mentioned in larger roundups of the neo-noir genre, it deserves a place in the conversation.

Well ahead of its time, Wanda unpacks the legacy of the Hollywood crime film and is drenched in realism in a more urgent way than other projects thanks to its limited budget.

Well ahead of its time, Wanda unpacks the legacy of the Hollywood crime film and is drenched in realism in a more urgent way than other projects thanks to its limited budget. Wanda's involvement in a life of crime isn't entirely of her own doing, but she also is more of an active protagonist than some critics gave her credit for. As most neo-noirs cast the female characters in the role of femme fatale, it's refreshing to see a woman propelling the story forward.

3 The French Connection (1971)

Directed by william friedkin.

The French Connection

The French Connection is a 1971 crime thriller directed by William Friedkin. It stars Gene Hackman as Detective Jimmy "Popeye" Doyle and Roy Scheider as his partner Buddy Russo. The film follows their efforts to dismantle a major heroin smuggling operation. Known for its gritty realism and intense action sequences, The French Connection received critical acclaim and won several Academy Awards, including Best Picture and Best Actor for Hackman.

Gene Hackman's character, Jimmy "Popeye" Doyle, is the next step in the evolution of the noir-era detective, as his moral ambiguity goes even further into the territory of a complete anti-hero. The director, William Friedkin, further explored the territory of corruption in the police force in his later project, To Live and Die in L.A. Both of these projects have influenced the neo-noir genre as a whole, and Doyle has become a beacon of the amoral police officer character type.

The French Connection features an iconic car chase that was shot on location in New York City, which was part of the appeal of the gritty style of the film. Winning Best Picture, Director, and Actor at the Oscars, the critical and audience acclaim that The French Connection received has kept it relevant in the cultural mindset. The immersive nature of the aesthetics and sound design of The French Connection is more fast-paced and intensive than a typical noir, which sets it apart.

Despite his retirement in 2004, Gene Hackman remains relevant for his rich legacy, which includes some of the best movies in film history.

2 Taxi Driver (1976)

Directed by martin scorsese.

Taxi Driver

Martin Scorsese's classic 1976 film stars Robert De Niro as Travis Bickle, a Vietnam veteran turned New York City cab driver whose increasingly disturbed mental state due to his PTSD begins to drive him to more and more violent actions as he attempts to rid the city of what he sees as the "scum" on the streets. Jodie Foster, Harvey Keitel, Cybill Shepherd, and Albert Brooks also star in the film. 

After their first successful collaboration on Mean Streets in 1973, Martin Scorses and Robert De Niro came back together for Taxi Driver . It was the movie that would cement their partnership as one of the best in film history. Scorsese and De Niro's movie collaborations are all notable. However, Taxi Driver stands out thanks to a flawless script from Paul Schrader, who manages to create equal disgust and empathy towards De Niro's character throughout the film. While there is some debate over calling Taxi Driver a neo-noir film, it has many of these elements.

Recent works like Joker , Fight Club , and Scorsese's The King of Comedy couldn't exist without the groundwork laid by Taxi Driver .

De Niro's character, Travis Bickle, differs from the classic noir protagonist. However, he embodies the anxieties of the neo-noir genre, as the cultural mindset was shifting towards a fear of those who lived outside the confines of society. Recent works like Joker , Fight Club , and Scorsese's The King of Comedy couldn't exist without the groundwork laid by Taxi Driver . The disillusionment, isolation, and cyclical nature of violence that are on display in Taxi Driver make it a classic work of neo-noir.

1 Chinatown (1974)

Directed by roman polanski.

Originally released in 1974, Chinatown is an American neo-noir mystery movie starring Jack Nicholson and Faye Dunaway. Its story was inspired by the California water wars, a series of conflicts between the city of Los Angeles and the people of Owen's Valley around the beginning of the twentieth century. The movie received 11 Academy Award nominations in total, with Robert Towne winning the Oscar for Best Original Screenplay.

Jack Nicholson has played many roles that could be called his greatest, but Jake in Chinatown is very near the top of the list. Nicholson is joined by his costar Faye Dunaway as Evelyn Cross-Mulwray. She plays the femme fatale with a horrible secret that's slowly uncovered throughout the plot of Chinatown . Like many neo-noirs of the '70s, Chinatown is set in Los Angeles, and the central conspiracy of the film is in tune with the contemporary issues of the 1970s.

As corrupt politicians and businessmen vie for control of the water supply in LA, innocent bystanders are caught in the crossfire. Like the classic detective heroes of the noir genre, Jake is morally ambiguous but tries to do the right thing, even if he's led in the wrong direction. Chinatown falls into the neo-noir genre because of its cynical and post-modern sensibilities, as well as the explicit discussions of violence and sex, which were frequently censored during the heyday of film noir. The performances, style, and urgent subject matter of Chinatown make it an enduring work of fiction.