A major, though forgotten, work from New York’s underground film scene of the late 60s and early 70s, Nelson Lyon’s The Telephone Book tells the story of Alice, a sex-obsessed hippie who falls in love with the world’s greatest obscene phone caller and embarks on a quest to find him. Her journey introduces her to an avant-garde stag filmmaker, a manipulative psychiatrist, a lesbian housewife, and more. Photographed in high-contrast black-and-white, and punctuated with a remarkable, surreal color animated sequence, The Telephone Book is one of the greatest cult films you’ve probably never heard of.
+ Blu-Ray/DVD Combo Pack | Region Free | 1.85:1 AR | MONO
+ Restored in 2K from a 35mm archival print
+ Commentary track by Producer Merv Bloch
+ Two theatrical trailers
+ Radio spots
+ Still gallery
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One of my favorite films of the 70’s.
– Steve Martin
Much of the joy in rediscovering “The Telephone Book” is its rich sense of humor…As Alice, [Sarah] Kennedy maintains a wonderful balance of silliness and shrewdness…If any curio of the 1970s is in need of a second look, it would have to be this film.
Phil Hall – Film Threat
One can detect Bloch’s skill at creating striking images in the movie’s unique aesthetic, whose high-contrast black-and-white photography seems more appropriate to a classic Look magazine spread than a raunchy comedy about the world’s greatest obscene phone caller. Adding to the movie’s artistic cred are some Godardian experiments with printed text and appearances by three of Andy Warhol’s superstars.
Ben Sachs – Chicago Reader
Far from the usual X-rated oddity, this is a mind-roasting chunk of NYC-lensed, experimental sexploitation, aesthetically akin to such raucous, counterculture assaults as DePalma’s Hi Mom and Greetings.
Steven Puchalski – Shock Cinema
The Telephone Book is everything you could ask for in cult exploitation: an X-rated, not-so-seamless blend of art-house style and grindhouse subject matter (dominatrices and orgies and Warhol cohorts, oh my!).
The Telephone Book is one of the undiscovered great films. Stylistically, it combines the best of Antonioni’s sexually tinged ennui without becoming overlong; the best of the narrative deconstruction of Godard without the hostility towards the audience; the best of the eroto-political statements of William Klein without the cinematic inertia.
Michelle Clifford – Sleazoid Express