Payday (1973)
“If you can't smoke it, drink it, spend it or love it... forget it.”
Country singer Maury Dann lives life in the fast lane, counting on his rakish charm and raw talent to excuse his reckless behavior. Touring on the road in the rural south with his dedicated manager, his loyal driver and his long-suffering girlfriend, Maury seduces groupies, brawls and breaks the law, brashly relying on his team to cover for him. Heedlessly alienating all those who care for him, Maury blindly keeps the pedal to the metal.
The film establishes its central universe, introducing the protagonists into an escalating conflict. Directed by Daryl Duke, this opening movement establishes high visual and thematic stakes that set the narrative journey into motion.
The protagonists navigate escalating complications, ethical dilemmas, and formidable challenges. Starring Rip Torn, Ahna Capri, Elayne Heilveil, the middle act intensifies dramatic momentum toward an inevitable turning point.
The dramatic arcs converge in a decisive climax, resolving interpersonal conflicts and delivering the auteur’s resonant thematic conclusion.
Rip Torn
as Maury Dann
Ahna Capri
as Mayleen Travis
Elayne Heilveil
as Rosamond McClintock
Michael C. Gwynne
as Clarence McGinty
Jeff Morris
as Bob Tally
Cliff Emmich
as Chicago
Henry O. Arnold
as TedBobby Smith
as Lyman Pitt
Dallas Smith
as Henry Tutweiler
Richard Hoffman
as Foggy Bottom YonceWalter Bamberg
as BridgewayEleanor Fell
as Galen DannCinematographic negative, aspect ratios & laboratory mastering sheet
| Aspect Ratios | 2.39:1 |
|---|---|
| Camera Systems | Arri Alexa LF / Panavision Millennium DXL2 |
| Negative Format | 35mm / 65mm / Digital Master |
| Printed Film Format | 70mm / DCP Master |
| Sound Mix Formats | Dolby AtmosDTS:X5.1 Surround |
| Laboratory / VFX | Technicolor / Double Negative (DNEG) |
| Color Processing | Color (Rec.709 / DCI-P3 Mastering) |
| Official Runtime | 103 min |
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Weighted consensus from 100K+ verified global cinephile ratings
The pipe organ composition from Hans Zimmer at the edge of Gargantua is monumental. Nolan masterfully balances the vast coldness of relativistic astrophysics with the intimate, multidimensional bond of family. A transcendent achievement of cinema.
"Do not go gentle into that good night, Rage, rage against the dying of the light." Michael Caine reciting Dylan Thomas resonates throughout the entire odyssey. Pure cinematic grandeur.
