From Dragnet, “The Big Departure” (Jack Webb, 1968):
Kid, a would-be revolutionary just busted for stealing, among other things, asparagus seeds, with plans to cultivate them on the commune where he’s starting a new society: “Oh, yeah, I really dig fresh asparagus.”
Sgt. Joe Friday, arresting officer: “When do you think you’ll eat it?”
Kid: “This summer.”
Suzan Pitt’s took four. A handcrafted surrealist masterpiece, the extraordinary —in a which a takes pleasure in her garden and shares the bounty of her unearthly delights with a mesmerized audience, all before performing fellatio on an alchemical assortment of possibilities—was animated and assembled between 1974 and 1978. Absolutely of its moment and ethereally out of time, it’s a movie designed to expand and contract: “The film is a circle more than a straight-ahead experience,” Pitt explained, “you could enter at any point and the meaning would be the same. The taking in and spewing out, the searching and the discovering, the desire and the contact, the ever-evolving acts of nature….”
