Category: 1960s

What’s New Pussycat? (1965)

Playboy Peter O’Toole finds it difficult to be faithful to his girlfriend Romy Schneider so seeks the help from psychoanalyst Peter Sellers. There’s very little to recommend this film. It’s not very funny and Peter Sellers inexplicably wears an atrocious wig throughout. There’s a madcap final act at a small country hotel that finally gives the film a bit of a lift, but it’s not worth sitting through the rest of the slog to get there. At least there’s Tom Jones.

Oscar Nomination: Best Music, Original Song

All Night Long (1962)

To celebrate their first wedding anniversary, wealthy music promoter Richard Attenborough hosts a party in the honor of musical couple Paul Harris and Marti Stevens. One of the guests is drummer Patrick McGoohan who wants to draw Stevens out of retirement and join his nascent band. It’s a clever take on Shakespeare’s Othello set across a jazzy 1960s London backdrop. The music is divine, even featuring actual jazz musicians from the time period. Altering Shakespeare’s narrative somewhat makes it more accessible and more resonant for a modern audience.   Music

America, America (1963)

Anatolian Greek Stathis Giallelis is entrusted with the entirety of his family’s wealth and charged with travelling to Istanbul to help in a cousin’s carpet store, but he has bigger dreams of travelling to America. An immigrant epic inspired by Elia Kazan’s own family’s immigration tale, It is a never-ending recitation of the resilience, drive, and luck required for someone to even have a chance at rising above their station and reaching for something better. The film lies on Giallelis’s shoulders and he conveys the desperation and hardship of his situation with bold determination that cannot be extinguished.  Best Picture Nomination

Oscar Win: Best Art Direction-Set Decoration, Black-and-White

Oscar Nominations: Best Picture; Best Director; Best Writing, Story and Screenplay – Written Directly for the Screen

Chimes at Midnight (1965)

Following his attempts to bring to stage Fives Kings, his combined version of five Shakespearean plays, Orson Welles took his obsession to play the character of Falstaff to this production in which he wrote, directed, and starred. Falstaff spends his days carousing with the young Prince Hal, much to the chagrin of the Prince’s father King Henry IV. It comes across as a medieval buddy comedy with a youth and his wayward mentor that culminates in a grand battle scene and an unfortunate ending. My lack of a Shakespearean education had me following the wikipedia synopsis while watching, but I still rather enjoyed both Welles’s portrayal and the cohesive way he combined the group of plays.

Persona (1966)

Young nurse Bibi Andersson temporarily moves to a seaside cottage with Liv Ullmann, an actress who has suddenly stopped speaking, whom she has been charged to care for. While residing there, the two women’s personalities merge in explicable ways. Beyond that explanation, I cannot sincerely explain anything else about the film. The casting of these two actresses is brilliant as they carry enough resemblance to make the twisting of their identities much more eerie.

The Collector (1965)

After coming into a large sum of money, socially awkward, amateur entomologist Terrence Stamp buys a country estate and abducts Samantha Eggar, a young London art student who has caught his eye. The film disorientingly begins from Stamp’s perspective, providing a chance for the viewer to sympathize with the lonely and traumatized young man only to turn that sympathy into realization of what that trauma has created. It’s very claustrophobic and demanding with solid performances from the two leads. I’m fascinated by old homes with secret hideaways, such as priest holes.  Horror

Oscar Nominations: Best Actress in a Leading Role; Best Director; Best Writing, Screenplay Based on Material from Another Medium

The Young Girls of Rochefort (1967)

Real life sisters Catherine Deneuve and Françoise Dorléac portray twin sisters who run a dance school in Rochefort, longing for love and the bright lights of Paris, while their mother runs a cafe in a plaza where a carnival has been scheduled. It’s a beautiful, candy-colored musical spectacle that is chock-filled with coincidences and mixed connections. For some weird reason, the sisters’ wigs are extremely distracting, making them look like 20 years older than they are, but the ear-wormy music and the appearance of Gene Kelly make up for it. I still prefer Demy’s The Umbrellas of Cherbourg as a complete production, but this is very cute and simply more feel-good.   Musical

Oscar Nomination: Best Music, Score of a Musical Picture (Original or Adaptation)

The Haunting (1963)

Doctor Richard Johnson invites Julie Harris, Claire Bloom, and Russ Tamblyn to stay at the 90 year old Hill House to investigate reported paranormal activity. The activity grows as the house seems to react to Harris’s presence. The tension and atmosphere created in the film are palpably effective. The women are great in their respective roles, especially in comparison: Bloom smart, cool, and worldly and Harris uncertain and inexperienced. I don’t remember the remake from more than twenty years ago being horrible, this is obviously the superior film, though the casting in that film makes a lot of sense in comparison to this one.  Horror

Grand Prix (1966)

There are almost two distinct films here: one an almost documentary-level film of Formula One racing footage, the other a melodrama involving racers and their love interests. Together they make for one exceptionally long movie. I find as a spectator that car racing as a sport to be quite tedious and Formula One as depicted here is even more difficult to follow with little sense of who is leading and who is far behind. The footage is still absolutely incredible and creative in its editing. The soap opera level writing is decent quality for the style, giving the sense that the women on the sidelines are almost on par with war widows, never knowing if their loved one will survive the next race.  Sports

Oscar Wins: Best Sound; Best Film Editing; Best Effects, Sound Effects

Mr Hublot (2013)/The Magic Pear Tree (1968)

In a steampunk designed world, Mr Hublot’s orderly existence is disrupted by the sudden appearance of a homeless dog into his life. The animation style is similar to other Oscar nominated ones from this era, computer animation in muted tones. Luckily the turns in the short story and the characters have a real sweetness to them, especially, I imagine, for animal lovers, which make it stand out.  Animals

Similar to the peculiar 1971 animated short winner The Crunch Bird, the entire premise for The Magic Pear Tree is just a set-up for a singular not very funny joke. A handsome guest travels to his friend’s castle and goes through an elaborate ruse in order to get with his friend’s wife. Late 1960s-early 1970s film is already one of my least favorite eras of films and these shorts don’t go far to improve that impression.

Oscar Winner: Best Short Film, Animated (Mr Hublot)

Oscar Nomination: Best Short Subject, Cartoons (The Magic Pear Tree)

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