FAVORITE FILMS….FOR EACH YEAR OF MY LIFE…BY DECADE…CUE THE SIXTIES

At least according to Terry Teachout, this idea has been going around. Terry’s own list is here (it’s a pretty good one). The idea is to take each year of your life and list your favorite film from that year.

For me, “favorite” is a simple concept. It’s whatever resides at the matrix of what I like the best and what has meant the most. I tend to emphasize this quality over what I think is “great” anyway (though, unsurprisingly, there is considerable overlap…we tend to elevate what we like, though I also like to believe that what we like can elevate us).

I want to drill down a bit, though (including links to those films I’ve written about at length and mentioning the close competition, when it exists), so I’m going to post these by decade…starting conveniently enough with the decade I was born in and am most fascinated by…

1960 The Apartment (Billy Wilder) (over Swiss Family Robinson and Psycho)

1961 The Guns of Navarone (J. Lee Thompson…and, for once, truth in advertising)

1962 The Miracle Worker (Arthur Penn) (over The Man Who Shot Liberty Valance, Ride the High Country, Cape Fear, The Manchurian Candidate…I could go on. Easily the strongest film year of my lifetime.)

1963 Charade (Stanley Donen)  (over The Great Escape and Hud)

1964 The T.A.M.I. Show (Steve Binder) (Actually a strong year, but….no competition)

1965 A High Wind in Jamaica (Alexander Mackendrick) (over That Darn Cat and The Truth About Spring)

1966 Gambit  (Ronald Neame) (over A Man For All Seasons and El Dorado)

1967 The Graduate (Mike Nichols) (over Wait Until Dark, Hombre, Don’t Look Back and the Soviet version of War and Peace)

1968 Monterrey Pop (D.A. Pennebaker) (over Where Eagles Dare…Interesting decision if I took one of those liberties I’m prone to take and considered Elvis’ Comeback Special a film. Glad I don’t have to make it.)

1969 Medium Cool (Haskell Wexler) (over Support Your Local Sheriff...it was a very strange year.)

Overall, a strong decade. As will be the 70s. After that….dicey.

 

 

 

 

 

IT JUST TAKES ONE…(Mike Nichols, Jimmy Ruffin, R.I.P.)

They both did plenty of fine work (in Nichols’ case, much of it with his partner Elaine May).

They each had a moment of singular genius in them.

And, as Orson Welles said–it just takes one.

So, then,  now–and a thousand years from now, if the world’s still worth living in–here’s to singular moments:

 

 

HAVING FUN WITH THE CELLULOID SIXTIES

TAMITICKET

Sheila O’Malley recently participated in–and linked to–an interesting poll of best/favorite movies from the 60’s that posted here.

I don’t do a lot of these, but this concept was pretty interesting, mostly because, well, the sixties are always interesting. Besides I haven’t done any autobiography for a while (and that’s what such lists always amount to) and this was something I could get my head around. There weren’t so many contenders it made my head swim (as would be the case in the forties or fifties or probably even the thirties). And there were enough that I cared about to make it worthwhile (as would not be the case from the eighties onward). The poll (which I recommend as interesting reading) had everyone put their choices in order, so I’ll do the same…albeit with commentary:

1) The T.A.M.I. Show (1964–Steve Binder): Greater in every conceivable way than A Hard Day’s Night, which is pretty great on its own. Binder, who directed Elvis’ comeback special among many other things, should absolutely be in the Rock and Roll Hall of Fame. This would be a huge cultural touchstone if only for preserving a visual record of James Brown’s stage show, but it’s much, much more than that.

2) The Man Who Shot Liberty Valance (1962–John Ford): The source of “Well, Pilgrim,” “You don’t own me,” “Print the legend,” and “Aren’t you proud?” As far as I can tell, everyone who wasn’t aiming for Lesley Gore’s demo pile mistook it for a film about the past.

3) The Miracle Worker (1962–Arthur Penn): For reasons I discussed at length here.

4) Medium Cool (1968)–Haskell Wexler): “The whole world is watching” side of the sixties rendered with harrowing immediacy.

5) The Graduate (1968)–Mike Nichols): “Plastics!” Funny line, sure, but it also feels more like the future we live in than anything else anyone was predicting at the time.

6) Swiss Family Robinson (1960–Ken Annakin): Laugh if you want. But Annakin spent the fifties honing a laughs-n-thrills approach that George Lucas and Steven Spielberg made fortunes and legends from a generation later. They’ve given him plenty of kudos and paid plenty of homage (including a lot of direct scene steals and, of course, Darth Vader’s real name). All to the good, but one thing they didn’t ever do was beat his time. (Besides which, Janet Munro was my first movie love, so leaving it off would obviously make me a churl and a cad.)

7) The Apartment (1960–Billy Wilder): I never quite bought that Shirley McClaine’s character would fall for a creep like Fred McMurray hard enough to attempt suicide over him, but, if it’s not quite perfect, this is still the only truly poignant romantic comedy outside of the truly perfect Roman Holiday.

8) The Truth About Spring (1965–Richard Thorpe): There are those who can contemplate a list of what’s best about the sixties without including a Hayley Mills movie. I’m the wrong age and temperament to be one of them, so I’ll just add that if J. Lee Thompson had been able to snag her for Cape Fear–a Divine Intention that was thwarted by a conflict between God’s schedule and Hollywood’s (which was resolved, as these things so often are, in favor of the latter), stung him (Thompson, though probably God as well) for the rest of his life, and, of course, greatly hastened the decline of Western Civilization–it would be on this list instead, and no worse than fourth. (That said: “Tommy…if you shoot Ashton, I’ll never cook for you again!” still slays me.)

9) Monterey Pop (1968–D.A. Pennebaker): The pinnacle of what The T.A.M.I. Show promised–and, with the soon-to-follow deaths of its most dynamic performers (Otis Redding, Jimi Hendrix, Janis Joplin–the latter two already operating at a pace that any rational person watching this at the time must have known could not possibly be sustained)–the first step in the long fall from the mountain-top of the sixties’ dream.

10) Age of Consent (1969–Michael Powell): Features a very young Helen Mirren running around some South Sea paradise with little to no clothing on. Whether God or Satan was responsible for this particular aesthetic choice (which, as far as I’m concerned redeems the sixties all by itself) is obviously a matter for each person to decide in consultation with their own conscience. However, just “artistically” speaking, the beauty is that, either way, that single aspect surely redeems any and all shortcomings–real or imagined–for which this film (or this list!) might ever conceivably be held otherwise responsible.

60sAGEOFCONSENT

 

Honorable Mentions That At Least Crossed My Mind (In No Particular Order): Gambit (1966–Ronald Neame); El Dorado (1967–Howard Hawks); Charade (1963–Stanley Donen); Psycho (1960–Alfred Hitchcock); Ride the High Country (1962–Sam Peckinpah); Cape Fear (1962–J. Lee Thompson); The Great Escape (1963–John Sturges); The Guns of Navarone (1961–J. Lee Thompson); The Best Man (1964–Franklin Shaffner); Don’t Look Back (1967–D.A. Pennebaker); The Americanization of Emily (1964–Arthur Hiller): Dr. Strangelove: Or How I Learned To Stop Worrying and Love the Bomb (1964–Stanley Kubrick); The L-Shaped Room (1962–Bryan Forbes)