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.

 

 

 

 

 

IF YOU CAN KEEP YOUR HEAD….(Dean Jones, R.I.P.)

The thing about Dean Jones was that you could throw anything at him. Anything at all.

A monkey?…Sure…

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A pirate?…Why not?

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Hayley Mills at her Hayleyist?…You bet.

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Anything at all and you still knew he would make it seem like something that could happen to your dad or your brother or the guy next door, and that it would all come right in the end.

It’s hard to really state how much that quality meant in the era of his greatest fame, when the world really was on fire. Like almost everyone who helped define Disney’s live action ethos, he was defined by it in turn. I’m sure he did fine work later on, but there was no way to really break free from those movies that meant so much to so many. More than most, he seemed to be at peace with that, which suggests what we saw on the screen came from the deepest part of him. If that’s the case then we knew him best for a quality that couldn’t be faked, even by such a fine actor.

I think I’m gonna go watch That Darn Cat! for the thousandth time and see if Elsa Lancaster or William Demarest or Neville Brand or Roddy McDowall or Frank Gorshin or any of those other charter members of the Scene-Stealing Hall of Fame can steal a scene from him this time.

Bet they don’t.

Because not even Hayley Mills could do that.

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