1961-1970

Zbynek Brynych – …a páty jezdec je Strach aka The Fifth Horseman is Fear (1965)

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Renata Alder, The New York Times wrote:
So beautifully and thoughtfully made — well written and acted, shot with perfect economy and care—that one is almost surprised at the end to be very much moved by the substance of it.” Read More »

John Ford – The Man Who Shot Liberty Valance [+Extras] (1962)


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synopsis
Like Pontius Pilate, director John Ford asks “What is truth?” in The Man Who Shot Liberty Valance–but unlike Pilate, Ford waits for an answer. The film opens in 1910, with distinguished and influential U.S. senator Ransom Stoddard (James Stewart) and his wife Hallie (Vera Miles) returning to the dusty little frontier town where they met and married twenty-five years earlier. They have come back to attend the funeral of impoverished “nobody” Tom Doniphon (John Wayne). When a reporter asks why, Stoddard relates a film-long flashback. He recalls how, as a greenhorn lawyer, he had run afoul of notorious gunman Liberty Valance (Lee Marvin), who worked for a powerful cartel which had the territory in its clutches. Time and again, “pilgrim” Stoddard had his hide saved by the much-feared but essentially decent Doniphon. Read More »

Shôhei Imamura – Nippon Sengoshi – Madamu onboro no Seikatsu AKA Postwar History of Japan as Told by a Bar Hostess (1970)

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Quote:
The star of this documentary is a quintessential Imamura heroine: a hard-nosed, ruthless survivor, with a sense of loyalty and an earthy sense of humor. In this movie, she sits in a Tokyo bar, which she used to own, and tells the story of the various means she used to survive, beginning with the day the atom bomb fell. It is a history of compromises and hard deeds, though there are few outright betrayals. Read More »

Luis Buñuel – El Angel Exterminador aka The Exterminating Angel [+Extras] (1962)

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Plot Outline :

A group of people in formal dress arrives at an elegantly appointed home for a dinner party. However, once dinner is over and the guests retire to the drawing room, they discover that the servants have gone away, and for some reason they cannot leave. There is no explanation why — there are no locked doors or barred windows preventing them from going home – but the guests are convinced that they’re stranded. Left to their own devices, they slowly but gradually degenerate into genteel savagery. Read More »

Artavazd Pelechian – Zemlja Ljudelj aka The Land of the People (1966)

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1966 : La Terre des hommes (Zemlja ljudej)

“C’est le thème de la découverte permanente de la beauté du monde, que l’homme réalise dans sa vie et dans son travail, qui est développé dans le cadre d’une grande ville, présentée au cours d’une journée de labeur. Ce film démarre et se termine sur l’image de la sculpture de Rodin : le Penseur, qui tourne sur elle-même. Cette sculpture célèbre est devenue depuis longtemps le symbole de l’expression inaltérable de la pensée humaine. ” (Artavazd Pelechian, Mon cinéma¸Erevan : 1988). Read More »

Bruce Baillie – Castro Street / Mr. Hayashi / All My Life (1961 – 1966)

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Three short movies by Bruce Baillie.

1. Castro Street (1966)

Quote:
Inspired by a lesson from Erik Satie; a film in the form of a street – Castro Street running by the Standard Oil Refinery in Richmond, California … switch engines on one side and refinery tanks, stacks and buildings on the other – the street and film, ending at a red lumber company. All visual and sound elements from the street, progressing from the beginning to the end of the street, one side is black-and-white (secondary), and one side is colour – like male and female elements. The emergence of a long switch-engine shot (black-and-white solo) is to the filmmaker the essential of consciousness. Read More »

Wim van der Linden – Rape (1966)

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“This beautiful example of far-fetched blasphemy accompanies a happy, ugly nun into the woods for her constitutional, replete with charming bird noises. Praying to and fondling a priapic mushroom, she is unaware of the evil rapist shadowing her. When the rape occurs, it is in long shot, hidden from view, under a huge tree. Articles of clothes and her cross sail through the air; the tree – entirely dominating the screen – sways rhythmically and repeatedly. A few minutes later it stops; then another tree, a few feet away, begins to sway in identical fashion. The rapist finally emerges, exhausted.”

Amos Vogel, Film as a Subversive Art Read More »