Tag Archives: 1960s

It’s Sunday morning. The church bells call people to the Mass, but the army officer Arnost is still sleeping in his austere and shabby room in the barracks. He wakes slowly, and attunes himself step by step to the world and what to do this arid Sunday. He loads his pistol and puts it to his head and in his mouth, without firing it off. While he turns around, he is now and then interrupted by short flashbacks in his memory of situations with frivolous women and much drinking, as well as some daydreams about enforced weddings. He has a relationship with three blond women. Two of them are adult. One is willowy and a bit aloof, the other voluptuous and possessive. The third is a little girl, who he likes to talk with. He goes to the gatekeeper of the barracks, and starts a chat. Through a spyglass he suddenly sees two young women sunbathing topless. As it is within the military area, he orders the gatekeeper to arrest them. The women don’t take him seriously, but he writes a report.
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In the turn-of-the century Texas town of Cottownwood Springs, marshal Frank Patch is an old-style lawman in a town determined to become modern. When he kills drunken Luke Mills in self-defense, the town leaders decide it’s time for a change. They ask for Patch’s resignation, but he refuses on the basis that the town on hiring him had promised him the job for as long as he wanted it. Afraid for the town’s future and even more afraid of the fact that Marshal Patch knows all the town’s dark secrets, the city fathers decide that old-style violence is the only way to rid themselves of the unwanted lawman.
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In this story, Harlow starts in the movies as set dressing, the pretty girl who is used for the glamour shots. Refusing to descend to the casting couch for work, she finds that she is soon blacklisted from the industry. But an agent named Arthur sees something in Jean and begins representing her. For a long time, the jobs are scarce and consist mostly of receiving the pie in the face in low budget comedies. But Arthur’s belief in Jean never wavers and when she finally graduates to featured roles, the critics say that she cannot act, but she is unforgettable. Polishing the image as the girl next door, but with some fire, she begins her climb to the top and becomes the girl every woman wants to look like and every man wants to have. But her own life is a disaster – unlike her screen life.
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The “Satans” are a very cruel biker gang led by Anchor. The gang goes to a diner in the middle of nowhere in the California desert where they begin to terrorize Lew and his patrons and his waitress, Tracy. After a little killing, one of the patrons named Johnny manages to escape from the bikers into the desert. They need to reach a town before the Satans catch up to them and kill them.
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A classic Risi of the late 60s. This time his biting humor doesn’t deal with social or political issues but seven situations leaning on absurdity.
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Based on real events reported in Japanese newspapers in 1966 “Boy” follows the title character, Toshio Omura, across Japan, as he is forced to participate in a dangerous scam to support his dysfunctional family. Toshio’s father, Takeo Omura, is an abusive, lazy veteran, who forces his wife, the boy’s stepmother, Takeko Tamiguchi, to feign being hit by cars in order to shake down the motorists. When his wife is unable to perform the scam, Toshio is enlisted…
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Jacques Demy followed up The Umbrellas of Cherbourg with another musical about missed connections and second chances, this one a more effervescent confection. Twins Delphine and Solange, a dance instructor and a music teacher (played by real-life sisters Catherine Deneuve and Françoise Dorléac), long for big-city life; when a fair comes through their quiet port town, so does the possibility of escape. With its jazzy Michel Legrand score, pastel paradise of costumes, and divine supporting cast (George Chakiris, Grover Dale, Danielle Darrieux, Michel Piccoli, and Gene Kelly), The Young Girls of Rochefort is a tribute to Hollywood optimism from sixties French cinema’s preeminent dreamer.
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The story of men devoted to the yakuza lifestyle and their struggles during a time of fading yakuza power.
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After more than a decade of sober political dramas and socially minded period pieces, the great Japanese director Masaki Kobayashi shifted gears dramatically for this rapturously stylized quartet of ghost stories. Featuring colorfully surreal sets and luminous cinematography, these haunting tales of demonic comeuppance and spiritual trials, adapted from writer Lafcadio Hearn’s collections of Japanese folklore, are existentially frightening and meticulously crafted.
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Robert Lomax, tired of working in an office, wants to be an artist. So he moves to Hong Kong to try his hand at painting. Finding a cheap hotel, he checks in, only to find it’s used by prostitutes and their “dates” they meet in the bar downstairs. Since he never picks up any of the ladies, they all want to know more about him. Eventually, he does hire one to model for him… and soon falls in love. However, since he’s on a limited budget, he can’t afford her exclusively, but doesn’t want to “share” her with anyone else.
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