The derby scenes in They Shoot Horses, Don't They? (1969) contain truly harrowing sequences that leave a lasting impression on viewers. Director Sydney Pollack shot some of these sequences himself while wearing roller skates to get right up in the action of the scene. You can truly feel the characters' exhaustion and desperation as you watch them go round and round.
Anybody else think Deep Throat just loooooooves the drama? Like, oooo I've got a secret but I can't tell you! I'll just give you hints ; )
All the President's Men (1976) took great pains to accurately capture the accounts of Woodward and Bernstein during their Watergate investigation which means the over-the-top depiction of this exchange between Deep Throat and Woodward has historical merit.
Wanda (1970) was shot with a 16mm camera for budget reasons, but the advantages of using a small camera are on full display in this car robbery scene where you realize partway through that the camera was shooting from INSIDE the car the whole time. Cinematographer Nicholas Proferes told actor Michael Higgins “you do what you have to do, and I’ll follow you”. Regarding the flexibility in movement while acting, Higgins said he “never had before and never since experienced such freedom”.
Here's a clip of a fascinating interview from 1972 with Yoko Ono, John Lennon, and Barbara Loden who all became friends after meeting at the 1971 Cannes Film Festival. They discuss the difficulties of being female artists/creators with famous husbands, nepotism, and Loden's experience working with men on her film. Sadly, there was no "next time" for Loden, who was denied any opportunities to create another feature film despite the critical success of Wanda (1970).
In February 1972 Barbara Loden appeared on the Mike Douglas show to promote her new film Wanda. This clip is a perfect example of the lack of respect female directors face. Douglas couldn't even be bothered to look up the basic details about the film before interviewing Loden... She's literally the star of the movie (in addition to being the writer/director/producer).
Jonathan Banks: telling you how it is since 1978!
We were absolutely delighted to see Jonathan Banks make a brief appearance in Ashby's Coming Home (1978)
The famous multi-screen polo sequence from Norman Jewison's The Thomas Crown Affair (1968):
The polo sequence in its original form was too long and on the chopping block, but then-editor Hal Ashby said "don't cut it out, cut it up", so they hired graphic designer Pablo Ferro to turn the scene into a multi-screen sequence. Ferro had previously designed film logotypes, title sequences, and advertisements, and Hal liked his innovative approach. Hal assisted Ferro in refining his technique to design and edit the multi-screen sequences in The Thomas Crown Affair, and the results were jaw-dropping. Ferro's work with the polo footage reduced the sequence's runtime from 6 minutes to 40 seconds, and of course it also looked insanely cool.
Enjoy this clip of the sexy chess scene from Norman Jewison's The Thomas Crown Affair (1968), featuring some excellent editing by Hal Ashby.
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I love comparing the traffic lights effect in Jean-Luc Godard's Pierrot le Fou (1965) and Scorsese's Taxi Driver (1976). Coincidence? Quite possibly! But Scorsese is heavily influenced by Godard and he uses French New Wave techniques in his filmmaking. For example, the close-up of the alka-seltzer tablet fizzing in the water glass in Taxi Driver is a direct nod to the coffee cup scene in Godard's Two or Three Things I Know About Her (1967), and there are of course those jump cuts...
Pacino ballet dancing in Serpico (1973) is *delightful*
Sam's thoughts on rocky road ice cream
No discussion of the social changes that characterized the 60s and 70s would be complete without an interlude on the Esalen Institute. Because its ideas and practices have become so much a part of mainstream American thought, it’s difficult to emphasize how revolutionary concepts like encounter groups, spirituality, free love, and even yoga were when they were first brought to the shores of California in 1962. Founders Michael Murphy and Dick Price set out to explore what Aldous Huxley called ‘human potentialities’ - ideas that were far outside of the imaginations of everyday Americans. Concepts like: being openly communicative with your partner and children, getting ‘in touch’ with your body, or just simply being honest with yourself about desires that society has made you feel the need to repress. They also encouraged speakers and seminars on many other subjects that have been less widely adopted, like the healing powers of crystals or various other pseudo-scientific claims. Much of the interest in eastern religions that you see in American life has its roots in Esalen. The beginning of Bob & Carol & Ted & Alice depicts a retreat that is easily recognizable as a version of the famous institute. Bob and Carol's experience at the institute sets into motion their journey of self-exploration which underpins the entire film. An analogue of the Esalen Institute is also famously featured in the finale of Mad Men. Much of the 70s (or ‘Me decade’) can be characterized by a gradual opening up of the American mind to things offered by Esalen, or its offshoots such as ‘EST’, Self Esteem, or the Human Potential Movement. Indeed, the whole genre of self-help really has its roots here, in this remote haven in Big Sur, California.
I will forever be entertained by this very goofy shot of Faye Dunaway clonking down some stairs immediately after the camera sexualizes her in Bonnie and Clyde (1967)
Who doesn't love a good bar brawl scene?
Tokyo Drifter (1966)
Frank is so cool.
Crazed Fruit (1956)
Varda has such an eye for capturing the mesmerizing beauty of the fishing village La Pointe Courte in her eponymously named 1955 film.
Here's American filmmaker Samuel Fuller making a cameo in Pierrot le Fou (1965) to explain what a movie is. This may or may not be Jean-Luc Godard's thesis.
Jean-Paul Belmondo, the impish star of Pierrot le Fou as well as Breathless by Godard, was never just an actor. For most of his career he was a SYMBOL. Of masculinity, of the avant-garde, of Frenchness, and of movie-stardom, as well as whatever else anyone wants to project onto his fascinating mug. He has been compared to Bogart and Brando, John Wayne and James Dean. Famously he avoided doing English language films despite Hollywood begging him to many times over his decade-long run as a box office draw. Imagining French cinema without his face is like imagining cartoons with no Bugs Bunny.
Me, every Monday.
(Pierrot le Fou, 1965)
Favorite line from Pierrot le Fou (1965)