Cinema60

Continuing our series of posthumous interviews, Cinema60 summons up Andrew Sarris from beyond the grave to talk about one of his favorite films: The Man Who Shot Liberty Valance. Best known for having popularized the auteur theory to the English speaking world, Sarris was a powerhouse film critic in the 1960s who wrote primarily for The Village Voice.

In this episode, Bart and Jenna discuss Sarris’ career and his unique voice in the world of film criticism before they get lost in a tangle of wildly differing opinions on the John Ford film of the hour. See, Jenna rides into town with a specific view on how things should be going down in this film, while Bart, with decades of teaching and rewatching experience, defends its honor in a more traditional way. Then Lee Marvin gets shot in the crossfire and everything really goes to hell!

The following film is discussed:

• The Man Who Shot Liberty Valance (1962)
Directed by John Ford
Starring John Wayne, James Stewart, Vera Miles, Lee Marvin, Edmond O'Brien, Andy Devine, Ken Murray, John Carradine, Jeanette Nolan, John Qualen, Woody Strode, Strother Martin, Lee Van Cleef

Also mentioned:

• The Informer (1935)
Directed by John Ford
Starring Victor McLaglen, Heather Angel, Preston Foster

• Mr. Smith Goes To Washington (1939)
Directed by Frank Capra
Starring James Stewart, Jean Arthur, Claude Rains

• Stagecoach (1939)
Directed by John Ford
Starring John Wayne, Claire Trevor, Andy Devine

• The Grapes of Wrath (1940)
Directed by John Ford
Starring Henry Fonda, Jane Darwell, John Carradine

• The Long Voyage Home (1940)
Directed by John Ford
Starring John Wayne, Thomas Mitchell, Ian Hunter

• They Were Expendable (1945)
Directed by John Ford
Starring Robert Montgomery, John Wayne, Donna Reed

• Fort Apache (1948)
Directed by John Ford
Starring John Wayne, Henry Fonda, Shirley Temple

• 3 Godfathers (1948)
Directed by John Ford
Starring John Wayne, Pedro Armendáriz, Harry Carey Jr.

• She Wore a Yellow Ribbon (1949)
Directed by John Ford
Starring John Wayne, Joanne Dru, John Agar

• Rio Grande (1950)
Directed by John Ford
Starring John Wayne, Maureen O'Hara, Ben Johnson

• Winchester ‘73 (1950)
Directed by Anthony Mann
Starring James Stewart, Shelley Winters, Dan Duryea

• High Noon (1952)
Directed by Fred Zinnemann
Starring Gary Cooper, Grace Kelly, Thomas Mitchell

• The Hanging Tree (1959)
Directed by Delmer Daves
Starring Gary Cooper, Maria Schell, Karl Malden

Cinema60 continues its series of Kiss, Marry, Kill, this time with a focus on the year 1968. As previously explained, it’s a variation on the ol’ FMK game, played year by year as we go through the decade. Bart and Jenna challenge each other to choose one film they love (“Marry”), one film they want to see (“Kiss”), and one film they hate (“Kill”) that was released in the year 1968.

In this episode, Bart and Jenna indulge in some of the best introspective cinema that 1968 has to offer – including in depth discussions on the pitfalls of ‘60s masculinity, the triumphs of ‘60s feminism, and getting super high in front of your parents. Or, well, Peter Sellers’ parents.

The following films are discussed:

• A Day Off (1968)
휴일 (Hyu-il)
Directed by Lee Man-hee
Starring Shin Seong-il, Ji Yun-seong, Kim Sun-cheol

• The Girls (1968)
Flickorna
Directed by Mai Zetterling
Starring Bibi Andersson, Harriet Andersson, Gunnel Lindblom

• The Swimmer (1968)
Directed by Frank Perry
Starring Burt Lancaster, Janet Landgard, Janice Rule

• Symbiopsychotaxiplasm: Take One (1968)
Directed by William Greaves
Starring William Greaves, Don Fellows, Susan Anspach

• The Girl on a Motorcycle (1968)
Directed by Jack Cardiff
Starring Marianne Faithfull, Alain Delon, Roger Mutton

• I Love You Alice B. Toklas (1968)
Directed by Hy Averback
Starring Peter Sellers, Jo Van Fleet, Leigh Taylor-Young

What was it about Arthurian legends that so captivated 1960s audiences? Depending on who’s doing the retelling, and the century they’re living in, the tales of King Arthur and his knights vary wildly from stodgy conservative fables, to shockingly taboo love triangles, to intriguing surrealistic sorcery. When Lerner and Loewe’s play Camelot arrived on the scene in 1960 it quickly became a smash hit – an adaptation of T. E. White’s Freudian-heavy text, it starred Richard Burton, Julie Andrews and put Robert Goulet on the map. Camelot was further imprinted onto the public consciousness in 1963 when, after the assassination of her husband, Jackie Kennedy went on record to say it was one of Jack’s favorite soundtracks.

In this episode, Bart and Jenna dive headfirst into a world of myth, magic, legend and a whole lot of jousting. As they weave their way through a series of largely mediocre films that seem like they should’ve been made for children – y’know, if it wasn’t for all that nudity and violence – they look ever forward. Moving towards a shining ideal that they can see but cannot reach. For, like the Knights of the Round Table before them, they seek out the one true film that will unlock the truth and righteousness. A holy object that will single-handedly bring back the glory that was once known as… !!!

The following films are discussed:

• The Magic Sword (1962)
Directed by Bert I. Gordon
Starring Basil Rathbone, Estelle Winwood, Gary Lockwood

• Lancelot and Guinevere (1963)
Directed by Cornel Wilde
Starring Cornel Wilde, Jean Wallace, Brian Aherne

• Siege of the Saxons (1963)
Directed by Nathan Juran
Starring Janette Scott, Ronald Lewis, Ronald Howard

• The Sword in the Stone (1963)
Directed by Wolfgang Reitherman
Voices by Rickie Sorensen, Sebastian Cabot, Karl Swenson

• Willy McBean and his Magic Machine (1965)
Directed by Arthur Rankin Jr.
Voices by Larry D. Mann, Billie Mae Richards, Alfie Scopp

• Camelot (1967)
Directed by Joshua Logan
Starring Richard Harris, Vanessa Redgrave, Franco Nero

The legacy of Stan Brakhage looms large in the crowded world of 1960s experimental film. His style of filming and editing has become instantly recognizable, as are the themes of nature, bodies, and children that he always circles back to. Having rejected a more conventional lifestyle, inspired in part by experimental artists he met in San Francisco and New York, Brakhage developed his own unique style of filmmaking from a young age – one that dabbled equally in refracted light, microscopic detail, inverted images, frenetic editing and aniline dyes. By the start of the 1960s, Brakhage had already begun to gain popular recognition on the film and arts scene. By the end of the decade, he had solidified his importance as, perhaps, the most influential experimental filmmaker of his century.

In this episode, Bart and Jenna challenge themselves to sit down to watch over five hours worth of largely silent experimental film. Which, funny enough, wasn’t actually as painful to either of them as it might have sounded when they started. For two people who consider themselves to be narrative supremacists, they sure have a lot to say about how to approach Brakhage for the first time and how to interpret his work. Heck, they might have even learned to love him a little bit…

(NOTE: They highly recommend you spend 3 minutes and 13 seconds, respectively, getting a little taste of Brakhage before listening, if you’re coming in completely blind. Though be warned: these pixelated transfers on YouTube are shoddy substitutes for Criterion’s gorgeous HD masters.)

The following films are discussed:

• Mr. Tompkins Inside Himself (1960, 16 mm, 42 mins.)

• The Dead (1960, 16 mm, 11 mins.)

• Thigh Line Lyre Triangular (1961, 16 mm, 6 mins.)

• Dog Star Man: Prelude (1961, 16 mm, 25 mins.)

• Blue Moses (1962, 16 mm, 10 mins.)

• Sartre's Nausea (1962–1963, 16 mm, 4 mins.)

• Dog Star Man: Part 1 (1962, 16 mm, 31 mins.)

• Mothlight (1963, 16 mm, 3 mins.)

• Dog Star Man: Part 2 (1963, 16 mm, 6 mins.)

• Dog Star Man: Part 3 (1964, 16 mm, 8 mins.)

• Dog Star Man: Part 4 (1964, 16 mm, 6 mins.)

• Song 1 (1964, 8 mm, 3 mins.)

• Song 2 (1964, 8 mm, 1.5 mins.)

• Song 3 (1964, 8 mm, 3 mins.)

• Song 4 (1964, 8 mm, 3 mins.)

• Song 5 (1964, 8 mm, 4.5 mins.)

• Song 6 (1964, 8 mm, 2 mins.)

• Song 7 (1964, 8 mm, 2.5 mins.)

• Song 8 (1964, 8 mm, 3.5 mins.)

• Fire of Waters (1965, 16 mm, 7 mins.)

• Pasht (1965, 16 mm, 5 mins.)

• Two: Creeley/McClure (1965, 16 mm, 3 mins.)

• Song 9 (1965, 8 mm, 4 mins.)

• Song 10 (1965, 8 mm, 3 mins.)

• Song 11 (1965, 8 mm, 3 mins.)

• Song 12 (1965, 8 mm, 3 mins.)

• Song 13 (1965, 8 mm, 3 mins.)

• Song 14 (1965, 8 mm, 3 mins.)

• 23rd Psalm Branch (1966–1967, 8 mm, 69 mins.)

• Scenes from Under Childhood (Section One) (1967, 16 mm, 24.5 mins.)

• Eye Myth (1967, 35 mm, 9 secs.)

• Love Making (1968, 16 mm, 36 mins.)

Also mentioned:

• Metaphors On Vision (1963, book by Stan Brakhage)

• Film as a Subversive Art (1974, book by Amos Vogel)

• Visionary Film: The American Avant-Garde 1943-1978 (1979, book by P. Adams Sitney)

• Brakhage (1999, documentary directed by Jim Shedden)

• Stan Brakhage: Filmmaker (2005, book edited by David E. James)

Joining Cinema60 for this episode is Gabriele Caroti, former director of BAMcinematek and founder of film distribution company Seventy Seven. This month Seventy Seven is releasing into theaters the 2K restoration of Barney Platts-Mills’ Bronco Bullfrog, a gritty but delightful piece of British kitchen sink realism, originally released in 1970, set against the backdrop of the working class teens in East London.

In this episode, Gabriele speaks to Bart and Jenna about the labor of love that went into getting this underappreciated film into repertory cinemas across the country, and they oblige him by grilling him on its production history and enduring cult fandom. Topics of discussion include suedeheads, the band Audience, Princess Anne, young love, teenage boredom, electric blankets, time travel, bringing movies to the people and more. It’s a lively discussion of a lost classic ‘60s youth culture film with a fella who’s making old movies new again.

The following film is discussed:

• Bronco Bullfrog (1969)
Directed by Barney Platts-Mills
Starring Del Walker, Anne Gooding, Sam Shepherd, Roy Haywood, Freda Shepherd, Dick Philpott, Chris Shepherd, Stuart Stones, Geoffrey Wincott, J. Hughes Sr.

Also mentioned:

• Reign of Terror (1949)
Directed by Anthony Mann
Starring Robert Cummings, Richard Basehart, Richard Hart

• The 400 Blows (1959)
Les quatre cents coups
Directed by François Truffaut
Starring Jean-Pierre Léaud, Albert Rémy, Claire Maurier

• Saturday Night and Sunday Morning (1960)
Directed by Karel Reisz
Starring Albert Finney, Shirley Anne Field, Rachel Roberts

• Billy Liar (1963)
Directed by John Schlesinger
Starring Tom Courtenay, Julie Christie, Wilfred Pickles

• Black Peter (1964)
Cerný Petr
Directed by Milos Forman
Starring Ladislav Jakim, Pavla Martinkova, Jan Vostrcil

• Three Sisters (1970)
Directed by Laurence Olivier & John Sichel
Starring Jeanne Watts, Joan Plowright, Louise Purnell

• Bleak Moments (1971)
Directed by Mike Leigh
Starring Anne Raitt, Sarah Stephenson, Eric Allan

• Private Road (1971)
Directed by Barney Platts-Mills
Starring Susan Penhaligon, Bruce Robinson, Michael Feast

• Scum (1979)
Directed by Alan Clarke
Starring Ray Winstone, Mick Ford, Julian Firth

• Babylon (1980)
Directed by Franco Rosso
Starring David N. Haynes, Trevor Laird, Victor Romero Evans

• Gregory's Girl (1980)
Directed by Bill Forsyth
Starring John Gordon Sinclair, Dee Hepburn, Jake D'Arcy

• Looks and Smiles (1981)
Directed by Ken Loach
Starring Graham Green, Carolyn Nicholson, Tony Pitts

Or perhaps we should say British Anti-Bond Spy Films in the ‘60s. Everybody knows midcentury cinema was spy crazy, but it also goes without saying that these spy films were largely modeled after the action-packed espionage found in James Bond and very little on the kind of work actual spies do. What links the films in our latest Bootleg Bond episode is the common goal on the part of a number of British production companies to demonstrate that there’s plenty of drama to be found in a more realistic portrayal of spy work.

In this episode, Bart and Jenna take a dutch-angled romp through a series of nihilistic films that make zero effort to glamorize the life of a spy. They investigate how each of these chosen films work to subvert a different aspect of the Bond phenomena – from the sex and honor, down to the cinematic structure – and have an absolute blast doing it.

The following films are discussed:

• Ring of Spies (1964)
Directed by Robert Tronson
Starring Bernard Lee, William Sylvester, Margaret Tyzack

• The Ipcress File (1965)
Directed by Sidney J. Furie
Starring Michael Caine, Nigel Green, Guy Doleman

• The Spy Who Came in from the Cold (1965)
Directed by Martin Ritt
Starring Richard Burton, Oskar Werner, Claire Bloom

• The Quiller Memorandum (1966)
Directed by Michael Anderson
Starring George Segal, Alec Guinness, Senta Berger

• The Deadly Affair (1967)
Directed by Sidney Lumet
Starring James Mason, Maximilian Schell, Simone Signoret

• A Dandy in Aspic (1968)
Directed by Anthony Mann & Laurence Harvey
Starring Laurence Harvey, Tom Courtenay, Mia Farrow

By the beginning of the ‘60s, Mexican Horror had developed its own distinct tropes, evolved from old Universal monster movies to create formulaic crowd pleasers with plenty of gothic atmosphere and vengeful supernatural creatures. But by the end of the ‘60s, they were already expanding into more original films that thoughtfully approached terror and dread in a way that’s reminiscent of modern horror techniques. So take a listen and don’t worry – this frightening trip is punctuated with moments of comedy and romance and endless bouts of wrestling along the way.

As promised, in this episode Bart and Jenna brave the unknown and journey to the land of Mexican Horror films to peek through their fingers at vampires, werewolves, ghosts and murderers – all of whom speak Spanish! With luchadors and lycars to protect them, they discover that there’s much to love about the genre than these scaredy cats expected.

The following films are discussed:

• Skeleton of Mrs. Morales (1960)
El esqueleto de la señora Morales
Directed by Rogelio A. González
Starring Arturo de Córdova, Amparo Rivelles, Elda Peralta

• Santo vs. the Vampire Women (1962)
Santo vs. las mujeres vampiro
Directed by Alfonso Corona Blake
Starring Santo, Lorena Velázquez, María Duval

• La Loba (1965)
Directed by Rafael Baledón
Starring Kitty de Hoyos, Joaquín Cordero, Columba Domínguez

• Pedro Páramo (1967)
Directed by Carlos Velo
Starring John Gavin, Ignacio López Tarso, Pilar Pellicer

• The Scapular (1968)
El escapulario
Directed by Servando González
Starring Enrique Lizalde, Enrique Aguilar, Carlos Cardán

• The Book of Stone (1969)
El libro de piedra
Directed by Carlos Enrique Taboada
Starring Marga López, Joaquín Cordero, Norma Lazareno

Also mentioned:

• The Ship of Monsters (1960)
La nave de los monstruos
Directed by Rogelio A. González
Starring Eulalio González, Ana Bertha Lepe, Lorena Velázquez

• The Brainiac (1962)
El barón del terror
Directed by Chano Urueta
Starring Abel Salazar, Ariadne Welter, David Silva

Cinema60 continues its series of Kiss, Marry, Kill, this time with a focus on the year 1967. As previously explained, it’s a variation on the ol’ FMK game, played year by year as we go through the decade. Bart and Jenna challenge each other to choose one film they love (“Marry”), one film they want to see (“Kiss”), and one film they hate (“Kill”) that was released in the year 1967.

In this episode, Bart and Jenna stumble upon an intriguing pattern in their otherwise random choices. From anti establishment thinking, anxiety over consumerism, a stance on personal fascism, and deeply cynical sense of humor, 1967 turned out to be one the best Kiss, Marry, Kill years we’ve done yet.

The following films are discussed:

• Peppermint Frappé (1967)
Directed by Carlos Saura
Starring Geraldine Chaplin, José Luis López Vázquez, Alfredo Mayo

• Herostratus (1967)
Directed by Don Levy
Starring Michael Gothard, Gabriella Licudi, Peter Stephens

• PlayTime (1967)
Directed by Jacques Tati
Starring Jacques Tati, Barbara Dennek, Rita Maiden

• The Sorcerers (1967)
Directed by Michael Reeves
Starring Boris Karloff, Catherine Lacey, Ian Ogilvy

• How I Won The War (1967)
Directed by Richard Lester
Starring Michael Crawford, John Lennon, Roy Kinnear

• I'll Never Forget What's'isname (1967)
Directed by Michael Winner
Starring Oliver Reed, Orson Welles, Carol White

Ah, Paul Newman - arguably the biggest actor of the ‘60s. Who doesn’t get lost in those dreamy blue eyes? But this episode isn’t about him, really. It’s about his better half, Joanne Woodward, who had twice his acting chops but, unfortunately, a quarter of his drawing power on the marquee. But you don’t need to do the math to discover how great Joanne is after you watch all her ‘60s movies. Don’t just take it from us, this episode was actually inspired by a listener’s request for more Paul Newman and Joanne Woodward films. (Yeah, that’s a thing you can do! No promises we’ll always do it though.)

In this episode, Bart and Jenna trace Joanne Woodward's films alongside that of her more famous husband and decide that hers are the ones they really wanted to talk about. From her impressive range that spans dramatic to comedic to New Hollywood genuine, she has a charm that cannot be denied.

The following films are discussed:

• From The Terrace (1960)
Directed by Mark Robson
Starring Joanne Woodward, Paul Newman, Ina Balin

• Paris Blues (1961)
Directed by Martin Ritt
Starring Joanne Woodward, Paul Newman, Sidney Poitier

• A New Kind of Love (1963)
Directed by Melville Shavelson
Starring Joanne Woodward, Paul Newman, Thelma Ritter

• The Stripper (1963)
Directed by Franklin J. Schaffner
Starring Joanne Woodward, Richard Beymer, Carol Lynley

• Signpost to Murder (1964)
Directed by George Englund
Starring Joanne Woodward, Stuart Whitman, Edward Mulhare

• A Big Hand for the Little Lady (1966)
Directed by Fielder Cook
Starring Joanne Woodward, Henry Fonda, Jason Robards

• A Fine Madness (1966)
Directed by Irvin Kershner
Starring Joanne Woodward, Sean Connery, Jean Seberg

• Rachel, Rachel (1968)
Directed by Paul Newman
Starring Joanne Woodward, James Olson, Estelle Parsons

• Winning (1969)
Directed by James Goldstone
Starring Joanne Woodward, Paul Newman, Robert Wagner

While the end of the decade ushered in an explosion of gay rights movements, it’s no secret that the 1960s were not exactly the friendliest decade for LGBTQ people. When it comes to showing lesbians on film, there seemed to be a bit more wiggle room – in the same way laws were more punishing towards male homosexuality, the female variety seemed to be allowed to get away with being more openly about gay issues. Or you know, about peering into the lives of some “very close friends”… with benefits. The films that managed to get wide release in the ‘60s remain notable, both in their attempts to understand the plight of the gay community and serve as sometimes embarrassing reminders of how little progress we’ve made in cinematic representation. 

In this episode, Bart and Jenna take a worldwide tour of lesbian cinema – specifically avoiding pornography and exploitation cinema, even though some of these blur the lines a bit. But nevertheless, they open their minds and hearts and experiment with a variety of films that explore the highs and lows of sapphic love. 

The following films are discussed:

• The Children’s Hour (1961)
Directed by William Wyler
Starring Audrey Hepburn, Shirley MacLaine, James Garner

• Manji (1964)
卍(まんじ)
Directed by Yasuzô Masumura
Starring Ayako Wakao, Kyōko Kishida, Eiji Funakoshi

• The Cats (1965)
Kattorna
Directed by Henning Carlsen
Starring Eva Dahlbeck, Gio Petré, Monica Nielsen

• The Fox (1967)
Directed by Mark Rydell
Starring Sandy Dennis, Anne Heywood, Keir Dullea

• Les Biches (1968)
Directed by Claude Chabrol
Starring Jacqueline Sassard, Stéphane Audran, Jean-Louis Trintignant

• The Killing of Sister George (1968)
Directed by Robert Aldrich
Starring Beryl Reid, Susannah York, Coral Browne

• Le Altre (1969)
Directed by Alessandro Fallay
Starring Erna Schurer, Monica Strebel, Raul Lovecchio

Also mentioned:

• Walk on the Wild Side (1962)
Directed by Edward Dmytryk
Starring Jane Fonda, Barbara Stanwyck, Capucine

• The Balcony (1963)
Directed by Joseph Strick
Starring Shelley Winters, Peter Falk, Lee Grant

• The Haunting (1963)
Directed by Robert Wise
Starring Julie Harris, Claire Bloom, Richard Johnson

• Persona (1966)
Directed by Ingmar Bergman
Starring Bibi Andersson, Liv Ullmann, Margaretha Krook

• The Nun (1966)
La religieuse
Directed by Jacques Rivette
Starring Anna Karina, Liselotte Pulver, Micheline Presle