These films were released during the 1960s

The Blue Max

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The dazzling flying sequences in this movie are worth the price of admission all by themselves. This is a good thing because the story is nothing to write home about. Much like its contemporaries, Grand Prix and The Battle of Britain, The Blue Max presents a somewhat shallow, sudsy story set against a beautifully photographed backdrop of aerial combat in World War I. You’ll remember this movie for those scenes (and scenes of Ursula Andress barely wearing a towel) long after you’ve forgotten what the whole thing was all about.

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Carnival of Souls

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There is low-budget, ultra-low-budget and no-budget. I don’t know what term you’d use for a movie that could have been made with the change you dug out of your seat cushions. This is the only dramatic film made by industrial documentary filmmaker Herk Harvey, and you could be forgiven if you think you’re watching a lost episode of Twilight Zone. This simple but moody tale is as long on atmosphere as it is short on production values and running time.

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The Battle of Algiers

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In late August of 2003, there was a special screening of this film at the Pentagon, a few months after President Bush declared “Mission Accomplished” from the deck of the U.S.S. Abraham Lincoln. The Department of Defense was not shy about their belief that the film offered valuable and necessary insight into the problems of fighting an insurgency in the Islamic world. In short, the American military had no illusions that the fight in Iraq was far from over, even if the politicians were pretending otherwise. If you needed any other evidence that this forty-year-old film was still uncommonly relevant and current, note the film was also banned by the French for five years after its release. Clearly, the French didn’t like to be reminded of past transgressions that far outstrip anything that U.S. forces in Iraq have been accused of.

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The Spy Who Came in from the Cold

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Released at the height of the James Bond heyday, this sober, gritty adaptation of John le Carré’s novel seems like a deliberate antidote to the increasingly fanciful adventures of Ian Fleming’s superspy. There are no outlandish gadgets or glamorous locations and the only significant female character dresses like a librarian (Of course, that might have something to do with the fact that she’s a librarian). For those who like their espionage somewhat grounded in reality, this movie is a three-course meal.

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The Longest Day

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Darryl Zanuck’s multi-national epic occasionally plays like an academic lecture on the events of June 5 and 6, 1944, albeit an interesting lecture with some really cool film. The Longest Day covers the first twenty-four hours of the invasion of France from American, British, French and German perspectives, employing separate directors for each nationality and shooting in the native languages of those involved. This gives the film a level of authenticity that was fairly atypical of war movies of the time.

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Judgment at Nuremburg

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Stanley Kramer’s second courtroom drama starring Spencer Tracy in as many years is mostly an actor’s tour de force, but surprisingly not for the film’s nominal stars, Tracy and Burt Lancaster. Both of these veterans step back and let a handful of others take center screen. The talent pool is so deep in this film that the fifth-billed actor, Maximilian Schell, took home a Best Actor Oscar, the deepest that award has gone into a film’s “bench.”

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The film is a heavily fictionalized version of the actual Judges Trial during the Nuremberg Trials after World War II. Continue reading

Grand Prix

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Back in the 1960s, there was a particular genre of movies comprised of big budget epics with large international casts. Their sudsy stories usually centered on some larger-than-life subject. Another prime example would Guy Hamilton’s Battle of Britain. This film shares a lot of DNA with the later war epic. Both films work best when focusing more on the machines than the people inside them. When Grand Prix is in its element, using director John Frankenheimer’s car mounted cameras on the real circuits of the Formula One racing season, the film is exciting and visually spectacular. When the characters get out of their cars, strip off their racing suits and start talking to each other, the film runs into trouble.

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Planet of the Apes

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Back when I was in high school and college, a local TV station (KTLA channel 5, I think) would periodically run all five Planet of the Apes movies in one week. I developed a great deal of affection for this particular franchise, despite the obvious flaws in most of the sequels. In honor of the new box set available this past week, I am launching a special, semi-official theme week that I’m calling Simians in the Springtime.

Even before Star Wars, the Apes movies blazed the trail for shameless marketing and tie-ins. Every thing you could buy with a Star Wars logo on it, action figures, lunch boxes and games, you could buy a similar Apes-related item a decade earlier. I don’t believe that there ever any Planet of the Apes collectable glasses at Taco Bell, but for virtually everything else under the sun, the apes got there first.

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Ice Station Zebra

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On paper, Ice Station Zebra must have looked like a slam-dunk. The director of The Great Escape helming a film based on the work of the author of The Guns of Navarone. Unfortunately, Ice Station Zebra doesn’t possess the untethered sense of adventure found in either of its ancestors.   

That doesn’t mean that this film isn’t enjoyable. When I remember seeing the film in my youth, my primary recollection is of the fairly rigorous authenticity of the submarine sequences. Sub buffs can certainly enjoy the film on that level. There is also some dazzling widescreen photography in some of the at-sea scenes as well, at least until the sub reaches the North Pole and they discover that it’s a sound stage.

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The Wild Bunch

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It’s interesting to think that 1969 saw two landmark westerns that covered much the same territory in vastly different ways. They were both set against the twilight of the old west and both dealt with train robbers for whom time had fatally passed them by. While Butch Cassidy and the Sundance Kid was a breezy, nostalgic comedy, The Wild Bunch is a mostly somber contemplation of violence and mortality.

Sam Peckinpah‘s signature film may have been shockingly violent for its day, but its actually fairly tame in that department compared to modern action movies like Die Hard. However, if the graphicness of the violence is not up to modern standards, the sheer body count of this picture, as well as the callous randomness of the death, is still capable of shocking.

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Topaz

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Topaz plays more like a Masterpiece Theater adaptation of Leon Uris‘ novel than it does an Alfred Hitchcock film. Long, deliberately paced and mostly lacking the dark humor that typified his other movies, Topaz demands patience of its audience. That patience is rewarded with an intelligent, if subdued motion picture experience.

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