The Holy Man (Mahapurush) Directed by Satyajit Ray Written by Satyajit Ray from a story by Rajshekhar Parashuram Basu 1965/India R.D. Banshal & Co/Rajshri Productions
First viewing/Netflix rental
[box] “He denounced him openly as a charlatan–a fraud with no valuable knowledge of any kind, or powers beyond those of an ordinary and rather inferior human being.” ― Mark Twain, The Mysterious Stranger[/box]
A devout Hindu family “adopts” a holy man and friends and neighbors flock to hear his ravings. Some clear-thinkers come up with a plot for blowing his cover. One of these is trying to woo a devotee’s daughter.
This comic film is only about an hour long. It is enjoyable but could have been fleshed out more fully. I really couldn’t wrap myself around how the plot worked in the end.
Tokyo Olympiad (Tokyo Orinpikku) Directed by Kon Ichikawa Written by Kon Ichikawa, Yoshio Shirasaka, Shuntaro Tanikawa, and Natto Wada 1965/Japan Organizing Committee for the Games of the XVIII Olympiad/Toho Company
Repeat viewing/FilmStruck
One of 1001 Movies You Must See Before You Die
[box] I’ve made various types of films: period dramas, modern dramas, films set in the Meiji period. But I don’t make any distinctions between them – they’re all films. True, with a period drama, there are certain conventions. With a modern drama, there is a different style of shooting. So you have to make changes according to the genre, but I never think, “This is a period drama, so I have to shoot it in such and such a way.” Films are films. If you don’t understand that, then you start filming lies. – Kon Ichikawa[/box]
Beautiful, thrilling document of Tokyo’s last Olympic moment by one of Japan’s great directors.
Ichikawa takes a great variety of approaches to covering the 1964 Olympics. Some segments are straightforward depictions of events. Others focus on individual athletes. Slow-motion sequences highlight the beauty of trained bodies in motion.
But it’s not just athletes. The fans in the stadium and environs get a loving look see. I read that the Olympic Organizing Committee had hoped for a “commercial film” glorifying Japanese athletes and winners. Instead it got this humanistic version which is so much more.
Kon Ichikawa obviously loved people and the outcome was a loving portrait of a time and nation with all their warts. At three hours, he maintained interest throughout. I think Ichikawa is underrated. The Kurosawa-Ozu-Mizoguchi triumvirate should be a quartet. His output including The Burmese Harp, Fires on the Plain, An Actor’s Revenge, and this film certainly merit greater recognition for the director. Highly recommended.
The 10th Victim (La decima vittima) Directed by Elio Petri Written by Tonino Guerra, Giorgio Salvioni, Ennio Faiano, and Elio Petri from a story by Robert Sheckley 1965/Italy/France Compagnia Cinematografica Champion/Les Films Concordia
First viewing/Netflix rental
[box] Narrator: A study of history confirms the validity of the Big Hunt theory: it is mankind’s safety valve. And if in 1940 the Big Hunt had existed, Hitler would’ve been a member and we could have avoided WWII. Now all is resolved, wars are over, and the violent instincts of man can now be expressed by a single and set competition.[/box]
I certainly was not prepared for what I got! That’s a recommendation.
As the movie begins, a man is openly chasing a woman around town with a gun. She teases him as she runs and eventually gets the better of him. They are participants in a state-run competition known as The Big Hunt, which has been devised to channel man’s violent impulses and end war. The “hunter” knows everything about his/her victim while the victim knows nothing about the hunter, including his/her identity. Competitors earn a title and a million dollars when they win 10 games
The main game we follow is that between Caroline Meredith’s Hunter (Ursula Andress) and Marcello Polleti’s Victim (Marcello Mastroianni). She’ll win her competition with his death. Sexy byplay alternates with ruthless double-dealing. With Elsa Martinelli as Mastroianni’s wife.
This movie is insane! You never know where you really are. It’s kind of James Bond meets Hunger Games meets La Dolce Vita with many witty set pieces and fantastic art direction. Recommended to lovers of cult cinema.
The Agony and the Ecstasy Directed by Carol Reed Written by Philip Dunne based on the novel by Irving Stone 1965/USA/Italy Twentieth Century Fox/International Classics/Dino de Laurentis Cinematografica/Cinecitta
First viewing/Netflix rental
[box] Raphael: [scoffs] You’ll always be an artist. You have no choice.[/box]
Looks like Carol Reed lost his vision when he started filming in color.
This docu-drama follows the story of Michelangelo’s (Charleton Heston) creation of the ceiling of the Sistine Chapel. It begins with a 12-minute educational documentary about the artist and his work. “Warrior Pope” Julius II (Rex Harrison) is determined that Michelangelo will paint the ceiling despite all the artist’s protestations that he is “not a painter.” He also commands the singularly uninspiring idea that the ceiling will consist of images of the twelve apostles with “appropriate design”.
Michelangelo becomes obsessed with the project when the Pope finally agrees to let him paint his own vision. But the Pope doesn’t realize or accept that the vision will take years to execute. The two men continue to butt heads throughout.
This is a lot less than it could have been starting with the decision to lecture us about Michelangelo’s work rather than showing it in the context of the film. There are veiled references to the artist’s homosexuality though in the end we are left to think that he remained celibate in service of his Faith and his art. Really very little meat on this one’s bones.
The Agony and the Ecstasy was nominated for Academy Awards in the categories of: Best Cinematography, Color; Best Art Direction-Set Decoration, Color; Best Costume Design, Color; Best Sound; Best Music, Score – Substantially Original.
Die, Die, My Darling! (AKA Fanatic) Directed by Silvio Narizzano Written by Richard Matheson from a novel by Anne Blaisdell 1965/UK Columbia Pictures Corporation/Hammer Film
First viewing/Amazo Instant
They Shoot Zombies, Don’t They?
[box] Pat Carroll: Yes, I wondered if you might have a mirror I could …
Mrs. Trefoile: A mirror? Is it to adorn yourself, to observe yourself? Mirrors are not but tools of vanity, Patricia – I know! Vanity – sensuality, Patricia! The Bible speaks of our vile bodies.
Pat Carroll: Oh.
Mrs. Trefoile: I knew you would understand. [/box]
In the tradition of Baby Jane, we get this fun, fun thriller with an aging mad woman, this time played by Tallulah Bankhead.
Patricia Carroll (Stephanie Powers) has travelled to England to marry her fiance. Before she does, she has been invited to the home of Mrs. Trefoil who is the mother of Pat’s former fiance Stephen who killed himself. Mrs. Trefoil (Bankhead) is a bonkers religious fanatic that believes Pat is already married to the dead man, will be reunited with him in heaven, and that she must be “saved” and purified” before she dies.
Pat has a mind of her own. While Mrs. Trefoil says she does not want to hurt her, intimidation and starvation seem to be the only way of preventing her from escaping. The violence escalates after Pat tells Mrs. Trefoil that she had no intention of marrying Stephen if he had not died. With Donald Sutherland as a halfwit gardener.
This movie is pretty darn great for what it is. Bankhead is both campy and believable at the same time. I loved the way she would pick out the very most boring verses of the Old Testament to read from ad nauseum for hours. Powers is not nearly so good but she really does not need to be. Bankhead is more than enough. She didn’t make enough movies.
Die, Monster, Die! Directed by Daniel Haller Written by Jerry Stohl from a story by H.P. Lovecraft 1965/UK/USA Alta Vista Productions First viewing/Netflix rental
Listed in They Shoot Zombies, Don’t They?
[box] Susan Witley: But, Steve, no one ever goes into the greenhouse at night![/box]
Triffids take the next step toward world conquest.
Young Steven Reinhart (Nick Adams) and his fiancee visit her family manse, Whitely Castle. They are not welcome guests. Almost immediately the fiancee’s father Nahum (Boris Karloff) tells him to get out. But the intrepid Reinhart stays to get to the bottom of the mystery of the greenhouse. Nahom has come into possession of a radioactive meteorite that causes plants to grow to gigantic proportions. Unfortunately, the radioactivitely also does a number on humans. How to destroy the stone?
Any movie with an axe-wielding Boris Karloff automatically has something to recommend it. Nick Adams … not so much. I thought the “monsters” here were really creepy and the special effects are decent.
Chimes at Midnight (AKA “Falstaff”; Campadas a medianoche) Directed by Orson Welles Written by Orson Welles from plays by William Shakespeare based on Holinshed’s “Chronicles” 1965/Spain/Switzerland Internacional Films/Alpine Films First viewing/Netflix rental
One of 1001 Movies You Must See Before You Die
[box] Falstaff: My King! My Jove! I speak to thee my heart!
Prince Hal: I know thee not, old man; fall to thy prayers!/ How ill white hairs become a fool and jester![/box]
I wasn’t really in the mood for Shakespeare, but Chimes at Midnight lured me in with excellent acting and striking camera work.
Welles condensed episodes from Richard III;Henry IV, Parts I and II:Henry V; and (I think) The Merry Wives of Windsor into one story centering on the friendship between Prince Hal (Keith Baxter) (later Henry V) and the obese, earthy and witty older man Falstaff (Orson Welles). Prince Hal enjoys a life of debauchery in the company of Falstaff and his cronies while his father, Henry IV (John Gielgud), despairs the decadence of his son and heir.
Prince Hal is all too aware, however, that the Crown will occupy him exclusively once it is his. He coldly casts off his one-time mentor. With Jeanne Moreau as prostitute Doll Tearsheet and Margaret Rutherford as Mistress Quickly.
Welles plays Falstaff as a sort of naughty Santa Claus and is downright lovable in this part. The production is sumptuous and and contains everything from battle scenes to farce to intimate character study. Welles’s directorial imagination is still working at full fever pitch in this, his own favorite of his films. Recommended.
Lord Jim Directed by Richard Brooks Written by Richard Brooks from a novel by Joseph Conrad 1965/UK/USA Columbia British Productions/Keep Productions
First viewing/Netflix rental
[box] Marlow: [Narrating] One hope kept Jim going – a hope common to most men. Rich or poor, strong or weak, who among us has not begged God for a second chance?[/box]
This adventure story is not bad but could have been better.
The plot is based on the Joseph Conrad novel. Jim (Peter O’Toole) begins life as a sealoving boy, sets sail early on and climbs his way from deck hand to First Officer. Jim appears to be an eager paragon of virtue and hard work. When he has to leave his first ship due to an injury, he books on as First Officer the first ship out after his release from the hospital.
The ship happens to be carrying 1000 Muslims from the Malay peninsula on part of their pilgrimage to Mecca for the hajj. The drunken captain’s error causes the ship to founder and take on water. A terrible storm overtakes the ship. Overcome with fear, Jim finally jumps on the lifeboat the remainder of the crew are escaping in, abandoning their human cargo in the process. Their perfidy comes to light and Jim becomes state’s witness, loses his commission, and begins wandering seedier waterfronts across Asia in his shame and despair. He is pursued wherever he goes by vengeful Muslims.
Lots of stuff happens and eventually Jim falls in with arms merchant Stein (Paul Lukas) who is selling guns to an indigenous tribe that is rebelling against powerful and evil warlord “The General” (Eli Wallach). Jim comes to believe he can find redemption by fighting the tribes battle against a better armed enemy. With James Mason, Curd Jurgens and Akim Tameroff as other bad guys.
Although it has many merits, this was a disappoinment. Despite my admiration for O’Toole as an actor he is simply miscast here – there is just no hint of madness in the wholesome Lord Jim. This movie represents the first time I have seen Curt Jurgens play anyone other than himself and he doesn’t quite succeed. Otherwise we have some good performances from an excellent supporting cast and exotic scenery of South-East Asia. I thought that the movie was strongest in the first act at sea. It gets convoluted and somewhat ponderous after that.
Dr. Terror’s House of Horror Directed by Freddie Francis Written by Milton Subotsky 1965/UK Amicus Productions
First viewing/YouTube
[box] Dawson: Schreck? That’s a German word isn’t it? Means fear or horror.
Dr. Schreck: A more exact translation would be terror. An unfortunate misnomer for I am the mildest of men.[/box]
Amicus Productions seems to have bit off more than it could chew in the effort to shoehorn 5 stories into one average-length movie.
The gimmick holding the whole together is the character of Dr. Schreck (Peter Cushing) who comes into the train compartment shared by five students and offers to read their fortunes in the tarot cards. Christopher Lee plays a skeptic and Donald Sutherland has one of his first big screen roles as the student engaged to a girl who just might be a vampire.
I think 5 stories are one or two too many to fit in a 98 minute movie. Omitting a couple of stories would have given the filmmakers some room to add depth to the remaining stories. As it is much of this feels rushed. Cushing and Lee are, needless to say, fantastic.
Man Is Not a Bird (Covek nije tica) Directed by Dusan Makavejev Written by Dusan Makavejev and Rasa Popo1 1965/Yugoslavia Avala Film
First viewing/Netflix rental
[box] America had Russia wrapped around it little pinky through the whole ’90s. We did everything you told us. And we were eager to do more and more. The whole nation – Russian nation was like, ‘Tell us what else we can do to please you. We want to be like you. We love you.’ And then in 1999, bam. You bomb Yugoslavia. And that was the end of it. — Margarita Simonyan [/box]
Charming romcom from behind the Iron Curtain.
Ditzy teenager Rajka works as a hairdresser. She meets much older technician Jan Rudinski and decides she must have him. He is on a temporary work assignment in her town and her first move is to get him lodged with her parents in a flat where she also lives.
She is finally successful with her seduction but things don’t work out as planned. Concurrently, Jan is being rewarded for his Hero of the People-level work but Rajka is not particularly impressed.
This has plenty of wry humor, interesting visuals, and some not-so-veiled political commentary. The mid-60’s seem like prime time for coming of age stories in Eastern Europe. Worth seeing if this kind of thing appeals.
I’ve been a classic movie fan for many years. My original mission was to see as many movies as I could get my hands on for every year from 1929 to 1970. I have completed that mission.
I then carried on with my chronological journey and and stopped midway through 1978. You can find my reviews of 1934-1978 films and “Top 10” lists for the 1929-1936 and 1944-77 films I saw here. For the past several months I have circled back to view the pre-Code films that were never reviewed here.
I’m a retired Foreign Service Officer living in Indio, California. When I’m not watching movies, I’m probably traveling, watching birds, knitting, or reading.
Photographs and videos found in this blog, unless indicated, are not owned by me and are here only for the purpose of education and discussion. Media found here are not intended for any commercial purpose. Copyright infringement is not intended.
Written material belongs to me and is copyrighted by flickersintime.com
