Category Archives: 1001 Movies You Must See Before You Die

Lola
Directed by Jacques Demy
Written by Jacques Demy
1961/Italy/France
Rome Paris Films
First viewing/Netflix rental
One of 1001 Movies You Must See Before You Die

[box] Life is a cabaret old chum … — “Cabaret”, lyrics by Fred Ebb[/box]

Refreshing proof that the French New Wave didn’t need to take itself so deadly seriously.

The plot is about first love and cycles through many examples, making it somewhat convoluted to summarize but not too hard to understand.

Roland Cassard is bored and chronically late for work.  He thinks he needs to see the world and when he is fired, he seeks employment with a shady hairdresser who needs someone to travel for him.  In the meantime, Roland meets a 14-year-old named Celine and her mother and, more importantly, another Celine, who was a childhood sweetheart. She is now a cabaret dancer who calls herself Lola (Anouk Aimee).  He falls in love with her but she is still in love with her first love, the father of her child.

The main clientele of the cabaret is American sailors.  One is infatuated with Lola.  He befriends the young Celine who falls in love with him.  Events continue to spiral.

This movie is a lot of fun.  It is stylish without being in any way meta or pretentious. The restoration looks stunning.  I had not expected the Michel LeGrande score, the theme of which became a hit – “Watch What Happens”.

Restoration trailer

Last Year at Marienbad
Directed by Alain Resnais
Written by Alain Robbe-Grillet
1961/France/Italy
Cocinor/Terra Film/etc
Repeat viewing/Netflix rental
One of 1001 Movies You Must See Before You Die

[box] X: Empty salons. Corridors. Salons. Doors. Doors. Salons. Empty chairs, deep armchairs, thick carpets. Heavy hangings. Stairs, steps. Steps, one after the other. Glass objects, objects still intact, empty glasses. A glass that falls, three, two, one, zero. Glass partition, letters.[/box]

Possibly the most self-consciously arty film ever made.  Can’t beat the images though.

The movie is set at a baroque and sumptuous hotel that appears to be a converted palace or chateau of a bygone era.  The plot is the easy part.  A handsome man tries to convince a married beauty that they had an affair a year ago at the spa of Marienbad.  He would like to renew the relationship.  She denies the affair or ever having been in Marienbad.  None of the characters are ever given names.

There is not so much dialogue as long, poetic soliloquies. Nothing is resolved by the end.

The theme, as in all of Resnais work I have seen to date, is memory.  I think he tackled the subject better in his documentaries, particularly  (1956).  The viewer is distracted here from the theme or the story by the stunning camerawork.  The shots are all composed within an inch of their lives and lit exquisitely.  The Blu-Ray looks phenomenal.  This was my second viewing.  I doubt whether there will be a third.

Last Year at Marienbad was nominated for an Academy Award for Best Writing, Story and Screenplay Written Directly for the Screen.

Restoration Trailer

Splendor in the Grass 
Directed by Elia Kazan
Written by William Inge
1961/USA
Warner Bros./Newtown Productions
First viewing/Netflix rental
One of 1001 Movies You Must See Before You Die

[box] Wilma Dean: My pride? My pride? I don’t want my pride![/box]

Elia Kazan makes both doomed young love and small-town Kansas look absolutely beautiful.

Deanie (Natalie Wood) and Bud (Warren Beatty) are high school seniors in the throes of first love.  He is the son of the richest man in town, who positively dotes on him.  She is of more modest parentage.

When they get within three feet of each other sparks fly and their make-out sessions are hard to stop.  Both have been taught that “good girls” wait until marriage.  Deanie is under the additional burden of her mother’s belief that “good girls” don’t even have the feelings she gets when she is with Bud.

Bud’s desire is so strong that he decides the only way to fight it is to stop seeing Deanie. This leaves Deanie with a broken heart and eventually drives her right over the edge.  With Pat Hingle as Bud’s father and Audrey Christie as Deanie’s mother.

What saves this from being a typical psychological drama of the era is Kazan’s skillful direction, Boris Kaufmann’s great cinematography and the acting.  Wood plays her part with great delicacy – it may be her best work.  I’m not always a fan of Beatty’s.  He’s fine here.  Worth seeing.

Splendor in the Grass won the Academy Award for Best Writing, Story and Screenplay – Written Directly for the Screen.  Natalie Wood Was nominated for Best Actress.

Trailer

The Exiles
Directed by Kent McKenzie
Written by Kent McKenzie
1961/USA
Pathe Contemporary Films
First viewing/Netfix rental
One of 1001 Movies You Must See Before You Die

[box] “Like a man who has been dying for many days, a man in your city is numb to the stench.” ― Chief Seattle[/box]

This is an interesting, if depressing, semi-documentary look at the alienation of Native Americans adrift in the big city.

The action takes place from late afternoon to early morning of a single day in the Bunker Hill neighborhood of Los Angeles.  We first meet the profoundly lonely Yvonne who is expecting a longed for baby, fathered by a man whose primary interest in her appears to be getting fed and cadging loans.  We then meet the men, who long for nighttime when the real drinking can begin.  Yvonne is dumped at a movie theater.

The men proceed to get as drunk as possible and start to pick up women.  Fistfights and run-ins with the law ensue.  When everybody is loose enough they proceed to Hill X where, after the bars close, the Native Americans drum and dance with abandon.

This was made on a low budget and the sound was post-dubbed which can be a little disconcerting.  It didn’t mar the experience too much for me.  I thought McKenzie did quite well at capturing a way of life and bringing the best out of his amateur actors.  The aimless, hopeless existence portrayed is both heart-wrenching and depressing.

I grew up in Greater Los Angeles and enjoyed the images of a lost time.

West Side Story
Directed by Robert Wise and Jerome Robbins
Written by Ernest Lehman from the musical play by Arthur Laurents and Jerome Robbins; lyrics by Stephen Sondheim
1961/USA
The Mirisch Corporation/Seven Arts Productions
Repeat viewing/Netflix rental
One of 1001 Movies You Must See Before You Die

[box] Action: When *you* was my age? When my old man was my age, when my brother was my age… You was never my age, none of ya! And the sooner you creeps get hip to that, the sooner you’ll dig us![/box]

This movie was made for musical comedy/ballet/opera geeks like me and I love it.

This is famously Romeo and Juliet updated to reflect gang life in New York City.  The Montagues and Capulets are replaced by the Jets, a gang of working class “white” teenagers, and the Sharks, a gang of Puerto Rican immigrants.  Tony (Richard Behmer), who is trying to go straight after having been leader of the Jets, falls in love with Maria (Natalie Wood), the sister of Bernardo (George Chakiris) the leader of the Sharks.  The Jets and the Sharks are already locked in gang warfare and the attentions of Tony to Maria only escalate matters.

The feud leads to tragedy of Shakespearean proportions.  With Rita Moreno as Bernardo’s girlfriend and Russ Tamblyn as Riff, Tony’s friend and new leader of the Jets.

I assisted the director of my high school production of West Side Story and it has a special place in my heart.  But besides nostalgia, I continue to think that the music is some of the best ever written for the stage. Bernstein’s score gives me chills in places.  I can see how some might find all the pointy toed dancing by gang members and their girls ludicrous but I just sit back and enjoy it.  Rita Moreno absolutely deserved her Academy Award even if George Chakiris remains a puzzlement.  Highly recommended to others like me.

The Blu-Ray that came in the mail contained a song-specific commentary by Stephen Sondheim that I ate up.

West Side Story won ten Academy Awards – Best Picture; Best Supporting Actor; Best Supporting Actress; Best Director; Best Cinematography, Color; Best Art Direction-Set Decoration, Color; Best Costume Design, Color; Best Sound; Best Film Editing; and Best Music, Scoring of a Musical Picture.  It was nominated for Best Writing, Screenplay Based on Material from Another Medium.

Clip

One-Eyed Jacks
Directed by Marlon Brando
Written by Guy Trosper and Calder Willingham from a novel by Charles Neider
1961/USA
Pennebaker Productions
First viewing/Netflix rental
One of 1001 Movies You Must See Before You Die

[box] Rio: You may be a one eyed jack around here, but I’ve seen the other side of your face.[/box]

This is an OK Western but I think I could have died without seeing it.

As the story begins, Rio (Marlon Brando) and Dad Longworth (Karl Malden) are on the run following a bank robbery.  They end up stranded in the desert with one lame horse between them.  Rio suggests a game to determine who will go out in search of fresh horses.  He rigs the outcome so Dad will be forced to stick his neck out for the dangerous mission.

Ironically, Dad makes it to a ranch where he requisitions horses at gun point.  He then makes off with the stolen loot, abandoning Rio to the Mexican police and an eventual five year sentence in a Mexican jail.

Upon his release, Rio joins up with another gang of bank robbers in the States.  They know of substantial deposits in a town’s bank.  Dad has gone more-or-less straight and is now sherriff of that town.  This suits Rio fine since he has dreamed of killing Dad for the last five years.

We follow planning for the robbery and Rio’s dealings with Dad, wife Maria (Katy Jurado) and stepdaughter Louisa.  Naturally, Rio and Louisa fall in love.  With Slim Pickens as Dad’s mean and corrupt deputy.

This is not bad but nothing too special either.  Brando does well with a Texas accent.  He and the scenery look gorgeous in Technicolor.  The movie seems to meander for a lot of its 2 1/2 hour running time.

One-Eyed Jacks was nominated for an Academy Award for Best Cinematography, Color.

Trailer

Viridiana
Directed by Luis Buñuel
Written by Julio Alejandro and Luis Buñuel
1961/Spain/Mexico
Union Industrial Cinematografica/Gustavo Alatriste/Films 59
Repeat viewing/Netflix rental
One of 1001 Movies You Must See Before You Die

[box] Viridiana: I know my own weakness, and whatever I do will be humble. But, however little it is, I want to do it alone.[/box]

I had to keep reminding myself to keep a sense of humor during this unforgettable and very black comedy.

Viridiana (Silvia Pinal) is an extremely devout novice who is about to take her vows as a nun.  Her uncle Don Jaime (Fernando Rey), whom she has hardly ever seen, has paid for her training and her “dowry”.  She has no desire to see him but he more or less orders her to visit, backed up by the Mother Superior.  Viridiana’s instincts were all too accurate.

When she arrives, she reminds Jaime strongly of his dead wife, who died of a heart attack on their wedding night.  Jaime begins a campaign to make Viridiana his own.  This culminates in the administration of a date rape drug.  Whether or not a rape actually occurred is left to our imagination.  At any rate, Viridiana can no longer return to the convent.  Jaime dies soon after.

During Act II, Viridiana decides to live a Godly life by taking in a group of the most ungrateful and downright sinful poor people imaginable.  Her situation is made even more miserable by the arrival of Jaime’s worldly illegitimate son.

“Vivid” is the adjective that comes to mind for this movie.  Buñuel takes each scene to the edge of surrealism and beyond, leaving an indelible impression.  The seduction scenes early in the film and the poor people’s orgy – with its “Last Supper” tableau – are particularly memorable.  All of this stuff is both hilarious and viscerally disturbing.  If one took it even slightly seriously, the story transforms into something truly depressing.  I have to recommend it even if I don’t think I will be giving it a re-watch anytime soon.

U.S. Trailer

Breakfast at Tiffany’s
Directed by Blake Edwards
Written by George Axelrod based on the novel by Truman Capote
1961/USA
Jurow-Shepherd
Repeat viewing/Netflix rental
One of 1001 Movies You Must See Before You Die

[box] Holly Golightly: Anyone who ever gave you confidence, you owe them a lot.[/box]

The movie opens with Audrey Hepburn in Givenchy and you think you have found movie paradise.  Then Mickey Rooney takes the screen in yellow face and buck teeth and you start to doubt it.

Holly Golightly (Hepburn) has the charm, beauty and sex appeal to easily score 50 dollar bills when she goes to the powder room while on dinner out on the town.  What she does in addition to get the money is left unstated.  She is slightly dotty and often loses her building key.  Upstairs neighbor Mr. Yunioshi (Rooney) constantly is interrupted with her buzzing him to let her in.  He is big on ineffectual bluster but will resort to calling the cops when Holly’s parties get out of hand.

Holly meets writer Paul Varjak (George Peppard) as he is moving in to the building.  They have a lot in common as he is being “kept” by his interior designer, a wealthy older woman (Patricia Neal).  They bond early on.  He reminds her of her brother Fred, who was her constant companion during her terrible childhood and she calls Paul “Fred” for the rest of the movie.

We learn that Holly is sweet and vulnerable but also a bit of a fraud.  Her English accent and frequent use of French belie a hardscrabble Texas upbringing.  Inevitably, Paul falls for Holly but she is more interested in marrying for money to support her brother, who will soon be discharged from the army,

I have a long-running love/hate relationship with this film.  This is the iconic Hepburn performance and she is just perfect in it. My next favorite is Martin Balsam as Holly’s agent. It’s a good story which has me in tears by the end

The producer’s commentary expresses regret that they didn’t cast Rooney’s part with a Japanese actor.  That would have helped a bit but the offensively stereotypical characterization of the man would still have been a gigantic problem.  1961 was the tale end of the time when White actors could play Asians and if the performance had not been so broad and obnoxious it might have been a mere footnote to discussions of this film.

Still, I recommend seeing this one before you die – or get much older.

“Moon River” won the Oscar for Best Music, Original Song and Henry Mancini won for Best Music, Scoring of a Dramatic or Comedy Picture.  Breakfast at Tiffany’s was nominated in the categories of Best Actress; Best Writing, Screenplay Based on Material from Another Medium and Best Art Direction-Set Decoration, Color.  How did it miss for Best Costume Design?

Trailer

Through a Glass Darkly (Såsom i en spegel)
Directed by Ingmar Bergman
Written by Ingmar Bergman
1961/Sweden
Svensk Filmindustri
First viewing/Netflix rental
One of 1001 Movies You Must See Before You Die

[box] Karin: It’s so horrible to see your own confusion and understand it.[/box]

In Bergman’s first “chamber” film, a small cast and confined setting are enough to powerfully express a master’s vision.

As the film begins, we are dropped into what looks like an idyllic family summer holiday on an island in the Swedish Archipelago  The family consists of Karin (Harriet Andersson), her husband Martin, and her brother Minus.  Karin and Minus’s father David (Gunnar Bjornstrand) is visiting after spending several months in Switzerland working on a novel. Clearly, all love each other a lot.

Soon it appears that there is trouble in paradise.  Karin has been ill and Martin tells David that her condition may be incurable.  Minus is in an awkward teenage phase.  Both children yearn for more affection from their rather distant father.

Gradually we learn that Karin’s illness is mental.  She apparently has schizophrenia and when ill has hallucinations and hears voices instructing her.  She is somewhat better now but no longer feels desire for Martin.  Unspoken tensions within the summer household have her heading for relapse.

Karin’s hallucinations involve a group of benevolent people who are waiting for God to appear.  As Karin drifts farther and farther from reality, a visitation seems imminent.  In the meantime, the family struggles to cope.

We haven’t got into the Liv Ullman years yet but so far Harriet Andersson is my favorite Bergman actress.  She is fantastic in this film.  Both her suffering and her ecstasy are palpable.  This is a profound film and I feel like I need to see it again to comprehend everything.  The themes reach from the nature and existence of God to the nature and existence of reality.  Recommended.

Through a Glass Darkly won the Academy Award for Best Foreign Language Film.  It was nominated for Best Writing, Screenplay Written Directly for the Screen.

American trailer

The Hustler
Directed by Robert Rossen
Written by Sidney Carroll and Robert Rossen from a novel by Walter Tevis
1961/USA
Rossen Films/Twentieth Century Fox Film Corporation
Repeat viewing/Netflix rental
One of 1001 Movies You Must See Before You Die

[box] Fast Eddie: You sure don’t leave much when you miss, do you, Fats?

Minnesota Fats: That’s what the game’s all about[/box]

I like this film more every time I see it.  That hardly seems possible since I have always loved it.

“Fast” Eddie Felson (Paul Newman) has the charm and skills to make an ace pool hustler. His giant ego drives him to prove he is the best at the game.  This will involve beating Minnesota Fats (Jackie Gleason) in an epic match-up.  Eddie starts out strong but does not have the stamina or character to close the deal.  Later, he is courted by gambler and “manager” Bert Gordon (George C. Scott) who offers him a 25% share of the profits for any games he arranges.  Eddie is insulted both by the low-ball offer and by Bert’s opinion that he is a born loser and refuses.

Eddie then falls on hard times and turns to small-time hustles to barely support himself.  It is then that he meets Sarah Packard, a lame world-weary alcoholic.  She is rightly leery at getting involved with a man almost as screwed-up as she is.  They fall in love any way.

After falling on even worse times, Eddie is ready to accept Bert’s help.  Suddenly, he thinks he is on the road back to the high life.  He is very much mistaken.

Just reading the cast list should give some idea of how powerful this film is.  This is probably my favorite Newman performance among many strong contenders. Scott, Gleason and Laurie also richly deserved their Oscar nominations.  On this viewing, the cinematography was the real revelation.  It is simply stunning in the Blu-Ray print. Rossen’s pool halls and their hangers-on are masterfully captured.

I love the fact that Scott’s character keeps lecturing Newman’s about his lack of character when he has the least of anyone in the story.  I feel enormous empathy and sympathy for Laurie’s.

The Hustler won Academy Awards for Best Cinematography, Black and White and Best Art Decoration-Set Decoration, Black-and-White.  It was nominated in the categories of Best Picture; Best Actor; Best Actress; Best Supporting Actor (Scott); Best Supporting Actor (Gleason); Best Director; and Best Writing, Screenplay Based on Material from Another Medium.

Trailer