The Immortal Story (Histoire immortelle)
Directed by Orson Welles
Written by Orson Welles and Louise de Vilmorin from a novel by Karen Blixen
1968/France
IMDb link
First viewing/Criterion Channel

[box] Elishama Levinsky: It is very hard on people who want things so badly that they can’t do without them. If they can’t get these things, it is very hard. And when they do get them, surely it is very hard.[/box]

Orson Welles’ first color film is good not great.

Welles plays Clay, a wealthy merchant who has been intrigued by a seaman’s legend for years.  He is now obsessed with making the story come to life.  According to the story, a rich man old man hires a sailor to impregnate his young wife.  Clay’s clerk is assigned to hire the woman to play the wife.  He just happens to pick Virginie (Jeanne Moreau), an aging beauty who has good reason to despise Clay.  Clay hires a virgin sailor to play the male lead.  You will have to watch to see what happens next.

I thought this was only OK.  It’s ponderous like Confidential Report (1955) without being particularly enlightening.  The film looks good though and with this cast you know the acting is solid.

Les biches (“Bad Girls”)
Directed by Claude Chabrol
Written by Paul Gegauff and Claude Chabrol
1968/France
IMDb link
First viewing/Criterion Channel

Why: She lends me things. Does that surprise you?
Paul Thomas: Nothing surprises me in this house. Nothing.

1968 was a ground-breaking year.  Here Claude Chabrol gives us a jet-black comedy/drama featuring a bisexual love triangle.

Frederique (Stephane Audran) is a striking, wealthy young woman who is used to getting her way.  She picks up a beautiful, inexperienced artist she names “Why” on the street.  Before long they are lovers and Why is living Frederique’s house along with two fey male homosexual roommates.  One evening, handsome architect Paul Thomas (Jean-Louis Trintignant) comes to a card party.  He makes eyes at Why and takes her back to his place.

Soon Frederique comes under his spell.  This is not looking like it will end well.

I enjoy Chabrol’s mordant wit and misanthropy.  This was surprisingly bold for its time.  The actors all acquitted themselves admirably.  I can recommend the film for someone looking for something a little different.

L’enfance nue (Naked Childhood)
Directed by Maurice Pialat
Written by Arlette Langmann and Maurice Pialat
1968/France
IMDb link
First viewing/Criterion Channel

[box] Nobody became an actor because he had a good childhood. – William H. Macy[/box]

Maurice Pialat’s feature film debut is a sensitive study of childhood rebellion.

Ten-year-old Francois is abandoned by his mother to a home for “wayward children.” It’s not clear that his father was ever in the picture. In his confusion and rage, he acts out continually. Subsequently, he is shuttled from one foster care home to another as his new-found families discover they cannot control him. He finds one filled with love and continues to be unable to cope.

I enjoyed this sad and beautiful film. Pialat has a special touch with children reminiscent of Francois Truffaut, who co-produced.

Hell in the Pacific
Directed by John Boorman
Written by Alexander Jacobs and Eric Bercovici from a novel by Reuben Berkovich
1968/US
IMDb link
First viewing/Netflix rental

[box] American Pilot: How come you guys don’t believe in God?[/box]

Two great performances keep this almost dialogue-free WWII story interesting.

An American pilot (Lee Marvin) and a Japanese naval officer (Toshiro Mifune) find themselves stranded on a remote desert island in the South Pacific.  Neither speaks the other’s language.  They share a certain crafty ruthlessness that makes each a formidable opponent.

The men clash both in stealth and in outright confrontation.  Finally, it becomes obvious that cooperation will be the only way to escape their situation.

There is very little conversation in this film.  But the two leads are such excellent physical and expressive actors that they keep our attention throughout.  Other plusses are Conrad Hall’s gorgeous Cinerama cinematography and Lalo Schiffrins’s dramatic score.  The ending is a bit of a let-down.

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Rachel, Rachel
Directed by Paul Newman
Written by Stewart Stern from a novel by Margaret Laurence
1968/US
IMDb link
Repeat viewing/Amazon Instant

[box] Nurse: The operation was a success. You’re out of danger.

Rachel Cameron: How can I be out of danger if I’m not dead?[/box]

1968 was a good year for sensitive, dramatic character studies.  This film is a prime example.

Rachel Cameron (Joanne Woodward) is an elementary school teacher living with her mother in a small rural town.  She was traumatized in her childhood from bullying for being the undertaker’s daugher.  The mother is a piece of work who keeps Rachel under her thumb by continuous malingering.  Rachel has withdrawn into a cocoon inside her head where she berates herself constantly.  The few light-hearted moments in her day are spent with best friend Calla (Estelle Parsons), a fellow teacher.  She fends off all masculine attention despite the fact that her mind is also filled with sexual fantasies.

Calla has been “born-again” and keeps begging Rachel to go to church with her.  The denomination is kind of a blend of new age philosophy and Pentecostalist fundamentalism, complete with talking in tongues.  A breakdown during the services and a disturbing encounter with Calla immediately afterwards shake Rachel to the core.  This leaving her more open to the advances of a former classmate (James Olson) who has returned from the big city to be near his ailing mother.  I will the end plot summary right here.

I enjoyed this a whole bunch, even more than my fond memory of it on original release.  It might sound like a real sudser but never, ever crosses that line.  Rachel is too quirky to be your standard movie old maid.  Some of her lines are classic.  All-in-all it’s a moving coming-of-age story for late bloomers.  Recommended.

Newman directed his way to an Academy Award Best Picture nomination the first time out. Woodward and Parsons’ fabulous performances both richly deserved their Oscar nods. The film was also nominated for Best Writing, Screenplay Based on Material from Another Medium.

This is such a beautiful love letter from Newman to his wife.  Well worth a watch.

Bullitt
Directed by Peter Yates
Written by Alan Trustman and Henry Kleiner from a novel by Robert L. Fish
1968/US
IMDb link
First viewing/Amazon Instant

[box] Chalmers: Frank, we must all compromise.

Bullitt: Bullshit.[/box]

Fairly solid film for fans of Steve McQueen, car chases, and San Francisco.

McQueen plays Frank Bullitt, a San Francisco police detective.  His soon-to-be-nemisis Chalmers (Robert Vaughn) hopes to boost his Senatorial hopes by producing a secret witness to a San Francisco hearing into the activities of the mob (here called “The Organization).  The man is the brother of the Organization’s boss.  Bullitt is ordered to protect the witness.  Within the first few minutes gunmen manage to talk their way into the witness’s hotel room and leave him in extremely critical condition.  Chalmers is not pleased and starts going after Bullitt’s job.

The rest of the movie is taken up with finding the bad guys, culminating in a car chase through the hilly streets of the City by the Bay.  With Jacqueline Bissett as Bullitt’s girlfriend.

I like McQueen’s charisma, Vaughn’s smarmy, evil performance, the San Francisco scenery and Lalo Schifrin’s great score.  I am less keen on the story, which is frankly slight, and even more with the ending that felt like a big let-down.  Frank P. Keller won the Oscar for Best Film Editing.  Bullitt was also nominated for Best Sound.

Charly
Directed by Ralph Nelson
Written by Stirling Silliphant from a novel by Daniel Keyes
1968?US
IMDb link
First viewing/YouTube

[box] Charly Gordon: What’s enough love?

Alice Kinnian: Always a little more than anyone ever gets.[/box]

Despite my many quibbles, this futuristic love story kept my interest throughout.

It is sometime in the very near future.  Charly Gordon (Cliff Robertson) is a sweet-tempered developmentally disabled man who tries to better himself by attending a night school class taught by beautiful researcher/teacher Alice (Claire Bloom) and working as a janitor in a bakery.  Alice is also working with scientists who have successfully created genius mice.

One of the subjects, Algernon, beats Charly consistently at mazes.  The scientists are ready to start human experimentation and Alice encourages them to pick Charly as the test subject.

As the surgical changes take effect, things don’t work out great at first for Charly.  His frustration leads to him becoming a very angry individual.  Then his new-found maturity leads him to fall in love with Alice, who is engaged.  Things gradually get better until they don’t.

I have a number of niggles with this movie starting with Robertson’s Oscar-winning, Oscar-bait performance.  He’s great when he gets smarter but overdoes it by a long shot at the beginning of the film.  I have never seen a developmentally-disabled person behave this way.   Second, the film is filled with “artistic” editing and split-screen work that doesn’t really work.  Other than that it’s an enjoyably well-made movie with a nice score by Ravi Shankar.  The print available on YouTube is not the greatest.

Interesting how the word “retardate” was bandied about in 1968.

Cliff Robertson won the Academy Award for Best Actor.  Peter O’Toole was again robbed, IMO, for his outstanding work in The Lion in Winter (1968).

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Black Panthers
Directed by Agnes Varda
1968/France
IMDb link
First viewing/Criterion Channel

[box] “You can jail a Revolutionary, but you can’t jail the Revolution.” — Huey Newton[/box]

This short documentary provides a window into the late 60’s when things seemed more cut and dried even amidst all the turmoil.

The movie was filmed at a “Free Huey Newton” rally held near the courthouse in Oakland, California where the Black Panther Party’s “Minister of Defense” and co-founder was being tried for killing a policeman during a shoot-out in which Newton was also shot.

Newton’s entire life was filled with violence and rage, apparently, according to this Wikipedia article.  I’m sensing he might not have been a very nice guy.  At any rate, the film takes a solidly pro-Black Panther and pro-Huey Newton stance.  We hear from Panther stalwarts including Newton, Eldridge Cleaver, H. Rap Brown and Stokely Carmichael, all of whom preach armed revolution.

The film is accompanied by scripted English narration which makes it more polemical and less fluid than Varda’s other documentaries.  I’m glad to have caught it.

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