The Lion Hunters (La chasse au lion à l’arc) Directed by Jean Rouch 1965/France Comite du film Ethnographique/Les films de la Pleiade
First viewing/FilmStruck
[box] Do not try to fight a lion if you are not one yourself. -African Proverb[/box]
For those that can handle animal gore, this is a fascinating documentary about all aspects of a lion hunt, both ritual and practical.
Jean Rouch (The Mad Masters (1955)) documents customs of nomadic sub-Saharan cattleherders on the Niger-Mali border surrounding a lion hunt. Painstaking crafting of weapons and practice along with the rituals designed to ensure success are detailed.
I thought this was really interesting. I can’t figure out why The Book’s editors would choose the disgusting and staged Mad Masters for inclusion on the list over this one which feels very authentic. Warning: Not for the squeamish.
Dr. Who and The Daleks Directed by Gordon Flemyng Written by Milton Subotsky based on the BBC Television serial 1965/UK AARU Productions/Amicus Productions
First viewing/FilmStruck
[box] Dr. Who: How interesting! This is most interesting![/box]
It’s about time I finally became acquainted with Dr. Who!
Dr. Who (Peter Cushing) is an elderly eccentric inventor who has just put the finishing touches on his masterwork – T.A.R.D.I.S. This looks like an ordinary police box but the interior reveals a gigantic laboratory and the mechanism that turns the device into a time machine. The doctor is about to demonstrate to his granddaughter Barbara, her boyfriend Ian, and a young granddaughter named Susan. Clumsy Ian bumps into the power button and sends the quartet to an unknown place and time.
This proves to be a planet devastated by nuclear war that left two sorts of inhabitants – evil Daleks, who protect their vulnerable innards with metal shells, and their enemies the Thals. Dr. Who must use all his ingenuity to save the day.
I may be the only sci-fi loving Anglophile on the planet who has never seen Dr. Who in any of its many iterations. This was a lovely introduction. Peter Cushing is fantastic as the lovable old doctor. The colorful sets are a blast. Recommended.
Othello Directed by Stuart Burge Written by William Shakespeare 1965/UK BHE Films/National Theatre of Great Britain Production
First viewing/Netflix
Othello: I pray you, in your letters; when you shall these unlucky deeds relate, speak of them as they are. Nothing extenuate, nor set down aught in malice. Then must you speak of one that lov’d not wisely but too well.
Laurence Olivier’s bizarre black-face turn as Othello swamps the efforts of a stellar cast.
Ok, I think we all know the story of Othello. The Moorish general (Olivier) marries the naive young Desdemona (Maggie Smith). He prefers young Cassio (Derek Jacobi) over evil Iago (Frank Finlay) as his lieutenant.
Iago is consumed with jealousy and decides to get revenge through destroying Othello’s happiness with Desdemona. With Joyce Redman as Emilia, Iago’s wife and Desdemona’s nurse.
Despite his Oscar nomination, this is honestly the worst Olivier performance I have seen. His attempts to portray another race completely miss the mark. The baritone bass used only resembles a bad imitation of a Jamaican accent. His histrionics are almost offensive. Everybody else is excellent.
Othello was nominated for Oscars in the categories of Best Actor (Olivier); Best Supporting Actor (Finlay); Best Supporting Actress (Smith); and Best Supporting Actress (Redman).
Juliet of the Spirits (Giulieta degli spiriti) Directed by Federico Fellini Written by Federico Fellini, Tullio Pinelli, Ennio Flaiano and Brunello Rondi 1965/Italy/France Rizzoli Film/Francoriz Production Repeat viewing/Netflix rental
One of 1001 Movies You Must See Before You Die
Giulietta Boldrini: I don’t care about the clemency you offer me but the salvation of my soul.
Fellini seems to have been born to make movies in color. Lavish production values outshine other aspects o the film.
Juliet (Giulieta Masina, Fellini’s real-life wife) is a middle-aged upper-middle-class housewife who suspects her husband is having an affair with another woman. Her mother and sisters are fashion plates who look down on her.
Juliet then meets her liberated neighbor Suzy (Sandra Milo, Fellini’s real life mistress), who introduces her to the wild side of life and helps her get to the bottom of her husband’s affair. Julieta eventually slips into a fantasy world. Will she be able to conquer her demons and leave the cad?
This film is a feast for the eyes and ears and Masina is wonderful, as usual. I find it strikingly reminiscent of 8 1/2 but lacking that film’s emotional depth. Here is where Fellini definitively steps into the self-indulgent “Fellini-esque”. His work is touch and go for me hereafter.
Juliet of the Spirits was nominated for Academy Awards in the categories of Best Costume Design, Color and Best Art Direction-Set Decoration, Color.
Zatoichi and the Doomed Man
Directed by Kazuo Mori
Written by Shozaburo Asai from a story by Kan Shimozawa
1965/Japan
Daiei Studios
First viewing/Netflix
[box] None so deaf as those that will not hear. None so blind as those that will not see. Matthew Henry Read[/box]
The classic Zatoichi story line is marred this time by excessive “comic relief”. Then the film is rescued by a most awesome sword fight.
Blind swordsman/masseur Zatoichi is on the road again. He comes upon a man condemned to death and agrees to try to find evidence to save him. As usual, our hero is harassed by various gang bosses. In the meantime, he must cope with an extremely annoying thief and a pushy admirer.
Something about most Japanese comedy is lost on me and these particular comics just got on my nerves. I was about to give up and then for the ending the director pulls out the single greatest sword fight yet in the series.Zatoichi takes on at least 50 men in the fog! Half the time he is handicapped by being caught in a fishing net! So these films are batting 1000 in the recommendation department.
Ladies and Gentlemen, Mr. Leonard Cohen Directed by Donald Brittain and Don Owen Written by Donald Brittain 1965/Canada National Film Board of Canada
First viewing/Netflix rental
[box] “I have tried in my way to be free.” ― Leonard Cohen, “Bird on a Wire”[/box]
There are almost no songs and only a little poetry in this 45-minute documentary about Canada’s most famous poet. Yet I came out of my viewing wanting to dig into a book of his poems.
The film follows Cohen to poetry readings and at home around Europe and in his native Montreal. The writer proves to be thoroughly engaging in moods both philosophical and light-hearted.
I’ve always loved Leonard Cohen’s songs. This film predates the 1967 launch of his musical career so, other than a minor little ditty, you won’t find any of them here. Yet, the man is so charismatic that it didn’t matter at all. Highly recommended to fans. The complete film is available on YouTube.
Story of a Prostitute (Shinpu den) Directed by Seijun Suzuki Written by Hajime Takaiwa; story by Taijiru Tomura 1965/Japan Nikkatsu
First viewing/Netflix rental
[box] “I’m just a musical prostitute, my dear.” ― Freddie Mercury[/box]
In this WWII film, Suzuki reveals his more melancholic and personal side while continuing his use of stunning imagery.
Harumi, a prosititute, is devastated when her lover marriage. She decides to take off for a remote Japanese outpost in Northern China to work in a brothel of “comfort women”. Thirteen women service 1,000 men on an almost assembly-line basis. Harumi becomes a favorite of the brutal adjutant who commands the post.
Disgusted by the adjutant’s abuse, Harumi falls for his orderly. The orderly initially resists her advances but finally succumbs. As the military situation in the area heats up the situation grows more and more tragic.
Usually, Suzuk tends toward edgyy, gonzo style entertainment in the yakuza genre. Here he is almost lyrical, with an unsparing view of one of the horrors of war. Perhaps the more thoughtful tone came from the director’s own experience as a soldier. His unit of 12 men had three dedicated comfort women when he was stationed in Taiwan. Recommended.
Doctor Zhivago Directed by David Lean Written by Robert Bolt from the novel by Boris Pasternak 1965/USA/Italy/UK Metro-Goldwyn-Mayer/Carlo Ponti Production/Sostar S.A.
Repeat viewing/Netflix rental
One of 1001 Movies You Must See Before You Die
[box] Gromeko: [Aghast while reading newspaper] They’ve shot the Czar. And all his family.[crumples newspaper] Oh, that’s a savage deed. What’s it for?
Zhivago: It’s to show there’s no going back.[/box]
Snow never looked so beautiful.
The plot takes place\ in the period just prior to the Russian Revolution through the Revolution itself and the ensuing Civil War. The story follows the life Dr. Yuri Zhivago (Omar Sharif), an idealistic apolitical poet and physician, and his relationships with wife Tonya (Geraldine Chaplin) and mistress Lara (Julie Christie). As the film begins, Zhivago courts Tonya and Lara is engaged to Pasha (Tom Courtenay). Pasha is an idealistic reformer who turns ruthless Bolshevik Red Army commander when he is disfigured by police during a peaceful protest. At some point Lara marries Pasha and bears him a daughter. dbut he lives for his mission. While Pasha is away, Lara becomes the mistress of her moither’s lover, the unscrupulous businessman Kamirofsky (Rod Steiger).
Lara and Zhivago reunite as doctor and nurse on a WWI battlefield. They later become lovers and she becomes his muse. At the same time, he clearly cares for his wife and son. The story winds on for over three hours as the Revolution spares no one from suffering. With Ralph Richardson as Tonya’s father; Alec Guinness as Zhivago’s half brother; and Rita Tushingham as the possible daughter of Zhivago and Lara.
The film is very beautifully shot in the wide expanses of the Russian landscape and the acting is top shot. I felt the plot lacked some depth but it kept my interest throughout. Julie Christie has one of the great expressive faces in cinema. The score is justly iconic.
Doctor Zhivago won Academy Awards in the categories of: Best Writing, Screenplay Based on Material from Another Medium; Best Cinematography, Color; Best Art Direction-Set Decoration, Color; Best Music-Score, Substantially Original. It was nominated in the categories of: Best Picture; Best Actor in a Supporting Role (Courtney); Best Director; Best Sound; and Best Film Editing.
The Human Duplicators (1965) Directed by Hugo Grimaldi and Arthur C. Pierce Written by Arthur C. Pierce 1965/USA Woolner Brothers Pictures Inc./Hugo Grimaldi Film Productions
First viewing/YouTube
[box] It is always more fun to play a bad guy than to be yourself, as you can create a character unlike your own and be someone you are not for a change. — Richard Kiel[/box]
Richard Kiel is the chief of the charms of this early low-budget android picture.
Kiel plays Dr. Kolos, an alien who has been assigned by his masters to establish a colony on earth. Â This he will do by “duplicating” humans, a process that leaves the person’s bodily shell resembling a cheep department store mannequin. Â Failure is punishible by death.
Dr. Kolos is to be assisted in his work by earthling Professor Dornheimer (George McCready) who has  been experimenting with robots for years.  Kolos must resist the unseemly feelings elicited by the professor’s daughter Lisa.  In the meantime, the N.I.A., an intelligence agency is on the case.  With Hugh Beaumont as a big boss at the N.I.A. and Barbara Nichols as his right hand woman.
This mostly excellent cast does well with some absolutely dire dialogue and cheesy cheap production values – including a spaceship that greatly resembles a Christmas ornament. Â I really liked Kiel in this one. Â He seemed to have a twinkle in his eye as he recited his very odd dialogue.
Sword of the Beast (Kedamono no ken) Directed by Hideo Gosha Written by Hideo Gosha and Elizaburo Shiba 1965/Japan Shochiku-Fuji Company/Shochiku Eiga
First viewing/FilmStruck
[box] Minister: Wait! We’re not connected at all. Why kill me?
Yuuki Gennosuke: No, we *are* connected because I’ll see you in hell.[/box]
The confusing and convoluted plot is punctuated by some exciting sword fighting, fine filmmaking, and excellent acting.
The year is 1857, shortly after Admiral Perry opened Japan. Ace swordsman Yuuki Gennosuke (Mikijiro Hira) is on the run after having killed his clan’s counsellor on the false claims of a clansman that the assassination will pave the way to reform and, most importantly, will get Gennosuke a retainer with the clan. Now the counsellor’s daughter, her fiance, and a bunch of ninja are on a vendetta to kill him.
Simultaneously, Gennosuke teams up with a thug who wants to poach gold from the shogun’s mountain. Gennosuke learns that rival swordsman Junata Yamane and his wife have already amassed a large amount through panning. He figures it is easier to steal it than to pan for it. Gennosuke’s multitudinous enemies engage him in a series of elaborate sword fights throughout.
I never did get a complete grasp on the story but it is secondary. Hiro is really superb and the direction keeps things moving and interesting. I love the part where he tests out his hiding place for room to perform various sword maneuvers. Recommended to fans of this sort of thing.
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.
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