The Absolutely, Positively, No Doubt About It TOP 10 BEST FILMS OF THE 1960s

1. Jules and Jim: 1962 (Directed By Francois Truffaut)



2. 2001: A Space Odyssey: 1968 (Directed By Stanley Kubrick)



3. 2 or 3 Things I Know About Her: 1967 (Directed By Jean-Luc Godard)



4. The Apartment: 1960 (Directed By Billy Wilder)



5. Psycho: 1960 (Directed By Alfred Hitchcock)



6. The Man Who Shot Liberty Valance: 1962 (Directed By John Ford)



7. Playtime: 1967 (Directed By Jaques Tati)



8. Once Upon a Time in the West: 1968 (Directed By Sergio Leone)



9. The Wild Bunch: 1969 (Directed By Sam Peckinpah)



10. Repulsion: 1965 (Directed By Roman Polanski)

#2: 2001: A Space Odyssey

"2001: A Space Odyssey" is a film I can't possibly look at passively, it won't let me. Whenever I see the film, I am engaged with it till that very ambiguous ending that still boggles the mind as to what it all means.

I didn't always feel this way about the film, when I first tried viewing it, I found it to be a chore, I was young and impatient, I was looking for a more straight forward storyline. I didn't understand the idea of the primal beings at the beginning, nor the curious use of classical music. As a young man who was more accustomed to "Star Wars", I found "2001" a complete bore. By the time we got to the Jupiter mission with Dave, Frank, and HAL, I had gone to bed.

Years had past before I decided to give "2001" another try, this time I got through the entire film, and by the time I got the the end, I was scratching my head again wondering what it was all about. I was still not convinced, but something kept making me go back to it. I think the reason was because I was growing, and as I was doing that, I was asking more and more questions like who are we as a species, what is our ultimate potential, and where are we heading. Science Fiction is probably the best genre to ask these questions because it has the power to leap forward in time and give us potential answers to these.

I think "2001" is the most philosophical science fiction film as it probes these questions deeper than any other. The question is even put upon us to see if we can feel sympathy for a computer, and if a computer can actually have human emotion. It's ironic that the most poignant and poetic death in this film is of a computer, as HAL is slowly being ripped apart of his memory saying again and again "I'm afraid" or "I can feel it", HAL is the main villain of the film, yet he gets the most sympathetic scene of the entire cast.

On its surface, "2001" is a very exciting and suspenseful Science Fiction yarn, and put the genre light years ahead of its predecessors. Stanley Kubrick constructed the film as if it were silent, there is very little dialogue, and very long scenes of no sound at all. Kubrick was one of the most inventive filmmakers, but I think "2001" is his crowning achievement as he pulled back from convention and gave us some truly original set pieces. Take for example the opening sequence entitled "The Dawn of Man", a perfectly remarkable silent film within a film, as we are shown the first alien encounter of the mysterious monolith that appears throughout the film. The sequence is one of the most powerful filmed stories made as we see the influence of the motionless monolith on the primitive species.

Also take the extraordinary sequence where we see Dave and Frank conspiring to destroy HAL thinking he can't hear them, but then we cut to a shot of HAL's point of view reading their lips. It's one of the great displays of suspense where just enough is shown to let us know what will happen.

However, for me what makes "2001" work so well as a film and why I think it remains timeless is the questions it raises. "2001" is a very spiritual movie that dares to explore man's real potential, and wonders if we can really reach beyond the infinite. Space is the one area still left mystery to us, we still continue to explore it, and I think we are drawn to it because it represents so much we still don't know about ourselves.

The ending of "2001" is wonderful because we are left with more questions than we had before the movie began. We see the end of a man's life followed by a baffling sort of rebirth, is the meaning of life really out there? If we search for it long enough throughout space and time, will we ever find it? Are we even meant to find it? What is our destiny? I can probably say without a doubt, we won't have answers for these questions in my lifetime, but a film like "2001" inspires us that some day perhaps we will know the answers.

#4 The Apartment

There are those movies you admire, and there are those you love, and I love "The Apartment". "The Apartment" speaks to me on a personal level, as when I see Jack Lemmon's portrayal of C.C. Baxter I can't help but see a little bit of me in him, and there is also a part of him I aspire to be. C.C. Baxter is a small guy in a big guy's world, he plays by there game only to get ahead but inside you can tell this guy is a decent person.

There's something in C.C. Baxter that a director like Billy Wilder roots for and feels sorry for. Wilder was a brilliant satirist and "The Apartment" is one of his most scathing portrayals of corporate power. The big businessmen in Wilder's film are mostly seen as caricatures who are hypocrites with loose morals, Baxter does all he can to stay ahead of the game while keeping his self respect.

In a perfect world, Baxter wouldn't have to compromise himself to get ahead, and in the hands of any other director, we might have a compromised ending where he does indeed get everything and all the villains get what's coming to him. Wilder knows how the real world works, but that's not to say he can't see a happy ending for Baxter.

"The Apartment" was the second collaboration between Wilder and Lemmon, they worked almost all the time together until Wilder's last film. Lemmon gives one of the greatest screen performances ever in this film, he can be a bundle of nerves, but he's always in control with the character. He turns Baxter into a perfect everyman, and a character that seems all too real for me.

I think above all the cynicism in the film, it remains beloved because of the romance involved. I'm a sucker for romances about lonelyhearts, I think it's because it's with these type of romances you really want to see the main characters get together. Both Baxter and Miss Kubilik played wonderfully by Shirley Maclaine are two people who are full of misery and you want them so much to be happy at the end.

The final scene with Baxter and Kubilik is one of Wilder's most famous with a great final line. In his own Wilder way, he gives us everything we want, but doesn't compromise his vision.

"The Apartment" is a film I will probably never get tired of like "It's a Wonderful Life", or "City Lights" simply because I fall in love with it each time I see it, it doesn't matter how many times or what mood I'm in, it always has the power to cheer me up when I'm down.

Segio Leone and the infield Fly Rule Quiz

1) Second-favorite Coen Brothers movie. "Raising Arizona"

2) Movie seen only on home format that you would pay to see on the biggest movie screen possible? (Question submitted by Peter Nellhaus) "2001: A Space Odyssey"

3) Japan or France? (Question submitted by Bob Westal) You're asking me to choose between Godard and Ozu it can't be done this is torture. However if I were on a desert Island I would prefer "Tokyo Story" with me so Japan.

4) Favorite moment/line from a western. "It's a Hell of a thing Killing a man, you take away everything he's got and everything he's going to get." (Unforgiven)

5) Of all the arts the movies draw upon to become what they are, which is the most important, or the one you value most? Painting

6) Most misunderstood movie of the 2000s (The Naughties?). "The Terminal"

7) Name a filmmaker/actor/actress/film you once unashamedly loved who has fallen furthest in your esteem. "Crash" the Paul Haggis film, which is not to say I don't hate it, but I have no interest in watching it over again, but it really effected me when I first saw it.

8) Herbert Lom or Patrick Magee? Herbert Lom

9) Which is your least favorite David Lynch film (Submitted by Tony Dayoub)"Lost Highway" although again that is not to say I hated it.

10) Gordon Willis or Conrad Hall? (Submitted by Peet Gelderblom)I know of Willis but not Hall so I can't say.

11) Second favorite Don Siegel movie. "The Shootist"

12) Last movie you saw on DVD/Blu-ray? In theaters? DVD: "Playtime" Theatres: "A Serious Man"

13) Which DVD in your private collection screams hardest to be replaced by a Blu-ray? (Submitted by Peet Gelderblom) "City Lights"

14) Eddie Deezen or Christopher Mintz-Plasse? Plead ignorance

15) Actor/actress who you feel automatically elevates whatever project they are in, or whom you would watch in virtually anything. James Stewart, Today it would be Clive Owen I think.

16) Fight Club -- yes or no? Sure

17) Teresa Wright or Olivia De Havilland? Teresa Wright because I'm pretty sure I fell in love with her for real in "Pride of the Yankees" and "Shadow of a Doubt"

18) Favorite moment/line from a film noir. "Over here Angel you look like a pikanese, and since I'm collecting guns..." ("The Big Sleep")

19) Best (or worst) death scene involving an obvious dummy substituting for a human or any other unsuccessful special effect(s)—see the wonderful blog Destructible Man for inspiration. Although he did not die, Colin Clive in "Frankenstein" or the farm couple at the beginning of "Bride of Frankenstein" who did die.

20) What's the least you've spent on a film and still regretted it? (Submitted by Lucas McNelly) $8.00 on "High School Musical 3".

21) Van Johnson or Van Heflin? Mr. Johnson thank you very much.

22) Favorite Alan Rudolph film. Can't think of any.

23) Name a documentary that you believe more people should see. "Murderball"

24) In deference to this quiz’s professor, name a favorite film which revolves around someone becoming stranded. "Sansho the Baliff"

25) Is there a moment when your knowledge of film, or lack thereof, caused you an unusual degree of embarrassment and/or humiliation? If so, please share. I'm somewhat embarrassed of my film knowledge very day to day and I try not to reveal it to my friends who I feel don't want to listen to me go on and on in my own little world.

26) Ann Sheridan or Geraldine Fitzgerald? (Submitted by Larry Aydlette) Ann Sheridan

27) Do you or any of your family members physically resemble movie actors or other notable figures in the film world? If so, who? I always thought my dad talks a lot like Harrison Ford but he doens't really look like him.

28) Is there a movie you have purposely avoided seeing? If so, why? Ummmm "2012" cause it doesn't look like the kinda movie I'd be interested in, plus I'm tired of end of the world movies.

29) Movie with the most palpable or otherwise effective wintry atmosphere or ambience. "Fargo"

30) Gerrit Graham or Jeffrey Jones? Don't know the first guy so I can't say.

31) The best cinematic antidote to a cultural stereotype (sexual, political, regional, whatever). "Mr. Smith Goes to Washington" is a perfect antidote for the political stereotype since it makes me care about politics.

32) Second favorite John Wayne movie. "Rio Bravo" by a nose.

33) Favorite movie car chase. "Raiders of the Lost Ark"

34) In the spirit of His Girl Friday, propose a gender-switched remake of a classic or not-so-classic film. (Submitted by Patrick Robbins) Ummmmm "Rio Bravo"? They're all women.

35) Barbara Rhoades or Barbara Feldon? I don't know Barbara Rhoades but agent 99 is hot.

36) Favorite Andre De Toth movie. Can't say

37) If you could take one filmmaker's entire body of work and erase it from all time and memory, as if it had never happened, whose oeuvre would it be? (Submitted by Tom Sutpen)Alan Smithee

38) Name a film you actively hated when you first encountered it, only to see it again later in life and fall in love with it. "2001: A Space Odyssey"

39) Max Ophuls or Marcel Ophuls? (Submitted by Tom Sutpen) Max

40) In which club would you most want an active membership, the Delta Tau Chi fraternity, the Cutters or the Warriors? And which member would you most resemble, either physically or in personality? Can't say I'm bad at this quiz.

41) Your favorite movie cliché. Sweeping emotional music during a sweeping emotional scene

42) Vincente Minnelli or Stanley Donen? (Submitted by Bob Westal)Minnelli by a slight margin.

43) Favorite Christmas-themed horror movie or sequence. "Gremlins" does that count as horror?

44) Favorite moment of self- or selfless sacrifice in a movie. It will always be Rick in "Casablanca" for me. Maybe The seven samurai in "Seven Samurai" as well.

45) If you were the cinematic Spanish Inquisition, which movie cult (or cult movie) would you decimate? (Submitted by Bob Westal) Torture porn addicts

46) Caroline Munro or Veronica Carlson? Can't say.

47) Favorite eye-patch wearing director. (Submitted by Patty Cozzalio) John Ford

48) Favorite ambiguous movie ending. (Original somewhat ambiguous submission---“Something about ambiguous movie endings!”-- by Jim Emerson, who may have some inspiration of his own to offer you.) "No Country for Old Men" is great of course but I think that just may be because I enjoyed Jim Emerson's endless writings about it.

49) In giving thanks for the movies this year, what are you most thankful for? I'm thankful for Pixar, The Coens, and the minimalism of "Good Bye Solo"

50) George Kennedy or Alan North? (Submitted by Peet Gelderblom) Mr. Kennedy of course.

#7: Playtime

"Playtime" is set in Paris, but don't be surprised if it looks nothing like the Paris you are used to seeing. As far as we know, "Playtime" is not a futuristic film, but it seems to be set in a very modernized version of world of today. The film is also what the title suggests, it is a playful and inventive comedy about how we perceive ourselves in a world overwhelmed with technology.

"Playtime" was directed with a master's hand by Jaques Tati, the French comedic director who's persona became M. Hulot is one of the most lovable characters in cinema. Admittedly, I have not seen the other Hulot comedies, and in "Playtime", you get the sense that Tati was trying to distance his character from the main point of the film. There are even certain instances where we mistake Hulot in many scenes by impostors wearing his trademark short trousers and raincoat with an umbrella. The impostor Hulots are just one of the bits of illusion Tati uses in the film.

"Playtimes" was shot in a very unique way, using only wide shots depicting very public places. Each set piece be it an airport, an apartment building, or a restaurant are used to establish the changing materialistic world that Paris has become. Tati shows that even the simplest thing such as a chair has been turned into something that is difficult to comprehend.

When we are not following Hulot, we also focus on Barbara, an American tourist who wants to get a glimpse of Paris, but her tour group seems to thrust her into buildings and scenarios that all look the same. At one moment Barbara is looking at a travel poster of London, then when she walks onto the streets of Paris, she seems almost the exact picture in real life. Tati isn't subtle in showing us how places are losing their individuality, the film could've taken place in London, or New York, and we probably wouldn't have seen a difference. Tati's modernized Paris has lost all its colour, the buildings all look the same and have a grayish tone, and the people inhabiting the city seem to have blended in with their surroundings. For Hulot, who is a native, he seems to be as lost as a regular tourist at this modern world, running into spaces that turn into elevators, seeing one building that is the same not knowing where to go.

The real Paris, or the one we want to remember is reflected briefly against glass windows, just sort of a reminder that the beauty of the city still exists, but remains in the background. When Barbara tries to take a picture of an old fashioned flower shop in the midst of all the new and improved things, the hustle and bustle of that world prevents her to take it.

Tati doesn't all look that impressed with the new fast paced technology driven society depicted in his film, and he reflects this with a highly comedic piece set in a futuristic restaurant. The set piece which almost makes up half of the film shows this restaurant as something that clearly is trying to open before it really should. Before our very eyes, the restaurant falls apart on itself, and soon resembles a funhouse instead of a restaurant. The glass door breaks, but the doorman still has the handle, and holds it up, while the customers don't seem to notice. The chairs which have a crown design on its back leave marks on the patrons. Tile floors are uprooted, a waiter's uniform is ruined, and no one can turn down the heat because the instructions aren't in french. This is the folly of man, and Tati can't help but laugh at it.

Despite the cynical look at the new modern world, Tati can't help but have fun with it, the set pieces are all expertly executed as Tati shows off his talent of using his space and movement of actors. He never seems to have a direct focus on any one person at a time unless Hulot or Barbara are in the scene, however we always can follow the action. The film feels much like a silent film with sound effects, and Tati could've easily cut all dialogue, and it would still be an entertaining film. The way his sound design is set up, and the way the actors speak in his space, I sometimes felt I was watching a Robert Alman movie.

When I first saw "Playtime" I thought it was very charming, and for awhile it was one of my favorite films. It has that European flavor to it, that makes it somewhat of a harsh movie, but it doesn't lose its sense of magic and invention which makes it highly entertaining to watch, each time I see it, I notice something I didn't see before.

The 60s

I've said before that if there was a decade I would want to be alive during it would be the 1960s, not that there aren't other decades to choose from. So much came out of the 60s that have been such a huge part of my life, the mantra became more youth oriented movies, while the dynasty of the old studio crumbled away.

The 1960s were full of films by the studio that became mainly out of touch with today's youth. Movies became bloated with budgets or musical production numbers, and were made with minds with less emotion. Most of these films made money, but none can be considered classics. Perhaps the most famous of these blunders was 1963's "Cleopatra" starring Elizabeth Taylor and Richard Burton, the film was a colossal failure causing its company 20th Century Fox to almost go bankrupt.

Still despite all of these dinosaur pictures that didn't quite fit well with this new era, there were some old pros who still had something to say. John Ford who made his career making the best westerns ever made made perhaps his darkest but most nostalgic film "The Man who Shot Liberty Valance" which was about the death of the old west and the birth of a new civilization. It was as if Ford was saying, there wasn't room for war horses like him anymore. Alfred Hitchcock in the meantime was reinventing himself and reinventing the suspense genre he mastered so well since his debut. His "Psycho" became one of his biggest hits and influenced generations of horror filmmakers, he followed that up with the no less scary "The Birds". Then there was that master satirist Billy Wilder who found new life with his acting muse Jack Lemmon, together they made a series of great comedies of the decade which started with "The Apartment". Wilder never seemed to be one of those directors who was ever out of touch, for him the 60s were just catching up with the type of sexual politics he was always putting in his films.

New filmmakers were making names for themselves during this period as well. Men like Sam Peckinpah and Sergio Leone in particular created what is known as the revisionist western with their films like "Once Upon a Time in the West" and "The Wild Bunch". These films could be much more violent and operatic in the depiction of the west, plus the characters were less heroic and darker than you would find in a Ford or Hawks western.

However the biggest surge of talent this year wasn't coming out of Hollywood, but from Europe. The French New Wave came in full force with films by Godard, Truffaut, Malle, Rohmer, and Chabrol to name a few. The french new wave brought new ideas to the forefront and relied on technique that was seen as more improvised, they changed the rules using extensive jump cuts and breaking continuity, it was a fresh approach to cinema. The most prolific director of this time was Godard who made 15 films between his first film "Breathless" in 1960 and his culminating film "Week end" in 1967.

Other European filmmakers made a name for themselves in the 1960s, Bergman for one would continue where he left off in the 50s with films that probed the mind and man's search for meaning. It in this decade he made films like "Persona" and "Through a Glass Darkly" both of which are considered masterpieces. In Italy Fellini became and even more out there and edgy artist with his two most ambitious (and some would say autobiographical) films "La Dolce Vita" and "8 and a half".

While these films were making an impact, Hollywood was watching, a new youth movement was happening, and by 1967, things were getting very interesting. Soon studios were overrun by radical youths who were influenced by the films in Europe and went on to change the face of Hollywood. Edgier films starting with "Bonnie and Clyde", and "Easy Rider" were made, and soon young film students like Martin Scorsese, and Francis Ford Coppola were making their very first films. As the 60s ended, the 70s were looking more promising than ever.

The Absolutely, Positively, No Doubt About It TOP 10 BEST FILMS OF THE 1950s

1. Tokyo Story: 1953 (Directed By Yasujiro Ozu)



2. Vertigo: 1958 (Directed By Alfred Hitchcock)



3. The Searchers: 1956 (Directed By John Ford)



4. Seven Samurai: 1954 (Directed By Akira Kurosawa)



5. Rio Bravo: 1959 (Directed By Howard Hawks)



6. Sunset Boulevard: 1950 (Directed By Billy Wilder)



7. The 400 Blows: 1959 (Directed By Francois Truffaut)



8. Singin in the Rain: 1952 (Directed By Stanley Donen and Gene Kelly)



9. Touch of Evil: 1958 (Directed By Orson Welles)



10. Sansho the Baliff: 1954 (Directed By Kenji Mizoguchi)