Outsider's Opinion: Top Ten Films of the 1960's

10. Le Samourai (1967)- One of the least well known films on this list, Le Samourai is Jean Pierre Melville's classic example of cool, a film built on restraint and minimalism. Combining elements of the American Gangster films of the 30's and 40's with the Japanese Samurai flick of the 50's and 60's, Le Samourai is a classic mishmash of genres with a monumental performance by Alain Delon at the center of it. He plays Jef Costello, a hit man who strives for perfection but after one hit goes wrong, is forced into a corner with devastating results. The film is methodical in its plot, often going extended period of times without dialogue. But Melville's shots are perfectly constructed and the time flows effortlessly, slowly revealing stunning moment after another and climaxing in a breathless chase, refreshingly devoid of any pounding music, allowing the suspense of the moment to continue, uninhibited by an external forces. Costello is the personification of cool, always seen in a trench coat and fedora and with jazz filling the streets of Paris, few films can match Le Samourai in its hipness. The Criterion Collection has recently released this on a newly remastered disc that is a must buy for anyone interested in the French New Wave, American Gangster or Japanese Samurai flicks. This is a monumental work that is criminally underestimated and overlooked. One for the ages.


9. To Kill a Mockingbird (1962)- A family film that is deceptively complex, addressing issues such as race and class with a stunning clarity that is completely unrivaled in American cinema. Gregory Peck's performance of Atticus Finch is stuff of legend, as fine a lead acting job that has ever been captured on celluloid. The film's brilliance comes in the form of framing its difficult issues through the viewpoint of a child, filtering the complex problems of adults through the innocent and understanding thoughts of a child. Without Horton Foote's stunning adaptation of Harper Lee's classic novel, the film would be significantly less successful but as it is, there are few films in all of history that so accurately capture what its like to deal with difficult issues as one struggles with adolescence. A coming of age story, an examination of racial prejudice in the south and a complex view at the legal system, To Kill A Mockingbird was an anomaly for 1960's Hollywood, an endlessly successful and brave film that successfully emerged from the rubble of the Studio System. John Megna, Mary Badham and Phillip Alford contribute three of the greatest performances by children in cinematic history. They are absolutely stunning in their subtlety, humor and fear. As a primer to a discussion of the difficult to grasp issues (even for adults), To Kill a Mockingbird is a film that can educate and enlighten children and adults alike and should be required viewing for anyone with the slightest interest in the movies.


8. 2001: A Space Odyssey- Stanley Kubrick’s sci-fi masterpiece stands as a remarkable achievement that is virtually unrivaled in all of cinema in terms of an audio-visual experience. Despite disastrous first screenings (during which Rock Hudson famously stood up and walked out demanding “Will someone tell me what the hell this is about?”) that almost crippled the film, it escaped studio hands almost untouched and when released to the general public, was heralded as the true visionary work that it stands as today. Utterly confounding and at times, seemingly incomprehensible, it is a film to be experienced its first viewing rather than understood. Loaded with stunning imagery and themes and almost entirely open to interpretation, 2001 has acted as great divider to those who get it and those who don’t, which is unfortunate because it overlooks the intentions of the film. From the opening shots at the dawn of evolution, to the trippy star gate sequence to the final, haunting shots of the Star Child floating gently above Earth’s atmosphere, the film’s visuals wash over the viewer, electrifying their imagination and their intelligence. As thoughtful and heady of a movie as ever has been released to the mainstream, it signaled a new phase for Kubrick, one in which he became increasingly abstract and difficult, crafting film after film of astonishing beauty and complexity until his untimely death in 1999. He was one of the true masters, one who we’ll get to a little later on as well and 2001 was one of his crowning achievements, a scientifically accurate tale of man’s evolution through time and space.


7. Bonnie and Clyde (1967)- The film that almost single handily announced the arrival of the New Hollywood, Bonnie and Clyde stands as a violent, vicious masterpiece that divided critics, making and breaking some in the process. For Pauline Kael, who heavily praised the film, it provided her career with a leaping off point and with it, she would go on to become one of the most prominent and important film critics of the second half of the 20th century. On the other side is Bosley Crowther, the then New York Times film critic, known for his aging, conservative views. Crowther, highly critical of the film's violence, found himself on the wrong side of the argument as Kael bombarded his review and illuminated his views to be as out of touch as they were. Kael became a star, Crowther was soon ushered out of his job reviewing for the Times in 1968. Kael wasn't the only one who received praise: Warren Beatty, the young up and coming star, became one of the most powerful draws in Hollywood as the producer and star. Although the film is undeniably violent throughout, nothing could prepare audiences for the horrific ending, which is bracing even by today's standards. It is a singular moment in film history that is unforgettable, foreshadowing the dark, cynical feel that the 70's would soon adopt and forever leaving behind any semblance of the innocent, positive films that Hollywood had been putting out for much of the 1950's and early 60's. The acting is superb throughout and the script by David Newman and Robert Benton (later doctored by Robert Towne, who would soon go on to become one of the most desired screenwriters in Hollywood) is razor sharp. It is endlessly entertaining, simultaneously mixing dark comedy and stellar drama. Not to be missed.


6. Battaglia di Algeri, La (1966)- Along with Le Samourai, La Battaglia di Algeri is a little seen masterpiece, a firecracker of political fury, of emotional and intellectual turbulence. Telling the true story of the fight for Algerian independence from French rule, Gillo Pontecorvo crafted a timeless depiction of bravery and sacrifice. Told from both the view of Algerian freedom fighters and the French military, the film is a shocking exploration of the effects of insurgency, violence and warfare, all of which feel particularly timeless and relevant today. It rides one of Ennio Morricone's best scores, pulsing hypnotically along, providing a perfect coupling with the film's visuals. Blending elements of the French New Wave, Russian Cinema Verite and Italian Neo-Realism, The Battle of Algiers is a stylistic and visual wonder, placing strikingly realistic images on the screen: the rioting are startling and scary, the guerilla bombings are terrifying in their abruptness and the torture, given the images of Abu Gharib, is shocking and disturbing. Following the attacks of 9/11 and the start of the war in Iraq, the Pentagon found The Battle of Algiers so pertinent that they chose to hold a screening of it to give the military leaders an idea of what to expect during their time in Iraq. It is a shame that more Americans haven't seen this film as it honestly forces one to think in different ways about the current war on terrorism. The Criterion Collection released this as a three disc special edition in late 2005 that should be mandatory. The special features are interesting and illuminate the issues surrounding the film and the accompanying literature is a fascinating read, featuring interviews with the actual people involved in the resistance. The film is suspenseful and thoughtful, never stooping to the level of a common thriller yet never squandering its excitement in favor of bland political pandering and should be considered a must see for its amazing relevance to our society today.


5. The Wild Bunch (1969)- Sam Peckinpah's greatest accomplishment, The Wild Bunch is a wildly innovative and influential western that is often shocking and deranged. For those who feel like the Western was a jovial, easy going genre for 10 year old boys in the 1940's and 50's should look no further than The Wild Bunch, which brilliantly deconstructs the hallmarks and conventions of the Hollywood Western. Rated R upon its initial release, it was re-released in the early 90's and much to Warner Bros. surprise was hit with a NC-17 for its graphic violence, among other questionable subject matter. Pioneering in its use of slow motion and graphic violence, The Wild Bunch tells the story of a group of aging gunfighters who confront the closing of the west as it becomes increasingly civilized. The acting by the cast is wonderful with William Holden standing out in particular, but the real star here is Peckinpah, who even at this point was considered impossible to work with but who's genius is unquestionable. As an innovator of the modern day action film, the value of his influence can be questioned but its far reaching nature cannot. The film has lost none of its power and for those who grew up with the classic Hollywood Westerns of John Ford, Howard Hawks and Anthony Mann, The Wild Bunch will be particularly shocking. Mournful of the passing time, the film is harsh but also nostalgic. The awareness of the films that have come before it is vital to its viewing and appreciation and those who haven't seen Ford's or Hawk's work may not fully grasp Peckinpah's vision. However, if one is familiar with the work of the past masters, The Wild Bunch will be a fulfilling, exciting and interesting experience that is endlessly rewarding, increasing in value with each viewing.


4. C'era una volta il West (1968)- While not as purely entertaining as some of Sergio Leone's other works, Once Upon a Time in the West (or OUATITW), has become perhaps his most critically revered. As elegiac as film comes, Leone's work is a testament to all that had come before it (including his own works) with subtle twists and turns throughout. The results are nothing short of breathtaking, with the trademark Leone visuals teaming with a phenomenal story co-authored by Bernardo Bertolucci and Dario Argento, two towering figures in the Italian film scene. There is scene after scene of positively electrifying moments, from Claudia Cardinale's ride into Monument Valley to Henry Fonda's appearance as the film's villain. The opening segment, almost 10 minutes in length without a single word of dialogue slowly builds in suspense as only Leone could do until an abrupt and quick resolution. A star studded cast lends itself perfectly to the material and transforms every scene into a display of star prowess. Unlike The Wild Bunch, Peckinpah's calling card to the Old West, Leone's film largely eschews the violence to a surprising degree, focusing on the moments prior to a kill in amazing builds of tension rather than the moments directly after with Peckinpah's trademark slow motion and graphic violence. The cinematography, as in all of Leone's work, is spectacular, blending sweeping vistas with as close as them come shots filling up the screen. Like with The Wild Bunch, this is a film best enjoyed having digested the works that have come before it, although Once Upon a Time in the West is more palatable due to The Wild Bunch's violence. Its slow pacing is vintage Leone and requires some patience but for those who are able to get in tune with the master, they will not be disappointed.


3. 8 1/2 (1963)- The greatest movie ever about the creative process, 8 1/2 stands as a timeless, difficult and dense work by Federico Fellini, weaving surrealistic images with the realities of the world. It tells the story of Guido, a director stuck on a film he has no desire to make, and his creative and personal frustrations that arise as his life crumbles around him. Guido, played by Marcello Mastrorianni in one of the all time great performances, relies heavily on his personal memories (many of which were actually Fellini's) to draw inspiration and much to his frustration, is unable to come up with anything he is satisfied filming. As outside pressures mount, Guido looks further and further inward and as he does, the film becomes more and more surrealistic until the magnificent climatic sequence. Fellini, who wrote and directed the film, delves deeper into the creative process than anyone had before and the film shows this. As I attempt to enter into a creative profession, I notice I turn inward for inspiration, drawing from personal experience more and more. The more I realize this, the greater an achievement 8 1/2 becomes. Incredibly observant and unflinching in its depictions of Guido's struggles, 8 1/2 has become considered the film about film, with almost nothing else challenging its greatness. The black and white cinematography, by Gianni di Venanzo, is stunning in its crispness and it captures both the real and surreal with ease, keeping the visual scheme constant which makes each successive sequence harder to discern. Is the viewer watching one of Guido's dreams or is this actually happening? Upon first viewing, it can be frustrating but if one gives themselves to Fellini and allows him to take them along for the ride, the experience is an awesome trip into the human mind. It is funny and sad, comedic and tragic and it is Fellini's best work, one perfectly suited for his indulgences. In the hands of another director, 8 1/2 may not have worked but with Fellini and his imagination at the helm, it is never less than dazzling, a required experience for anyone interested in cinema.


2. Dr. Strangelove: Or How I Learned To Stop Worrying And Love The Bomb (1964)- The 1960's most viciously funny satire and the best cinematic document of the insanity of Cold War paranoia, Stanley Kubrick's Dr. Strangelove is an unquestioned classic, a comedic masterpiece of the highest order. Featuring the greatest comedic actor of all time, Peter Sellers, at the top of his game playing, count 'em, three separate, all key roles and George C. Scott in a neurotic performance that almost equals Sellers, Dr. Strangelove is easily one of the greatest American films of all time. Released at the height of the Cold War, the film's brave stance against much of the standard political thinking of the day is superb and its ability to laugh at a situation that gripped the nation with terror is unmatched. Released a less than 2 years after the world stared down nuclear war with the Cuban Missile Crisis, the film is frank and unnerving in its depictions of the end of the world as the men in charge act like school boys, wrestling and arguing without any semblance of order or intelligence. Featuring a wickedly clever and gleefully chaotic script by humorist Terry Southern, every scene works and the humor of the film increases with each viewing as the heavily nuanced acting and directing play out with great subtlety. Featuring spectacular supporting work from Slim Pickens, Sterling Hayden amongst others, this film has no cinematic, narrative or thematic weaknesses as it moves along uninhibited. It is as close to perfection as any American film has come and stands today as a cinematic milestone that has lost nothing in the 43 years since its release. Not only Kubrick's best, not only the best American film of the 1960's, but hands down, one of the best films of all time, certainly in my personal Top Ten.


1. Il Buono, il brutto, il cattivo (1966)- Not only the most entertaining movie of the 1960's but also the decade's best, The Good, The Bad and The Ugly is a breathtaking original, the peak of Sergio Leone's craft and easily one of the greatest westerns of all time, American, Italian or otherwise. Lead by classic performances from Clint Eastwood, Eli Wallach and Lee Van Cleef, TGTBATU features a wonderfully expressive cast that slinks their way across Leone's vast screen. The use of widescreen is breathtaking, alternating between extreme close up and expansive long shots, all of which are striking in their composition. Each sequence stands as an indisputable classic, climaxing in Tuco's gleeful sprint through a graveyard near the film's conclusion. TGTBATU centers around three men's pursuit of a stash of lost gold and their continuing attempts to trump the others effort to discover the treasure. It may seem like a simple story (which it is) but Leone gracefully stretches it out across three glorious hours with his pitch perfect pacing and wonderful action. Ennio Morricone's score, much like his in Once Upon A Time In The West, is astonishing and the film's well known theme is as good as film scores get. Due to its widespread popularity and its trademark guitars, many overlook its true artistic value but when one listens to it outside of the film, any shred of doubt is immediately erased, replaced with the realization that one is listening to one of the great musical compositions of the 20th century. This is the western for those who don't like westerns. It’s gritty and dark and has aspects of wonderfully black comedy sprinkled throughout. As equally rich thematically as narratively, The Good, The Bad and The Ugly stands as the epitome of 1960's filmmaking, a violent, pulpy, bracing classic that is entertaining, intelligent and absolutely irresistible.