I’m showing my age because I remember a lot of things about the year 1967. I was 15 and things were changin’, they were. I scribbled some notes about that year sometime last week, thinking about this post. Here’s what I put down. First, the films of that year.
The Good, the Bad and the Ugly - Sergio Leone’s final homage to the Western and the nightcap to his “Man With No Name” trifecta. Eastwood never, ever looked better. You should read his and Eli Wallach’s comments on how differently the Italians made movies, and in particular, Westerns from the traditional Hollywood mode. For example, Leone had no qualms about the good guy shooting first. Most importantly, he was the first to break the unwritten Hollywood taboo which prohibited the viewing public from actually seeing the gunman get shot. Up until Fistful of Dollars (1965), you only saw the result of the shooting but with Fistful, followed by For a Few Dollars More and GBU, the full horror of a gunshot death was revealed. It wasn’t pretty and we loved it. And man, those close-ups.
The Graduate - it still holds up so well after 40 years. I sat down to watch it again the other night and it resonates. What did we really care about the graduate? Mrs. Robinson was the story here. What a performance by Anne Bancroft, not to mention Murray Hamilton as Mr. Robinson, one of the greatest character actors who ever graced the scene. Try to recall him in The Hustler (1961) as the genteel Louisville landed gentry who hustled Paul Newman into a game of billiards, only to have the scam blow up in his face to the tune of $12,000 or as Larry, the mayor in Jaws (1975).
In the Heat of the Night - As corny as a lot of people thought this film was, it still works. That’s mainly because of the strength of the idiosyncratic performance of Rod Steiger as Gillespie, the town cop who initially suspects Sidney Poitier, another cop from Philadelphia, of murder in a small southern town. Never mind that the movie was shot in Illinois. It’s Steiger’s performance that’s the key. I’ve never seen anyone who could chew gum the way he does. And the way he cajoles the operator when placing a call to Philadelphia: “Could you please try to get me long distance?”
The Trip - Peter Fonda did make other movies besides Easy Rider. Here, he drops LSD for the first time. If I remember correctly, Elizabeth Perkins had a role. I remember that this was the first film that had some serious sex scenes in it, intense enough to send a 15-year old into real, first-time fantasies. There were no ratings at this time. That didn’t come along until 1969 and Midnight Cowboy.
Cool Hand Luke - Do I have to comment at all on this classic? I know every line of dialog, chiefly because I have the screenplay. But try to recall the supporting cast. We all remember George Kennedy winning the Oscar for best supporting actor as “Dragline.” But what about the rest of the case? How about financial wizard Wayne Rogers as “Gambler?” J.D. Cannon as “Society.” Harry Dean Stanton as “Tramp.” Joe Don Baker as “Mechanic.” Anthony Zerba as “Dog Boy.” Luke Askew as “Boss Paul.” Clifton James as “Carr, the Floor Walker,” Dennis Hopper as “Bugaluguts,” the resident moron. And of course, Strother Martin as “The Captain,” the “mean, old son-of-a-bitch” who ruled the prison camp. And maybe the most famous line in all of movieland? Could it be that ” . . . what we have here is failure to communicate?” Well, how many of you remember the entire soliloquy that the Captain gives when lamenting the coming fate of Luke? Here it is in its entirety, direct from the original screenplay, September 29, 1966:
Captain: (to Luke) You gonna get used to wearing them chains afters while, Luke. But don’t you never stop listenin’ to them clinkin’. They’re gonna remind you of what I been sayin’. It’s for your own good.
Luke: I wish you’d quit being so good to me Cap’n.
[The Captain feeds his fury staring, then reaches out his hand and Boss Paul lays the blackjack in it. As the chain guards finish and stands up, trembling with rage, the Captain takes a convulsive step forward and brings the sap down behind Luke’s ear. As Luke tumbles down the littered embankment toward the men:]
Captain: Don’t you never talk that way to me! You hear? Never!
Captain: (to all the men) What we got here is failure to communicate. Some men you just can’t reach. So you get what we had here last week. Which is the way he wants it. Well, he gets it. And I don’t like it anymore than you men.
OK, that’s the official dialog. Take it to the bank. And how about those cool reflective sunglasses worn by Boss Godfrey that became the rage for the next forty years?
Two For The Road - Stanley Donan’s very tasteful “buddies on the road” movie which was a tad ahead of its time. And was there ever a better team in their magnificent 30’s than Albert Finney and Audrey Hepburn? What a great couple to watch. One of the best jobs at film editing that I can recall.
And what about rock? (more…)