As her husband Eiichi becomes more entangled in his life as businessman, Naoko looks for ways to expand her own life even as her husband’s life shrinks in scope and intimacy. She finds new interests, new love, and a greater sense of her place in the world.
Tag: 1960s
This melodrama has Thelma and Jess, two Americans who move into a down-at-the-heels Paris neighborhood. The couple is still suffering from the loss of their only son in an automobile accident that happened some time in the distant past. Thelma tends to drown her sorrows in alcohol, while Jess is introspected and morose. After they hire a maid to help out with the housework, she falls for the taciturn Jess. Her interest seems to be only a simple attraction, yet appearances, as it turns out, are deceiving.
The Nazis capture an Austrian aristocrat and imprison him in solitary confinement and deprived of all intellectual stimulation. Once there, he is manipulated and interrogated in an effort to force him to reveal secret information vital to his captors. Struggling to keep his sanity, he fights back with the only means available to him–a book on chess hidden in his cell.
Thieves hijack an aircraft loaded with diamonds, and then must face deadly Amazonian headhunters when the plane crashes in the jungles of Caxambu, Brazil.
A little manikin (made of a few twists of stubby wire) juggles balls around him, always preferring the biggest and brightest and overlooking a plain white one, the oddball. It is only when the other balls turn fickle and elude his grasp that he discovers the worth of the little white ball.
Filmed in 1965 and just as contemporary now as it was then, Yuri Ilyenko’s directorial debut, A SPRING FOR THE THIRSTY, is a surreal cinematic poem from the cinematographer of Sergei Paradzhanov’s SHADOWS OF FORGOTTEN ANCESTORS. As director-cinematographer of A SPRING FOR THE THIRSTY, Ilyenko has created a parable centering on an old man who lives a secluded life in the desert, alone with only his memories and photographs. His wellspring, once a source of joy and hope for thirsty passersby, is now rarely used. No longer able to find comfort in his memories, he turns all his photographs to face the walls.
While it’s not really a part of the Hillman-movies, Vita frun features Holmsten as the detective Hillman and along for the ride is also regulars Hallberg and Granhagen. The plot is simple enough: A ghost, called “vita frun” (The White Lady), is blamed for the strange deaths that occur at a country manor. But is it really a ghost?
Muscle Beach is a fascinating location for people-watching in the L.A. area, and in 1963, the strangeness of its sights was much more pronounced than today. Pat O’Neill’s first film (made with Robert Abel) progresses from humorous, curious observation to energetic, graphical interaction with the sights and sounds of Santa Monica’s famed beach.