This student film takes a look at the small town of Camden during the 1960s. Much of the town is focused on the locomotive and logging industry created by the W. T. Carter and Brother Lumber Company in 1898. The film revolves around interviews with Camden residents. Former logging employees, a hotel owner, a family, and a pastor all briefly describe their lives and rolls in the old town. By the end of the film, the narrator recounts possible modernization and decreasing poverty in the future with the sale of W. T. Carter and Brother Lumber Company to the United States Plywood Corporation.
Tag: 1960s
A young unmarried couple leave the politically turbulent Berkeley behind for a life in the country. Finding a place in sheep country, the couple awaits the birth of their first child as they revel in bucolic splendor. The tensions of city life are left behind as things progress towards the anticipated due date. The couple wishes to have a natural childbirth and are comforted that the expectant father is a pre-med student with some knowledge of the upcoming situation. Things go along smoothly until the expectant mother’s father returns after years of being a sailor.
Doctor Glas is told in the form of a journal. The main character is Dr. Glas, a physician. The antagonist is Reverend Gregorius, a morally corrupt clergyman. Gregorius’ beautiful young wife confides in Dr. Glas that her sex life is making her miserable and asks for his help. Glas, in love with her, agrees to help even though she already has another adulterous lover. He attempts to intervene, but the Reverend refuses to give up his “marital rights”- she must have sex with him whether she likes it or not (at the time, a wife was legally the property of her husband, and subsequently had no right to say no). So, in order to make his love happy, he begins to plot her husband’s murder.
Banned by the BBC in 1971, director Tony Palmer’s profile of the late Peter Sellers was, in the words of the film’s subject himself, “the only portrait which really understood me.” Sellers was an icon of comedy and a true innovator, but a look inside reveals a tragic figure. How could one of the world’s most beloved comic talents have such a morbidly distorted opinion of himself? In this documentary, interviews with such friends, fans, and colleagues as Raquel Welch, Yul Brenner, Spike Milligan, Laurence Harvey, and others reveal the true personality behind the man who was loved by everyone, but still viewed himself as entirely alone.
The first of Kawashima’s Daiei Studio collaborations with Wakao centers on the life of a Tokyo geisha named Koen and her relationships with various men. Starting out with no singing or dancing talents, the young, free-spirited Koen is initially eager to please and happy to do what she is told. With time and experience, however, she gradually begins to notice a change in herself and questions what she wants out of life. Played with subtle shifts in emotion, Wakao’s delicate performance earned her the Kinema Junpo Award and Blue Ribbon Award for Best Actress.
Fast-moving impressions of the Big Sur, the water, the ocean, and the Ladies, as part of the landscape, swimming, or running nude, against the sun or part of the sun.
Based on the novel of the same name by Ferenc Molnár, the film concerns two groups of boys that each claim rights to a vacant lot for their own club’s use. Eventually they decide to settle it like adults: by going to war. They elect generals, hold a summit meeting, agree on the terms of combat… and then they fight.
Lena Horne’s famous song “Now!”, which was banned in the U.S. in the 1960s, was an angry call for struggle against racism. This film uses Horne’s song as the vehicle for a montage of film and photographic images from the U.S. civil rights movement. These images of racial struggle and oppression in the United States convey the heroism and pathos of the black protagonists of the Civil Rights movement, and the brutality of white police and Klansmen and the system they represent. Santiago Alvarez responds to the song’s escalating rhythm by moving between images to evoke the violence with which American society was being torn apart by white supremacy, and the intensity of the African-American struggle to right these injustices.