Cinema60

Kick start your engines! Throw on that cutoff jean jacket vest with the pro-fascist pins ‘n’ patches! Respect nobody and nothing - society’s rules least of all! That’s right, it’s time to hit the highway and live that dream of total freedom and cause some violent mayhem and wanton destruction! It’s biker movies of 1969! In this season finale, as part of their once Bootleg Bond series, now expanded Genre series, Bart and Jenna explore all that hogs and leather have to offer. Don’t miss out on their in depth discussion on 1960s cinema classic Easy Rider and a film Jenna describes as truly evil, Satan’s Sadists. The following films are discussed: • Run, Angel, Run! (1969) Directed by Jack Starrett Starring William Smith, Valerie Starrett, Dan Kemp • Hell's Belles (1969) Directed by Maury Dexter Starring Jeremy Slate, Jocelyn Lane, Adam Roarke • Naked Angels (1969) Directed by Bruce D. Clark Starring Michael Greene, Jennifer Gan, Richard Rust • The Cycle Savages (1969) Directed by Bill Brame Starring Bruce Dern, Melody Patterson, Chris Robinson • Hell's Angels '69 (1969) Directed by Lee Madden Starring Tom Stern, Jeremy Slate, Conny Van Dyke • Satan's Sadists (1969) Directed by Al Adamson Starring Russ Tamblyn, Scott Brady, Regina Carrol • Easy Rider (1969) Directed by Dennis Hopper Starring Peter Fonda, Dennis Hopper, Jack Nicholson

One a basic level, ‘60s cinema is the story of the complete breakdown of censorship rules about what could and could not be shown on American theater screens. Hollywood’s Production Code was already falling apart in the ‘50s when competition with television forced movies to offer kinds of entertainment that were not available on the small screen. Films from countries with fewer restrictions on content were being shown more frequently and naturist documentaries were getting around rules about nudity – though you had to go to “art” cinemas or less reputable theaters to see these things. While the studios still had strict guidelines on what was acceptable for release in mainstream theaters, smaller theaters were pushing boundaries on what they were willing to show audiences. As a result, Hollywood, in order to keep up, threw all their old self-censorship rules by the end of the ‘60s. One of the major figures on the grindhouse circuit who continued to push the amount of sex and nudity that could be shown in films throughout the decade – and made enough money doing it for the studios to really take notice – was Russ Meyer. His goofy, satirical, surprisingly well-made exploitation films were cutting-edge smut that gained popularity over the course of the ‘60s because they delivered the sleaze they promised and dis it with skill and style. Eventually he gained a cult reputation among cineastes and reputable film critics that continues to this day, even though many of his films are more shocking by modern standards than they were when they first hit screens. In this episode, Bart and Jenna discuss all things boobs, sexual desperation and boobs. Bart takes on the brunt of the burden, getting through the entire decade and finding there’s more to Meyer than pure titillation. Jenna, however, is less than enthused with Meyer’s ‘comedic’ sensibilities, finding Bart’s cherry-picked selections mostly intolerable. But even both agree that at least a little bit of Meyer is essential viewing for anybody who want to understand the what the decade in cinema was all about. The following films are discussed: • Lorna (1964) Directed by Russ Meyer Starring Lorna Maitland, Mark Bradley, James Rucker • Mudhoney (1965) Directed by Russ Meyer Starring Hal Hopper, Antoinette Cristiani, John Furlong • Faster, Pussycat! Kill! Kill! (1965) Directed by Russ Meyer Starring Tura Satana, Haji, Lori Williams • Good Morning and... Goodbye! (1967) Directed by Russ Meyer Starring Alaina Capri, Stuart Lancaster, Haji • Vixen! (1968) Directed by Russ Meyer Starring Erica Gavin, Garth Pillsbury, Harrison Page • Harry, Cherry and Raquel (1969) Directed by Russ Meyer Starring Linda Ashton, Charles Napier, Larissa Ely Also mentioned: • The Immoral Mr. Teas (1959) Directed by Russ Meyer Starring Bill Teas, Ann Peters, Enrico Banducci • Eve and the Handyman (1961) Directed by Russ Meyer Starring Eve Meyer, Anthony-James Ryan, Frank Bolger • Erotica (1961) Directed by Russ Meyer Starring Denise Daniels, Kathy Lee, Candis McKay • Wild Gals of the Naked West (1962) Directed by Russ Meyer Starring Sammy Gilbert, Anthony-James Ryan, Jackie Moran • Europe in the Raw (1963) Directed by Russ Meyer Starring Veronique Gabriel, Gigi La Touche, Abundavita • Fanny Hill (1964) Directed by Russ Meyer Starring Miriam Hopkins, Letícia Román, Ulli Lommel • Motorpsycho (1965) Directed by Russ Meyer Starring Haji, Alex Rocco, Steve Oliver • Mondo Topless (1966) Directed by Russ Meyer Starring Babette Bardot, Darlene Grey, Pat Barringtonn • Common Law Cabin (1967) Directed by Russ Meyer Starring Jackie Moran, Babette Bardot, Adele Rein • Finders Keepers, Lovers Weepers! (1968) Directed by Russ Meyer Starring Anne Chapman, Paul Lockwood, Gordon Wescourt • Beyond the Valley of the Dolls (1970) Directed by Russ Meyer Starring Dolly Read, Cynthia Myers, Marcia McBroom • Supervixens (1975) Directed by Russ Meyer Starring Charles Pitt, Shari...

The impact of The Dirty Dozen on the decade cannot be overstated – here was a big-budget, Hollywood star-powered blockbuster, about a popular topic, that simply didn’t hold back. Toss on the fact that there was no rating system at the time, it’s very likely Little Timmy didn’t know what he was getting into when he decided to go see that new World War II movie. With a few well placed curse words and a few dozen dead Nazis, director Robert Aldrich ushered a whole new era of screen violence into the American consciousness. In this episode, Bart and Jenna discuss the legacy of The Dirty Dozen by going straight to the immediate rip-offs that followed in its wake. There’s at least two surprisingly underseen gems in the bunch, as well as one other massive hit, all of which bring up the body count even as some question their own morality. Finally, some war movies even Bart can enjoy! The following films are discussed: • The Dirty Dozen (1967) Directed by Robert Aldrich Starring Lee Marvin, Ernest Borgnine, Charles Bronson • Dark of the Sun (1968) Directed by Jack Cardiff Starring Rod Taylor, Yvette Mimieux, Jim Brown • The Devil's Brigade (1968) Directed by Andrew V. McLaglen Starring William Holden, Cliff Robertson, Vince Edwards • Play Dirty (1969) Directed by André De Toth Starring Michael Caine, Nigel Davenport, Nigel Green • The Wild Bunch (1969) Directed by Sam Peckinpah Starring William Holden, Ernest Borgnine, Robert Ryan • Battle of the Commandos (1969) La legione dei dannati Directed by Umberto Lenzi Starring Jack Palance, Thomas Hunter, Curd Jurgens

Cinema60 is back with a ghost guest in order to highlight some notable opinions on film. Dwight Macdonald, a celebrity film critic of the ‘50s and ‘60s who is now more remembered as a cultural critic and political pundit, had a lot to say about the dumbing down of high art to appeal to middlebrow tastes. Championing films that challenged audiences, he famously took on Alain Resnais’ Last Year at Marienbad as one of the most difficult films to ever be embraced by American audiences. While he does not consider the film one of his favorites, he admires its techniques and ambitions. He would use it as a touchstone through his career to describe the type of film that pushes boundaries of what cinema can do and engages on a higher level. In this episode, Bart and Jenna respond to Macdonald, muse on the actual difficulty of such a film and use his word to illustrate their own mission statement. The following film is discussed: •Last Year at Marienbad (1961) L'année dernière à Marienbad Directed by Alain Resnais Starring Delphine Seyrig, Giorgio Albertazzi, Sacha Pitoëff Text discussed: • On Movies (1969) by Dwight Mcdonald Other films mentioned: • Citizen Kane (1941) Directed by Orson Welles Starring Orson Welles, Joseph Cotten, Dorothy Comingore • Children of Paradise (1945) Les enfants du paradis Directed by Marcel Carné Starring Arletty, Jean-Louis Barrault, Pierre Brasseur • Hiroshima Mon Amour (1959) Directed by Alain Resnais Starring Emmanuelle Riva, Eiji Okada, Stella Dassas • Breathless (1960) À bout de souffle Directed by Jean-Luc Godard Starring Jean-Paul Belmondo, Jean Seberg, Jean-Pierre Melville • La Dolce Vita (1960) Directed by Federico Fellini Starring Marcello Mastroianni, Anita Ekberg, Anouk Aimée • Jules & Jim (1962) Directed by François Truffaut Starring Jeanne Moreau, Oskar Werner, Henri Serre

For the first half of the 1960s, Akira Kurosawa was arguably at the peak of his career, making masterpiece after masterpiece at a rate that was sure to surpass the heights of his ‘50s glories. But then, after making the most beloved film of his career, he hit a wall. There would be several more great films to come, but for a while there it seemed like the career of one of cinema’s most widely celebrated masters had come to an end. In this episode, Bart and Jenna discuss what happened to Kurosawa’s second half of the decade, but mostly they relish the opportunity to finally cross off some ‘60s cinema heavy-hitters from their list. From the banging drums of Yojimbo, to the harrowing screams of Red Beard, with some striking and atypical gendai-geki thrillers along the way, the episode is packed with must-see films. Listen as Jenna admires Kurosawa’s artistry but occasionally struggles with his pacing, while Bart rapturously discovers that some old favorites are even better than he remembered. The following films are discussed: • The Bad Sleep Well (1960) 悪い奴ほどよく眠る / Warui yatsu hodo yoku nemuru Directed by Akira Kurosawa Starring Toshiro Mifune, Masayuki Mori, Kyoko Kagawa • Yojimbo (1961) 用心棒 / Yôjinbô Directed by Akira Kurosawa Starring Toshiro Mifune, Tatsuya Nakadai, Yoko Tsukasa • Sanjuro (1962) 椿三十郎 / Tsubaki Sanjûrô Directed by Akira Kurosawa Starring Toshiro Mifune, Tatsuya Nakadai, Keiju Kobayashi • High and Low (1963) 天国と地獄 / Tengoku to jigoku Directed by Akira Kurosawa Starring Toshiro Mifune, Tatsuya Nakadai, Kyōko Kagawa • Red Beard (1965) 赤ひげ / Akahige Directed by Akira Kurosawa Starring Toshiro Mifune, Yūzō Kayama, Reiko Dan • Tora! Tora! Tora! (1970) トラ・トラ・トラ！ Directed by Richard Fleischer, Toshio Masuda & Kinji Fukasaku Starring So Yamamura, Martin Balsam, Tatsuya Mihashi

Bart and Jenna want to tell you what their favorites films from 1962 are, but the catch is that the films can only be selected from films covered on Cinema60 so far! But first, they’re going to talk about six films from 1961 that they’ve chosen to watch in hopes that they can snazz up their Top Tens with some bonus bangers. (Aka, basically it’s just Kiss Marry Kill by a different name.) Jenna’s picks for the episode are a diverse range of societal critiques, but all three are favorite genres of hers: the anti-authoritarian fable, the dark, horror-adjacent satire, and the Commedia all'italiana. Bart’s pick are bit more uniform and specific - small-scale slice-of-life films about young women who’ve struck out on their own to make lives for themselves and end up involved in atypical relationship triangles. Six different nations are represented in their choices, providing a nice cross-section of what was going in in cinema in 1962. The following films are discussed: • Harakiri (1962) 切腹/Seppuku Directed by Masaki Kobayashi Starring Tatsuya Nakadai, Akira Ishihama, Shima Iwashita • Adieu Philippine (1962) Directed by Jacques Rozier Starring Jean-Claude Aimini, Stefania Sabatini, Yveline Céry • What Ever Happened to Baby Jane? (1962) Directed by Robert Aldrich Starring Bette Davis, Joan Crawford, Victor Buono • The L-Shaped Room (1962) Directed by Bryan Forbes Starring Leslie Caron, Cicely Courtneidge, Brock Peters • Smog (1962) Directed by Franco Rossi Starring Enrico Maria Salerno, Annie Girardot, Renato Salvatori • Strange Girl (1962) Čudna devojka Directed by Jovan Zivanovic Starring Spela Rozin, Vojislav Miric, Zoran Radmilovic

Following in the tradition of our episodes on Ukraine and Egypt, where we tried to find our way into national cinemas that are virtually inaccessible in the West (not to mention our other single-nation episodes on Poland, Brazil, Hong Kong, West Germany, Japan, Czechoslovakia and Mexico that focus more narrowly on a single movement or genre), we gathered up as many movies as we could find, read some academic articles, and then watched the six most promising Bulgarian movies from the ‘60s. Our intention, of course, is to give a taste of what the country has to offer, rather than a full overview. Plus, I mean gosh, appease all of those fans who have been lighting up our switchboard asking for Bulgarian ‘60s cinema… In this episode, the starting point was Binka Zhelyazkova, who was the first Bulgarian female director. She was also one of the very few women from behind the Iron Curtain, pre-Glasnost era, to have her films shown in the West. From there we spread out to other filmmakers whose works seemed to get written about most often and, crucially, can be seen today with decent prints and English subtitles. Though Bart & Jenna generally agree on the most noteworthy film and least noteworthy film of the episode, there’s quite a bit of discussion in the merits of each. Dive in – none of these films require the kind of fortitude you might expect would be required to sit through little-known 60s art cinema from Bulgaria. The following films are discussed: • We Were Young (1961) А бяхме млади/A byahme mladi Directed by Binka Zhelyazkova Starring Dimitar Buynozov, Rumyana Karabelova, Lyudmila Cheshmedzhieva • The Inspector and the Night (1963) Инспекторът и нощта/Inspektorat i noshtta Directed by Rangel Vulchanov Starring Stars Georgi Kaloyanchev, Nevena Kokanova, Dimitar Panov • The Peach Thief (1964) Крадецът на праскови/Kradetzat na praskovi Directed by Vulo Radev Starring Nevena Kokanova, Rade Markovic, Mikhail Mikhaylov • Armourless Knight (1966) Рицар без броня/Ritzar bez bronya Directed by Borislav Sharaliev Starring Oleg Kovachev, Mariya Rusalieva, Apostol Karamitev • The Tied-Up Balloon (1967) Привързаният балон/Privarzaniyat balon Directed by Binka Zhelyazkova Starring Georgi Kaloyanchev, Grigor Vachkov, Ivan Bratanov • The White Room (1968) Бялата стая/Byalata staya Directed by Metodi Andonov Starring Apostol Karamitev, Elena Rainova, Dorotea Toncheva

What-ho, Cinema60 fans! Six seasons we hath returned, recorded, and bearing our newfangled episodes. In this, our triumphant premiere we speaketh, perchance to wax lyrical, about the works of The Bard – on this April 23, his day of birth! Well enow, we'll cease our foolishness. But there were quite a few direct Shakespeare adaptations in the decade, let alone movies inspired by Shakespeare (West Side Story, anyone?). Whether you've read or seen these plays a thousand times, or are a first timer, the ‘60s offer a nice evolution from stage-bound adaptations to fully fledged cinematic delights. In this episode, Bart and Jenna dive deep into a multitudinous flote of Shakespearean films in one fell swoop. Bart, a once English major, finds these films bedazzling. Jenna, green-eyed monster that she is, complains heartily about the lackluster source material – but the lady doth protest too much, methinks. They has’t a lively debate over how to approach these films, and about what it takes to adapt something as stylized as Shakespeare to a medium that leans so heavily towards realism. Though they each have their personal favorites amongst the episode’s selections, there’s one that they can agree is one of the decade’s greatest successes by any standard. The following films are discussed: • Hamlet (1964) Гамлет Directed by Grigoriy Kozintsev Starring Innokentiy Smoktunovskiy, Mikhail Nazvanov, Anastasiya Vertinskaya • Chimes at Midnight (1965) Campanadas a medianoche Directed by Orson Welles Starring Orson Welles, Keith Baxter, John Gielgud • Othello (1965) Directed by Stuart Burge Starring Laurence Olivier, Frank Finlay, Maggie Smith • The Taming of The Shrew (1967) Directed by Franco Zeffirelli Starring Elizabeth Taylor, Richard Burton, Michael York • Romeo and Juliet (1968) Directed by Franco Zeffirelli Starring Leonard Whiting, Olivia Hussey, John McEnery • A Midsummer Night’s Dream (1968) Directed by Peter Hall Starring Judi Dench, Helen Mirren, Ian Holm

When A Hard Days Night exploded onto the scene in 1964, its charm and success was simply ripe for some good ol’ fashioned bootlegging. What followed was half a decade of wannabe music movies – specifically, movies in which pop bands play themselves while still following a strictly scripted plot. Mainly these were vehicles for British boy bands, but eventually they started to extend over to the Americas – where they warped from wholesome to hippie. In this season finale, Bart and Jenna tackle several of these band movies head on – and with Head on. It’s an episode full of high highs (marijuana and LSD) and low lows (Herman’s Hermits and Freddie and the Dreamers), but quite frankly they’re all a treat as its such a decade-specific genre. Get ready for a whole lot of restless youths, square plots, stoner humor, and screaming, adoring fans. The following films are discussed: • Ferry Cross the Mersey (1964) Directed by Jeremy Summers Starring Gerry & The Pacemakers, Mona Washbourne, Cilla Black • Having a Wild Weekend (1965) Catch Us If You Can Directed by John Boorman Starring The Dave Clark Five, Barbara Ferris, Yootha Joyce • Help! (1965) Directed by Richard Lester Starring The Beatles, Leo McKern, Eleanor Bron • Hold On! (1966) Directed by Arthur Lubin Starring Herman’s Hermits, Shelley Fabares, Sue Ane Langdon • The Cuckoo Patrol (1967) Directed by Duncan Wood Starring Freddie & The Dreamers, Kenneth Connor, Victor Maddern • Good Times (1967) Directed by William Friedkin Starring Sonny & Cher, George Sanders, Norman Alden • Mrs. Brown, You've Got a Lovely Daughter (1968) Directed by Saul Swimmer Starring Herman’s Hermits, Sheila White, Sarah Caldwell • Head (1968) Directed by Bob Rafelson Starring The Monkees, Victor Mature, Annette Funicello Also mentioned: • The Ghost Goes Gear (1966) Directed by Hugh Gladwish Starring The Spencer Davis Group, Nicholas Parsons, Sheila White • Los chicos con las chicas (1967) Directed by Javier Aguirre Starring Los Bravos, Enriqueta Carballeira, Manolo Gómez Bur • Dame un poco de amooor...! (1968) Directed by José María Forqué Starring Los Bravos, Rosenda Monteros, Luis Peña

In a follow up to the Ukrainian National Cinema episode, Cinema60 finally addresses the beautiful, surreal and unfairly banned films of Sergei Parajanov and Yuri Ilyenko – two figures that are essential to the story of what was getting made in that region while it was under Soviet control. In the case of Parajanov, his films of the ‘60s are amongst the most striking and influential ever made. In the case of Ilyenko, a lesser known but equally astonishing filmmaker, his unique visual sense of rhythm and movement are a sight to behold. Together, they made Shadows of the Forgotten Ancestors, a film that launched both of their careers towards a path of subversive, politically charged cinema that got them in trouble with Soviet authorities for decades to come. In this episode, Bart & Jenna start with Parjanov’s straightforward Soviet Realist films from the early 60s, and then jump into the more radical work of Parajanov and Ilyenko in the later ‘60s. Hopefully our hosts’ struggles to make sense out of these challenging films will encourage listeners to be less fearful of the unknown – an entirely rewarding journey for those to attempt it. The following films are discussed: • Ukrainian Rhapsody (1961) Українська рапсодія (Ukrainskaya rapsodiya) Directed by Sergei Parajanov Starring Olga Reus-Petrenko, Eduard Koshman, Yuriy Gulyayev • Flower on the Stone (1962) Цветок на камне (Tsvetok na kamne) Directed by Sergei Parajanov & Anatoly Slesarenko Starring Inna Burduchenko, Lyudmila Cherepanova, Boris Dmokhovsky • Shadows of Forgotten Ancestors (1965) Тіні забутих предків (Tini zabutykh predkiv) Directed by Sergei Parajanov Cinematography by Yuri Ilyenko Starring Ivan Mikolaychuk, Larisa Kadochnikova, Tatyana Bestayeva • A Spring for the Thirsty (1965) Криниця для спраглих (Krynytsya dlya sprahlykh) Directed by Yuri Ilyenko Starring Dmitri Milyutenko, Larisa Kadochnikova, Feodosiya Litvinenko • Kyiv Frescoes (1966) Киевские фрески (Kiyevskiye freski) Directed by Sergei Parajanov Starring Tengiz Archvadze, Vladimir Artman, Alexandr Kotchekov • Hakob Hovnatanyan (1967) Հակոբ Հովնաթանյան Directed by Sergei Parajanov • The Eve of Ivan Kupalo (1968) Вечір на Івана Купала (Vechir na Ivana Kupala) Directed by Yuri Ilyenko Starring Boris Khmelnitskiy, Larisa Kadochnikova, Yefim Fridman • The Color of Pomegranates (1969) Նռան գույնը (Sayat Nova) Directed by Sergei Parajanov Starring Sofiko Chiaureli, Melkon Alekyan, Vilen Galstyan

In 1966, somewhere along the United States-Mexico border, a man wearing a tattered Union uniform drags a coffin across the desert… and into the hearts of the Italian moviegoing public. What was it about this mix of blood, violence, sweaty masculine tusslin’, and steely blue eyes? With just one film, Sergio Corbucci inspired over thirty five remakes, sequels, and rip-offs – the first two even in the same year the original film came out. In this episode, as part of their once Bootleg Bond series, now expanded Genre series, Bart and Jenna make it their business to map out Django from the beginning. They start with the widely seen original and slowly make their way through a mix of western wannabes, surrealist desert violence and pure cowboy schlock. They also discuss what makes Django so appealing: is it the cathartic, unflinchingly bloody violence, or is it the leftist beating heart that many spaghetti westerns share? Why not both? The following films are discussed: • Django (1966) Directed by Sergio Corbucci Starring Franco Nero, Loredana Nusciak, Eduardo Fajardo • A Few Dollars for Django (1966) Pochi dollari per Django Directed by León Klimovsky & Enzo G. Castellari Starring Anthony Steffen, Gloria Osuna, Ennio Girolami • Django Shoots First (1966) Django spara per primo Directed by Alberto De Martino Starring Glenn Saxson, Ida Galli, Fernando Sancho • Django Kill... If You Live, Shoot! (1967) Se sei vivo spara Directed by Giulio Questi Starring Tomas Milian, Marilù Tolo, Piero Lulli • Django, Prepare a Coffin (1968) Preparati la bara! Directed by Ferdinando Baldi Starring Terence Hill, Horst Frank, George Eastman • Django the Bastard (1968) Django il bastardo Directed by Sergio Garrone Starring Anthony Steffen, Paolo Gozlino, Luciano Rossi

Bart and Jenna want to tell you what their favorites films from 1961 are, but the catch is that the films can only be selected from films covered on Cinema60 so far! But first, they’re going to talk about six films from 1961 that they’ve chosen to watch in hopes that they can snazz up their Top Tens with some bonus bangers. (Aka, basically it’s just Kiss Marry Kill by a different name.) Coincidentally, some specific topics end up popping up frequently in the episode. First and foremost, we get a lot of talk about commedia all'italiana – a ‘60s genre near and dear to our hosts’ hearts. Also broached are such subjects as ”Artists In Paris,” or “Guns Are Bad,” and “Legacies of WWII,” “Statutory Kissing,” “Staying True To Your Ideals,” and “Why Satire Rules.” It’s the trends and treasures of 1961 cinema served up for your delectation. The following films are discussed: • A Difficult Life (1961) Una vita difficile Directed by Dino Risi Starring Alberto Sordi, Lea Massari, Franco Fabrizi • The Guns of Navarone (1961) Directed by J. Lee Thompson Starring Gregory Peck, Anthony Quinn, David Niven • Paris Belongs to Us (1961) Paris nous appartient Directed by Jacques Rivette Starring Betty Schneider, Giani Esposito, Françoise Prévost • Divorce Italian Style (1961) Divorzio all'italiana Directed by Pietro Germi Starring Marcello Mastroianni, Daniela Rocca, Stefania Sandrelli • My Son, the Hero (1961) Los hermanos Del Hierro Directed by Ismael Rodríguez Starring Antonio Aguilar, Julio Alemán, Patricia Conde • Call Me Genius (1961) The Rebel Directed by Robert Day Starring Tony Hancock, George Sanders, Paul Massie

Once again, Cinema60 communes with the dead in order to highlight some notable opinions on film. Tonight’s ghost guest is Susan Sontag and her seminal Sight and Sound review on Ingmar Bergman’s Persona. Known primarily as an author, filmmaker and intellect, in the 1960s Sontag was just beginning her illustrious career as a writer – her essay “Notes on ‘Camp’” helped to define the camp aesthetic to the public at large. Simiarly, her 1967 review of Persona has endured throughout the ages, rising above other contemporary voices to help audiences (old and new alike) better derive meaning from Bergman’s rather abstract film. In this episode, Bart and Jenna use Sontag’s article as a sounding board to dissect Bergman’s filmmaking and explore the depths of Persona. Easy enough for Bart, who likely would have chosen this film himself if the episode had been about his favorite ‘60s pick. Meanwhile, Jenna muses on the idea that all cinema must have a “point” – even if sometimes the point is that there is no point. The following film is discussed: • Persona (1966) Directed by Ingmar Bergman Starring Bibi Andersson, Liv Ullmann, Margaretha Krook Also mentioned: • Journey to Italy (1954) Viaggio in Italia Directed by Roberto Rossellini Starring Ingrid Bergman, George Sanders, Maria Mauban • L'avventura (1960) Directed by Michelangelo Antonioni Starring Monica Vitti, Gabriele Ferzetti, Lea Massari • Last Year at Marienbad (1961) L'année dernière à Marienbad Directed by Alain Resnais Starring Delphine Seyrig, Giorgio Albertazzi, Sacha Pitoëff • Through a Glass Darkly (1961) Såsom i en spegel Directed by Ingmar Bergman Starring Harriet Andersson, Gunnar Björnstrand, Max von Sydow • The Man Who Shot Liberty Valance (1962) Directed by John Ford Starring James Stewart, John Wayne, Vera Miles • Winter Light (1963) Nattvardsgästerna Directed by Ingmar Bergman Starring Ingrid Thulin, Gunnar Björnstrand, Gunnel Lindblom • The Silence (1963) Tystnaden Directed by Ingmar Bergman Starring Ingrid Thulin, Gunnel Lindblom, Birger Malmsten • Hour of the Wolf (1968) Vargtimmen Directed by Ingmar Bergman Starring Max von Sydow, Liv Ullmann, Gertrud Fridh • Shame (1968) Skammen Directed by Ingmar Bergman Starring Liv Ullmann, Max von Sydow, Sigge Fürst • Duet for Cannibals (1969) Duett för kannibaler Directed by Susan Sontag Starring Adriana Asti, Lars Ekborg, Gösta Ekman • The Passion of Anna (1969) En passion Directed by Ingmar Bergman Starring Liv Ullmann, Bibi Andersson, Max von Sydow • Brother Carl (1971) Bröder Carl Directed by Susan Sontag Starring Geneviève Page, Gunnel Lindblom, Keve Hjelm • The Point (1971) Directed by Fred Wolf Starring Ringo Starr, Mike Lookinland, Lennie Weinrib • Promised Lands (1974) Directed by Susan Sontag • Inland Empire (2006) Directed by David Lynch Starring Laura Dern, Justin Theroux, Jeremy Irons

Here at Cinema60 we’ve embraced the endless task of putting a pin in the entirety of Sixties cinema. However, one area where we have been remiss in our duties is documentaries – a genre that truly came into its own during this decade. Films like Robert Drew’s Primary and Jean Rouch & Edgar Morin’s Chronicle of a Summer began to break from the popular “voice of God” expository mode, giving way to a greater variety of non-fiction documentary filmmaking techniques. By the end of the decade, the narrated newsreel style was relegated primarily to television, and movie theaters were home to the newer forms. In this episode, Cinema60 looks at documentaries in 1969 – examining just how far the genre had progressed in ten years. Using Bill Nichols landmark text Representing Reality (1991) as a guide for describing what documentary looked like at the time, Bart and Jenna delve into the wealth of styles the genre had splintered into and take a look at some of the most exceptional documentaries ever made. The following films are discussed: • A Married Couple (1969) Directed by Allan King Starring Billy Edwards, Antoinette Edwards, Bogart Edwards • Salesman (1969) Directed by Albert Maysles, David Maysles & Charlotte Zwerin Starring Paul Brennan, Charles McDevitt, James Baker • In The Year of the Pig (1969) Directed by Emile de Antonio Starring Lyndon B. Johnson, Ho Chí Minh, Robert McNamara • The Sorrow and the Pity (1969) Le chagrin et la pitié Directed by Marcel Ophüls Starring Helmut Tausend, Marcel Verdier, Alexis Grave • The Olympics in Mexico (1969) Olimpiada en México Directed by Alberto Isaac Starring Enrique Lizalde, Tommie Smith, John Carlos • Diaries, Notes and Sketches (also known as Walden) (1969) Directed by Jonas Mekas Starring Timothy Leary, Edie Sedgwick, Norman Mailer

Bart and Jenna are rarely afraid to dive headfirst into uncharted areas of cinema, but certain movies are just too important for them to toss around in their usual subjective way. Gillo Pontecorvo’s The Battle of Algiers is one such landmark work that seems irresponsible to discuss without a maximum amount of context. That’s why Cinema60 invited African Studies and Decolonization scholar Christopher J. Lee to the podcast to help them unpack the history and politics of the film and the events that it depicts. In addition, Chris wanted to talk about Ousmane Sembène’s Black Girl, another film from 1966 with a very different, but equally harsh, perspective on French colonialism in Africa. The two films, taken together, give a well-rounded visualization of the revolutionary ideas of political philosopher Frantz Fanon, whose thoughts got to the heart much of the social upheaval of the era. Listen as Chris gives a global backdrop to the rebellious spirit that inspired the big changes in the way people governed themselves, and in the way they made movies, in the mid-20th century. The following films are discussed: • The Battle of Algiers (1966) La battaglia di Algeri Directed by Gillo Pontecorvo Starring Brahim Hadjadj, Jean Martin, Yacef Saadi • Black Girl (1966) La noire de... Directed by Ousmane Sembène Starring Mbissine Thérèse Diop, Anne-Marie Jelinek, Robert Fontaine Also mentioned: • The Birth of a Nation (1915) Directed by D.W. Griffith Starring Lillian Gish, Mae Marsh, Henry B. Walthall • De Voortrekkers (a.k.a. Winning a Continent) (1916) Directed by Harold M. Shaw Starring Dick Cruikshanks, Caroline Frances Cooke, Jackie Turnbull • Rome, Open City (1945) Roma città aperta Directed by Roberto Rossellini Starring Anna Magnani, Aldo Fabrizi, Marcello Pagliero • Paisan (1946) Paisà Directed by Roberto Rossellini Starring Carmela Sazio, Gar Moore, William Tubbs • Bicycle Thieves (1948) Ladri di biciclette Directed by Vittorio De Sica Starring Lamberto Maggiorani, Enzo Staiola, Lianella Carell • Cry, the Beloved Country (1951) Directed by Zoltan Korda Starring Canada Lee, Sidney Poitier, Charles Carson • Le petit soldat (1961) Directed by Jean-Luc Godard Starring Anna Karina, Michel Subor, Henri-Jacques Huet • Cléo from 5 to 7 (1963) Cléo de 5 à 7 Directed by Agnès Varda Starring Corinne Marchand, Antoine Bourseiller, Dominique Davray • The Umbrellas of Cherbourg (1964) Les parapluies de Cherbourg Directed by Jacques Demy Starring Catherine Deneuve, Nino Castelnuovo, Anne Vernon • Nanny (2022) Directed by Nikyatu Jusu Starring Anna Diop, Michelle Monaghan, Sinqua Walls Books discussed: • The Stranger by Albert Camus (1942) • Prison Notebooks by Antonio Gramchi (1947) • Black Skin, White Masks by Frantz Fanon (1952) • God's Bits of Wood by Ousmane Sembène (1960) • The Wretched of the Earth by Frantz Fanon (1961) • Frantz Fanon: Toward A Revolutionary Humanism by Christopher J. Lee (2015)

In the immortal words of Betty Rizzo: “Watch it, hey, I’m Doris Day – I was not brought up that way!” While teen stars could always be counted on to keep their pants on in the dying days of Old Hollywood comedy, Doris Day was a unique figure in that she played adult working women who were continually thrown into the most lustful of situations, and never worried audiences that she’d come out the other side without her virtue intact. As one of the biggest box office draws of the era, movie-goers would eagerly await her latest bedroom adventures in which she narrowly escapes certain fornication as frequently as James Bond narrowly escapes certain death. And, like Bond, there’s never any doubt that she’ll get her man. In this episode, Bart and Jenna delight in some 1960s romcom frivolity as Doris Day turns down every leading man from Rock Hudson and James Garner, to Cary Grant and Rod Taylor. She also manages to do battle with a host of mechanical foes, from Automats and car washes to city-wide blackouts and robot vacuum trash dogs. Our intrepid hosts treat these movies with the seriousness they deserve. The following films are discussed: • Lover Come Back (1961) Directed by Delbert Mann Starring Doris Day, Rock Hudson, Tony Randall • That Touch of Mink (1962) Directed by Delbert Mann Starring Doris Day, Cary Grant, Gig Young • Move Over, Darling (1963) Directed by Michael Gordon Starring Doris Day, James Garner, Polly Bergen • Send Me No Flowers (1964) Directed by Norman Jewison Starring Doris Day, Rock Hudson, Tony Randall • The Glass Bottom Boat (1966) Directed by Frank Tashlin Starring Doris Day, Rod Taylor, Arthur Godfrey • Where Were You When the Lights Went Out? (1968) Directed by Hy Averback Starring Doris Day, Robert Morse, Patrick O’Neal

In the year 1960, Federico Fellini premiered La Dolce Vita and changed cinema forever. That sounds like hyperbole but it’s really just fact; it was the film that not only spawned a thousand knock-offs, both contemporary and legacy, but launched Fellini’s own career into the stratosphere. Known for his dream-like films, fantastical visuals, introspective storylines and iconic Nino Rota scores, the ‘60s truly defined his unique voice as a director. In finally tackling Fellini, Cinema60 has stared into the face of God and emerged with the heaviness that comes with the gaining of great knowledge and the irrevocable loss of youthful innocence. In this episode, Bart and Jenna spend almost 30 minutes breaking down La Dolce Vita in great detail and then happily move on to the rest, because they’re all great too. Sure, the two heavy hitters here cast a long shadow over Fellini’s extensive body of work and over the entirety of ‘60s arthouse cinema. But the others that we cover are treasures in their own right – shining even more brightly due their comparative underexposure. I turns out, watching each of these films in order tells a rather gripping story of both the evolution of Fellini as an artist and of the self-immolating ambitiousness of the decade itself. The following films are discussed: • La dolce vita (1960) Directed by Federico Fellini Starring Marcello Mastroianni, Anita Ekberg, Anouk Aimée • Boccaccio '70 (1962) Segment: "Le tentazioni del Dottor Antonio" Directed by Federico Fellini Starring Anita Ekberg, Peppino De Filippo, Antonio Acqua • 8½ (1963) Directed by Federico Fellini Starring Marcello Mastroianni, Anouk Aimée, Claudia Cardinale • Juliet of the Spirits (1965) Giulietta degli spiriti Directed by Federico Fellini Starring Giulietta Masina, Sandra Milo, Mario Pisu • Spirits of the Dead (1968) Histoires extraordinaires - segment: "Toby Dammit" Directed by Federico Fellini Starring Terence Stamp, Marina Yaru, Salvo Randone • Fellini Satyricon (1969) Directed by Federico Fellini Starring Martin Potter, Hiram Keller, Max Born Bonus Topics: • Spirits of the Dead (1968) Histoires extraordinaires - segment: "Metzengerstein" Directed by Roger Vadim Starring Jane Fonda, Peter Fonda, Serge Marquand • Spirits of the Dead (1968) Histoires extraordinaires - segment: "William Wilson" Directed by Louis Malle Starring Alain Delon, Brigitte Bardot, Katia Christine • Fellini: A Director's Notebook (1969) Directed by Federico Fellini Starring Federico Fellini, Giulietta Masina, Marcello Mastroianni

After Godzilla leapt to the big screen in 1954, he quickly became Japan’s most recognizable pop culture expression of lasting trauma and remorse over the nuclear end of their involvement in WWII. In the 1960s, Godzilla-inspired kaiju movies took this same metaphor of an unstoppable destructive force that indiscriminately kills both the innocent and the guilty with equal fury, and made it fun! Carlo Vanstiphout of Back Row Cinema and CRUD Buddies shares his expertise on his favorite era of Japanese monster movies and help us understand how Japan learned to stop worrying and love the atomic monsters. While Godzilla is discussed in detail, Carlo focuses mostly on Big G’s Toho friends, as well as a certain fire-powered turtle and a stone giant from Daiei (Toho Studio’s main kaiju competition). In this episode, Carlo navigates through the several dozen kaiju movies made in the Sixties and chooses six that he truly enjoys and thinks best represent what was happening in the genre at the time. Left to their own devices, Bart and Jenna could have blundered through these movies and perhaps drawn a few conclusions about the appeal of rubber monsters in the ‘60s. But thankfully Carlo is on hand to explain what the hell is going on in these colorful, outrageously fun, and often perplexing batch of films. The following films are discussed: • Mothra (1961) モスラ Directed by Ishirô Honda Starring Furankî Sakai, Hiroshi Koizumi, Kyôko Kagawa • Frankenstein vs. Baragon (a.k.a. Frankenstein Conquers The World) (1965) フランケンシュタイン対地底怪獣 Directed by Ishirô Honda Starring Nick Adams, Kumi Mizuno, Tadao Takashima • Daimajin (1966) 大魔神 Directed by Kimiyoshi Yasuda Starring Miwa Takada, Yoshihiko Aoyama, Jun Fujimaki • Ebirah, Horror of the Deep (a.k.a. Godzilla vs. the Sea Monster) (1966) ゴジラ・エビラ・モスラ 南海の大決闘 Directed by Jun Fukuda Starring Akira Takarada, Kumi Mizuno, Chôtarô Tôgin • King Kong Escapes (1967) キングコングの逆襲 Directed by Ishirô Honda Starring Rhodes Reason, Mie Hama, Linda Miller • Gamera vs. Guiron (1969) ガメラ対大悪獣ギロン Directed by Noriaki Yuasa Starring Nobuhiro Kajima, Miyuki Akiyama, Christopher Murphy

Having already gotten to the end of the decade while playing Kiss Marry Kill, it was time for a change. Welcome to Top Ten, where Bart and Jenna each choose three movies – one they think they’ll love, one they know they love, and one wildcard choice – in hopes of adding to their top ten ranking of the year in question. So… not terribly dissimilar to Kiss Marry Kill. In this episode, Bart and Jenna play Top Ten with the year 1960, focusing on foreign films they know and/or expect to love. From the most arthouse of arthouse choices, to some deeply cynical satires, all of their selections are worth your time – even if they didn’t all make it into the final rankings. The following films are discussed: • Late Autumn (1960) 秋日和 Directed by Yasujirô Ozu Starring Setsuko Hara, Yôko Tsukasa, Mariko Okada • The Naked Isalnd (1960) 裸の島 Directed by Kaneto Shindô Starring Nobuko Otowa, Taiji Tonoyama, Shinji Tanaka • Purple Noon (1960) Plein soleil Directed by René Clément Starring Alain Delon, Maurice Ronet, Marie Laforêt • The Good Girls (1960) Les bonnes femmes Directed by Claude Chabrol Starring Bernadette Lafont, Clotilde Joano, Stéphane Audran • The Wheelchair (1960) El cochecito Directed by Marco Ferreri Starring José Isbert, Pedro Porcel, José Luis López Vázquez • The White Dove (1960) Holubice Directed by Frantisek Vlácil Starring Katerina Irmanovová, Karel Smyczek, Vjaceslav Irmanov

The legendary Harry Alan Towers: independent film producer, part-time pimp and full-time opportunist. Britain’s answer to Roger Corman, Towers started off the 60s believing that your brain is the most powerful sexual organ. By the end of the Sixties, he accepted – like everybody else in the biz did – that, nope, your junk is. Turned on by the literary bone fides he’d get by adapting great books into great movies, Towers instead turned his attention instead to noted hate-crime enthusiast Sax Rohmer. His pet project focused on the most evil man who never lived: Dr. Fu Manchu. In this episode, Bart and Jenna sidestep Bootleg Bond by focusing on Fu Manchu films, a revival franchise that never would have existed if not for ‘60s Bond Mania. Jenna moans and bitches about how much she can’t stand these admittedly dated and racist films even if she kinda secretly enjoys the pop-mod styled misandrist villains. And to his utter delight, Bart finally gets his vengeance for all of the Eurospy trash Jenna forced him to watch. You have not heard the last of…! The following films are discussed: • The Face of Fu Manchu (1965) Directed by Don Sharp Starring Christopher Lee, Nigel Green, Tsai Chin • The Brides of Fu Manchu (1966) Directed by Don Sharp Starring Christopher Lee, Douglas Wilmer, Tsai Chin • The Million Eyes of Sumuru (1967) Directed by Lindsay Shonteff Starring Shirley Eaton, Frankie Avalon, George Nader • The Vengeance of Fu Manchu (1967) Directed by Jeremy Summers Starring Christopher Lee, Douglas Wilmer, Tsai Chin • The Blood of Fu Manchu (1968) Directed by Jesús Franco Starring Christopher Lee, Richard Greene, Tsai Chin • The Girl from Rio (1969) Directed by Jesús Franco Starring Shirley Eaton, Richard Stapley, George Sanders • The Castle of Fu Manchu (1969) Directed by Jesús Franco Starring Christopher Lee, Richard Greene, Tsai Chin