"A Fistful of Dollars" (1964)

Clint Eastwood western.  I grew up when Sunday afternoons all that was on were old westerns--and as a kid, I generally went and did something else.  Now as I continue my exploration of films, it seems too weird to try watching an old western at any other time than in the afternoon.

What strikes me about this one--'64, is that early?--is the question of music.  One of the versions of My Darling Clementine simply plays the song "Oh, My Darling Clementine"--which might be obvious from the title, but does harken back to cowboy folk songs.  A Fistful of Dollars seems to try addressing the question "How do you say 'Western' and 'Modern' at the same time?"  You have whistles and chorus--perhaps connecting to cowboy ballads which were both sung and whistled to--, but the whistles are made using modern sounds--as if just a little more push to 'em and they'd be only electronic sounds--which would be all wrong for an "old western".

As for watching a western in the afternoon--that bright sunlight outside seems to help counterbalance all the violent shoot out stuff.  The western ends, you look outside, and that ol' sun reminds you that that story is done, that that isn't here and now, and you have a chance to reflect that the story was woven well enough together that you enjoyed it--and the good guy won.

"State Fair" (1962)

Music is better--better singers (Bobby Darin, Pat Boone), songs seem better somehow, better use of music in the background, maybe music recorded better, too.

Not sure that I liked the story better, though.  Of the subtle differences in story, I think I prefer the 1945 version overall.  Okay, maybe 1 or 2 story changes I liked better in this version.  Still I think I'd take the 1945 story with the 1962 music.  This might be an interesting movie to look at as a crossover/clash of 50s values (which win out) and the 60s values to come (which do flavor the show some).  I may be reading in some of the 60s bit--reading in something that isn't there.  But, it isn't just a modernization of the 1945 version.  There is something a little bit different about it--something besides the singing--and that's what I think it is.  It's trying to cross over into the 60s, but isn't ready to leave the 50s yet.

My recommendation, watch for the music--and if you like looking at those early race cars.

"On Her Majesty's Secret Service" Special Edition (1969)

This movie reawakened the question of "What makes a movie slow?"  This movie had its slow moments (so I did fast forward just a tiny bit in places), but I wouldn't call it a slow movie.  I don't know that you can judge by amount of chase scenes, length or amount of suspenseful moments, or anything as obvious as all these things.  At least some of it has to be the mood of the person watching.  If the person is impatient for something in their own life, will all movies seem slow?  If a person is perfectly content with things, will all movies seem either just right or too fast?

SPOILER ALERT:  And the ending.  What.  Forget the "If you want a happy ending, stop here" sign?  Well, guess you can't complain too much about not knowing what happens.  The boy gets the girl, a happy wedding, and no marriage obligations.  Thanks a lot.

Analysis all being said, it was a decent enough movie.  After all, it's a James Bond movie, so what do you expect?  He likes all the girls.  The occasional gadget exits.  Everybody "hates" Bond so they attack 'im; therefore, there's lots of fights and chase scenes.  This one is a regular Winter Olympics--skiing, skating, snow blowers (really?  was that scene/moment necessary?), bobsleds down tracks, avalanches, carols, Christmas trees, presents, people falling over cliffs, and a demolition derby and a bull fight thrown in for good measure. And Bond in a Scottish kilt...ok.

And, obviously, there's the iconic Bond music.  The man sweeping and whistling a fragment of a Bond theme was a very nice touch.

Make note:  This really is a fine movie.  It just leaves me with more analytic questions than what I have answers for.

"The Apartment" (1960)

Romances, especially romantic comedies, are a hard sell for me, but I actually enjoyed this one.  In fact, I rate it top notch.  It's comedic without being corny or over the top.  Yet it has serious moments--heart-touching ones--which keeps it realistic and well-balanced.  Nice theme-song.  Black and white picture; you don't miss the color at all.  It would be a nice movie to watch, or re-watch, during the winter holidays.

"Exodus" (1960)

While I was growing up, I remember playing on Grandma's electric organ.  She had a book or two that you played chord keys with the left hand while you played the melody with the right hand.  I imagine at one point or another I played all the way through all those songs at least once, but there was bound to be a couple of songs more favored than the others.  I remember "Alley Cat" being one of those favored.  "Exodus" had to be the other.  I don't know that I remember even any other titles.  I think that the appeal of "Alley Cat" was it's jazzy rhythms and boogie melody.  It was also certainly something relate-able; to a kid, a song about cats is about cats, and only about cats.  As for "Exodus", that had to be something Biblical, right?  But it also had those low notes scattered throughout the melody.  Playing ledger notes was cool.  And there's something contagious about that melody.  But, I could never figure out why I never noted it in the movie.

I know now why.  I was familiar with the movie "Ten Commandments" and wasn't aware that "Exodus" was a completely different movie.  And even if I was aware of that, I figured it was just a "less popular" version of the same story.

Tonight, I put this movie in the player, and from the start, there was that song that I knew so well.  Tonight, I remembered Grandma's organ.  And realized that I didn't know the movie at all.  Just that contagious song.

The movie put that song to good use.  Used that melody like a theme and variations song--now somber, now miltaristic/march-like, now reflective, now bold.  Only thing missing was hearing it one more time through the end credits.  Yeah, no end credits.  They're all at the beginning, I guess.  Well, that, and the movie is before end credits become quite so long (which I usually don't mind).

The movie has a slow start.  Or maybe if you're more prepared for a slow-paced movie, then it isn't a slow start.  Just a slow paced movie.  Admittedly, that's probably from today's standards, which I shouldn't do.  Even the action sequences, though aren't hold-your-breath-fast.  But, the story is interesting enough, once the story gets going, and if you give it a chance.

You should be aware that this is a long movie by time standards.  3 hrs. and 28 minutes.  The subject of the film is founding of the modern-day nation of Israel.  Apparently based on a book.  It's not an action flick.  It's not entirely a reflective flick either.  It does do a good job of capturing the spirit of the people--not that I was there (obviously)--but, I say that, because that's what strikes me as one of the movie's strongest points:  that determined look on Ari Ben Canaan's face (Paul Newman), the old man on the left of the chess board who shouted back at Canaan's options, the concentration of many other characters playing the extras or minor roles.

I debated with myself hanging in there to watch such a long "lazy" movie, but I am glad that I watched it to the end, even considering it's ending (though, I can't imagine what other ending you would put.  No other ending would fit).

"Peeping Tom" (1960)

A well-done creepy film. Creepy. But, well-done. We can safely say that I'll probably not specialize in psychological thrillers/horror movies such as this one. I will say the sound choices were as much a plot element of the film as anything else. Definitely not invisible sound. Piano, plain and simple, but very pronounced. Latin music from a recording played live on film. Not only is there a camera man filming a mad camera man filming other camera operators, but a sound man recording the sound of a recording--okay not as many layers as the camera, but the same levels are implied and exist along side the camera bits. It's still a creepy film.

Creepy along the same lines as the German film ''The Testament of Dr. Mabuse".

"Spartacus" (1960)

I like the beginning of this movie. (It's a 3+ hr. movie.) Lots of featured French horn sounds (not surprised). I cheated and read a synopsis of the ending. So, likely won't watch it all the way to the ending, because I'm in the mood tonight for a happy ending--and I'm also not in the mood to see a "slaughter of thousands" and mixed mood ending. So, I'm going to stop after one of the high points and call it good.

 I did sneak a peek through a few other scenes within the last hour, and a few seconds of the ending.  I still call it a good movie, even though I didn't watch most of the last hour.

"Tom Jones" (1963)

A most excellent adaptation of the novel. I like it. I want to watch it again, although, I must confess that’s largely because of the music. The music is in the same class as “Convoy” was—seems to fit, in a manner of speaking, but at the same time, makes you cock your head to one side in delightful puzzlement. Intriguing instrument choices. One well-placed dog whine. Calliope style music using a harpsichord of all things—at times clownish. A great puzzle, the music is. I want to analyze it. A couple of characters break the audience wall on occasion, and the narrator sings—sings, what, a ministral song? A bar style song? I don’t know. Did I mention I want to analyze it?

I was away from my notes when I wrote the review above. It was the music that won the award. Really? That was the top dog of its category in 1963? Now I want to analyze it even more.

"Hello, Dolly!" (1969)

This musical made me grin from ear to ear.  Very much enjoyed it.  Definitely a musical with spectacle, but the music was delightful and the choreography fun to watch.

"Sons and Lovers" (1960)

Filled with strong women--so strong they "ruin" lead male's life. What?!