Filming Across Cultures: Cowboys, Samurai and Kung Fu Champs in the 1970s

In the 1960s and 70s, the neighborhood theater functioned as a Cinematheque of global genre films, offering Italian westerns, French crime thrillers, English horror, Soviet fantasy, Japanese samurai films and Hong Kong kung fu films, among other genres. I still marvel at the recollection of seeing such international movie icons as John Wayne, Jean Gabin and Toshiro Mifune in new movies at local theaters when I was still a teenager. I once wrote about this particular movie culture in a chapter for a proposed book on 42nd Street theaters. I’d like to share an excerpt from the chapter, after a few paragraphs of introduction.

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The Films of 1968, Part 1: What We Were Seeing 50 Years Ago

In 1968, Hollywood was undergoing quite a turbulent period. The studios continued to turn out lightweight studio entertainment as if it were 1938, while also contending with audience demand for greater frankness, more mature subject matter and fewer restrictions on language, nudity and violence. Foreign films and independent films were gaining greater critical and audience acceptance. The Motion Picture Association of America, long the guardian of the Production Code, with which films had to comply in order to get an MPAA seal of approval, first introduced a tag, “Suggested for Mature Audiences,” in late 1967 and then, when they realized that wasn’t enough, installed a full-blown ratings system for films in October 1968: G for General Audiences, M for Mature subject matter, R for Restricted, and X for adults only. So you had films like Robert Aldrich’s X-rated THE KILLING OF SISTER GEORGE, about a lesbian romance, and Christian Marquand’s  CANDY, about a young girl’s sexual awakening (invariably involving slumming over-forty Hollywood stars like Richard Burton, Marlon Brando, James Coburn and Walter Matthau), alongside sugary assembly line fare like Elvis Presley songfests; family comedies starring Doris Day, Jerry Lewis and Don Knotts, adaptations of Broadway musicals like FINIAN’S RAINBOW, FUNNY GIRL, and OLIVER!; and live-action Disney family features, five of them released in 1968: BLACKBEARD’S GHOST, THE ONE AND ONLY, GENUINE, ORIGINAL FAMILY BAND, NEVER A DULL MOMENT, THE HORSE IN THE GRAY FLANNEL SUIT, and THE LOVE BUG.

Bronx Movie Theaters: A Scrapbook from the 1960s and ’70s

One of my big regrets as a lifelong moviegoer is that I never thought to take pictures of movie theaters I visited until all of the ones I remember most fondly were gone. When I think back to the varied theaters I attended in the Bronx from the late 1950s to the mid-1970s, I wish I had pictures of them and the marquees displaying the films I saw. Granted, there was only a brief period when I had a good camera and the ability to photograph some of these theaters in the 1970s, but I could have gotten pictures of 13 of them while they were still functioning. Not to mention the theaters I visited in Manhattan during those years. And when I got another good camera in 1981, I could have photographed other theaters I attended in the Bronx as well as in Manhattan, particularly in Times Square and 42^nd Street. Now all I can do is embark on Google searches and when I find photos of Bronx theaters, they tend to be quite old, from long before my time.

Great Moments in Classic Television from 2017

I watched approximately 765 episodes from over 100 different TV shows in 2017, spanning the years 1949 to 2017. And that doesn’t include specials, movie-spin-offs or TV movies. I watched more from the 1950s than any other decade (190), followed closely by the 2010s with 185. I watched four series in their entirety, as well as two entire seasons of “Perry Mason.” I watched mostly on DVD, but also on VHS, Blu-ray, Amazon Prime, YouTube and cable TV. I like to celebrate anniversaries so I watched a lot of shows from 1957, 60 years ago, and 1967, 50 years ago, and a good amount from 1997, but far fewer from 1977, 1987, and 2007.

THE GOOD, THE BAD AND THE UGLY: 50 Years Later

Today, December 29^th, 2017, is the 50^th anniversary of the New York City premiere of THE GOOD, THE BAD AND THE UGLY, the third film in Sergio Leone’s “Man with No Name” trilogy of Italian westerns starring Clint Eastwood (whose character actually has names in the first two films but is only called “Blondie” in the third). In honor of the occasion, I pulled out my old 1998 MGM DVD edition, mercifully unrestored and just like it was when it played in New York theaters back then, and watched it. (I paid several visits to see it on the big screen in 1969-72 and again, years later, when it played the Film Forum.) I even recently found the original Elgin Theater schedule that announced the triple bill of this film with two films by Sam Peckinpah, THE WILD BUNCH and THE BALLAD OF CABLE HOGUE, a seven-and-a-half-hour program which I attended on Saturday, January 29, 1972 with two friends from the Bronx.

Aliens, Gunslingers, Samurai and One-Armed Swordsmen: The Genre Films of 1967

The 50th anniversaries of various landmark films from 1967 have been celebrated widely, including in a couple of previous entries here, but this time I want to look back at the unprecedented variety of genre films that came out that year, particularly from other countries, all part of the global cinematic landscape that only gradually came into view to a budding film buff in his formative years and still expanding the more I discover.

I’ve seen more films from 1967 than from any other individual year, 162 at last count, with 71 from the U.S. and 91 from other countries, chiefly Japan, Hong Kong, England and Italy, but also from France, Germany, Mexico and the Soviet Union. My 14^th birthday was in 1967 and I saw a total of twenty 1967 releases in theaters in 1967 and early 1968 when lots of 1967 releases finally turned up in the Bronx, nearly all of them Hollywood releases. I saw others in theaters in the following years, including some of my favorites of 1967–EL DORADO, THE DIRTY DOZEN, and Sergio Leone’s “Man with No Name” trilogy–and then quite a few more on TV broadcasts and in revival theaters in the 1970s. I would add more favorites from that year in the home video era as I discovered previously unseen titles on video and DVD, particularly from Japan and Hong Kong. For instance, it wasn’t until 1997 that I finally saw the Jimmy Wang Yu Shaw Bros. classic, ONE-ARMED SWORDSMAN.

The Art of EL DORADO

50 years ago today, EL DORADO opened in New York City. It was the next-to-last film directed by Howard Hawks and it starred John Wayne and Robert Mitchum. I didn’t see it in 1967; I had to wait till it came back as part of a double feature with William Wyler’s last movie, THE LIBERATION OF L.B. JONES, in 1970, shown at the Earl Theater on 161st Street in the Bronx, just a block away from Yankee Stadium. It’s something of a follow-up to Hawks’ earlier western, RIO BRAVO (1959), which had a similar situation of a small band of lawmen holding a powerful prisoner and fending off attempts by the prisoner’s army of gunslingers to free him. In both films, one of the lawmen is a drunk and has to sober up fast when all hell breaks loose. I wrote about RIO BRAVO in my Dean Martin Centennial piece and I’ll write more about EL DORADO in my upcoming Robert Mitchum Centennial piece, slated for August 6, and in an upcoming piece on the best films of 1967. RIO BRAVO is arguably the better film, offering more layered characters and focusing less on plot mechanics than on character relationships and interactions. It’s a more complex, serious film while EL DORADO is more light-hearted and entertaining. RIO BRAVO is more demanding and, ultimately, more satisfying, but I’ve seen EL DORADO much more often (about ten times to RIO BRAVO’s four or five). It has more clever scenes and imaginative bits of action and great chemistry among its group of lead actors (Wayne, Mitchum, James Caan, Arthur Hunnicutt, Charlene Holt). It also introduces the drunk character (Mitchum) when he’s sober and in full command of his faculties, so we know what he’s like before he sinks into an alcoholic daze. In RIO BRAVO, we just have to accept Wayne’s word that the drunk (Dean Martin) was once his best man with a gun, since we only see him in his drunk phase for roughly the first half of the movie.