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 ElyAlso 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 Eubank, Charles Napier• Up! (1976) Directed by Russ Meyer Starring Edward Schaaf, Robert McLane, Elaine Collins

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 PitoëffText discussed:• On Movies (1969) by Dwight McdonaldOther 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 FunicelloAlso 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 KrookAlso 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 FontaineAlso 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 WallsBooks 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 BornBonus 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

In search of thought provoking astral projections from across the galaxy, the USS KINO60 has launched triumphantly for what will be remembered as a utopian journey through the stars. Cosmonauts Bart and Jenna have reported some bumpy viewing conditions and unstable nuke-happy alien civilizations, but for the most part their mission has remained stylish and largely made up of primary colors. We wish them the best – glory to the conquerors of the universe!In this episode, Bart and Jenna take a peak at some choice sci-fi genre flicks from behind the Iron Curtain. What started off as a look at the inspirations for 2001: A Space Odyssey morphed into an excuse to watch Ikarie XB-1 and settled in nicely with a dude standing on Venus shooting various Godzillas with a handgun. Please enjoy this peek into the optimistic future we could be living in right now if it weren't for the selfish capitalist pigs who hate peace and cooperation.The following films are discussed:• Silent Star (a.k.a. First Spaceship on Venus) (1960) Der schweigende Stern Directed by Kurt Maetzig Starring Yôko Tani, Oldrich Lukes, Ignacy Machowski• Planet of Storms (1962) Планета бурь Directed by Pavel Klushantsev Starring Vladimir Yemelyanov, Georgi Zhzhyonov, Gennadi Vernov• Encounter in Space (1963) Мечте навстречу Directed by Mikhail Karyukov & Otar Koberidze Starring Larisa Gordeichik, Boris Borisyonok, Otar Koberidze• Icarus XB-1 (1963) Directed by Jindrich Polák Starring Julie Andrews, Christopher Plummer, Eleanor Parker• The Andromeda Nebula (1967) Туманность Андромеды Directed by Evgeniy Sherstobitov Starring Vija Artmane, Sergey Stolyarov, Nikolai Kryukov• Mission Mars (1968) Directed by Nicholas Webster Starring Darren McGavin, Nick Adams, George De Vries

Kicking off our fifth season are the films of Robert Wise, arguably the most important director of the sixties – that is if you're going by box office profits. Despite the musical genre not being one he ever associated with before this decade, Wise almost single-handedly shaped the evolution of the Hollywood Musical. Previously known for his noirs and a few notable sci-fi and horror films, by the 1960s he became the director for two of the biggest movie musicals of all time. In this episode, Bart and Jenna cover these two Best Picture-winning films along with several other notable films that he made this decade – a couple of which are a highly prized by film lovers as his two mega-blockbusters. Though widely regarded as a gifted director with many beloved classics to his name, it's hard to put a finger on any distinct personality or trademarks he brings to his uniformly solid but varied films. Bart and Jenna attempt to pinpoint what, if anything, makes a film identifiably “Wisean” – a tought feat when you're trying to link up The Sound of Music with a depressingly realistic, toxic love and divorce drama. The following films are discussed:• West Side Story (1961) Directed by Robert Wise & Jerome Robbins Starring Natalie Wood, Richard Beymer, Rita Moreno• Two for the Seesaw (1962) Directed by Robert Wise Starring Robert Mitchum, Shirley MacLaine, Edmon Ryan• The Haunting (1963) Directed by Robert Wise Starring Julie Harris, Claire Bloom, Russ Tamblyn• The Sound of Music (1965) Directed by Robert Wise Starring Julie Andrews, Christopher Plummer, Eleanor Parker• The Sand Pebbles (1966) Directed by Robert Wise Starring Steve McQueen, Richard Attenborough, Mako• Star! (1968) Directed by Robert Wise Starring Julie Andrews, Richard Crenna, Michael Craig

Starting in the mid 1940s and continuing through the 1960s, Egypt experienced a Golden Age of cinema. With the third largest private film production system in the world, Egypt acted as Hollywood to most all Arabic speaking countries; producing commercially minded hit after hit, with crowd pleasing stories, star players and big wig directors. Yet, as with most industries during the time, by the 1960s the bottom had started to fall out – The Nasser regime nationalized the industry in 1966, bringing a close to what had been a rather free wheeling time of cinematic exploration and focusing more on political mindedness and general entertainment. In this episode, Bart and Jenna dive into a positive who's who of Egyptian cinema. This dazzling array of famous Egyptian directors, films, and actors includes young Omar Sharif, Shukry Sarhan and Soad Hosny, bombshells Shadia and Hind Rostum, multiple Naguib Mahfouz adaptations, and even two films that broke through to the Western world: the Muslim Crusade epic Saladin and the internationally celebrated The Night Counting The Years. Not only do these foreign films not feel so foreign, but it turns out this might have been the most rewarding watch of the entire podcast season – all thumbs up!The following films are discussed:• The Beginning and the End (1960) بداية و نهاي Directed by Salah Abu Seif Starring Omar Sharif, Sanaa Gamil, Farid Shawki• A Rumor of Love (1961) إشاعة حب Directed by Fatin Abdel Wahab Starring Omar Sharif, Soad Hosny, Youssef Wahbi • Chased by the Dogs (1962) اللص والكلاب Directed by Kamal El Sheikh Starring Shadia, Shukry Sarhan, Kamal Al-Shennawi• Saladin (1963) الناصر صلاح الدين Directed by Youssef Chahine Starring Ahmed Mazhar, Salah Zulfikar, Nadia Lutfi• The Sin (1965) الحرام Directed by Henry Barakat Starring Faten Hamama, Zaki Rostom, Abdullah Gaith• The Postman (1968) البوسطجي Directed by Hussein Kamal Starring Shukri Sarhan, Seif Abdelrahman, Zizi Mostapha• The Night of Counting the Years (1969) المومياء Directed by Shady Abdel Salam Starring Nadia Lutfi, Ahmed Marei, Ahmad Hegazi

The Korean War is aptly known in America as the “Forgotten War.” During the 1960s, the subject took in its last cinematic hurrah before getting overshadowed by the rising unpopularity of America's involvement in the Vietnam War. Meanwhile, South Korea was experiencing a fabled “Golden Age” of cinema that followed the civil war and continued into the ‘60s – one that had some of its most famous hits rather cruelly lost to time. At Cinema60, we've largely ignored the Combat Film genre on whole… until now! In this episode, Bart and Jenna take the opportunity to dig a little deeper into the war and “Golden Age” that time forgot. Watching three American films about the Korean War side-by-side with three films from South Korea on the same subject, they parse propaganda from profundity, patriotism from personal morality, and savagery from psychosis from two different nationalistic perspectives. While our two hosts don't necessarily see eye-to-eye on the entertainment value of the genre or what makes a film pro- or anti- war, there's an unexpected amount of agreement on which of these films is worth a look and which you can skip.The following films are discussed:• All the Young Men (1960) Directed by Hall Bartlett Starring Alan Ladd, Sidney Poitier, James Darren• Five Marines (1961) 오인의 해병 Directed by Kim Ki-duk Starring Choi Mun-lyong, Shin Yeong-gyun, Hwang Hae • War Hunt (1962) Directed by Denis Sanders Starring John Saxon, Robert Redford, Sydney Pollack• The Marines Who Never Returned (1963) 돌아오지 않는 해병 Directed by Lee Man-hee Starring Jang Dong-hwi, Lee Dae-yeob, Ku Bong-seo• The Hook (1963) Directed by George Seaton Starring Kirk Douglas, Robert Walker Jr., Nick Adams• Red Scarf (1964) 빨간 마후라 Directed by Shin Sang-ok Starring Choi Eun-hie, Shin Yeong-gyun, Choi Mu-ryong

With a starting list of over 15,000 features and documentaries to choose from, it's unlikely that the Cinema60 team will ever run out of movies to watch and discuss from their chosen decade. But Bart and Jenna have crossed a significant finish line with today's episode. Starting with Episode 5 back in March of 2019, Cinema60 has regularly put out “grab bag” episodes where your hosts pick three movies each from a given year - one they've never seen but are itching to watch, one they absolutely adore and have been itching to talk about on the show, and one terrible movie that they're itching to disparage for your listening pleasure. They call these episodes “Kiss, Marry, Kill,” and you are about to listen to their tenth and final round of the game, having now gone through every year of the Sixties.Jenna has chosen to keep things light and funny and has chosen three notable comedies from 1969 for discussion. Bart, on the other hand, has taken the opportunity to choose several firsts for Cinema60: their first Iranian film, their first kaijû movie, and, most importantly, their first Éric Rohmer film! So while Bart gushes for perhaps too long about what is arguably the best film by his favorite filmmaker, Jenna makes a tripartite bid to pull comedies out of the genre ghetto and defends their right to stand alongside any serious artsy movie you care to name.The following films are discussed:• The Cow (1969) Gaav Directed by Dariush Mehrjui Starring Ezzatolah Entezami, Mahin Shahabi, Ali Nassirian• Cactus Flower (1969) Directed by Gene Saks Starring Walter Matthau, Ingrid Bergman, Goldie Hawn• My Night at Maud's (1969) Ma nuit chez Maud Directed by Éric Rohmer Starring Jean-Louis Trintignant, Françoise Fabian, Marie-Christine Barrault• Take the Money and Run (1969) Directed by Woody Allen Starring Woody Allen, Janet Margolin, Jackson Beck• All Monsters Attack (1969) Gojira-Minira-Gabara: Oru kaijû daishingeki Directed by Ishirô Honda Starring Kenji Sahara, Machiko Naka, Tomonori Yazaki• The Magic Christian (1969) Directed by Joseph McGrath Starring Peter Sellers, Ringo Starr, John Cleese

Partially due to his desire to not get typecast after his most famous role, as well an urge to escape the pressure put on him by the studios to not be so ‘out' about his homosexuality, Perkins ran away from Hollywood and ended up having one of the strangest careers of any major star in the 60s. Fortunately, his self-imposed exile in France resulted in a bunch of movies that are exactly the kind of thing that the hosts of this podcast are always looking for: lost treasures that every cinephile should know about but not enough do. Pretty much all of these film are worth seeking out, but tune in and find out about at least a couple that rank as all-timers for the Cinema60 crew.The following films are discussed:• Tall Story (1960) Directed by Joshua Logan Starring Anthony Perkins, Jane Fonda, Ray Walston• Psycho (1960) Directed by Alfred Hitchcock Starring Anthony Perkins, Janet Leigh, Vera Miles• Goodbye Again (1961) Aimez-vous Brahms? Directed by Anatole Litvak Starring Ingrid Bergman, Yves Montand, Anthony Perkins• Phaedra (1962) Directed by Jules Dassin Starring Melina Mercouri, Anthony Perkins, Raf Vallone• Five Miles To Midnight (1962) Le Couteau dans la plaie Directed by Anatole Litvak Starring Sophia Loren, Anthony Perkins, Gig Young• Two Are Guilty (1963) Le glaive et la balance Directed by André Cayatte Starring Anthony Perkins, Jean-Claude Brialy, Renato Salvatori• Agent 38-24-36 (1964) Une ravissante idiote Directed by Édouard Molinaro Starring Brigitte Bardot, Anthony Perkins, Grégoire Aslan• The Fool Killer (1965) Violent Journey Directed by Servando González Starring Anthony Perkins, Edward Albert, Henry Hull• The Champagne Murders (1967) Le scandale Directed by Claude Chabrol Starring Anthony Perkins, Maurice Ronet, Yvonne Furneaux• Pretty Poison (1968) Directed by Noel Black Starring Anthony Perkins, Tuesday Weld, Beverly GarlandAlso mentioned:• The Trial (1962) Le procès Directed by Orson Welles Starring Anthony Perkins, Jeanne Moreau, Romy Schneider• Is Paris Burning? (1966) Paris brûle-t-il? Directed by René Clément Starring Jean-Paul Belmondo, Charles Boyer, Leslie Caron

We're back in the world of Bootleg Bond, navigating the vast number of rip-offs and spoofs that tried to cash in on the 007 craze. In this episode, Cinema60 goes to Italy to scout out Agent 077 – the ever forgettable Eurospy with the ever changing name and face. Marvel as he shoots men, slaps women, skis mountains, flies helicopters, saves the world from nuclear meltdown and remains wholly unengaging throughout. These six utterly disposable entertainments aren't really the point here, though. The real meat of episode is Bart & Jenna's philosophical inquiry into the true nature of knockoff cinema and what these films mean to their largely accidental audience. Moreover, they scrutinize the Italian film industry of the ‘60s that thrived on producing hundreds upon hundreds of cheap genre pictures and lousy imitations of hit films for international distribution, and ask the same men responsible for giving us the cinematic masterpieces of Fellini and Antonioni the crucial question: Cosa diavolo…?The following films are discussed:• Mission Bloody Mary (1965) Agente 077 missione Bloody Mary Directed by Sergio Grieco Starring Ken Clark, Helga Liné, Mitsouko• From the Orient with Fury (1965) Agente 077 dall'oriente con furore Directed by Sergio Grieco Starring Ken Clark, Margaret Lee, Fabienne Dali• 077 - Special Mission Lady Chaplin (1966) Missione speciale Lady Chaplin Directed by Alberto De Martino & Sergio Grieco Starring Ken Clark, Daniela Bianchi, Helga Liné• Secret Agent Fireball (1965) Le spie uccidono a Beirut Directed by Luciano Martino Starring Richard Harrison, Dominique Boschero, Wandisa Guida• Killers Are Challenged (1966) A 077, sfida ai killers Directed by Antonio Margheriti Starring Richard Harrison, Mitsouko, Wandisa Guida• Fury in Marrakesh (1966) 077 - Furia a Marrakech Directed by Mino Loy & Luciano Martino Starring Stephen Forsyth, Dominique Boschero, Mitsouko

In many ways, the story of Francis Ford Coppola in the 1960s is a true parallel to the story of the dissolution and subsequent restructuring of Hollywood throughout the decade. Coppola got into the film industry quickly after graduating college, he started in nudie flicks and worked his way up through various low budget Roger Corman pictures. After earning his MFA in film from UCLA in 1967, he graduated to working on blockbusters – only to find himself drawn to a style of independent film later known as New Hollywood. In this episode, Bart and Jenna pinpoint what it is about Francis Ford Coppola that's continually inspirational, and debate which of his many masterful films are their favorites - but then remember they're supposed to be talking about all his ‘60s juvenilia instead. Listen as they brave a handful of lighthearted nudie flicks, mediocre genre cash-ins, a couple of fascinating failures and one genuinely great film. The following films are discussed:• Tonight for Sure (1962) Directed by Francis Ford Coppola & Jerry Schafer Starring Karl Schanzer, Don Kenney, Marli Renfro• The Bellboy and the Playgirls (1962) Directed by Francis Ford Coppola & Fritz Umgelter Starring June Wilkinson, Don Kenney, Karin Dor• Battle Beyond the Sun (1962) Directed by Mikhail Karyukov and Aleksandr Kozyr & Francis Ford Coppola Starring Ivan Pereverzev, Aleksandr Shvorin, Konstantin Bartashevich• The Terror (1963) Directed by Roger Corman & Monte Hellman & Francis Ford Coppola & Jack Hale & Dennis Jakob & Jack Nicholson & Jack Hill Starring Boris Karloff, Jack Nicholson, Sandra Knight• Dementia 13 (1963) Directed by Francis Ford Coppola Starring Luana Anders, Bart Patton, Patrick Magee• You're a Big Boy Now (1966) Directed by Francis Ford Coppola Starring Peter Kastner, Elizabeth Hartman, Geraldine Page• Finian's Rainbow (1968) Directed by Francis Ford Coppola Starring Fred Astaire, Petula Clark, Tommy Steele• The Rain People (1969) Directed by Francis Ford Coppola Starring James Caan, Shirley Knight, Robert Duvall

Four generations collide when Bart and Jenna sit down for a conversation with budding film scholar and popular Letterboxd personality, Zoë Rogan, about Boomer movies. Using the final Arthur Freed-produced MGM musical, Bells Are Ringing, as a taking off point, the three classic Hollywood fanatics get to the bottom of what it is about older movies that makes them so much more appealing than current cinema. In this episode, Bart and Jenna grill Zoë on her method for getting contemporary film fans interested in 20th-century movies. Then, while Zoë and Jenna bond over their shared Dean Martin obsession, Bart does his best to politely nod and smile.The following film is discussed:• Bells Are Ringing (1960) Directed by Vincente Minnelli Starring Judy Holliday, Dean Martin, Fred Clark, Eddie Foy Jr., Jean Stapleton, Ruth Storey, Dort Clark, Frank Gorshin, Ralph Roberts, Valerie Allen, Bernard West, Steve Peck, Gerry Mulligan

With all of the talk of Ukraine happening right now, Cinema60 figured it was a good a time as any to see what films they could find. The films selected for this episode were mainly produced by Dovzhenko Film Studios in Kyiv during the post-Stalinist thaw that resulted in a push to create a uniquely Ukrainian Cinema that could be presented to the rest of the Soviet Union to demonstrate the diversity of cultures that have come together under one glorious united socialist banner. And so, Cinema60 tackles its most obscure batch of movies yet! It's a whole episode on Ukrainian cinema of the 60s that doesn't even include Sergei Parajanov's Shadows of Forgotten Ancestors, the one Ukrainian film of the era that's received significant international recognition. But before you turn that dial… wait! We've got at least four stone cold must-see classics here (which four those are depends on if you ask Jenna or Bart) plus a couple others that provide major insight into the values and traditions of a people that have been on all our minds lately. All six of these films are well-known and beloved by Ukrainians as major cultural touchstones and deserve wider recognition.While Bart and Jenna discuss what it is that makes these films “uniquely Ukrainian,” they mostly focus on the films on their own terms and decide whether they can be appreciated and enjoyed by 21st Century Westerners. The answer is a resounding, “так!”The following films are discussed:• Chasing Two Hares (1961) Za dvoma zaytsiamy Directed by Viktor Ivanov Starring Oleg Borisov, Margarita Krinitsyna, Nikolay Yakovchenko• Song of the Forest (1961) Lisova pisnya Directed by Viktor Ivchenko Starring Raisa Nedashkovskaya, Volodymyr Sydorchuk, Pyotr Vesklyarov• The Enchanted Desna (1964) Zacharovannaya Desna Directed by Yuliya Solntseva Starring Evgeniy Samoylov, Vladimir Goncharov, Evgeniy Bondarenko• The Stone Cross (1968) Kaminnyy khrest Directed by Leonid Osyka Starring Borislav Brondukov, Daniil Ilchenko, Yekaterina Mateyk• Conscience (1968) Sovist Directed by Vladimir Denisenko Starring Anatoliy Sokolovskiy, Viktor Malyarevich, Nikolay Oleynik• Annychka (1969) Directed by Boris Ivchenko Starring Lyubov Rumyantseva, Ivan Mikolaychuk, Grigore Grigoriu

Continuing our series of posthumous interviews, Cinema60 summons up Andrew Sarris from beyond the grave to talk about one of his favorite films: The Man Who Shot Liberty Valance. Best known for having popularized the auteur theory to the English speaking world, Sarris was a powerhouse film critic in the 1960s who wrote primarily for The Village Voice. In this episode, Bart and Jenna discuss Sarris' career and his unique voice in the world of film criticism before they get lost in a tangle of wildly differing opinions on the John Ford film of the hour. See, Jenna rides into town with a specific view on how things should be going down in this film, while Bart, with decades of teaching and rewatching experience, defends its honor in a more traditional way. Then Lee Marvin gets shot in the crossfire and everything really goes to hell! The following film is discussed:• The Man Who Shot Liberty Valance (1962) Directed by John Ford Starring John Wayne, James Stewart, Vera Miles, Lee Marvin, Edmond O'Brien, Andy Devine, Ken Murray, John Carradine, Jeanette Nolan, John Qualen, Woody Strode, Strother Martin, Lee Van CleefAlso mentioned:• The Informer (1935) Directed by John Ford Starring Victor McLaglen, Heather Angel, Preston Foster• Mr. Smith Goes To Washington (1939) Directed by Frank Capra Starring James Stewart, Jean Arthur, Claude Rains• Stagecoach (1939) Directed by John Ford Starring John Wayne, Claire Trevor, Andy Devine• The Grapes of Wrath (1940) Directed by John Ford Starring Henry Fonda, Jane Darwell, John Carradine• The Long Voyage Home (1940) Directed by John Ford Starring John Wayne, Thomas Mitchell, Ian Hunter• They Were Expendable (1945) Directed by John Ford Starring Robert Montgomery, John Wayne, Donna Reed• Fort Apache (1948) Directed by John Ford Starring John Wayne, Henry Fonda, Shirley Temple• 3 Godfathers (1948) Directed by John Ford Starring John Wayne, Pedro Armendáriz, Harry Carey Jr.• She Wore a Yellow Ribbon (1949) Directed by John Ford Starring John Wayne, Joanne Dru, John Agar• Rio Grande (1950) Directed by John Ford Starring John Wayne, Maureen O'Hara, Ben Johnson• Winchester ‘73 (1950) Directed by Anthony Mann Starring James Stewart, Shelley Winters, Dan Duryea• High Noon (1952) Directed by Fred Zinnemann Starring Gary Cooper, Grace Kelly, Thomas Mitchell• The Hanging Tree (1959) Directed by Delmer Daves Starring Gary Cooper, Maria Schell, Karl Malden

Cinema60 continues its series of Kiss, Marry, Kill, this time with a focus on the year 1968. As previously explained, it's a variation on the ol' FMK game, played year by year as we go through the decade. Bart and Jenna challenge each other to choose one film they love (“Marry”), one film they want to see (“Kiss”), and one film they hate (“Kill”) that was released in the year 1968.In this episode, Bart and Jenna indulge in some of the best introspective cinema that 1968 has to offer – including in depth discussions on the pitfalls of ‘60s masculinity, the triumphs of ‘60s feminism, and getting super high in front of your parents. Or, well, Peter Sellers' parents. The following films are discussed:• A Day Off (1968) 휴일 (Hyu-il) Directed by Lee Man-hee Starring Shin Seong-il, Ji Yun-seong, Kim Sun-cheol• The Girls (1968) Flickorna Directed by Mai Zetterling Starring Bibi Andersson, Harriet Andersson, Gunnel Lindblom• The Swimmer (1968) Directed by Frank Perry Starring Burt Lancaster, Janet Landgard, Janice Rule• Symbiopsychotaxiplasm: Take One (1968) Directed by William Greaves Starring William Greaves, Don Fellows, Susan Anspach• The Girl on a Motorcycle (1968) Directed by Jack Cardiff Starring Marianne Faithfull, Alain Delon, Roger Mutton• I Love You Alice B. Toklas (1968) Directed by Hy Averback Starring Peter Sellers, Jo Van Fleet, Leigh Taylor-Young

What was it about Arthurian legends that so captivated 1960s audiences? Depending on who's doing the retelling, and the century they're living in, the tales of King Arthur and his knights vary wildly from stodgy conservative fables, to shockingly taboo love triangles, to intriguing surrealistic sorcery. When Lerner and Loewe's play Camelot arrived on the scene in 1960 it quickly became a smash hit – an adaptation of T. E. White's Freudian-heavy text, it starred Richard Burton, Julie Andrews and put Robert Goulet on the map. Camelot was further imprinted onto the public consciousness in 1963 when, after the assassination of her husband, Jackie Kennedy went on record to say it was one of Jack's favorite soundtracks. In this episode, Bart and Jenna dive headfirst into a world of myth, magic, legend and a whole lot of jousting. As they weave their way through a series of largely mediocre films that seem like they should've been made for children – y'know, if it wasn't for all that nudity and violence – they look ever forward. Moving towards a shining ideal that they can see but cannot reach. For, like the Knights of the Round Table before them, they seek out the one true film that will unlock the truth and righteousness. A holy object that will single-handedly bring back the glory that was once known as… !!!The following films are discussed:• The Magic Sword (1962) Directed by Bert I. Gordon Starring Basil Rathbone, Estelle Winwood, Gary Lockwood• Lancelot and Guinevere (1963) Directed by Cornel Wilde Starring Cornel Wilde, Jean Wallace, Brian Aherne• Siege of the Saxons (1963) Directed by Nathan Juran Starring Janette Scott, Ronald Lewis, Ronald Howard• The Sword in the Stone (1963) Directed by Wolfgang Reitherman Voices by Rickie Sorensen, Sebastian Cabot, Karl Swenson• Willy McBean and his Magic Machine (1965) Directed by Arthur Rankin Jr. Voices by Larry D. Mann, Billie Mae Richards, Alfie Scopp• Camelot (1967) Directed by Joshua Logan Starring Richard Harris, Vanessa Redgrave, Franco Nero

The legacy of Stan Brakhage looms large in the crowded world of 1960s experimental film. His style of filming and editing has become instantly recognizable, as are the themes of nature, bodies, and children that he always circles back to. Having rejected a more conventional lifestyle, inspired in part by experimental artists he met in San Francisco and New York, Brakhage developed his own unique style of filmmaking from a young age – one that dabbled equally in refracted light, microscopic detail, inverted images, frenetic editing and aniline dyes. By the start of the 1960s, Brakhage had already begun to gain popular recognition on the film and arts scene. By the end of the decade, he had solidified his importance as, perhaps, the most influential experimental filmmaker of his century. In this episode, Bart and Jenna challenge themselves to sit down to watch over five hours worth of largely silent experimental film. Which, funny enough, wasn't actually as painful to either of them as it might have sounded when they started. For two people who consider themselves to be narrative supremacists, they sure have a lot to say about how to approach Brakhage for the first time and how to interpret his work. Heck, they might have even learned to love him a little bit… (NOTE: They highly recommend you spend 3 minutes and 13 seconds, respectively, getting a little taste of Brakhage before listening, if you're coming in completely blind. Though be warned: these pixelated transfers on YouTube are shoddy substitutes for Criterion's gorgeous HD masters.)The following films are discussed:• Mr. Tompkins Inside Himself (1960, 16 mm, 42 mins.)• The Dead (1960, 16 mm, 11 mins.)• Thigh Line Lyre Triangular (1961, 16 mm, 6 mins.)• Dog Star Man: Prelude (1961, 16 mm, 25 mins.)• Blue Moses (1962, 16 mm, 10 mins.)• Sartre's Nausea (1962–1963, 16 mm, 4 mins.)• Dog Star Man: Part 1 (1962, 16 mm, 31 mins.)• Mothlight (1963, 16 mm, 3 mins.)• Dog Star Man: Part 2 (1963, 16 mm, 6 mins.)• Dog Star Man: Part 3 (1964, 16 mm, 8 mins.)• Dog Star Man: Part 4 (1964, 16 mm, 6 mins.)• Song 1 (1964, 8 mm, 3 mins.)• Song 2 (1964, 8 mm, 1.5 mins.)• Song 3 (1964, 8 mm, 3 mins.)• Song 4 (1964, 8 mm, 3 mins.)• Song 5 (1964, 8 mm, 4.5 mins.)• Song 6 (1964, 8 mm, 2 mins.)• Song 7 (1964, 8 mm, 2.5 mins.)• Song 8 (1964, 8 mm, 3.5 mins.)• Fire of Waters (1965, 16 mm, 7 mins.)• Pasht (1965, 16 mm, 5 mins.)• Two: Creeley/McClure (1965, 16 mm, 3 mins.)• Song 9 (1965, 8 mm, 4 mins.)• Song 10 (1965, 8 mm, 3 mins.)• Song 11 (1965, 8 mm, 3 mins.)• Song 12 (1965, 8 mm, 3 mins.)• Song 13 (1965, 8 mm, 3 mins.)• Song 14 (1965, 8 mm, 3 mins.)• 23rd Psalm Branch (1966–1967, 8 mm, 69 mins.)• Scenes from Under Childhood (Section One) (1967, 16 mm, 24.5 mins.)• Eye Myth (1967, 35 mm, 9 secs.)• Love Making (1968, 16 mm, 36 mins.)Also mentioned:• Metaphors On Vision (1963, book by Stan Brakhage)• Film as a Subversive Art (1974, book by Amos Vogel)• Visionary Film: The American Avant-Garde 1943-1978 (1979, book by P. Adams Sitney)• Brakhage (1999, documentary directed by Jim Shedden)• Stan Brakhage: Filmmaker (2005, book edited by David E. James)

Joining Cinema60 for this episode is Gabriele Caroti, former director of BAMcinematek and founder of film distribution company Seventy Seven. This month Seventy Seven is releasing into theaters the 2K restoration of Barney Platts-Mills' Bronco Bullfrog, a gritty but delightful piece of British kitchen sink realism, originally released in 1970, set against the backdrop of the working class teens in East London. In this episode, Gabriele speaks to Bart and Jenna about the labor of love that went into getting this underappreciated film into repertory cinemas across the country, and they oblige him by grilling him on its production history and enduring cult fandom. Topics of discussion include suedeheads, the band Audience, Princess Anne, young love, teenage boredom, electric blankets, time travel, bringing movies to the people and more. It's a lively discussion of a lost classic ‘60s youth culture film with a fella who's making old movies new again.The following film is discussed:• Bronco Bullfrog (1969) Directed by Barney Platts-Mills Starring Del Walker, Anne Gooding, Sam Shepherd, Roy Haywood, Freda Shepherd, Dick Philpott, Chris Shepherd, Stuart Stones, Geoffrey Wincott, J. Hughes Sr.Also mentioned:• Reign of Terror (1949) Directed by Anthony Mann Starring Robert Cummings, Richard Basehart, Richard Hart• The 400 Blows (1959) Les quatre cents coups Directed by François Truffaut Starring Jean-Pierre Léaud, Albert Rémy, Claire Maurier• Saturday Night and Sunday Morning (1960) Directed by Karel Reisz Starring Albert Finney, Shirley Anne Field, Rachel Roberts• Billy Liar (1963) Directed by John Schlesinger Starring Tom Courtenay, Julie Christie, Wilfred Pickles• Black Peter (1964) Cerný Petr Directed by Milos Forman Starring Ladislav Jakim, Pavla Martinkova, Jan Vostrcil• Three Sisters (1970) Directed by Laurence Olivier & John Sichel Starring Jeanne Watts, Joan Plowright, Louise Purnell• Bleak Moments (1971) Directed by Mike Leigh Starring Anne Raitt, Sarah Stephenson, Eric Allan• Private Road (1971) Directed by Barney Platts-Mills Starring Susan Penhaligon, Bruce Robinson, Michael Feast• Scum (1979) Directed by Alan Clarke Starring Ray Winstone, Mick Ford, Julian Firth• Babylon (1980) Directed by Franco Rosso Starring David N. Haynes, Trevor Laird, Victor Romero Evans• Gregory's Girl (1980) Directed by Bill Forsyth Starring John Gordon Sinclair, Dee Hepburn, Jake D'Arcy• Looks and Smiles (1981) Directed by Ken Loach Starring Graham Green, Carolyn Nicholson, Tony Pitts

Or perhaps we should say British Anti-Bond Spy Films in the ‘60s. Everybody knows midcentury cinema was spy crazy, but it also goes without saying that these spy films were largely modeled after the action-packed espionage found in James Bond and very little on the kind of work actual spies do. What links the films in our latest Bootleg Bond episode is the common goal on the part of a number of British production companies to demonstrate that there's plenty of drama to be found in a more realistic portrayal of spy work.In this episode, Bart and Jenna take a dutch-angled romp through a series of nihilistic films that make zero effort to glamorize the life of a spy. They investigate how each of these chosen films work to subvert a different aspect of the Bond phenomena – from the sex and honor, down to the cinematic structure – and have an absolute blast doing it. The following films are discussed:• Ring of Spies (1964) Directed by Robert Tronson Starring Bernard Lee, William Sylvester, Margaret Tyzack• The Ipcress File (1965) Directed by Sidney J. Furie Starring Michael Caine, Nigel Green, Guy Doleman• The Spy Who Came in from the Cold (1965) Directed by Martin Ritt Starring Richard Burton, Oskar Werner, Claire Bloom• The Quiller Memorandum (1966) Directed by Michael Anderson Starring George Segal, Alec Guinness, Senta Berger• The Deadly Affair (1967) Directed by Sidney Lumet Starring James Mason, Maximilian Schell, Simone Signoret• A Dandy in Aspic (1968) Directed by Anthony Mann & Laurence Harvey Starring Laurence Harvey, Tom Courtenay, Mia Farrow

By the beginning of the ‘60s, Mexican Horror had developed its own distinct tropes, evolved from old Universal monster movies to create formulaic crowd pleasers with plenty of gothic atmosphere and vengeful supernatural creatures. But by the end of the ‘60s, they were already expanding into more original films that thoughtfully approached terror and dread in a way that's reminiscent of modern horror techniques. So take a listen and don't worry – this frightening trip is punctuated with moments of comedy and romance and endless bouts of wrestling along the way.As promised, in this episode Bart and Jenna brave the unknown and journey to the land of Mexican Horror films to peek through their fingers at vampires, werewolves, ghosts and murderers – all of whom speak Spanish! With luchadors and lycars to protect them, they discover that there's much to love about the genre than these scaredy cats expected.The following films are discussed:• Skeleton of Mrs. Morales (1960) El esqueleto de la señora Morales Directed by Rogelio A. González Starring Arturo de Córdova, Amparo Rivelles, Elda Peralta• Santo vs. the Vampire Women (1962) Santo vs. las mujeres vampiro Directed by Alfonso Corona Blake Starring Santo, Lorena Velázquez, María Duval• La Loba (1965) Directed by Rafael Baledón Starring Kitty de Hoyos, Joaquín Cordero, Columba Domínguez• Pedro Páramo (1967) Directed by Carlos Velo Starring John Gavin, Ignacio López Tarso, Pilar Pellicer• The Scapular (1968) El escapulario Directed by Servando González Starring Enrique Lizalde, Enrique Aguilar, Carlos Cardán• The Book of Stone (1969) El libro de piedra Directed by Carlos Enrique Taboada Starring Marga López, Joaquín Cordero, Norma LazarenoAlso mentioned:• The Ship of Monsters (1960) La nave de los monstruos Directed by Rogelio A. González Starring Eulalio González, Ana Bertha Lepe, Lorena Velázquez• The Brainiac (1962) El barón del terror Directed by Chano Urueta Starring Abel Salazar, Ariadne Welter, David Silva

Cinema60 continues its series of Kiss, Marry, Kill, this time with a focus on the year 1967. As previously explained, it's a variation on the ol' FMK game, played year by year as we go through the decade. Bart and Jenna challenge each other to choose one film they love (“Marry”), one film they want to see (“Kiss”), and one film they hate (“Kill”) that was released in the year 1967.In this episode, Bart and Jenna stumble upon an intriguing pattern in their otherwise random choices. From anti establishment thinking, anxiety over consumerism, a stance on personal fascism, and deeply cynical sense of humor, 1967 turned out to be one the best Kiss, Marry, Kill years we've done yet.The following films are discussed:• Peppermint Frappé (1967) Directed by Carlos Saura Starring Geraldine Chaplin, José Luis López Vázquez, Alfredo Mayo• Herostratus (1967) Directed by Don Levy Starring Michael Gothard, Gabriella Licudi, Peter Stephens• PlayTime (1967) Directed by Jacques Tati Starring Jacques Tati, Barbara Dennek, Rita Maiden• The Sorcerers (1967) Directed by Michael Reeves Starring Boris Karloff, Catherine Lacey, Ian Ogilvy• How I Won The War (1967) Directed by Richard Lester Starring Michael Crawford, John Lennon, Roy Kinnear• I'll Never Forget What's'isname (1967) Directed by Michael Winner Starring Oliver Reed, Orson Welles, Carol White

Ah, Paul Newman - arguably the biggest actor of the ‘60s. Who doesn't get lost in those dreamy blue eyes? But this episode isn't about him, really. It's about his better half, Joanne Woodward, who had twice his acting chops but, unfortunately, a quarter of his drawing power on the marquee. But you don't need to do the math to discover how great Joanne is after you watch all her ‘60s movies. Don't just take it from us, this episode was actually inspired by a listener's request for more Paul Newman and Joanne Woodward films. (Yeah, that's a thing you can do! No promises we'll always do it though.)In this episode, Bart and Jenna trace Joanne Woodward's films alongside that of her more famous husband and decide that hers are the ones they really wanted to talk about. From her impressive range that spans dramatic to comedic to New Hollywood genuine, she has a charm that cannot be denied.The following films are discussed:• From The Terrace (1960) Directed by Mark Robson Starring Joanne Woodward, Paul Newman, Ina Balin• Paris Blues (1961) Directed by Martin Ritt Starring Joanne Woodward, Paul Newman, Sidney Poitier• A New Kind of Love (1963) Directed by Melville Shavelson Starring Joanne Woodward, Paul Newman, Thelma Ritter• The Stripper (1963) Directed by Franklin J. Schaffner Starring Joanne Woodward, Richard Beymer, Carol Lynley• Signpost to Murder (1964) Directed by George Englund Starring Joanne Woodward, Stuart Whitman, Edward Mulhare• A Big Hand for the Little Lady (1966) Directed by Fielder Cook Starring Joanne Woodward, Henry Fonda, Jason Robards• A Fine Madness (1966) Directed by Irvin Kershner Starring Joanne Woodward, Sean Connery, Jean Seberg• Rachel, Rachel (1968) Directed by Paul Newman Starring Joanne Woodward, James Olson, Estelle Parsons• Winning (1969) Directed by James Goldstone Starring Joanne Woodward, Paul Newman, Robert Wagner

While the end of the decade ushered in an explosion of gay rights movements, it's no secret that the 1960s were not exactly the friendliest decade for LGBTQ people. When it comes to showing lesbians on film, there seemed to be a bit more wiggle room – in the same way laws were more punishing towards male homosexuality, the female variety seemed to be allowed to get away with being more openly about gay issues. Or you know, about peering into the lives of some “very close friends”… with benefits. The films that managed to get wide release in the ‘60s remain notable, both in their attempts to understand the plight of the gay community and serve as sometimes embarrassing reminders of how little progress we've made in cinematic representation. In this episode, Bart and Jenna take a worldwide tour of lesbian cinema – specifically avoiding pornography and exploitation cinema, even though some of these blur the lines a bit. But nevertheless, they open their minds and hearts and experiment with a variety of films that explore the highs and lows of sapphic love. The following films are discussed:• The Children's Hour (1961) Directed by William Wyler Starring Audrey Hepburn, Shirley MacLaine, James Garner• Manji (1964) 卍(まんじ) Directed by Yasuzô Masumura Starring Ayako Wakao, Kyōko Kishida, Eiji Funakoshi• The Cats (1965) Kattorna Directed by Henning Carlsen Starring Eva Dahlbeck, Gio Petré, Monica Nielsen• The Fox (1967) Directed by Mark Rydell Starring Sandy Dennis, Anne Heywood, Keir Dullea• Les Biches (1968) Directed by Claude Chabrol Starring Jacqueline Sassard, Stéphane Audran, Jean-Louis Trintignant• The Killing of Sister George (1968) Directed by Robert Aldrich Starring Beryl Reid, Susannah York, Coral Browne• Le Altre (1969) Directed by Alessandro Fallay Starring Erna Schurer, Monica Strebel, Raul LovecchioAlso mentioned:• Walk on the Wild Side (1962) Directed by Edward Dmytryk Starring Jane Fonda, Barbara Stanwyck, Capucine• The Balcony (1963) Directed by Joseph Strick Starring Shelley Winters, Peter Falk, Lee Grant• The Haunting (1963) Directed by Robert Wise Starring Julie Harris, Claire Bloom, Richard Johnson• Persona (1966) Directed by Ingmar Bergman Starring Bibi Andersson, Liv Ullmann, Margaretha Krook• The Nun (1966) La religieuse Directed by Jacques Rivette Starring Anna Karina, Liselotte Pulver, Micheline Presle

Like the rest of Europe, Czechoslovakia was busy making its own cinematic waves in the 1960s. Arguably, the Czechoslovak New Wave was one of the broadest and most formidable, stretching from extremely abstract art films to slice-of-life kitchen sink dramas. These filmmakers went in search of truth – indulging in a mix of dark humor, social satire and pure absurdism – and they would have gotten away with it too if it weren't for that dang ol' Soviet Union eventually putting the smack down on them. At the forefront of this movement was a special foreman – Miloš Forman, that is. By his side was Ivan Passer, Jaroslav Papoušek and Václav Šašek, all of whom graduated from FAMU and went on to work together closely as filmmakers. In our latest episode, Bart and Jenna take a plunge into the Czechoslovak New Wave and start with the this Miloš Forman School of collaborators. Get ready for some killer Czech rock'n'roll, a whole bunch of brass bands, a lot of existential crises and some super judgmental looks!The following films are discussed:• Audition/Talent Competition (1964) Konkurs Directed by Miloš Forman Starring Vera Kresadlová, Jan Vostrcil, Vladimír Pucholt• Black Peter (1964) Černý Petr Directed by Miloš Forman Starring Ladislav Jakim, Jan Vostrcil, Vladimír Pucholt• Intimate Lighting (1965) Intimní osvetlení Directed by Ivan Passer Starring Vera Kresadlová, Jan Vostrcil, Zdenek Bezusek• Loves of a Blonde (1965) Lásky jedné plavovlásky Directed by Miloš Forman Starring Hana Brejchová, Jan Vostrcil, Vladimír Pucholt• The Firemen's Ball (1967) Hoří, má panenko Directed by Miloš Forman Starring Jan Vostrcil, Josef Sebánek, Jan Stöckl• The Most Beautiful Age (1969) Nejkrásnější věk Directed by Jaroslav Papousek Starring Hana Brejchová, Vera Kresadlová, Ladislav Jakim

Bart & Jenna dive into the magical 1960s films of Aleksandr Rou – a mystical, technicolor world of amazing costumes, practical effects and live bears… aka Soviet fairy tales. The following films are discussed:Maria the Wonderful Weaver, Cinderella, Evenings on a Farm Near Dikanka, Kingdom of Crooked Mirrors, Jack Frost, Through Fire Water and … Brass Pipes, & Barbara the Fair With the Silken Hair

Bart & Jenna watch every Man From UNCLE movie from the 1960s then discuss the television show's bootleg Bond origins and the subsequent UNCLE mania that followed.

Bart & Jenna play Kiss Marry Kill with the year 1966. Including discussion on How To Steal A Million, The Round-Up, Death of a Bureaucrat, Once Before I Die, The Swinger and Trans-Europ-Express.

Bart and Jenna dust off a 1962 article by critic Stanley Kauffmann on Truffaut's Jules and Jim to use as a sounding board for how and why ‘60s filmgoers showed up for and reacted so favorably to challenging “art” films. They also discuss love in its various states, from the idealized to the understated love of a perfect friendship.

Nancy Kwan had two major hits right in the beginning of the decade, and then what? Bart & Jenna investigate the bizarre twists and turns of her 60s career and the pitfalls of being a Chinese actor in the dominantly white world of Hollywood.

Bart & Jenna dive into the work of Haskell Wexler – one of the few true auteur cinematographers who got a great start in the 1960s. From Kazan’s nominated America America, to a heated debate on the iconic Who’s Afraid of Virginia Woolf?, bursting into color with In the Heat of the Night, and culminating with Medium Cool – a hybrid film that incorporates almost every trick he learned from the decade.

Guest Ann Kibbie, English Literature professor at Bowdoin College, joins Cinema60 to discuss Jack Lemmon and Lee Remick's Days of Wine and Roses – a film she classifies as firmly in the horror genre.

In this very NSFW episode, Bart & Jenna discuss the boundary pushing films of 1969 Japan, one of their favorite New Wave movements. Replete with nudity, graphic violence and sexual themes abound, it’s some of the weirdest stuff they’ve covered yet.

Guest Paul Bishop of the Six Gun Justice podcast joins us to discuss The Professionals (1966). From talk of truth and morality, sexism and racism, as well as some memorably badass women warriors, they’ve got quite a bit on their plate.

Beyond their notable soundtracks, all of these movies actively reflect the scores in their filmmaking, resulting in abstract visual punches to non-linear plots. Including The Connection, Repulsion, All Night Long, Mickey One, and more