What a year for French cinema! While those wunderkinds of the New Wave continued to hack away at the content and form of film, one even going so far as to disown the medium, you had seasoned veterans producing some of their most distilled and finest work. And distilled is exactly the word I’d use to describe Robert Bresson’s Mouchette and Jacques Tati’s Playtime, both lauded masterpieces that produce a certain kind of purity in their directors’ visions. The same could also be said about Belle de Jour, a movie that has always struck me as the Buñuel film to initiate one unfamiliar with his sensibilities, foot fetish and all. But it is Jean-Pierre Melville’s lean and stoic crime drama that nabs the top spot with its astonishing balance of both quiet urgency and its counterintuitive weariness. Melville, caught between the French pre-war traditional method of filmmaking and its enfants terrible successors, always seemed to mirror a combination of the two. With Le Samouräi, he just so happened to also produce his most stylish and iconic gangster movie of them all. And in Melville’s world, that kind of detail makes every bit a difference.
1. Le Samouraï (Jean-Pierre Melville)
2. Belle de Jour (Luis Buñuel)
3. Bonnie and Clyde (Arthur Penn)
4. Mouchette (Robert Bresson)
5. Playtime (Jacques Tati)
6. Accident (Joseph Losey)
7. Weekend and Two or Three Things I Know About Her (Jean-Luc Godard)
8. Point Blank (John Boorman)
9. The Young Girls of Rochefort (Jacques Demy)
10. Cool Hand Luke (Stuart Rosenberg)
Even American films began to exude with an invigorated youthfulness that had rubbed off from overseas. Bonnie and Clyde and Point Blank, the former initially orchestrated to be directed by Francois Truffaut, brimmed with an energy knowingly produced by French gangster movies like Breathless and Shoot the Piano Player, movies themselves influenced by, what else, but older American gangster pictures. I guess we Yankees just didn’t know how good we had it. But we did have Cool Hand Luke, an Americana piece of classical craftsmanship that beats out another peer amongst its class, El Doroado.
Those that just missed the cut include Mike Nichols’ little known comedy The Graduate (have you heard of it?), which unfortunately conventionalizes in its second half when it should have jabbed deeper into the Braddock-Mrs. Robinson affair. D.A. Pennebaker showed the world that Bob Dylan could be a not so very nice guy in Don’t Look Back, and Robert Blake gave the performance of a lifetime in In Cold Blood, eerily foretelling a future all too familiar to his movie’s character. Then there’s Shirley Clarke’s fly-on-the-wall Portrait of Jason, which, along with David Holzman’s Diary and Titicut Follies, makes for an astounding case of exceptional documentaries that emerged in 1967 – if Diaries could be considered that.
Czechoslovakia had the breathtaking Marketa Lazarová and The Firemen’s Ball, Sweden gave us the *ahem* mature I Am Curious (Yellow), and Brazil offered up the spellbinding Terra em Transe. More great French films included Éric Rohmer’s La Collectioneuse and Godard’s La Chinoise (which makes three!), while Britain bestowed the… what would you call it? Somber? Somber cinematic year with an underrated and still clever comedy, Bedazzled, that, come to think of it, could take a spot on the top ten any day of the week. Now where do I sign?
Next time it will be the year 1995. “There’s a snake in my boot!”