In the 1950’s and early 1960’s, the Hollwood blockbuster had been born to combat the advent of television. Attendances had begun to dwindle, so the studios created big, epic movies, technicolour, and elaborate musicals, in an attempt to draw the crowds back in. This was initially successful, but as the sixties came in the demographic was changing. The audience had become younger, college educated, and wanted more from their movies.

Japanese films, and French New Wave cinema had become popular, and in an attempt to emulate these movies, Hollywood turned to emerging young filmmakers with new ideas and stories to tell. This period created some of the most interesting movies in cinematic history, and would become known as the New Hollywood era. This week, i look at five movies fom the IMDb250 Project that firmly demonstrate that era.

Bonnie and Clyde (1967) – 8.0 No. 214

“This here’s Miss Bonnie Parker. I’m Clyde Barrow. We rob banks.”

Bonnie and Clyde was one of the very first movies of the New Hollywood era. Whilst the performances by the principal actors are great, the star of this movie is the filmmaking. Fantastic cinematography, effects and editing make it one of the most visually astonishing movies of the period. Jarring editing, and shifts in tone from comedic slapstick to horrifying violence do a great job of telling the story of two juveniles in adult bodies, getting their kicks from violent crime with no real concept of remorse or compassion.

The violence in Bonnie and Clyde is far beyond that of anything that came before, and kicked off the trend of realistic action in Hollywood films. Squibs were used to make the wounds really pop, which makes the voilence feel horrifically real. The roles of the protagonists are played convincingly by Warren Beatty and Faye Dunaway, who combine an air of youthful innocence with the menace of two reprehensible people who don’t know where to draw the line. A truly memorable film, the shocking, chilling finale comes in contrast to the tender moments between the protagonists that lead up to it..

Bonnie and Clyde easily deserves a place in the top 250. Whilst the story and acting on display aren’t necessarily superior to the movies below it in the list, the great cinematic techniques that are used, and the influence this would have on Hollywood pictures over the next decade make Bonnie and Clyde one of the most important films in the New Hollywood era, and a landmark action film in the history of cinema.

Butch Cassidy and the Sundance Kid (1969) – 8.1 No. 149

“I couldn’t do that. Could you do that? Why can they do it? Who are those guys?”

Butch and Sundance is considerably different to the westerns that preceded it. Set at arguably the most interesting time in western history, when towns became civilised and the days of the outlaw were numbered, it manages to combine thrilling action with great humour and comic banter, without ever feeling cheesy. The relationship between Butch and Sundance is a very easy, friendly relationship, in contrast to the staid, gruff partnerships of other cowboy movies.

Butch and Sundance is in many ways a chase movie. The railroad company has gotten fed up of their trains being robbed by the Hole in the Wall Gang, and have hired a posse to take them out. This posse, however, is well drilled, highly skilled and comitted to the job. With US banks wising up to security issues, the pair are travelling to central America in an attempt to find profitable ventures once again.

The on-screen chemistry between Robert Redford and Paul Newman is fantastic, and really the making of this movie. Their relationship, banter and camaraderie have a very natural feel, and in many ways Butch and Sundance is a precursor to the eighties buddy action movies. They tease each other with witty one liners, but would not hesitate to step in front of a bullet for each other.

Well shot, well paced, Butch Cassidy and the Sundance Kid has a very entertaining, non-threatening feel (they don’t shoot anyone until the last quarter), which could have worked to it’s detriment. That is avoided, however, with a dark, violent last quarter,and that brilliant, suitably downbeat New Hollywood ending. It isn’t the best western ever made, and it’s position reflects that, but it is possibly the best buddy comedy-action movie of all time, and it’s position also reflects that. A great evolution of the genre.

Chinatown (1974) – 8.4 No. 60

“Forget it, Jake. It’s Chinatown.”

The screenplay for Chinatown, written by Robert Towne, is considered one of the greatest ever written. It won an Academy Award, and if you read any well written guides to screenwriting, chances are it will have several references to Towne’s writing.

Jack Nicholson plays Jake Gittes in Roman Polanski’s 1930’s set film noire. Gittes is an ex-cop, now working as a private dick specialising in adultery cases. A seemingly fairly routine job lands in his lap, but quickly becomes far more complex. The jealous wife who hires him to watch her husband turns out to be an imposter, and when the subject of Gittes investigation, the chief engineer of the Department of Water and Power, turns up dead, Gittes and the man’s real wife fall under suspicion.

The plot is multi-layered, well constructed and drawn out wonderfully by Polanski. Faye Dunaway is great as Gittes newly widowed client, in her third role in this week’s rundown. The real star, though, is easily Nicholson. Gittes appears in every scene, and an actor with less screen presence and authenticity would have struggled to carry the complicated storyline. It’s a blessing that the writing talent of Towne, the directorial skills of Polanski and the superb acting of Nicholson came together at the right time for the right movie. Though Nicholson may be remembered better for The Shining and One Flew Over The Cuckoo’s Nest, for me Chinatown is the better well rounded movie, and thoroughly deserving of a place in the IMDb250.

Barry Lyndon (1975) – 7.9 238

“I’m not sorry. And I’ll not apologize. And I’d as soon go to Dublin as to hell.”

Barry Lyndon was directed by Stanley Kubrick, a true prodigy of the New Hollywood era. It is set in the 18th century, is based loosely on a 19th century novel, and follows the exploits of an Irish adventurer (Ryan O’Neil) as he rises from povery to aristocacy, and back again.

Barry is forced to flee his homeland, joins the Prussian army by way of the British army, and after the war, he marries into money after spending some time as a hustler. Married life doesn’t treat him well, and his lack of pedigree causes him to make a mess of his newfound position. Barry Lyndon is very much a journey. Is it an expertly crafted, perfectly paced character study, or is it a cold, lengthy work of directorial over indulgence? Whilst the cinematography is truly stunning, and O’Neil’s performance is (eventually) wonderful, my personal feeling sides with the latter. There is no character to identify with, and little reason to care about Barry Lyndon’s final fate. The story of his rise from nothing to aristocracy is fascinating, but there is nothing to connect you to the story.

For me, Lyndon is higher than i would place it in the IMDb250 list, however, i didn’t fully appreciate There Will Be Blood on the first watch either. The two feel, to me, very similar, and i can’t help but feel if i rewatch Barry Lyndon in a year’s time  i might again feel differently. There is genius here, but for me it wasn’t well rounded enough to provide a satisfying experience.

Network (1976) – 8.0 No. 218

“I’m mad as hell, and i’m not going to take this any more”

Sidney Lumet’s satirical attack on television was both scathing, and prophetic. It tells of a newsreader turned prophet winning huge ratings by striking out at the world at large. A male and female producer who see their relationship, and the rest of their lives as a scripted show, and a new television programme covering the real actions of a terrorist organisation. 

The way television shows are taken to extremes in Network is relevant more today than it ever was. Set during a recession, with peoples lives revolving around television, the issues explored were beyond their time. Peter Finch as the mad newsreader and Faye Dunaway as the cold TV producer won academy awards for their parts, but in truth the whole cast is excellent. Darkly comic, with some genuinely shocking plot points, Network tries to show almost too much, and is in danger of being overlong.

It is, however, a classic, and demonstrates all that’s good about New Hollywood. Serious story, with a strong message, combined with some very interesting cinematography. Network still stands a classic today, and probably deserves to be even higher on the IMDb250 list.

Over the last two weeks the New Hollywood era has become my favourite, and i look forward to looking at five more fantastically made, interestingly written films from this period in a future update. Come back next Monday for our next update, featuring Gary’s next five movies.

Bazmann -0 Don’t forget you can follow our progress in this project at www.twitter.com/baz_mann and http://twitter.com/gary_phillips_