American Graffiti (USA: George Lucas, 1973) [Rotten Tomatoes: "One of the most influential of all teen films, American Graffiti is a funny, nostalgic, and bittersweet look at a group of recent high school grads' last days of innocence. On the last day of summer vacation in 1962, friends Curt (Richard Dreyfuss), Steve (Ronny Howard), Terry (Charles Martin Smith) and John (Paul Le Mat) cruise the streets of small-town California while a mysterious disc jockey (Wolfman Jack) spins classic rock'n'roll tunes. It's the last night before their grown-up lives begin, and Steve's high-school sweetheart, a hot-to-trot blonde, a bratty adolescent and a disappearing angel in a Thunderbird provide all the excitement they can handle." MB: I think this film is superior to Lucas' megablockbuster Star Wars (1976). This film was hugely popular and influential setting off a a continuous cycle of these type of nostalgia films & TV series to this day. It was the inspiration for the long running and hugely popular TV series Happy Days (1974 - 1984).]
Badlands (USA: Terence Malick, 1973) [Criterion: "Badlands announced the arrival of a major talent: Terrence Malick. His impressionistic take on the notorious Charles Starkweather killing spree of the late 1950s uses a serial-killer narrative as a springboard for an oblique teenage romance, lovingly and idiosyncratically enacted by Martin Sheen and Sissy Spacek. The film introduced many of the elements that would earn Malick his passionate following: the enigmatic approach to narrative and character, the unusual use of voice-over, the juxtaposition of human violence with natural beauty, the poetic investigation of American dreams and nightmares. This debut has spawned countless imitations, but none have equaled its strange sublimity." MB: Innocent/naive, all-American girl, meets affable, near-do-well, entitled (in his mind) white boy. What could possibly go wrong? Seriously, this is a beautiful film, with an engaging style, that is kind of magical despite its subject.]
The Exorcist (USA: William Friedkin, 1973) [Rotten Tomatoes: "The Exorcist rides its supernatural theme to magical effect, with remarkable special effects and an eerie atmosphere, resulting in one of the scariest films of all time. ... One of the most profitable horror movies ever made, this tale of an exorcism is based loosely on actual events. When young Regan (Linda Blair) starts acting odd -- levitating, speaking in tongues -- her worried mother (Ellen Burstyn) seeks medical help, only to hit a dead end. A local priest (Jason Miller), however, thinks the girl may be seized by the devil. The priest makes a request to perform an exorcism, and the church sends in an expert (Max von Sydow) to help with the difficult job." MB: Adapted closely from William Peter Blatty's novel of the same name. This is one of the very first mega-blockbusters that set off the eventual studio obsession with films that will make all of their money for a year (also Jaws and Star Wars) and ignoring films that are independent or aiming for artistic excellence. Reportedly people were passing out and throwing up during the film. I can understand that, as when it came out I was 8 yrs old and indoctrinated into a fundamentalist Christian worldview in which I believed demons were constantly seeking to steal my soul. When I watched it again 25+ years later as a grad student and non-believer, it still shook me (you may not believe still, but those grooves in your consciousness are still there). This film, along with others, no doubt was influential in the growth of the ongoing Satanic Panic. A masterpiece of sound effects that are a large part of its impact! Countless films and TV series have been inspired by this film.]
The Holy Mountain (Mexico: Alejandro Jodorowsky, 1973) [Abko Records & Films: "The scandal of the 1973 Cannes Film Festival, writer/director Alejandro Jodorowsky’s flood of sacrilegious imagery and existential symbolism in The Holy Mountain is a spiritual quest for enlightenment pitting illusion against truth. The Alchemist (Jodorowsky) assembles together a group of people from all walks of life to represent the planets in the solar system. The occult adept’s intention is to put his recruits through strange mystical rites and divest them of their worldly baggage before embarking on a trip to Lotus Island. There they ascend the Holy Mountain to displace the immortal gods who secretly rule the universe." Weird Movies: "The Holy Mountain plays like a cut-up version of the world’s sacred texts. If you tore out pages from the Bible, the Bhagavad Gita, The Golden Bough, and a dozen other esoteric works from the Kabbalah to Gurdijeff—throwing in a couple of sleazy pulp novels for good measure—and put them together in a giant cauldron, stirred them up and pulled out sheaves at random and asked a troupe of performance artists, carnival freaks, and hippies tripping on peyote to act them out, you might come up with a narrative something like The Holy Mountain. Here, the cauldron is Alejandro Jodorowsky’s skull, and the stirrer was LSD, and an ex-Beatle gave the director and master visual stylist a small fortune to bring any elaborate and depraved fantasy he could dream up to shocking life. The singularly bizarre results—the pure, undiluted essence of mad Jodorowsky—are unlike any film that has ever existed before, or ever shall be, world without end." MB: Truly a unique and weird film. It is also an incredibly subversive and perverse film. Lastly, it is a savage anti-authoritarian film inspired by the esoteric spiritual/mystic traditions of the world (also some groovy Tarot imagery). John Lennon was a major backer for the film and it caused riots at the Mexican premiere (Jodorowsky had to escape through a back bathroom window). I screened it for 40 people at the college and it provoked long discussions afterward. If you open up to the film, you will not forget it.]Mean Streets (USA: Martin Scorsese, 1973) [Rotten Tomatoes: "Mean Streets is a powerful tale of urban sin and guilt that marks Scorsese's arrival as an important cinematic voice and features electrifying performances from Harvey Keitel and Robert De Niro. A slice of street life in Little Italy among lower echelon Mafiosos, unbalanced punks, and petty criminals. A small-time hood gets in over his head with a vicious loan shark. In an attempt to free himself from the dangers of his debt, he gets help from a friend who is also involved in criminal activities." MB: This is the impressive start of one of the most important American directors of the latter 20th Century and his string of influential films about the NYC gangsters he grew up around.]
Papillon (France/USA: Franklin J. Schaffner, 1973) [Rotten Tomatoes: "Convicted murderer Henri Charriere (Steve McQueen), known as "Papillon" for his butterfly chest tattoo, is transported to French Guiana to serve his sentence in a work camp. Determined to escape, Papillon forms an unlikely relationship with the frail but notorious forger Louis Dega (Dustin Hoffman), who reluctantly joins in the attempt. Despite the harshness of solitary confinement, brutal conditions and constant threats of betrayal, Papillon leads a desperate escape off the island." MB: A very engaging narrative based on historical events. Thrilled my 8 yr old anti-authoritarian heart and it was very enjoyable on a recent re-watch. The two leads are perfectly cast!]
The Spirit of the Beehive (Spain: Victor Erice, 1973) [Criterion: "Víctor Erice’s spellbinding The Spirit of the Beehive (El espíritu de la colmena), widely regarded as the greatest Spanish film of the 1970s. In a small Castilian village in 1940, in the wake of the country's devastating civil war, six-year-old Ana attends a traveling movie show of Frankenstein and becomes possessed by the memory of it. Produced as Franco’s long regime was nearing its end, The Spirit of the Beehive is a bewitching portrait of a child’s haunted inner life and one of the most visually arresting movies ever made." MB: I first watched this film when I heard Guillermo del Toro cite it as an influence on his film Pan's Labyrinth (2006).]
The Sting (USA: George Roy Hill, 1973) [Rotten Tomatoes: "Paul Newman, Robert Redford, and director George Roy Hill prove that charm, humor, and a few slick twists can add up to a great film. Following the murder of a mutual friend, aspiring con man Johnny Hooker (Robert Redford) teams up with old pro Henry Gondorff (Paul Newman) to take revenge on the ruthless crime boss responsible, Doyle Lonnegan (Robert Shaw). Hooker and Gondorff set about implementing an elaborate scheme, one so crafty that Lonnegan won't even know he's been swindled. As their big con unfolds, however, things don't go according to plan, requiring some last-minute improvisation by the undaunted duo." MB: In my mind, easily one of the greatest "long-con" movies. Headed by two superstar actors and a giant cast of supremely talented supporting actors. This film from the beginning picks you up and you ride as if you are on the crest of a giant wave thrilling to the speed & beauty of the narrative all the way till you reach the shore.]
The Three Musketeers (USA: Richard Lester, 1973) [Rotten Tomatoes: "An adaptation of the classic Dumas novel, this film tells the tale of aspiring swordsman D'Artagnan (Michael York), who arrives in Paris with hopes of joining the royal guard. After clashing with three musketeers, Athos (Oliver Reed), Porthos (Frank Finlay) and Aramis (Richard Chamberlain), he joins them in fighting the forces of corrupt Cardinal Richelieu, led by Rochefort (Christopher Lee). When Richelieu attempts to undermine the queen, D'Artagnan and the musketeers must thwart his plans."]
Ali: Fear Eats the Soul (Germany: Werner Rainer Fassbinder, 1974) [Criterion: "The wildly prolific German filmmaker Rainer Werner Fassbinder paid homage to his cinematic hero Douglas Sirk with this update of that filmmaker’s 1955 All That Heaven Allows. A lonely widow (Brigitte Mira) meets a much younger Arab worker (El Hedi ben Salem) in a bar during a rainstorm. They fall in love, to their own surprise—and to the outright shock of their families, colleagues, and drinking buddies. In Ali: Fear Eats the Soul, Fassbinder expertly wields the emotional power of classic Hollywood melodrama to expose the racial tensions underlying contemporary German culture."]
Alice Doesn't Live Here Anymore (USA: Martin Scorsese, 1974) [Rotten Tomatoes: "After her husband dies, Alice (Ellen Burstyn) and her son, Tommy, leave their small New Mexico town for California, where Alice hopes to make it as a singer. Money problems force them to settle in Arizona instead, where Alice takes a job as waitress in a small diner. She intends to stay in Arizona just long enough to make the money needed to head back out on the road, but her plans change when she begins to fall for a rancher named David (Kris Kristofferson)." MB: A great, well-acted, female- led, working class character study. I remember even as a 9 yr old boy, this film really resonated with me. Inspired the popular hit TV show Alice (1976 - 1985).]
Black Christmas (USA: Bob Clark, 1974) [Criterion Channel:"In 1974, a low-budget nightmare filmed in Toronto was unleashed upon theaters and revolutionized horror cinema. A now-legendary film among genre aficionados, the groundbreaking BLACK CHRISTMAS was not only the first slasher film, it also remains one of the most terrifying. The college town of Bedford is visited by an unwelcome guest this Christmas. As the residents of the Pi Kappa Sigma sorority prepare for the festive season, a stranger begins stalking their house. A series of obscene phone calls makes it clear that a psychopath is homing in on the sisters with nefarious intentions. And though the police try to trace the calls, they soon discover that nothing is as it seems during this horrifying holiday." MB: Another one I saw in the theaters at 9 years old. You must be wondering about these film experiences at such an earlier age. Most Fridays or Saturdays I would walk a few miles to the neighborhood theater for that week's double feature. Ahhh, the 70s, no one ever carded me for a film until I was 18 years old ;) I remembered this one as being great horror fun and recently I re-watched it for Spooktober with some trepidation. I was worried it might not have aged well. I had nothing to fear. Even with my adult analytical mind, I enjoyed and appreciated this film. Unique for later slashers, the female characters are complex and fleshed-out (not just caricatures). In other words they are not just there for a T & A show. Hugely influential on the sub-genre that sprang up through the mid-70s through the 80s. Remade in 2019].
Blazing Saddles (USA: Mel Brooks, 1974) [Rotten Tomatoes: "Daring, provocative, and laugh-out-loud funny, Blazing Saddles is a gleefully vulgar spoof of Westerns that marks a high point in Mel Brooks' storied career. In this satirical take on Westerns, crafty railroad worker Bart (Cleavon Little) becomes the first black sheriff of Rock Ridge, a frontier town about to be destroyed in order to make way for a new railroad. Initially, the people of Rock Ridge harbor a racial bias toward their new leader. However, they warm to him after realizing that Bart and his perpetually drunk gunfighter friend (Gene Wilder) are the only defense against a wave of thugs sent to rid the town of its population." MB: I remember one of those golden moments where technological innovations have a huge impact on your consciousness. My mother was the head of the media center at Mesa College in San Diego, CA. She brought home a VCR the size of a coffee table - it took two men to carry it into the house. She brought three films home. This one, Young Frankenstein (1974), and The Sting (1973). You have to remember there was no way to see a film uncut (words bleeped out or altered, scenes cut) at that time once it had left the theaters. So the neighborhood literally gathered in our living room to watch this unusual and magical (for that time) screening of these films. When I re-watched this film a few years back, I was stunned by the way this film eviscerates the American mythos of the West and its really frank portrayal of racism, misogyny and classism. The film is aided by its two charismatic comedic leads and a bevy of talented character actors. On the re-watch I was left wondering whether this film could even be made in our time. Co-written by the legendary comedian Richard Pryor.]
Chinatown (USA: Roman Polanski, 1974) [Rotten Tomatoes: "As bruised and cynical as the decade that produced it, this noir classic benefits from Robert Towne's brilliant screenplay, director Roman Polanski's steady hand, and wonderful performances from Jack Nicholson and Faye Dunaway. When Los Angeles private eye J.J. "Jake" Gittes (Jack Nicholson) is hired by Evelyn Mulwray to investigate her husband's activities, he believes it's a routine infidelity case. Jake's investigation soon becomes anything but routine when he meets the real Mrs. Mulwray (Faye Dunaway) and realizes he was hired by an imposter. Mr. Mulwray's sudden death sets Gittes on a tangled trail of corruption, deceit and sinister family secrets as Evelyn's father (John Huston) becomes a suspect in the case." MB: A masterpiece hard-boiled mystery about a private detective seeking to do right in a cold, amoral world. A truly great screenplay/mystery.]
Chinatown (USA: Roman Polanski, 1974) [Rotten Tomatoes: "As bruised and cynical as the decade that produced it, this noir classic benefits from Robert Towne's brilliant screenplay, director Roman Polanski's steady hand, and wonderful performances from Jack Nicholson and Faye Dunaway. When Los Angeles private eye J.J. "Jake" Gittes (Jack Nicholson) is hired by Evelyn Mulwray to investigate her husband's activities, he believes it's a routine infidelity case. Jake's investigation soon becomes anything but routine when he meets the real Mrs. Mulwray (Faye Dunaway) and realizes he was hired by an imposter. Mr. Mulwray's sudden death sets Gittes on a tangled trail of corruption, deceit and sinister family secrets as Evelyn's father (John Huston) becomes a suspect in the case." MB: A masterpiece hard-boiled mystery about a private detective seeking to do right in a cold, amoral world. A truly great screenplay/mystery.]
The Godfather II (USA: Francis Ford Coppola, 1974) [Rotten Tomatoes: "Drawing on strong performances by Al Pacino and Robert De Niro, Francis Ford Coppola's continuation of Mario Puzo's Mafia saga set new standards for sequels that have yet to be matched or broken. The compelling sequel to "The Godfather," contrasting the life of Corleone father and son. Traces the problems of Michael Corleone (Al Pacino) in 1958 and that of a young immigrant Vito Corleone (Robert De Niro) in 1917's Hell's Kitchen. Michael survives many misfortunes and Vito is introduced to a life of crime." MB: Easily one of the best American films, this is an epic look at the American Dream played out through the lives of two crime bosses. Electrifying performances! You would want to have seen The Godfather (1972) first. - you could do a response to both.]
The Night Porter (Italy: Liliana Cavani, 1974) [Criterion: "In this unsettling drama from Italian filmmaker Liliana Cavani, a concentration camp survivor (Charlotte Rampling) discovers her former torturer and lover (Dirk Bogarde) working as a porter at a hotel in postwar Vienna. When the couple attempt to re-create their sadomasochistic relationship, his former SS comrades begin to stalk them. Operatic and disturbing, The Night Porter deftly examines the lasting social and psychological effects of the Nazi regime."]
Sweet Movie (Yugoslavia: Dušan Makavejev, 1974) [Criterion: "Pushing his themes of sexual liberation to their boiling point, Yugoslavian art-house provocateur Dušan Makavejev followed his international sensation WR: Mysteries of the Organism with this full-throated shriek in the face of bourgeois complacency and movie watching. Sweet Movie tackles the limits of personal and political freedom with kaleidoscopic feverishness, shuttling viewers from a gynecological beauty pageant to a grotesque food orgy with scatological, taboo-shattering glee. With its lewd abandon and sketch-comedy perversity, Sweet Movie became both a cult staple and exemplar of the envelope pushing of 1970s cinema."]
The Texas Chainsaw Massacre (USA: Tobe Hooper, 1974) [Criterion Channel: "Nearly fifty years ago, five youths on a weekend getaway in the Texas countryside fell prey to a butcher in a mask made of human skin and his cannibalistic family, and horror cinema would never be the same. Violent, confrontational, and shockingly realistic, director Tobe Hooper’s THE TEXAS CHAIN SAW MASSACRE terrified audiences in a way never thought possible when it was unleashed amid the tumultuous sociopolitical climate of 1970s America. Facing a storm of controversy, censorship, and outcry throughout its troubled release, this still-potent grindhouse landmark remains unparalleled in its impact as perhaps the most frightening film ever made." MB: Some of the most haunting and terrifying scenes I have ever seen in a horror movie. Part of a wave of films that forever changed the genre, with Night of the Living Dead (1968); The Last House on the Left (1972); Halloween (1978); and Videodrome (1983).]
Young Frankenstein (USA: Mel Brooks, 1974) ["Made with obvious affection for the original, Young Frankenstein is a riotously silly spoof featuring a fantastic performance by Gene Wilder. Respected medical lecturer Dr. Frederick Frankenstein (Gene Wilder) learns that he has inherited his infamous grandfather's estate in Transylvania. Arriving at the castle, Dr. Frankenstein soon begins to recreate his grandfather's experiments with the help of servants Igor (Marty Feldman), Inga (Teri Garr) and the fearsome Frau Blücher (Cloris Leachman). After he creates his own monster (Peter Boyle), new complications ensue with the arrival of the doctor's fiancée, Elizabeth (Madeline Kahn)." MB: Gene Wilder is great as Frederick Frankenstein and Marty Feldman sometimes steals the show as Igor, but the entire supporting cast makes this a comedy classic!]
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