Personal Faves: The Best of the Early ’70s on Film
This past year, I have seen roughly 200 films. As my job requires me to see a plethora of movies, a good chunk of them were new releases. But as I am a hermit on the weekends, many were older films I always meant to see but for some reason or another let slip between the cracks. For me, watching a film is always experiential; I love nothing more than the physical response to viewing a great film you’ve never seen and the cinematic high that follows. But I always look at my constant film watching as an education, leaving the theater or shutting off my computer as if I’ve just done a close reading of an important text, feeling as if I’ve gained insight into a time and a place in the world that I ever knew existed. And when it comes to Hollywood in the 1970s, that for me has always been the most enthralling and the most informative.
1. Zabriskie Point, Michaelangelo Antonioni (1970)
What lacks in dialogue is completely made up for in cinematography and sound thanks to Pink Floyd’s disjointed psychedlic meets ethereal soundtrack. The beginning scenes in Los Angeles with all the 1960s aggressive advertising juxtaposed with the bare desert and the final blowup/breakdown just killed me. Of course, Antonioni plus Sam Shepard would only naturally equal the dustiest choreographed orgy scene of bodies and sounds.
2. Alice in the Cities, Wim Wenders (1974)
I love everything about this movie, from the pacing to the polaroids and exterior driving shots (that reminded me of Dennis Hopper’s early photographs). Wenders’s films are filled with so much yearning and so much restlessness; people aching so badly to find that thing or feeling they’ve never even been able to name. They’re all so hungry for love and connection and something to make them feel alive, and what could be more universal?
3. The Landlord, Hal Ashby (1970)
Here’s a really great 1970s New York race-relations film. It was endearing and funny while also being insightful and guttural. Hal had a really bizarre tone to all of his films and this one takes a little bit to get situated but when it does, it feels like how his others end up—living in this weird world between the absolutely ridiculous and extreme reality. Beau Bridges boyish face was the perfect canvas to project against this urban world.
4. Five Easy Pieces, Bob Rafelson (1970)
If I could be reincarnated as anything it would be Jack Nicholson’s left eyebrow in 1970. His performance in really established his maniacal acting style that is just so good it makes me wonder if modern actors of this callibar even exist anymore. The film is brilliantly written and directed, showing a tragically ambivalent man’s existential crisis that leads down a road to nowhere in the style of New Wave art film.
5. Shampoo, Hal Ashby (1975)
A hazy satire of late ’60s sexual politics and great hair. It’s interesting to set a film as a period piece—seven years earlier—with a political backdrop that only keeps the mood light. If the script had fallen into another director’s hands with lesser actors, I’m sure a good deal of magic would have been lost, but this was wonderful. Warren Beatty’s haircut and Julie Christie’s backless sequined dress are really the other leads of the film.
6. Husbands, John Cassavetes (1970)
Troubled men, troubled world. This one is wonderfully shot, of course; Cassvetes is the master of holding the camera close to bodies and faces to expose interiors in a way that’s as haunting as it is aesthetically beautiful. The dynamic between Cassavetes, Falk, and Gazzara cannot be beat. Cassavetes’s maniacal laugh will be playing on repeat in my head for days. The film displays the immature idocy of men but also the knowledge that they recognize their ways and attempt to change—but is it only out of shame or guilt?
7. Sunday Blood Sunday, John Schlesinger (1971)
What the film does best is speak to the sentiment that we’re drawn to that which will never be fully attainable despite all our efforts. It’s not a film about what it is like to be a gay man in love or the struggles that coincide, but a film about what it’s like to be a person in love—male, female, whatever. If the film is still progressive to this day, it’s for the way in which it does not treat the homosexuality of the characters as something different or subversive. Both Daniel and Alex’s stories feel ultimately tragic because perhaps their desire for him was merely a projection.
8. The Parallax View, Alan J. Pakula (1974)
Every film in his political paranoia trilogy is perfect. Gordon Willis’s cinematography kills me and is at its best when in these kinds of stories. So much inching tension and unrest. So psycholoigcally stimulating and well-acted. Sidenote: Is it a requirement for all the leads in this trilogy to have the same brunette haircut?
9. Performance, Donald Cammell, Nicolas Roeg (1970)
No one does out-of-focus, sparkling-chandelier-light haze reminiscent of fantastical winter nights of intoxication better than Roeg. Jesus, this movie is a fucking brilliant depiction of indentity and the power to transform oneself. As usual, sexuality and violence go hand in hand that seduces you with it’s lustful danger. And obviously, the music is half the pleasure.
10. The Long Goodbye, Robert Altman (1973)
Elliott Gould is perfect as the wisecracking and fumblingly adorable Marlowe. Altman’s version captures an essence of ’70s easy cool LA that’s breezy and charismatic yet haunted by it’s darkness lurking beneath the surface. Takes noir and makes it natural. Great sounds.