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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 Lazareno Also 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 Miloš Forman School of collaborators. Get ready for some killer Czech rock’n’roll, a whole bunch of brass bands, a lot of low-key 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

Once upon a time, in a magical red world behind an iron curtain, there existed a very special man named Aleksandr Rou. Born to two foreign-born parents, Rou worked his way up from the stage to become one of Russia’s most celebrated film directors. But Rou wasn’t any ol’ director; he focused primarily on fantasy and fairy tale films for children – building up worlds of magical witches, talking animals, underwater kingdoms, gilded palaces, silken costumes, wicked warlocks and proletariat heroes. Leaning heavily on traditional folktales at a time where being regionally unique was frowned upon, Rou’s career brilliantly walked the line between old and new to appease both nostalgia and social revolution. His popularity throughout the land was immense and he became an influence to a host of contemporary directors. And he lived happily ever after…. until one day, not so far into the 1970s, he died. The end. In this episode, Bart and Jenna just soak it all in. This is the decade of Rou in his prime – from the fantastical tales with some questionable lessons for children, to the brilliantly designed technicolor madness of these costumes and sets. Yeah okay, sometimes some baffling culture shock too, but just enjoy! The following films are discussed:• Maria the Wonderful Weaver (1960) Марья-искусница Directed by Aleksandr Rou Starring Ninel Myshkova, Viktor Perevalov, Anatoliy Kubatskiy • Cinderella (1961) Хрустальный башмачок Directed by Aleksandr Rou & Rostislav Zakharov Starring Raisa Struchkova, Gennadi Ledyakh, Elena Vanke • Evenings on a Farm Near Dikanka (1961) Вечера на хуторе близ Диканьки Directed by Aleksandr Rou Starring Aleksandr Khvylya, L. Myznikova, Yuri Tavrov • Kingdom of Crooked Mirrors (1963) Королевство Кривых Зеркал Directed by Aleksandr Rou Starring Olga Yukina, Tatyana Yukina, Tatyana Barysheva • Jack Frost (1964) Морозко Directed by Aleksandr Rou Starring Aleksandr Khvylya, Natalya Sedykh, Eduard Izotov • Through Fire, Water, and… Brass Pipes (1968) Огонь, вода и… медные трубы Directed by Aleksandr Rou Starring Natalya Sedykh, Aleksei Katyshev, Georgiy Millyar • Barbara the Fair With the Silken Hair (1970) Варвара-краса, длинная коса Directed by Aleksandr Rou Starring Mikhail Pugovkin, Georgiy Millyar, Anatoliy Kubatskiy

If you were a teenager in the 1960s chances are you loved three things: The Beatles, Yo-Yos and The Man From UNCLE. Okay, likely you enjoyed a variety of other things, but the adventures of Napoleon Solo and Illya Kuryakin sure captured the hearts and minds of the many during their four year television run. But this is cinema60 so we’re exploring the eight Man From UNCLE movies that were released (not to be confused with the surprisingly charming Guy Ritchie movie) largely for foreign audiences and cash-ins for spy-fever (aka UNCLEitis mania, scientifically). In this episode Bart complains about this being another Bootleg Bond episode and Jenna gushes about how much she likes Man From UNCLE but not so much these movies. Which isn’t to say they’re bad movies since they’re basically overlong television episodes but well… that’s kind of the issue. Either way, watching Vaughn and McCallum run around California national parks, midcentury dream offices and indoor rocket launch pads is anything but boring*. *Bart disagrees with this statement. The following films are discussed:• To Trap A Spy (1964) Directed by Don Medford Starring Robert Vaughn, Luciana Paluzzi, Pat Crowley • The Spy With My Face (1965) Directed by John Newland Starring David McCallum, Senta Berger, Leo G. Carroll • One Spy Too Many (1966) Directed by Joseph Sargent Starring Rip Torn, Dorothy Provine, Yvonne Craig • One of Our Spies is Missing (1966) Directed by E. Darrell Hallenbeck Starring Vera Miles, Ann Elder, Bernard Fox • The Spy in the Green Hat (1967) Directed by Joseph Sargent Starring Jack Palance, Janet Leigh, Letícia Román • The Karate Killers (1967) Directed by Barry Shear Starring Kim Darby, Herbert Lom, Joan Crawford • The Helicopter Spies (1968) Directed by Boris Sagal Starring Carol Lynley, Bradford Dillman, Lola Albright • How To Steal the World (1968) Directed by Sutton Roley Starring Barry Sullivan, Eleanor Parker, Leslie Nielsen • “The Man from U.N.C.L.E.” (1964-1968)

Bart & Jenna play Kiss Marry Kill with the year 1966. The following films are discussed: • Once Before I Die (1966) Directed by John Derek Starring Ursula Andress, John Derek, Richard Jaeckel • The Round-Up (1966) Szegénylegények Directed by Miklós Jancsó Starring János Görbe, Zoltán Latinovits, Tibor Molnár • How to Steal a Million (1966) Directed by William Wyler Starring Audrey Hepburn, Peter O'Toole, Eli Wallach • Death of a Bureaucrat (1966) La muerte de un burócrata Directed by Tomás Gutiérrez Alea Starring Salvador Wood, Silvia Planas, Manuel Estanillo • The Swinger (1966) Directed by George Sidney Starring Ann-Margret, Anthony Franciosa, Robert Coote • Trans-Europ-Express (1966) Directed by Alain Robbe-Grillet Starring Jean-Louis Trintignant, Marie-France Pisier, Catherine Robbe-Grillet

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.

In 1960, Nancy Kwan burst onto the screen in glorious color as the titular Suzie Wong. The film was a major hit that both launched her career and gained her lasting name recognition in the industry. After a memorable stint in Rodgers and Hammerstein’s celebrated Flower Drum Song, she went on to a bizarre mix of smaller films and bit roles but never seemed to find her place. How could this happen to such an attractive and charming leading lady? Oh. Right. In this episode, Bart and Jenna take a look at Kwan’s career beginnings, the social context of the decade and the pitfalls of being a Chinese actor in the dominantly white world of Hollywood. They do their best to investigate the roots of how racist stereotypes get started, from orientalism to cinematic archetypes, and encourage you to turn to better sources than them for the full truth of the matter. The following films are discussed: • The World of Suzie Wong (1960) Directed by Richard Quine Starring Nancy Kwan, William Holden, Sylvia Syms • Flower Drum Song (1961) Directed by Henry Koster Starring Nancy Kwan, James Shigeta, Miyoshi Umeki • The Main Attraction (1962) Directed by Daniel Petrie Starring Nancy Kwan, Pat Boone, Mai Zetterling • Tamahine (1963) Directed by Philip Leacock Starring Nancy Kwan, John Fraser, Dennis Price • The Wild Affair (1965) Directed by John Krish Starring Nancy Kwan, Terry-Thomas, Victor Spinetti • Nobody’s Perfect (1968) Directed by Alan Rafkin Starring Nancy Kwan, Doug McClure, James Shigeta Resources: • The Other Question…, Screen, 1983 Written by Homi K Bhabha • The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene Written by Arthur Dong • Asian American Actors: Oral Histories from Stage, Screen, and Television Written by Arthur Dong • Hollywood Chinese (2007) Directed by Arthur Dong• Slaying the Dragon (1988) Directed by Deborah Gee

There’s an argument to be made for the idea that Haskell Wexler was one of the founding fathers of modern cinema. With his emphasis on handheld cameras, naturalistic on-location shooting and dramatic lighting, Wexler stands out as one of the few true auteur cinematographers. Between his iconic visuals and his clear interest in and emphasis on political themes and social justice, his body of work acts as both a mirror for the decade and loudspeaker to progressive values. Wexler remains a major influence to cinematographers to this very day – so who better to focus on for Cinema60’s first cinematographer-themed episode? Starting with his black and white beginnings, Cinema60 traces his narrative and documentary films through the decade, eventually culminating in Medium Cool – a proto-New Hollywood hybrid film that incorporates most every theme and camera trick he learned throughout the decade. In this episode, Bart and Jenna take on the roles of George and Martha as they play “hump the cinematographer” while trying to slowly tear each other apart through psychological torture. (Side note: We had horrible technical problems during this episode so apologies if it sounds rougher than usual, but also… tough.) The following films are discussed:• The Hoodlum Priest (1961) Directed by Irvin Kershner Starring Don Murray, Keir Dullea, Cindi Wood • America America (1963) Directed by Elia Kazan Starring Stathis Giallelis, Frank Wolff, Linda Marsh • The Best Man (1964) Directed by Franklin Schaffner Starring Henry Fonda, Cliff Robertson, Ann Sothern • The Bus (1965) Directed by Haskell Wexler Hour-long documentary • Who's Afraid of Virginia Woolf? (1966) Directed by Mike Nichols Starring Elizabeth Taylor, Richard Burton, George Segal • In the Heat of the Night (1967) Directed by Delbert Mann Starring Sidney Poitier, Rod Steiger, Lee Grant • Medium Cool (1969) Directed by Haskell Wexler Starring Robert Forster, Verna Bloom, Peter Bonerz Briefly mentioned: • The Thomas Crown Affair (1968) Directed by Norman Jewison Starring Steve McQueen, Faye Dunaway, Paul Burke

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.