The Rear-View Mirror: The Good the Bad and the Ugly (1966)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

Please don’t think less of me, but my introduction to Westerns was Sergio Leone’s The Good, the Bad and the Ugly. Not only was the peak of the western genre, if not over by 1966, then at least in decline, but this one here also got not made anywhere near the New World, but mainly in Spain, and by an Italian. In a way, it’s a western twice removed, but it uses some set pieces and arrays them into a three-hour spectacle that seems to know exactly how much it can stretch any kind of suspense without actually reaching breaking point.

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The Rear-View Mirror: With a Little Help from My Friends (1967)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

The year 1967 stands out for a number of reasons.

It was a powerful year for movies: the world got the likes of Bonnie & Clyde, In The Heat of the Night and Guess Who’s Coming to Dinner blowing open the doors on what was previously considered taboo in the US.

It was a powerful year for history: it was the year James Bedford died. It was also the year James Bedford became the first man in history to be cryonically preserved. It was the year the United States stepped up the war in Vietnam. It was also the year that, in the middle of race riots and violence, the world seemed to unite for a single moment in opposition to Vietnam, and the Summer of Love was born.

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El Royale, Come Down in the World

I recently read an interview with a game designer. Among other things, she talked about how, in many computer games, your avatar is often in mortal peril, and how such a situation is not only an option, but the very point of many computer games. You might die, so your main goal is to survive. She called that the stress of dying. I am very much a non-gamer, but I know what she means. Although the drama of life vs. death, whether it be your avatar’s or any other character’s in a game, is higher in a potentially fatal scenario, it might take your attention away from the intriguing story, the elaborate graphics or the well-written characters themselves. Sometimes it’s about exploring and going places, about living in a new universe, not just surviving it. Or about admiring the craft. Continue reading

A Damn Fine Cup of Culture Podcast #23: The Lives of Others

d1ad56da-abce-4afe-9f45-79294aede9e3For the June episode, join your cultural baristas as they discuss The Lives of Others (2006), the Academy Award-winning drama about East Germany in the 1980s, Stasi surveillance, the redemptive power of art and its tragic limitations. When not listening in to the artist couple in the apartment on the floor below, we also talk about Amazon Prime’s adaptation of the near-apocalypse, Good Omens, Béla Tarr equine mood piece The Turin Horse and Richard Powers’ 2003 novel The Time of Our Singing.

P.S.: In keeping with the thwarted surveillance motif, Matt’s recording equipment wasn’t quite up to the task this month. We apologise for any problems with the audio quality and promise to do better in July.

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The Rear-View Mirror: Night of the Living Dead (1968)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

So you’ve got zombie fatigue, too? I don’t blame you. Even my teenage daughter has given up quite a while ago on Rick Grimes and his merry gang (and resorted to vampires, but that’s a story for another night). Even the most ardent zombie fan has to admit that the survivors of a zombie apocalypse are much more dangerous than those slouching, moaning, shuffling undead. In a way, George A. Romero had it easy: when he made his Night of the Living Dead in 1968, zombies were not yet a (excuse the pun) recurring staple of horror movies. And indeed, Romero’s debut doesn’t even use the term.

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The Rear-View Mirror: Butch Cassidy and the Sundance Kid (1969)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

If there was alien life out there that had discovered a method to objectively measure charm and they used that to discover intelligent life in the universe, they would surely have discovered the Earth after the release of Butch Cassidy and the Sundance Kid in 1969, directed by George Roy Hill, written by William Goldman, but most importantly starring one of the greatest double acts in Hollywood history, Paul Newman and Robert Redford as the titular characters. The effortless chemistry between Newman and Redford, combined with Hill’s assured direction and Goldman’s wit, make the film a master class in ’60s cinema. There are few films that are as purely enjoyable as Butch Cassidy and the Sundance Kid.

Butch Cassidy and the Sundance Kid

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