I’m pretty sure I posted this Gore Vidal quote before in hopes of sparking a discussion, but I can’t find the article.
Despite having been born in 1972, my preferred era of deep movie impressions happened between the late ’50s and mid ’60s. The films of 1962 and ’63, in particular, were key to my aesthetic development
49 worthy films from 1962: David Lean‘s Lawrence of Arabia, John Ford‘s The Man Who Shot Liberty Valance, Sam Peckinpah‘s Ride The High Country, Robert Aldrich‘s Whatever Happened to Baby Jane?, Bryan Forbes‘ The L-Shaped Room, Howard Hawks‘ Hatari, Francois Truffaut‘s Shoot The Piano Player, Francois Truffaut‘s Jules and Jim, Agnes Varda‘s Cleo From 5 to 7, Luis Bunuel‘s The Exterminating Angel (10)
Peter Ustinov‘s Billy Budd, the John Frankenheimer trio of Birdman of Alcatraz, The Manchurian Candidate and All Fall Down, J. Lee Thompson‘s Cape Fear, George Seaton‘s The Counterfeit Traitor, Frank Perry‘s David and Lisa, the Blake Edwards‘ duo of Experiment in Terror and Days of Wine and Roses, Pietro Germi‘s Divorce, Italian Style. (10)
Stanley Kubrick‘s Lolita, the great Kirk Douglas western Lonely are the Brave, John Schlesinger‘s A Kind of Loving, Roman Polanski‘s Knife in the Water (released in the U.S. in ’63), Alain Resnais‘ Last Year at Marienbad, Michelangelo Antonioni‘s L’eclisse, Sidney Lumet‘s version of Eugene O’Neil’s Long Day’s Journey into Night, Otto Preminger‘s Advise and Consent, Terence Young‘s Dr. No, John Huston‘s Freud. (10)
Robert Mulligan‘s To Kill a Mockingbird, the internationally-directed The Longest Day, Arthur Penn‘s The Miracle Worker, Lewis Milestone‘s Mutiny on the Bounty, Jules Dassin‘s Phaedra, Don Siegel‘s Hell Is For Heroes, Ralph Nelson and Rod Serling‘s Requiem for a Heavyweight, Serge Bourguignon‘s Sundays and Cybele (a.k.a., Les dimanches de ville d’Avray), Richard Brooks‘ Sweet Bird of Youth, Samuel Fuller‘s Merrill’s Marauders. (10)
Orson Welles‘ The Trial, Vincente Minnelli‘s Two Weeks in Another Town, Denis Sanders‘ War Hunt (which costarred Robert Redford and Sydney Pollack), Philip Leacock‘s The War Lover, Masaki Kobayashi‘s Harikiri, Andre Konchalovsky Ivan’s Childhood, Gene Kelly‘s Gigot, Robert Wise‘s Two for the Seesaw, Herk Harvey‘s Carnival of Souls. (9)