This is one of the festival themes that we will be revisiting from time to time, a snapshot of one year in the life of a particular country’s cinema. For our July festival, we will be looking at three American films that were released in 1963, all of them directed by directors who maintained their creative voice through the studio system and beyond, yet were largely supplanted by the New Hollywood they helped create. Although 1963 is not viewed as a high water mark for American cinema (the Best Picture winner that year was the British production Tom Jones), it sits at an interesting nexus between old Hollywood and New Hollywood, as well as between established and revolutionary ideas of film criticism. Andrew Sarris published his “Notes on the Auteur Theory” in 1962, an American expansion on the work of the French Cahiers du Cinema crowd, a group of critics turned filmmakers who were largely responsible for rescuing the reputations of directors like Sam Fuller and Nick Ray.
MONDAY, JULY 7: FESTIVAL PREVIEW [By Daniel Barnes]
THURSDAY, JULY 10: Shock Corridor (Dir.: Sam Fuller) [Review by Daniel Barnes]
MONDAY, JULY 14: 55 Days at Peking (Dir.: Nick Ray) [Review by Mike Dub]
MONDAY, JULY 21: America, America (Dir.: Elia Kazan) [Review by Daniel Barnes]
WEDNESDAY, JULY 30: Festival Wrap-up [By Daniel and Dub]