A Patch of Blue (1965)

The notion that love is blind persists in many stories through the ages, notably with the Greek god of love, Eros, who was portrayed as blindfolded in one incarnation. It is the point tenderly made in A Patch of Blue, set against the backdrop of racial tension. Still, it is not a racially-charged story, but a story of love and accepting the sadness of life, and it was one of the most beautiful movies I have seen.

Mini Reviews

The speed at which I watch movies and write reviews obviously do not correlate, so I will commence writing miniature reviews for the movies I've watched over the past month or so.

Bonnie and Clyde (1967)

"Someday they'll go down together

And they'll bury them side by side

To few it'll be grief, to the law a relief

But it's death for Bonnie and Clyde."

I firmly believe that Bonnie and Clyde is the film that changed American cinema, when the transition from Old Hollywood to New Hollywood was made, and filmmakers have not looked back since (except maybe with the occasional nostalgia). If you look at the Best Picture nominees for '67, the contrast from previous years is striking; The Graduate, which deals with post-grad angst and the isolated youth; In the Heat of the Night, concerning racial tensions; and Guess Who's Coming to Dinner, also concerning the aforementioned topic (a good year for Sidney Poitier, who starred in both, to be sure). Doctor Dolittle was also nominated, but that was more of a desperate attempt to hold on to the old and cherished than for true merit.

Lilies of the Field (1963)

In reflection, the reluctance of the main character, Homer Smith, of Lilies of the Field, directed by Ralph Nelson, brings to mind the lyrics of John Lennon's song "Beautiful Boy." Life is what happens when you're busy making other plans…I will not even try to contain the emotions that have been fluttering inside me after watching this film, so bear with me as I try to compose my thoughts.

Bringing Up Baby (1938)

I just watched Bringing Up Baby, and I can say with complete honesty that I haven't had that much cinematic fun in ages. In the broad sub-genres of comedy, I must say that the screwball comedy is one of my favorites (and the one I like the most is My Man Godfrey). They are so unabashedly goofy, with the most ridiculous of characters and gags, that trying to suppress laughter when viewing one would be akin to stopping a volcano from erupting. But my main reason for loving them is that language is the dominant force behind the humor, and beautiful, complex sentences are spouted out rapidly but fluidly, crisply. That is why only the finest of actors can pull off that comedic timing.