60´s
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Across the Universe (2007) – Julie Taymor
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Unannounced musical pushing Dear Patience for the trailer-allergic expecting pure dialog. It sugar-shocks with its spiral-singing flopping in steady but annoying beauty.
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The Loved One (1965) – Tony Richardson
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Smack in the stiff middle of the 1960´s cerebral courtesy: a sunny-dark comedy of the black & whitest kind adorned and embalmed with Liberace.
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Once Upon a Time… In Hollywood (2019) – Quentin Tarantino
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Beyond the good one would expect as it beautifully boomerangs itself back to hoped-for Pulp Fiction territory only this time with a heavier cast.
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2001: A Space Odyssey (1968) – Stanley Kubrick
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Benchmark trip from a fantastic audio-visual realm that does not really clarify the slowly rotating Rubik´s Cube storyline that’s space-cold and trauma-like.
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The Graduate (1968) – Mike Nichols
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With youth one can hide from adulthood either by extending it or revisiting…but to escape it entirely, however: one has to try much harder.
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The Graduate (1968) – Simon & Garfunkel
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Lukewarm ghostly at its wide-open churchy heart when not abruptly peacocking itself up with old lascivious grown-up lustre from nighttimes gone clandestinely wild.
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The Wrecking Crew (1968) – Phil Karlson
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Mehr eine sexy Spionage-Komödie mit überbesetzter „Crew“, welche zu stark Werbung für den Dean Martin Soundtrack macht. Gewann mehr Lorbeeren durch Tates kultbehaftetes Ableben.
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The Vietnam War: The Sountrack (2017) – PBS
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Most of the usual late sixties/early seventies Momma & Papa-suspects in a soundtrack playlist that is not necessarily set-in stoned but beautiful.
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Rosemary’s Baby (1968) – Roman Polanski
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A riveting montage about a young woman´s accelerating feelings of simultaneous loss of mind and innocence while inside the claustrophobic loneliness of a large metropolis.
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Let It Bleed (1969) – The Rolling Stones
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A fine album about violence, anxiety and fear that somehow feels very relaxing to listen to. Perfect tunes from what is basically an American band.
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The Soft Parade (1969) – The Doors
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Passive-aggressive instrumentation that looks after a wrapped-in-gauze Morrison by sidetracking him when playing with fire. Slightly dislocated but still coordinated Door´s disc.
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Strange Days (1967) – The Doors
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It´s only natural to love this album two times and get lost in grateful admiration thrice by each one of its ten lizard-hole tracks.
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Electric Ladyland (1968) – The Jimi Hendrix Experience
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The man obviously knows what he´s doing by performing open-cock surgery to himself. An entire album recorded “in the zone” with no spared expense.
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The Night of the Iguana (1964) – John Huston
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Aging can (and will) drive you crazy as long as you´re not keeping up with your peers. Are clergymen exempt from this? Let´s find out.
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Days of Wine and Roses (1962) – Blake Edwards
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Always soul crushing to see a grown man sob like a silver child in a fairytale world where alcohol turns back into heroin every midnight.
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Scott 4 (1969) – Scott Walker
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Boyish sounding mature-troubadour voice, that´s like mixing Beck Hansen with Chet Baker wrapped in strong, paradoxically manly French-flair. An Ingmar Bergman-Western soundtrack.
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Spartacus (1960) – Stanley Kubrick
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Hard to believe this unquestionably classic film would have trouble seeing the light and burn holes through egos until Kubrick rose up to the occasion.
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Waiting for the Sun (1968) – The Doors
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Ceremonial sound-potion for trance-transitioning between ghosts in pursuit of sacred inner-galactic truth. That and happy-sounding tunes with deep, philosophical fine-print.
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Abbey Road (1969) – The Beatles
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There´s definitely something in the Death-mythological way this spooked album moves you and makes you come back for more of this beloved British benchmark.
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Yellow Submarine (1969) – The Beatles
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Beatle-order by diminishing personal liking: John Lennon, George Harrison, Ringo Starr and MacCartney, the Sting of the fame-tatooed quartet that shared the glitch.
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The Big Shave (1967) – Martin Scorsese
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Just how many cuts do you need for a final take? Of course the compulsive camera man’s answer is always the same: all of them.
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The Doors (1967) – The Doors
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The doors of perception being set on fire, kicked-in and entered. There’s worlds of dare inside. You can now kiss the old-you goodbye.
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“White Album” (1968) – The Beatles
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A clown car-supernova filled with brilliant ideas silhouetting unusually shifting times. This is what happens when you give recreational drugs to the right people.
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Days of Wine and Roses (1962) – Blake Edwards
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The pitiful side of alcoholism and the black & white big road of fun that takes one there. Large caliber acting in a tremendous film.
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Who’s Afraid of Virginia Woolf? (1966) – Mike Nichols
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A gasoline marriage waiting for a young match to come and share their social lubricant. Venomous but loving wit that’s wet with shades of grey.
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Where Eagles Dare (1968) – Brian G. Hutton
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Spionagepionier der 60er, wo Special Effects nicht existierten und Gewalt/ Action entweder verharmlost oder übertrieben dargestellt wurden.
(Über)Lebt nachhaltig durch soliden Cast und deren Zitate.
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Revolver (1966) – The Beatles
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A warm revolver loaded with intense imagination that makes you happy every time you pick it up. It contains Mccartney´s arguably best song: Elenor Rigby.
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Le Samuraï (1967) – Jean-Pierre Melville
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French Film Noir smeared in lonely tones and isolated colors showing the flip-side of persecution and its complex perplexities. A memorable existential staring contest.
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Elenor Rigby (1966) – The Beatles
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Everybody has some kind of redeeming quality — not unlike this catchy song from the least-liked surviving Beatles member and its absolute but temporary dfghdfh.