{"id":96032,"date":"2024-04-24T21:59:17","date_gmt":"2024-04-25T04:59:17","guid":{"rendered":"https:\/\/filmfanatic.org\/?p=96032"},"modified":"2024-05-19T14:30:37","modified_gmt":"2024-05-19T21:30:37","slug":"reflections-on-must-see-films-from-1965","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=96032","title":{"rendered":"Reflections on Must-See Films From 1965"},"content":{"rendered":"<p>I&#8217;m back for another reflection on a particular year in cinema! As a recap, I&#8217;ve already shared my thoughts on must-see titles from <a href=\"https:\/\/filmfanatic.org\/?p=93913\">1960<\/a>, <a href=\"https:\/\/filmfanatic.org\/?p=94160\">1961<\/a>, <a href=\"https:\/\/filmfanatic.org\/?p=94621\">1962<\/a>, <a href=\"https:\/\/filmfanatic.org\/?p=95002\">1963<\/a>, and <a href=\"https:\/\/filmfanatic.org\/?p=95317\">1964<\/a> &#8212; and I&#8217;m now ready to discuss my take-down on titles from 1965.<\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/For-a-Few-Dollars-More-Eastwood.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/For-a-Few-Dollars-More-Eastwood.png\" alt=\"\" width=\"1293\" height=\"538\" class=\"alignnone size-full wp-image-96051\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/For-a-Few-Dollars-More-Eastwood.png 1293w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/For-a-Few-Dollars-More-Eastwood-300x125.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/For-a-Few-Dollars-More-Eastwood-1024x426.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/For-a-Few-Dollars-More-Eastwood-128x53.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/For-a-Few-Dollars-More-Eastwood-768x320.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/For-a-Few-Dollars-More-Eastwood-604x251.png 604w\" sizes=\"auto, (max-width: 1293px) 100vw, 1293px\" \/><\/a><\/p>\n<p>Interestingly, this year holds my lowest percentage of must-see titles so far. Out of 73 movies, I&#8217;m only voting 19 (or 26%) must-see. Below are just a few highlights from this year in cinema, which offered up plenty of darkness (literally &#8212; most are in b&#038;w) on screen; however, I&#8217;ll begin my overview with a notable exception to that tendency. <\/p>\n<ul>\n<li>I&#8217;m a huge fan of Robert Wise&#8217;s Oscar-winning musical <a href=\"https:\/\/filmfanatic.org\/?p=24471\"><em>The Sound of Music<\/em><\/a>, which is not to everyone&#8217;s tastes but has delighted me for years. Julie Andrews&#8217; performance remains preternaturally compelling, and as I noted in my review: &#8220;The use of authentic Austrian\/German locales \u2014 including the iconic opening shots on verdant hillsides \u2014 helps to open up the [original Broadway] play enormously,&#8221; turning &#8220;the entire affair into a wonderfully picturesque adventure.&#8221;<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Sound-of-Music-Still.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Sound-of-Music-Still.png\" alt=\"\" width=\"1292\" height=\"580\" class=\"alignnone size-full wp-image-96035\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Sound-of-Music-Still.png 1292w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Sound-of-Music-Still-300x135.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Sound-of-Music-Still-1024x460.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Sound-of-Music-Still-128x57.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Sound-of-Music-Still-768x345.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Sound-of-Music-Still-601x270.png 601w\" sizes=\"auto, (max-width: 1292px) 100vw, 1292px\" \/><\/a>\n<\/li>\n<li>Of the 19 must-see titles from 1965, seven are in a language other than English, with two (discussed below) in Italian, two in French (see <a href=\"https:\/\/filmfanatic.org\/?p=83921\">here<\/a> and <a href=\"https:\/\/filmfanatic.org\/?p=95987\">here<\/a>), and three in Czech. From the latter (which also includes Milos Forman&#8217;s <a href=\"https:\/\/filmfanatic.org\/?p=5828\"><em>Loves of a Blonde<\/em><\/a> and Zbynek Brynych&#8217;s <a href=\"https:\/\/filmfanatic.org\/?p=95409\"><em>The Fifth Horseman is Fear<\/em><\/a>), the Oscar-winning flick <a href=\"https:\/\/filmfanatic.org\/?p=95139\"><em>The Shop on Main Street<\/em><\/a> &#8212; a film &#8220;about the absurdity of war, politics, and discrimination&#8221; in which &#8220;we are clearly able to see the insanity of the social upheaval creeping across Europe&#8221; &#8212; stands out above them all.<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Shop-on-Main-Street-Tumba.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Shop-on-Main-Street-Tumba.png\" alt=\"\" width=\"1533\" height=\"1182\" class=\"alignnone size-full wp-image-96103\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Shop-on-Main-Street-Tumba.png 1533w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Shop-on-Main-Street-Tumba-300x231.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Shop-on-Main-Street-Tumba-1024x790.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Shop-on-Main-Street-Tumba-128x99.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Shop-on-Main-Street-Tumba-768x592.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Shop-on-Main-Street-Tumba-350x270.png 350w\" sizes=\"auto, (max-width: 1533px) 100vw, 1533px\" \/><\/a>\n<\/li>\n<li>Another powerful foreign title is Marco Bellochio&#8217;s debut feature <a href=\"https:\/\/filmfanatic.org\/?p=1810\"><em>Fists in His Pocket<\/em><\/a>, about a young man who &#8220;decides to relieve his older brother&#8230; of their dysfunctional family by gradually killing everyone \u2014 including himself \u2014 off.&#8221; (!) In my review, I note that watching this movie &#8212; which comes across as &#8220;part black comedy, part character study, part horror film&#8221; &#8212; is like viewing &#8220;a train wreck in slow motion&#8221;: we remain &#8220;fascinated yet unable to look away,&#8221; particularly given Lou Castel&#8217;s &#8220;powerhouse performance&#8221; as a man suffering from &#8220;depression, grandiosity, and mental instability.&#8221;<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Fists-Pocket-Castel2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Fists-Pocket-Castel2.png\" alt=\"\" width=\"1280\" height=\"708\" class=\"alignnone size-full wp-image-96105\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Fists-Pocket-Castel2.png 1280w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Fists-Pocket-Castel2-300x166.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Fists-Pocket-Castel2-1024x566.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Fists-Pocket-Castel2-128x71.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Fists-Pocket-Castel2-768x425.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Fists-Pocket-Castel2-488x270.png 488w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\" \/><\/a><\/li>\n<li>Speaking of memorable performances, it&#8217;s impossible to forget Rod Steiger&#8217;s leading role in Sidney Lumet&#8217;s bleak holocaust-survivor film <a href=\"https:\/\/filmfanatic.org\/?p=44133\"><em>The Pawnbroker<\/em><\/a>. As I note in my review, &#8220;Viewers must prepare themselves for relentless agony as we watch a deeply broken man perpetuate his own horrors onto others through grim apathy and misanthropy.&#8221; This film is well worth a one-time watch &#8212; but be forewarned.<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Pawnbroker-Steiger.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Pawnbroker-Steiger.png\" alt=\"\" width=\"1280\" height=\"696\" class=\"alignnone size-full wp-image-96052\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Pawnbroker-Steiger.png 1280w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Pawnbroker-Steiger-300x163.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Pawnbroker-Steiger-1024x557.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Pawnbroker-Steiger-128x70.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Pawnbroker-Steiger-768x418.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Pawnbroker-Steiger-497x270.png 497w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\" \/><\/a><\/li>\n<li>Equally (though differently) disturbing is Roman Polanski&#8217;s <a href=\"https:\/\/filmfanatic.org\/?p=71222\"><em>Repulsion<\/em><\/a>, starring Catherine Deneuve as a young French woman in London who experiences a frightening mental decline. Her performance &#8212; as well as Polanski&#8217;s ability to work atmospheric wonders within a tight budget &#8212; make this a tense psychological thriller with plenty of unexpected twists and turns.<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Repulsion-Hands.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Repulsion-Hands.png\" alt=\"\" width=\"1920\" height=\"1154\" class=\"alignnone size-full wp-image-96088\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Repulsion-Hands.png 1920w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Repulsion-Hands-300x180.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Repulsion-Hands-1024x615.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Repulsion-Hands-128x77.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Repulsion-Hands-768x462.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Repulsion-Hands-1536x923.png 1536w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Repulsion-Hands-449x270.png 449w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \/><\/a>\n<\/li>\n<li>Peter Watkins&#8217; fictionalized docudrama <a href=\"https:\/\/filmfanatic.org\/?p=3456\"><em>The War Game<\/em><\/a> &#8212; which was &#8220;deemed too controversial for airing on BBC television, but was given a theatrical release, and received an Oscar for best &#8216;documentary&#8217; in 1967&#8221; &#8212; offers up a &#8220;hypothetical vision of a post-apocalyptic nightmare &#8212; including lack of sufficient food or medicine, military rule, and hideous physical symptoms.&#8221; As I note in my review, it &#8220;remains just as powerful today as it must have been [decades] ago, when the threat of nuclear war was even more [?] imminent.&#8221;<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/War-Games.jpeg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/War-Games.jpeg\" alt=\"\" width=\"640\" height=\"480\" class=\"alignnone size-full wp-image-96041\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/War-Games.jpeg 640w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/War-Games-300x225.jpeg 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/War-Games-128x96.jpeg 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/War-Games-360x270.jpeg 360w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/li>\n<li>There are several cult classics from 1965, with perhaps my personal favorite being Elio Petri&#8217;s &#8220;cleverly conceived, visually stylish&#8221; (it&#8217;s in color!), &#8220;smartly scored,&#8221; Italian-language sci-fi flick <a href=\"https:\/\/filmfanatic.org\/?p=15778\"><em>The 10th Victim<\/em><\/a> &#8212; about &#8220;a futuristic society which allows individuals to join a human hunting game.&#8221; Ursula Andress (the huntress) and Marcello Mastroianni (her prey) are perfectly cast as the cat-and-mouse leads, with Andress a particular revelation as she &#8220;delivers a nuanced, smart, humorous, even heartfelt performance, all while looking as incredibly gorgeous as always.&#8221;<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Tenth-Victim-Still.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Tenth-Victim-Still.png\" alt=\"\" width=\"1280\" height=\"686\" class=\"alignnone size-full wp-image-96038\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Tenth-Victim-Still.png 1280w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Tenth-Victim-Still-300x161.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Tenth-Victim-Still-1024x549.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Tenth-Victim-Still-128x69.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Tenth-Victim-Still-768x412.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Tenth-Victim-Still-504x270.png 504w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\" \/><\/a><\/li>\n<li>Another noteworthy cult flick is Russ Meyers&#8217; inimitable <a href=\"https:\/\/filmfanatic.org\/?p=45979\"><em>Faster, Pussycat! Kill! Kill!<\/em><\/a> &#8212; which is the <u>only<\/u> Meyers film (out of all twelve listed in <em>GFTFF<\/em>) I tend to remember with much interest thanks to &#8220;its utterly unique stars&#8230;, its unforgettable title, and its striking imagery.&#8221; My review synopsis gives you a sense of how bizarre this flick is, if you somehow haven&#8217;t yet seen it (or would like a refresher):<br \/>\n<blockquote><p>&#8220;When three go-go dancers \u2014 Varla (Tura Satana), Rosie (Haji), and Billie (Lori Williams) \u2014 go drag racing in the desert, Varla ends up killing the boyfriend (Ray Barlow) of a bikini-clad girl (Susan Bernard) who the group then kidnaps. They end up at the home of a reclusive, secretly wealthy sociopath in a wheelchair (Stuart Lancaster) who is cared for by his two sons: a mentally slow hunk nicknamed &#8216;The Vegetable&#8217; (Dennis Busch) and his brainier brother (Paul Trinka). Sex-obsessed Billie pursues Busch, while Varla attempts to bed Trinka in order to learn where Lancaster\u2019s money is hidden, and Bernard tries to escape.&#8221;<\/p><\/blockquote>\n<p>Whew &#8212; get ready for some wild, violent, female-fueled escapades!<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Faster-Pussycat.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Faster-Pussycat.png\" alt=\"\" width=\"1208\" height=\"720\" class=\"alignnone size-full wp-image-96039\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Faster-Pussycat.png 1208w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Faster-Pussycat-300x179.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Faster-Pussycat-1024x610.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Faster-Pussycat-128x76.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Faster-Pussycat-768x458.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Faster-Pussycat-453x270.png 453w\" sizes=\"auto, (max-width: 1208px) 100vw, 1208px\" \/><\/a> <\/li>\n<li>Speaking of larger-than-life characters, Orson Welles&#8217; self-professed final directorial masterpiece was <a href=\"https:\/\/filmfanatic.org\/?p=93716\"><em>Chimes at Midnight<\/em><\/a>, in which he plays the recurring Shakespearean role of Falstaff &#8212; a portly knight who experiences tremendous heartbreak and betrayal at the hands of his lifelong friend Prince Hal. It&#8217;s a beautifully crafted &#8212; albeit typically &#8220;Shakespeare-ingly&#8221; dense &#8212; cinematic outing.<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Chimes-at-Midnight-Father-Son-Battlefield-768x457-1.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Chimes-at-Midnight-Father-Son-Battlefield-768x457-1.png\" alt=\"\" width=\"768\" height=\"457\" class=\"alignnone size-full wp-image-96090\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Chimes-at-Midnight-Father-Son-Battlefield-768x457-1.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Chimes-at-Midnight-Father-Son-Battlefield-768x457-1-300x179.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Chimes-at-Midnight-Father-Son-Battlefield-768x457-1-128x76.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Chimes-at-Midnight-Father-Son-Battlefield-768x457-1-454x270.png 454w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/a><\/li>\n<li>Another notable film about betrayal from 1965 was Martin Ritt&#8217;s <a href=\"https:\/\/filmfanatic.org\/?p=95549\"><em>The Spy Who Came In From the Cold<\/em><\/a>, which hews faithfully to John Le Carre&#8217;s source novel and offers a powerfully sobering antidote to more escapist spy fare of the Cold War era. As I note in my review: &#8220;To its credit, the film retains all the suspense of the book while both simplifying key plot points and visually opening up certain scenes. Oswald Morris\u2019s atmospheric cinematography is top-rate, and the performances are fine across the board.&#8221;<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Spy-Who-Came-In-Burton2-1.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Spy-Who-Came-In-Burton2-1.png\" alt=\"\" width=\"720\" height=\"416\" class=\"alignnone size-full wp-image-96086\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Spy-Who-Came-In-Burton2-1.png 720w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Spy-Who-Came-In-Burton2-1-300x173.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Spy-Who-Came-In-Burton2-1-128x74.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Spy-Who-Came-In-Burton2-1-467x270.png 467w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\" \/><\/a><\/li>\n<li>Finally, I want to highlight Brian Forbes&#8217; <a href=\"https:\/\/filmfanatic.org\/?p=95495\"><em>King Rat<\/em><\/a> &#8212; a haunting adaptation (of James Clavell&#8217;s novel) which is &#8220;unrelenting in its graphic depiction of the heat, starvation, despair, craziness, lethargy, boredom, and overall sense of hopelessness pervasive in [POW] camps.&#8221;<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/King-Rat-Courtenay-Segal.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/King-Rat-Courtenay-Segal.png\" alt=\"\" width=\"1287\" height=\"725\" class=\"alignnone size-full wp-image-96102\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/King-Rat-Courtenay-Segal.png 1287w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/King-Rat-Courtenay-Segal-300x169.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/King-Rat-Courtenay-Segal-1024x577.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/King-Rat-Courtenay-Segal-128x72.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/King-Rat-Courtenay-Segal-768x433.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/King-Rat-Courtenay-Segal-479x270.png 479w\" sizes=\"auto, (max-width: 1287px) 100vw, 1287px\" \/><\/a><\/li>\n<\/ul>\n<p>There are quite a few dark themes emerging across these recommendations from 1965: hopelessness, despair, violence, guilt, discrimination, betrayal, kidnapping, theft, duplicity, mental instability, starvation&#8230; These all seems particularly apt for the year in which Malcolm X was assassinated; Bloody Sunday occurred in Selma; American troops first arrived in Vietnam; the Watts Uprising took place in Los Angeles; and <a href=\"https:\/\/en.wikipedia.org\/wiki\/Norman_Morrison\">Quaker Norman Morrison<\/a> set himself on fire in protest (to name just a few noteworthy events). There was a lot going on, both in America and abroad.  <\/p>\n<p>Thank goodness for movies, and for the opportunity to remember a few of our favorite things&#8230;  <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Favorite-Things.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Favorite-Things.png\" alt=\"\" width=\"1282\" height=\"588\" class=\"alignnone size-full wp-image-96064\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Favorite-Things.png 1282w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Favorite-Things-300x138.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Favorite-Things-1024x470.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Favorite-Things-128x59.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Favorite-Things-768x352.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/04\/Favorite-Things-589x270.png 589w\" sizes=\"auto, (max-width: 1282px) 100vw, 1282px\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>I&#8217;m back for another reflection on a particular year in cinema! As a recap, I&#8217;ve already shared my thoughts on must-see titles from 1960, 1961, 1962, 1963, and 1964 &#8212; and I&#8217;m now ready to discuss my take-down on titles from 1965. Interestingly, this year holds my lowest percentage of must-see titles so far. Out of 73 movies, I&#8217;m only voting 19 (or 26%) must-see. Below are just a few highlights from this year in cinema, which offered up plenty&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=96032\"> Read More<span class=\"screen-reader-text\">  Read More<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[6],"tags":[],"class_list":["post-96032","post","type-post","status-publish","format-standard","hentry","category-blogroll"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/96032","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=96032"}],"version-history":[{"count":69,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/96032\/revisions"}],"predecessor-version":[{"id":96837,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/96032\/revisions\/96837"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=96032"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=96032"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=96032"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}