hello and welcome to city 104 class number six and we're getting into a pretty interesting time here in American and world film history and it's a very exciting time into the 1960s the late 1960s and early 1970s a lots going on in the world and all of that is going to affect what's going on in the film industry so let's look at the influences of the social influences that are going to influence the way movies are made and what kind of movies are going to be made first up the Vietnam War a very big deal on college campuses in the mid 1960s and early 1970s because there is a draft and that means that even if you don't want to serve in the military you can be drafted the government decided that there weren't enough volunteers into the armed forces to fight the war in Vietnam and the military convinced them that unless there was a draft we wouldn't be able to wage the war the way they wanted to wage that particular war so there was a draft all young men of draft age which is 18 and you would and and up but on your 18th birthday you would register for the draft and you would get at a certain point during the year you would get a draft number and what that means is it would be random they would take all of the days of the year January 1st through December 31st and put them on ping-pong balls and put them in a big drum that they could rotate and then on another separate drum they would put number 1 through number 365 on another set of ping-pong balls and another drum and randomly somebody would pull out a day of the year like August 28th and then a draft number which would be 37 and so anybody born on August 28 18 years prior like I was would have a draft number of 37 so what does the draft number of 37 mean well it means that unless you had a deferment you would probably get called up about the first 100 or so at at one point maybe up to 110 or 120 of those numbers if you were born on that day corresponding to that draft number you could get called up and then the military would have enough people to serve in the Armed Forces so you wanted a high draft number and if you didn't have a high draft number then there were a couple of ways that you could still stay out of the draft or stay out of the war people in the police departments wouldn't get called up people in the in ministry wouldn't get called up and there were physical deferments if you had if you're too tall or too short or too fat or too thin and they can't they had corresponding you know weights and Heights and all that kind of stuff I would suspect that if you have diabetes and things like that that you would be deferred also back then you would be deferred if you were a homosexual that wasn't the sort of thing that you would want to pretend to be even if you didn't want to go to Vietnam there was really a lot of stigma sadly there was a quite a stigma against gay people gay men back then and if you got out of serving in Vietnam because you are gay then you are going to have a kind of a rough go of it in society in general possibly having a hard time finding work and things like that so unless you were really legitimately gay or homosexual you really didn't want to pretend to be so the most popular one is or was a student deferment and so you could be deferred from the draft if you were a full-time student so you had to be a full-time student you couldn't just take one class or something like that you had to be full-time and take four classes and you only had that deferment for four years so you had to pass all your classes for four years you couldn't extend it out any further than that so that partly that's how I got through college in four straight years I went a couple of summers I took a class each summer and managed to be deferred during the length of the latter part of the war and and then I was so close that I finished my senior year in college and and and and got my bachelor's degree so that was a big deal on college campuses so a lot of the anti-war marches protests all that kind of stuff would be taking place on college campuses and a lot of these social influences on I'm late sixth on 60s and early 70s American films related to young people so the war right off the bat 18 years old and and then you could be serving you can always volunteer of course as well if you didn't want to go into the army and you thought maybe you'd rather be in the Air Force or the Navy then you'd have to volunteer and you would be in for four years rather than two years so that's the first social influence number two would be really just youth culture rock and roll music Woodstock happened in 1969 and rock music was a little bit divisive a lot of the music may be the sort of thing by Steppenwolf for Jimi Hendrix or Led Zeppelin would be meant to be played kind of loud it wasn't the sort of thing that a lot of parents liked they certainly liked you know pop music and that sort of thing but the rock music was kind of kind of divisive it really was and certainly there were protest songs things like that people Bob Dylan and people like that and writing protest songs and so on a big social influence also with young people with their draft and their music would be recreational drugs marijuana LSD and that sort of thing came out of came out of the southwest came out of possibly the ghetto and emerged on college campuses so that would be one of the first places where people started experimenting at marijuana had been around for quite a while certainly like I mentioned you know in the southwest of Mexico and places like that in the 1950s jazz musicians and people like that quite possibly would be experimenting and these drugs were hallucinogens and thought to expand your mind it wasn't just like getting bombed or zonked or drunk or whatever it was more of a spiritual mind-expanding sort of a thing at least that's that was the idea very early users Timothy Leary and people like that of course yet it quickly got away from that and got to be just people wanting to get stoned rather than to somehow be creative and free their mind and go on a spiritual quest or whatever but that's certainly something going on in the in this period also fashion and we start having longer hair on men and that was kind of a political statement if you had if you had shoulder length hair like these guys here this sort of was like a political statement that you also were anti-war and you also like to smoke and listen to rock music they sort of all went hand in hand they sort of all went together and today I see students in my classroom with with long hair and shaved heads and everything in between and hardly anybody looks at them a second time but back then long hair was a kind of a statement and in certain places in the country especially in small towns and especially in the south you really didn't want to get caught with with long hair by the police if you were caught speeding or something like that date some might just say well maybe they've got lice and we better shave their heads or something like that so is it was really kind of a a thumb or the finger to Authority and to society back then to have have long hair and for women and beards to and for women miniskirts not the the traditional knee-length or so skirts but halfway up the thigh shorter and shorter miniskirts were starting to become in fashion and believe it or not pants women were in in small towns and small schools like I grew up in luckily I didn't grow up in the south but I grew up in a small town in Michigan small farm town and rather conservative even up there in the Middle West and the girls in my class were not supposed to be wearing pants slacks jeans whatever they're supposed to be wearing skirts and of course that was a way that young women could sort of assert their their stance on society and all that as well by one by the way one of those people in that photo is yours truly I'll let you figure that out also still from the 1950s civil rights and voting rights and it had been around for a while Martin Luther King right here and his wife and other people I think that's Ralph Abernathy I can't name everybody off but this might be the march on Selma or possibly in Washington DC but the civil rights movement was still around african-americans in the South were fighting for the right to register to vote believe it or not that's what the march on Selma was all about to register black people to vote in Mississippi and Alabama and places like that in the south and some college kids Freedom Riders they were called rode buses down south to register blacks to vote and some of them were killed for their efforts for college students and many others beaten up sometimes by police down in the south it was a dangerous thing to even register to vote blacks were told you need to recite the Constitution or you need to recite the Declaration of Independence or something like that ridiculous things that almost nobody could could do in order to be able to register to vote and churches black churches in particular were at the forefront of that movement Martin Luther King Reverend Martin Luther King people like that and so that was still going on right from the 1950s still going on into the 1960s and becoming more and more out there and the response from some officials in the South in particular were more and more violent with water hoses and dogs and things like that so that was a big thing you could see that on the evening news if you turned on the evening news you would see stories about the Vietnam War and you might see stories about the latest civil rights activity marches protests and things like that all right there on the evening news so if you were a writer or a director or an actor in America especially in Hollywood then you were going to see this stuff you're gonna see it possibly on the streets of LA and certainly on the evening news and when this stuff is around you are going to be affected by that you're gonna think about what kinds of movies might appeal to people that are being involved in that sort of thing also the women's equality movement a little bit later more into the 1970s but there was an amendment to the Constitution that was being voted on the ER a that Equal Rights Amendment and women were really fighting for equality of pay equal pay for equal work and more opportunities and things like that a lot of people thought that it was a waste not not everybody but too many people thought it was a waste to send women to college because they were just going to get married and they were gonna waste all that time they spent in college some people joked that instead of working on a BA or an MBA or PhD a lot of young women were working on an Mrs which is to say mrs. find a mate find a guy from college and get married so that was kind of the attitude that some people had back then it wasn't really something for women to do today women are more than 50% of college students I think it's closing in on 60% it would be very unusual to have a female doctor or a lawyer back in the middle 1960s early 1970s and today it's got to be closing in on half so big changes in those 50 years of what women can do what kind of opportunities women could have there were traditional women's jobs aside from being a mother and to be in the home you might see women as schoolteachers secretaries and nurses child care traditional women's tivities but certainly not a doctors and lawyers and politicians and things like that and so that has changed drastically for the good I would say but it was quite a different time back then and again going to influence 1970s American films and finally Watergate the break-in and coverup and if you're a little bit hazy on the whole Watergate thing the Watergate was a office complex and and apartments just a building in the Washington DC area and the Democratic National Committee had their offices there and they were the ones that were there was a it was an election year in 1972 and George McGovern running against Richard Nixon and the National Committee was there and some people from the Republican side snuck in and were wiretapping the place they were bugging the place and taking photos of some of the material that they found in filing cabinets and that sort of thing to get an edge on the campaign in that election on November of 1972 has to be the stupidest crime ever really the people that got caught by just a lone night watchman were ex CIA types and that sort of thing and initially the public was not very interested in it but some intrepid reporters from the Washington Post and some other newspapers wouldn't let go they wouldn't let go of the story and started who is paying these people who was paying these people off follow the money was the word or the term and eventually the money led to the top law enforcement officer in the country the Attorney General Mitchell John Mitchell and into the White House which is the president's office and the president really didn't mean to do that at all he was Nixon was running for re-election his first run for the presidency in 1960 against Kennedy was a very very very close race it might have somehow made sense to have inside information then he ran for the presidency a second time in 1968 against Hubert Humphrey and that was again a very very very close election and any edge that you could get might have helped out but 1972 he was running for re-election he was fairly popular and finally sorta starting to wind the war down in Vietnam the economy was doing ok and Nixon won in a landslide he won in a landslide I don't know 48 states I think out of 50 in the electoral college so he didn't need any help he didn't need any bugged offices or anything like that it was just a really stupid stupid mistake and if you make a mistake own up but the cover-up usually is worse than the crime if they had just owned up yeah yeah we were we know these people were breaking into the Democrats thing that's it maybe paid a fine maybe short prison sentences for some of those low-level people and it would have gone away but they tried to cover it up and the cover-up is what cost Nixon the presidency was it the crime really it was the cover-up that cost him the presidency and again all of this is going on and people are young people in particular but lots of people are thinking that authority that are should be anti-authority the people that are in charge whether it's in the government or whether it's in schools or whether it's in churches or whether it's in sports everything needs to maybe get rethought it's not like a revolution like like overthrow the government but people are thinking that the people that are an authority aren't with the people in the country and need to maybe rethink things there's a new way of doing things and that sort of thing so there was a big big move like I said youthful rebellion anti authority and that sort of thing and that is going to run through the films that are going to be made in the late 60s and early 70s so what kinds of films are going to be made during this period first up we have blow up 1966 from Michelangelo Antonioni he's Italian this was his first english-language film it's set in the swinging 60s London swinging London of the 1960s there's a fashion photographer as we see right here and I have a link to this clip it's pretty famous clip and he is doing this job with you know rich people and high fashion and models and all that and he wants to do something more than this commercial work he wants to do something a little bit deeper and maybe take photos of working-class people and something a little bit more artistic than fashion photography and in the middle of all this well shooting some pictures in a public park he is developing those pictures and he thinks he sees something off in the trees and the bushes and that sort of thing so he blows up or enlarges some photos and he get green here the more you blow them up it gets much greater but he thinks he sees a gun and possibly a body and that sort of thing and so there's a little bit of possibly a murder going on in the midst of this man's life so a very interesting film and I've got some nice clips linked to it Roger Corman is also around he was making movies producing and directing and writing movies since the 1950s and a big influence on young directors he hired such future stars as Francis Coppola would go on to do the Godfather Martin Scorsese who's still working today Goodfellas and and Casino and all those movies James Cameron and Ron Howard okay so lots of future Oscar winners and even with actors like Jack Nicholson and Sylvester Stallone and Sandra Bullock so he was kind of the king of schlock but a lot of these young guys getting out of film school this is the film school generation for the most part are getting a chance to actually direct real movies not student movies but real movies he's taking a chance at hiring these guys is sort of like sort of a grad school for these guys and so he's kind of a big influence right there's influence from foreign films and foreign directors like Kurosawa and Fellini and Bergman and people like that but also in America a lot of these people are being influenced by sort of guerilla directors not getting shooting per minutes and things like that and just go out there and shoot until somebody chases you away so I've got a link to a fun Roger Corman movie he's the kind of guy that made drive-in movies and we've talked about drive-in movies black-and-white cheap take a couple of weeks to shoot some of these things but it was a great training ground for these young up-and-coming directors and actors so I've got a bucket of blood which is a comedy believe it or not and really a lot of fun so there are three transition films I call them transition films into the new Hollywood they came out before importantly before the ratings system comes in so before you can start having r-rated movies and that sort of thing some of these movies are being released without the code the production code seal of approval and rather violent this movie has a quite a famous ending where spoiler alert something from eighty years ago miss foiler Bonnie and Clyde go down in a hail of gunfire literally their car was shot up pretty good I think I have a picture of their car coming up and so sex and violence and some theaters refused to show it it certainly didn't pass the production code and it came from a director from the live TV generation Arthur Penn Warren Beatty the star and the producer right there as Clyde and there's Faye Dunaway over here as Bonnie really thought that he had something on his hands he really thought this is kind of like a French new-wave film and he really wanted one of the French New Wave directors possibly one of the one of the one of the guys from below from breathless or something like that jean-luc Godard possibly to direct it or Francois Truffaut and he thought he had something pretty good there on his hands the studio really didn't get it and here's that here's a picture of the real Bonnie and Clyde not not bad-looking not quite as gorgeous as Fayette Dunaway and Warren Beatty but you know they look okay they look they look fine wasn't that much of a stretch I guess anyway Studios thinking drive-in summer it's just another schlock it might as well be a Roger Corman movie and Beatty is just hounding them this is a much better movie he got a book it into better theaters and you know not just drive-ins during the summer and he got a very nice review from a very influential film critic and today we don't have very influential film critics we sort of have aggregations of critics from Rotten Tomatoes and things like that but individual film critics don't have quite the power and authority that some of them did back in the 60s and 70s and there was a critic her name is Pauline Kael she wrote for The New Yorker magazine and she gave it a very favorable review and Beatty did a review and showed it to the people at the studio Jack Warner at Warner Brothers Studio and Jack Warner remember he had been around since the 1930s and 1940s so he's getting a little long in the tooth he's not really connected to young people so much anymore and he really needed to be convinced and the Pauline Kael review kind of helped him out so in the fall they released it into some nice theaters and kind of got the critics from around the country to check out this movie and the film Academy and as a result it got eight Oscar nominations and at one two and eight Oscar nominations is a pretty good a pretty good number for a drive-in movie right that's the kind of movie that they thought they had and instead it was really an Academy Award winning sort of movie and it really shows how out of touch the Hollywood studio moguls were at that time very interestingly and it is shown in the movie Bonnie the real body Parker and and it's portrayed in the movie she really loved media attention and she took photos like this right with the cigar and a gun and that sort of thing and in the previous picture with Clyde and they had a picture they actually got the drop on a police officer and took his picture and she would send these pictures to newspapers with poetry and today you can imagine she'd be all over social media she'd be all over you know Twitter and Instagram all that sort of thing she really loved the media and the attention that a got her and she's kind of stylish there she's wearing a beret and I imagine that's fairly stylish for the 1930s they were wearing their hair dresses at mid-calf and so on but you know she's got this sort of aggressive pose there of the cigar I don't think she was a real cigar smoker so very interesting with money so that is the death car as it's called the Bonnie and Clyde death car and it is still around it is in Nevada at state line or pym or whatnot in Las Vegas but it's there they probably stole the car Bonnie and Clyde probably stole the car so its ownership has probably been in dispute possibly an enterprising police chief had it or sold it or some such thing but it's been on public display probably ever since the shootout in the middle 1930s when they went down in that hail of gunfire you can see it all shot up and the film the binding Clyde film from 1967 showed that but some people called it really almost like pornography violent porn or something like that because as they're dying it's in slow motion and it looks kind of nice you know it's just a it's almost like balletic right it's almost like a ballet the way the bodies are sort of being shot up in slow motion on the ground and and a lot of people had a lot of trouble with that it's a very controversial movie almost glorifying violence and there were other movies that did the same thing there's another pretty good movie called The Wild Bunch by Sam Peckinpah and lots and lots of slow-motion shootouts and things that's a it's a western cowboy movie and that was problematic for a lot of people almost glorifying violence our next film of these few that are transitional is the Graduate from 1967 directed by Mike Nichols who won an Oscar for directing the film he film didn't win the Oscar Dustin Hoffman there in a role that really made him a star as young Benjamin and it is transitional in that there's really no long hair nobody has shoulder-length hair there's nobody smoking pot there's no talk of Vietnam nothing like that and if you're gonna be talking about college students in the late 1960s you'd think that that would be something that would be shown or talked about in the film but it's based on a on a book that was written I think in 1959 and so it relates to that book in that it's not going to talk about current events but it does have a real anti-authority feel so it sort of feels like the 1960s but it's not in-your-face 1960s like I say with with Benjamin home from college smoking pot in his bedroom or some such thing it doesn't doesn't have anything anything like that and the whole like the whole shock is that Benjamin a recent college graduate is going to have an affair with a woman old enough to be his mother and she is his parents friend the wife of Benjamin's father's partner okay so that's mrs. Robinson and you might know the song from Simon Garfunkel and let's see do I have it in ya so Ben is searching for a life of meaning not just money he looks like he lives in a pretty nice place I don't know if it's Beverly Hills they have a backyard swimming pool it's quite a quite a gorgeous house so definitely upper-middle class for sure and Ben is he wants a little bit more out of life as a recent college graduate he just doesn't know what he wants to do he went to a really good school back east he won awards and things like that and now he's a little bit lost in the film interestingly all of the parents what you might call grown ups are mister or missus okay mrs. Robinson mr. Robinson people like that and and Ben and Elaine mrs. Robinson's daughter are only known by their first name so it's sort of a way of making them a little bit more younger like like a kid then a grown-up even though he's a college graduate 2021 something like that and at his party the first scene in the movie the guests are all his parents friends and they're sort of tussling his hair like a little kid like a little eight-year-old kid that sort of thing you'll notice they never listen to him he he says things and nobody ever answers em or says anything about his questions and things they they don't hear him it's almost like he's invisible so there are a couple of interesting terms in the movie and I have a link to this scene here plastic it's a wonderful scene and a man at the graduation party tells Ben I have one word for you I have one word for you out by the pool come with me along he takes him all alone by the pool you'll see it and he says plastic and you know what do you mean and the man says there's a great future in plastic but to a lot of people in the late 1960s a lot of young people plastic head a second sort of a term to be fake and not real not like like wood or cotton or some real thing but but artificial and not real so plastic plastic people that sort of thing was it was kind of derogatory wasn't widely used by the serve a derogatory term for people plastic also Ben doesn't want to be a sellout and again it's not like all the tickets are gone but to be a sellout in the 1960's and 1970's meant that you would take a job for the money or do something really just for the money and not for your political or your emotional or spiritual beliefs and today you would you could be a sellout and it could be on either side right it could be on either side but maybe you get a somebody offers you a job to work for the tobacco industry and you really think tobacco is not really the best thing but you're gonna take that job for the money so you're a sellout and and you can do it from the left or from the right liberal or conservative but you're taking a job for the money and not something that you really and truly believe in may be a candidate political candidate from the other party something like that so that is to be a sellout hey don't be a sellout man and that's the idea right don't work for the man okay you gotta find your own way but of course as we well know you got to pay the rent you gotta pay the mortgage gotta buy groceries and you need to find a job and sometimes you can't be too picky if somebody's offering you a pretty sweet job to work for the other party or to work for the tobacco industry or the Rifle Association you might just have to take that job and that's a hard thing to do so in November 1968 the rating system replaces the 1934 production code also known as the Hays Code because the man who ran it for many years not by 1968 but for many years was named will Hays we talked about this and maybe our first class and so now we have the studios the studios are self-censoring themselves and just like in the 1930s they didn't want to wait for the government to step in and say you're making these movies like Bonnie and Clyde or the Graduate with this young kid having an affair with a woman old enough to be his mother all that sort of thing and so the studio's are thinking just like they did 35 years before that if we don't do something about this then the government or boycotts are going to step in and they're going to censor our movies for us so it was it was self-censorship on their part proactive before anything else could happen and that's going to change a lot that's gonna make as much of a change in the kinds of movies that are seen as the influences from the Vietnam War or from rock music or fashion their long hair or marijuana or any of that kind of stuff because now with the rating system it's a kind of a business decision okay if we have movies that people can't get into because they're too young then we're limiting our own audience okay so with the r-rated movies you have to be 17 unless you have a parent or adult guardian and in 1984 or Indiana Jones and the Temple of Doom there we go and here's the shaman and he's got a beating heart right there in his hand pump pump and it was rated PG there was no pg-13 yet and parents with little kids not parents with 16 year old kids but parents with five-year-old or six-year-old kids wanting to take them out to see a nice adventure movie like Indiana Jones are shocked to see scenes like this going on in the movie and they're some of the little kids are baby crying getting kind of traumatized and writing now they're going to be writing letters these parents writing letters to the to the studio saying I took my six seven eight nine year old child to see the new movie and it was awful and gross all that another movie came out about that same time called gremlins and yeah their little mechanical like doll things but six five six seven year old kids they don't they don't get it they think they're little things little creatures little you know like a pet a dog or a cat or something little gremlins and and the gremlins are our mean and bad and fighting them off they get shot they get pushed into microwave ovens down garbage disposals and it looks pretty funny because adults know that their little dolphin or not even CGI yeah they're little they're little doll things but again parents are upset kids are crying maybe and so with those two movies the Academy wisely added a mid range between PG and R and that's the pg-13 in 1990 no children under 17 nc-17 replaces X and there had been quite a few changes over the years originally it started with with with GP then our G and then GP and then M for Mature and then X so there were there was lots of tweaking I don't want to give you the whole three of all this but there was lots of tweaking GP to be PGM was confusing which is worse M or R so they changed M and so on - - peachy and our ex was really no rating and they made a mistake and they didn't trade market now X can mean a lot of things really it can mean in math variable or unknown right in engineering X is usually experimental in Roman numerals it's from the real world 10 you had to be 10 years old to get in to the Colosseum or the circus to see what was going on the Roman the Roman circus with that with with the Tigers and all that kind of stuff so X had multiple meanings and in this case it just meant no rating it wasn't rated and as I said it wasn't trademarked and so the adult film industry decided that they were going to start doing Triple X okay so interestingly Europe has more restrictions for violence and other countries they don't have necessarily pg-13 it might be 15 it might be you know 16 whatever depending France England Germany Japan right every country has their own ratings systems and things like that but as a cultural a cultural difference they tend to restrict violence more and we tend to restrict sex more a pair of naked breasts something like that on a woman is more likely to get a higher rating in Europe they even have topless beaches and things like that so culturally it's a little interesting that we seem to be a little bit more squeamish when it comes to sex and they certainly restrict violence a little bit more in the meantime the adult film industry they start running rampant with the X rating and since it's not trademarked its co-opted by the adult film industry and there was really a lot of curiosity about adult films as they call porn right and it's all over the internet but for a while it was kind of a curiosity if you think about it there was no way for most people to see porn back then there was no internet and no VHS tapes to find or anything like that magazines okay nothing like there there's no way to see it people had heard about it and there had been sort of secret movies made super 8 movies and stuff that you could if you knew somebody who knew somebody who could maybe get a porn movie to show a bachelor party or something like that but for the most part most people had never seen that stuff and they were kind of curious about it it's almost like VR or something right people have heard of virtual reality most people have never actually seen virtual reality people are kind of curious about things that they've heard about that they haven't seen I know it sounds funny to say that but there were big lines around the block to see porn movies for a short period for a year or two and movies like deep throat made lots and lots of money at the box office in movie theaters right in regular old movie theaters there were even chains of adult movie theaters pussycat movie theaters and Mitchell brother movie theaters right in Orange County right in Santa Ana right around and these kinds of movies were out there this is one of the more notorious ones deep throat and strangely when we get up to all the President's Men the man that was on the inside giving information to the Washington Post reporters Woodward and Bernstein made dubbed him deep throat so it's kind of a kind of an inside joke but most of my students would get that reference deep throat but that was the name of a rather notorious and high high earning porn film one of the top ten films of the year i think in 73 or 74 so also kind of on that same topic I guess you might say Midnight Cowboy from 1969 is the only x-rated movie to win a Best Picture Oscar I actually won the Best Picture Oscar 1969 and there's there's Dustin Hoffman Benjamin from the Graduate and now we're two years later he's in this movie now what what makes it x-rayed well it's not porn x-rated just means that it's stuff for adults and so there's there's drugs there's a little bit of violence there's homosexuality okay and it was just deemed a little bit too adult for kids and when I go to the movies sometimes if I see an r-rated movie like a Quentin Tarantino movie because our rated movies mean no one unless they have a parent or adult guardian I will see and maybe some of you also I see parents in there maybe they couldn't find a babysitter and they're watching Quentin Tarantino movie or some other violent movie with little six and seven-year-old kids in they're not but they're sixteen year old kids but with little kids and that's because they can write our rate it just means you if your parent wants to take your anybody to see any of their children to see an r-rated movie they can but no one with an x-rated movie or its successor the nc-17 rated movie no one is allowed to see it if they're under 17 so even bad parents I guess you could say I feel comfortable calling the bad parents who take their little kids not their sixteen old kids we take their little kid it's in 2c r-rated movies they can't do that with x-rated movies or with nc-17 read of movies so that was the thing and there were a number of other movies that were nominated for Oscars originally Clockwork Orange was rated X I think it's been rear aided car but originally Clockwork Orange also the Wild Bunch for its violence and there were a number of other movies that were rated X in the early going 69 70 71 72 before the adult film industry sort of made that whole X rating a joke 1969 diving in to also transitioning into the new Hollywood we have Easy Rider directing directed by and starring Dennis Hopper and Peter Fonda this is Peter Fonda here and Jack Nicholson and a real star-making performance and this movie it was kind of similar to other kinds of Roger Clemens there were motorcycle movies out there but this one seemed to just have it all it had a nice theme a little bit more of an adult theme a man went looking for America and couldn't find it anywhere there it is right there on the poster and they had long hair they smoked pot they weren't hippies really they weren't hippies they were motorcycle riders but they had a great soundtrack what today you'd call classic rock soundtrack Steppenwolf Jimi Hendrix the band acts like that and that fantastic theme song born to be wild played right at the beginning of the movie and it was nicely done good cinematography nicely edited well acted the whole bit it wasn't some cheesy black-and-white quickie to show in the drive-ins but of course the studio's had trouble with it they couldn't quite figure exactly what kind of a movie it was and they put it in the drive-ins but it made money and it made more money and really surprised a lot of people that it had a theme that not just young people but especially young people could really identify with this spiritual quest the freedom of the open road and so on and a really a star turn from Jack Nicholson he had been around Hollywood for ten years or so since the late 50s he was a little bit older and he was in his 30s by this point and he was having a hard time getting his acting career out of first year first year he had done a little bit of directing for Roger Corman and some writing he might have just transitioned into a into a director or something like that but his turn he's only on screen for maybe 15 minutes maybe 15 or 20 minutes in this whole film but it just made him an instant star he kind of eclipsed Dennis Hopper and Peter Fonda really in that little bit of time that he was on screen and really made him a star and Jack Nicholson had a really good decade of the 70s and into the 80s and we will see a few more Jack Nicholson films including Chinatown and One Flew Over the Cuckoo's Nest and and so on and some other ones the last detail what else is he pieces so Jack had a pretty pretty good decade I wanted to highlight his part in the movie and I usually show a knight and I've got a link to a scene with them sitting around a campfire getting stoned and a jack really is magnetic he really is so again destined for the drive-in I became a huge hit Studios really had to take notice and if you can make a movie for just a very low budget even adjusting for inflation it couldn't have cost more than ten million dollars or something like that in today's money which is way way way below average average has to be up around forty fifty million dollars today not counting these two hundred fifteen three hundred million dollar Avenger movies and James Bond movies and Harry Potter movies all that sort of thing so it made a lot of money I don't know how much it made adjusting for inflation but maybe 100 million something like that on a very low budget and the studio's started thinking wow why do we have to spend all this money on on these big bloated movies that they had been doing in the 1960s and 1970s and there were a lot of big bloated expensive flops and really hurting Hollywood they had to sell off some of their property some of their studio acreage and that sort of thing and here come these kind of low-budget movies even the Graduate didn't cost a whole lot of money or Bonnie and Clyde so here are these kind of low-budget movies these rock and roll generation a lot of them from film schools and stuff and the studio's really had to sit up and take notice William Friedkin not a film school guy but he was directing documentaries and that sort of thing and he came out of the gate with the French Connection they had won the Best Picture and the director Oscars and he was allowed to make a genre film and so this kind of harkens back to Alfred Hitchcock thinking to himself I'm a good director and I'm gonna make a genre movie a slasher movie and later on even Stanley Kubrick with 2001 sci-fi not really thought of very highly and so all three of these directors Hitchcock and Friedkin and Kubrick are going to take on which genre then a lot of people would would think is kind of kind of schlocky driving stuff band so he's gonna do in a big budget with nice special effects and a real a movie and it makes a ton of money and for a while just about every summer or so the next movie broke the box-office records so the Godfather broke the box-office records of The Sound of Music and then the Exorcist broke The Godfather record and then jaws broke the broke the Exorcist and then star wars so it seemed like there was an era of movies just knocking off the previous champ one right after another and we will get into all that we'll get into jobs we'll get into the Godfather all that is coming up and we will see more of Martin Scorsese but this is when he gets his start in the 1970s we will dive a much deeper into Scorsese with Raging Bull about the boxer with Robert De Niro and Goodfellas and all of a casino and all the wonderful movies he's gonna make but he started off in this 1970s new Hollywood period definitely part of the film school generation he went to New York University even taught there for a little while and there he is on the streets of New York with Robert De Niro making I assume taxi driver that's the way he looked in taxi driver I don't think it's mean streets appreciates taxi driver and so they have paired up over the years and made a number of movies together we will dive deeper into the Scorsese De Niro pairing and then of course later on Scorsese pairs up with Leonardo Leonardo DiCaprio for four or five movies as well so we will talk about that pairing there are a lot of good director actor pairings we've talked about some of them even with Fellini and Mastriani and and cor Sawa and to share my foodie and I'm doing this off the top of my head I don't have notes let me see here and Tim Burton and Johnny Depp so we have a number of director actor pairings and this has been one of the more fruitful ones that's for sure I love this picture of these they look so young they look just great okay so that's it for today wonderful start to the new Hollywood and after this like I said the lots of fantastic movies from the 1970s and we will spend the next class and I think part of the next one after that with some wonderful 1970s movies boy we still have to talk about the Godfather and and Clockwork Orange and one for the cou business all sorts of wonderful movies Chinatown coming up in the classes ahead and so for now this is your professor Dave Echols signing off and we'll be back next time