WHEN A WOMAN ASCENDS THE STAIRS (’60): This is something very special indeed. Not to overuse the word but Mikio Naruse was a special director (and a favorite of mine), and he had that knack for just this sort of picture about women, desperately trapped in the seemier side of a man’s world, hoping for escape but finding it thwarted at each turn. Hideko Takamine turns in a magnificently heartbreaking performance, so much of her suffering told in micro-expressions. #japanesefilm #60sfilms

THE GRADUATE (’67): Coming to such a famous film as this after all this time, it feels familiar since so much of it has been aped and parodied in the decades since. (And I now finally get all those jokes about my childhood best friend’s mom, Mrs. Robinson.) Hoffman’s neurotic, aimless college grad cracked me up. (Still not sure why the Robinson daughter fell for him though.) Bancroft, an iconic soundtrack, beautiful photography… many things to still recommend this after so many years. #60sfilms

SPLENDOR IN THE GRASS (’61): My interest in this primarily personal, as for decades I’ve listened to my mother explain how her father refused to let her see this when it came out. Too risqué! For then I’m sure it was, though sexual angles seem tame relative to more head-on confrontation with mental illness. First half was honestly weird and strangely constructed. Better in back half, Natalie Wood’s performance a standout. #classichollywood #oldhollywood #60sfilms

COACH TO VIENNA (’66): Stunningly stark Czech work about a widow plotting her revenge on the two Axis soldiers she’s being forced to transport to Austria. Iva Janžurová gives an amazing performance, saying so little but telling the story tremendously through incredibly subtle facials. Loved how they created a smoke-filled forest that felt like a perpetual maze. The use of classical music was top-notch. Disturbing ending. Really something to see. #czechfilm #60sfilms #WWIIfilms #warfilms