1962--The Year in Review

1962 saw a Hollywood-generated blowback against the influence of world cinema, with its native filmmakers obviously feeling challenged to deliver equally serious work. The American scene was dotted with glorious pictures--Robert Mulligan's To Kill a Mockingbird, Morton Da Costa's The Music Man (in my heart of hearts, still my favorite musical ever), Sam Peckinpah's arrival with Ride The High Country (a forsaken B-picture at the time), John Ford's then-critically-drubbed The Man Who Shot Liberty Valance, John Frankenheimer's chilling Cold War tale The Manchurian Candidate, Sidney Lumet's ambitious Long Day's Journey Into Night, Robert Aldrich's Whatever Happened to Baby Jane? (a progenitor for a whole slew of later quasi-horror films that would star fading actresses), and David and Lisa, an oddly moving early indie film by husband-and-wife team Frank and Eleanor Perry (theirs was the first independent film to get such major recognition). But none could brook the breathtaking work done by David Lean. His massive yet achingly intimate film about a reluctant British hero working out complex personal issues against the backdrop of a World War I sideshow in the Middle East would become the point against which all epics would subsequently be measured (especially since it contained a brilliant debut by Peter O'Toole, and another breakthrough performance by Omar Sharif). It was an astonishing year, though, for cinema from other countries, with films from Luis Bunuel (whose absurd dark comedy about insatiable bourgeoisie appetites still captivates), Truffaut, Godard, Ozu, Kobayashi, and Serge Bourguignon, a filmmaker who barely even tried to match his chancy tale about a chaste love affair between a shell-shocked war veteran and an abandoned 12-year-old girl (it would win the Oscar for Best Foreign Film, even though it's a movie that could never be made--or, for some, even viewed--today). Yet I have to give its lead actress the top award, as Patricia Gozzi's performance always moves me to stinging tears (it was a stupendous year for young actresses, with To Kill A Mockingbird's Mary Badham, The Miracle Worker's Patty Duke, and Lolita's Sue Lyon all contributing remarkable work). The UK film world, too, was ratcheting up to an upcoming explosion, with the country's "kitchen sink" dramas and the first James Bond film both being early clues to a new direction. On the short film front, the offerings were becoming much more daring, with Chris Marker stunningly elegant 27-minute sci-fi tale La Jatee told in a devastating series of still photographs. Meanwhile, on the animated front, former Oscar-winners Chuck Jones and the Hubleys are bested by a French film that conveys a challenging, emotionally draining peer into the Holocaust--one that turned out to be a deep influence on the animated work of Monty Python veteran Terry Gilliam. NOTE: These are MY choices for each category, and are only occasionally reflective of the selections made by the Academy of Motion Picture Arts and Sciences (aka The Oscars). When available, the nominee that actually won the Oscar will be highlighted in bold. 

PICTURE: LAWRENCE OF ARABIA (UK, David Lean)
(2nd: The Music Man (US, Morton Da Costa), followed by: 
Ride the High Country (US, Sam Peckinpah)
The Exterminating Angel (Mexico, Luis Buñuel)
To Kill a Mockingbird (US, Robert Mulligan)
The Man Who Shot Liberty Valance (US, John Ford)
Sundays and Cybele (France, Serge Bourguignon)
Knife in the Water (Poland, Roman Polanski)
Harakiri (Japan, Masaki Kobayashi)
David and Lisa (US, Frank Perry)
The Manchurian Candidate (US, John Frankenheimer)
Jules and Jim (France, François Truffaut)
Lolita (UK, Stanley Kubrick)
An Autumn Afternoon (Japan, Yasujiro Ozu)
Billy Budd (UK, Peter Ustinov)
Whatever Happened to Baby Jane? (US, Robert Aldrich)
Cleo from 5 to 7 (France, Agnès Varda)
L’Eclisse (Italy, Michelangelo Antonioni)
Vivre sa Vie (France, Jean-Luc Godard)
Advise and Consent (US, Otto Preminger)
Dog Star Man (US, Stan Brakhage)
Ivan’s Childhood (USSR, Andrei Tarkovsky)
Mamma Roma (Italy, Pier Paolo Pasolini)
Carnival of Souls (US, Herk Hervey)
Dr. No (UK, Terence Young)
The Loneliness of the Long Distance Runner (UK, Tony Richardson)
Chushingura (Japan, Hiroshi Inagaki)
Le Doulos (France, Jean-Pierre Melville)
The Miracle Worker (US, Arthur Penn)
Merrill's Marauder's (US, Samuel Fuller)
Cape Fear (US, J. Lee Thompson)
Long Day’s Journey into Night (US, Sidney Lumet)
Days of Wine and Roses (US, Blake Edwards)
Birdman of Alcatraz (US, John Frankenheimer)
Lonely Are the Brave (US, David Miller)
The Intruder (US, Roger Corman)
The L-Shaped Room (UK, Bryan Forbes)
The Trial (France/US, Orson Welles)
The World’s Greatest Sinner (US, Timothy Carey)
Heaven and Earth Magic (US, Harry Smith)
A Kind of Loving (UK, John Schlesinger)
The Connection (US, Shirley Clarke)
Gay Purr-ee (US, Abe Levitow)
The Longest Day (Andrew Marton, Bernard Wicki, Ken Annikin and Darryl L. Zanuck)
How the West Was Won (US, Henry Hathaway, John Ford and George Marshall)
Two for the Seesaw (US, Robert Wise)
The Phantom of the Opera (UK, Terence Fisher)
Eegah! (US, Arch Hall Sr.)
Wild Guitar (US, Ray Dennis Steckler))

ACTOR: Peter O’Toole, LAWRENCE OF ARABIA (2nd: Robert Preston, The Music Man, followed by: Gregory Peck, To Kill a Mockingbird; Joel McCrea, Ride the High Country; James Mason, Lolita; Hardy Kruger, Sundays and Cybele; Tom Courteney, The Loneliness of the Long Distance Runner; Jack Lemmon, Days of Wine and Roses; Robert Mitchum, Cape Fear; Burt Lancaster, Birdman of Alcatraz)

ACTRESS: Patricia Gozzi, SUNDAYS AND CYBELE (2nd: Bette Davis, What Ever Happened to Baby Jane?, followed by: Katharine Hepburn, Long Day’s Journey into Night; Monica Vitti, L’Eclisse; Anne Bancroft, The Miracle Worker; Shirley Jones, The Music Man; Anna Magnani, Mamma Roma; Leslie Caron, The L-Shaped Room; Jeanne Moreau, Jules and Jim; Lee Remick, Days of Wine and Roses) 

SUPPORTING ACTOR: Omar Sharif, LAWRENCE OF ARABIA (2nd: Peter Sellers, Lolita, followed by: Peter Ustinov, Billy Budd; Charles Laughton, Advise and Consent; Lew Ayres, Advise and Consent; Dean Stockwell, Long Day's Journey Into Night; Lee Marvin, The Man Who Shot Liberty Valance; Ed Begley, Sweet Bird of Youth; Terrence Stamp, Billy Budd; Victor Buono, Whatever Happened to Baby Jane?)



SUPPORTING ACTRESS: Mary Badham, TO KILL A MOCKINGBIRD (2nd: Patty Duke, The Miracle Worker, followed by: Angela Lansbury, The Manchurian Candidate; Shelley Winters, Lolita; Hermione Gingold, The Music Man; Thelma Ritter, Birdman of Alcatraz; Mariette Hartley, Ride the High Country; Sue Lyon, Lolita; Shirley Knight, Sweet Bird of Youth; Cicely Courtenidge, The L-Shaped Room)



DIRECTOR: David Lean, LAWRENCE OF ARABIA (2nd: Luis Bunuel, The Exterminating Angel, followed by: Sam Peckinpah, Ride the High Country; Robert Mulligan, To Kill a Mockingbird; Serge Bourguignon, Sundays and Cybele; Frank Perry, David and Lisa; John Ford, The Man Who Shot Liberty Valance; Masaki Kobayashi, Harakiri; Morton Da Costa, The Music Man; John Frankenheimer, The Manchurian Candidate)

NON-ENGLISH-LANGUAGE FILM: THE EXTERMINATING ANGEL (Mexico, Luis Buñuel) (2nd: Sundays and Cybele (France, Serge Bourguignon), followed by: Knife in the Water (Poland, Roman Polanski); Harakiri (Japan, Masaki Kobayashi); Jules and Jim (France, François Truffaut); An Autumn Afternoon (Japan, Yasujiro Ozu); Cleo from 5 to 7 (France, Agnès Varda); L’Eclisse (Italy, Michelangelo Antonioni); Vivre sa Vie (France, Jean-Luc Godard); Ivan’s Childhood (USSR, Andrei Tarkovsky); Mamma Roma (Italy, Pier Paolo Pasolini); Chushingura (Japan, Hiroshi Inagaki); Le Doulos (France, Jean-Pierre Melville))



ORIGINAL SCREENPLAY: N.B. Stone Jr., RIDE THE HIGH COUNTRY (2nd: Roman Polanski, Jerzy Skolimowski, and Jakub Goldberg, Knife in the Water, followed by: Agnes Varda, Cleo from 5 to 7; J.P. Miller, Days of Wine and Roses; Michelangelo Antonioni, Tonino Guerra, Elio Bartolini, and Ottiero Otterei, L'Eclisse)



ADAPTED SCREENPLAY: Horton Foote, TO KILL A MOCKINGBIRD (2nd: Robert Bolt, Lawrence of Arabia, followed by: Luis Bunuel, The Exterminating Angel; James Gordon Bellah and Willis Goldbeck, The Man Who Shot Liberty Valance; Eleanor Perry, David and Lisa)



LIVE ACTION SHORT FILM: LA JATEE (France, Chris Marker) (2nd: Zoo (Finland, Bert Haanstra), followed by: Window Water Baby Moving (US, Stan Brakhage); The War Game (UK, Mai Zetterling); Dylan Thomas (UK, Jack Howell))



ANIMATED SHORT FILM: LES JEUX DES ANGES (France, Walerian Borowczyk) (2nd: The Hole (US, John and Faith Hubley), followed by: Now Hear This (US, Chuck Jones and Maurice Noble); Self Defense...For Cowards (UK, Gene Deitch); Human Zoo (Japan, Yoji Kuri))

BLACK-AND-WHITE CINEMATOGRAPHY: Lionel Lindon, THE MANCHURIAN CANDIDATE (2nd: Henri Decaë, Sundays and Cybèle, followed by: Yoshio Muyajima, Harakiri; Vadim Yusov, Ivan’s Childhood; Russell Harlan, To Kill a Mockingbird)

COLOR CINEMATOGRAPHY: Frederick A. Young, LAWRENCE OF ARABIA (2nd: Lucien Ballard, Ride the High Country, followed by: Robert Burks, The Music Man; Yahuru Atsuta, An Autumn Afternoon; Harry Stradling Jr., Gypsy)

BLACK-AND-WHITE ART DIRECTION: WHAT EVER HAPPENED TO BABY JANE?, The Manchurian Candidate, To Kill a Mockingbird, Days of Wine and Roses, Harakiri

COLOR ART DIRECTION: LAWRENCE OF ARABIA, The Music Man, Gypsy, Mutiny on the Bounty, That Touch of Mink

BLACK-AND-WHITE COSTUME DESIGN: WHAT EVER HAPPENED TO BABY JANE?, The Man Who Shot Liberty Valance, Days of Wine and Roses, Harakiri, Billy Budd

COLOR COSTUME DESIGN: THE MUSIC MAN, Lawrence of Arabia, Gypsy, My Geisha, Mutiny on the Bounty 

FILM EDITING: LAWRENCE OF ARABIA, The Manchurian Candidate, To Kill A Mockingbird, The Music Man, The Man Who Shot Liberty Valance 

SOUND: LAWRENCE OF ARABIA, The Music Man, The Longest Day, Days of Wine and Roses, The Manchurian Candidate 



ORIGINAL SCORE: Maurice Jarre, LAWRENCE OF ARABIA (2nd: Elmer Bernstein, To Kill a Mockingbird, followed by: Bernard Herrmann, Cape Fear; Henry Mancini, Days of Wine and Roses; John Barry and Monty Norman, Dr. No; Nelson Riddle, Lolita)

 
ADAPTED OR MUSICAL SCORE: Ray Heindorf, THE MUSIC MAN (2nd: Frank Perkins, Gypsy)



ORIGINAL SONG: "Days of Wine and Roses" from DAYS OF WINE AND ROSES (Music by Henry Mancini, lyrics by Johnny Mercer) (2nd: "I've Written a Letter to Daddy” from What Ever Happened to Baby Jane? (Music by Frank DeVol, lyrics by Bob Merrill), followed by: "Peppermint Twist" from Hey Let's Twist (Music and lyrics by Joey Dee and Henry Glover); "Walk on the Wild Side" from Walk on the Wild Side (Music by Elmer Bernstein, lyrics by Mack David); "Tender is the Night" from Tender is the Night (Music by Sammy Fain, lyrics by Paul Francis Webster); "The World's Greatest Sinner" from The World's Greatest Sinner (Music and lyrics by Frank Zappa))

SPECIAL EFFECTS: THE LONGEST DAY, Mutiny on the Bounty

MAKEUP: WHAT EVER HAPPENED TO BABY JANE?, Lawrence of Arabia, My Geisha

Master List #30: The 101 Greatest Films About Childhood

In determining this list for the upcoming overview of The Cinema of Childhood on the estimable website Wonders in the Dark, I had to juggle a few things. First of all, how did the idea of childhood (and often the transition from such a stage into adulthood) most figure into the story. Sometimes, childhood (or, more often, the teen years) ventured too closely into maturity, and so I had to negate such titles (which made it difficult for films like West Side Story, The Last Picture Show, Dazed and Confused, and American Graffiti to make the cut, and made it impossible for the inclusion of films like Breaking Away or Ghost World, which are really films about newly minted adulthood). Sometimes I had to figure out whether a film was about a specific child performance (as in, say, Tatum O'Neal's turn in Paper Moon, which made the list, versus Justin Henry's turn in Kramer Vs. Kramer, which didn't) versus whether it had something to impart about childhood in general. I had to balance how some of these films had as much or more to say about adulthood as they did about being a kid (so, for instance, Anna Paquin's performance in The Piano didn't help Campion's film onto the list). As always on this sort of list, I was forced into determining what films reminded me of my own childhood (which is why, for instance, I really wanted to include one TV series, Freaks and Geeks, into the mix but ultimately only mentioned it in the final caveat). I really wanted to balance out the number of female-oriented films with the male ones, and the films that dealt with radically different childhoods than I had experienced (and in considering that, I had to think about those films that were more about the experience the child in question was feeling, rather than childhood itself--thus, something like Come and See is negated, because it's more about wartime). And, of course, I had to consider simply what were the best films of them all...so, with all this in mind, here are my choices:

1) The 400 Blows (Francois Truffaut, 59, US)
2) To Kill A Mockingbird (Robert Mulligan, 62, US) 
3) Seven Up and Seven Plus Seven (Paul Almond / Michael Apted, 64-71, UK)  
5) A Little Romance (George Roy Hill, 79, US/France)
6) Fanny and Alexander (Ingmar Bergman, 83, Sweden)
7) The Last Picture Show (Peter Bogdanovich, 71, US) 
4) ET The Extraterrestrial (Steven Spielberg, 82, US) 
8) The Fallen Idol (Carol Reed, 48, UK) 
9) Zero for Conduct (Jean Vigo, 33, France) 
10) Ponette (Jacques Doillon, 96, France)
11) The Tree of Life (Terrence Malick, 2011, US)
12) The Night of the Hunter (Charles Laughton, 55, US)
13) Small Change (Francois Truffaut, 76, France)
14) Inside Out (Pete Docter and Ronnie Del Carmen, 2015, US)
15) Hope and Glory (John Boorman, 87, UK)
16) Lady Bird (2007, Great Gerwig, US) 
17) Boyhood (Richard Linklater, 2014, US) 
18) Donnie Darko (Richard Kelly, 2001, US)
19) American Graffiti (George Lucas, 73, US)
20) The Spirit of the Beehive (Victor Erice, 73, Spain) 
21) Toy Story (John Lasseter, 95, US)
22) The Bad News Bears (Michael Richie, 76, US)
23) Rebel Without a Cause (Nicholas Ray, 55, US)
24) Pather Panchali (Satyajit Ray, 55, India) 
25) Over The Edge (Jonathan Kaplan, 79, US)
26) Los Olvidados (Luis Bunuel, 50, Mexico)
27) A Soldier's Daughter Never Cries (James Ivory, 98, US/France) 
28) The Tin Drum (Volker Schlondorff, 79, Germany)
29) Kes (Ken Loach, 69, UK)
30) Moonbird (John and Faith Hubley, 59, US)
31) The 5000 Fingers of Dr. T (Roy Rowland, 53, US)
32) Paper Moon (Peter Bogdanovich, 74, US)
33) Forbidden Games (Rene Clement, 52, France)
34) Margaret (Kenneth Lonergan, 2011, US)
35) Elephant (Gus Van Sant, 2003, US)
36) Mouchette (Robert Bresson, 67, France) 
37) Willy Wonka and the Chocolate Factory (Mel Stuart, 71, US)
38) The Long Day Closes (Terrence Davies, 92, UK) 
39) The Innocents (Jack Clayton, 61, UK)  
40) Gregory's Girl (Bill Forsyth, 81, Scotland)
41) Pollyanna (David Swift, 60, US)
42) George Washington (David Gordon Green, 2001, US)
43) West Side Story (Robert Wise and Jerome Robbins, 61, US)
44) Germany Year Zero (Roberto Rossellini, 48, Italy) 
45) Picnic at Hanging Rock (Peter Weir, 75, Australia)
46) Pixote (Hector Babenco, 81, Brazil)
47) Splendor in the Grass (Elia Kazan, 61, US) 
48) The Black Stallion (Carroll Ballard, 79, US)
49) Sundays and Cybele (Serge Bourguignon, 62, France)
50) Au Revoir Les Enfants (Louis Malle, 87, France)
51) Let The Right One In (Tomas Alfredson, 2008, Sweden) 
52) The Florida Project (Sean Baker, 2017, US) 
53) Little Women (Gillian Armstrong, 94, US) 
54) We Are the Best! (Lukas Moodysson, 2013, Sweden)
55) Streetwise (Martin Bell and Mary Ellen Mark, 82, US)
56) Bugsy Malone (Alan Parker, 76, UK)
57) Meet Me in St. Louis (Vincente Minnelli, 44, US)
58) To Be and To Have (Nicolas Philibert, 2002, France)
59) Oliver! (Carol Reed, 68, UK) 
60) The Diary of Anne Frank (George Stevens, 59, US)
61) A.I. Artificial Intelligence (Steven Spielberg, 2001, US) 
62) Bicycle Thieves (Vittorio De Sica, 48, Italy)  
63) Nobody Knows (Hirokazu Kore-eda, 2005, Japan) 
64) King of the Hill (Steven Soderburgh, 93, US) 
65) Walkabout (Nicolas Roeg, 71, Australia) 
66) My Life as a Dog (Lasse Hallstrom, 85, Sweden) 
67) Europa Europa (Agnieszka Holland, 90, France/Poland) 
68) The Window (Ted Tetzlaff, 49, US) 
69) Invaders from Mars (William Cameron Menzies, 53, US) 
70) The Selfish Giant (Clio Barnard, 2013, UK) 
71) Shoeshine (Vittorio De Sice, 46, Italy) 
72) This is England (Shane Meadows, 2006, UK) 
73) The World of Henry Orient (George Roy Hill, 64, US) 
74) Ordinary People (Robert Redford, 80, US) 
75) Election (Alexander Payne, 99, US) 
76) The Fall (Tarsem Singh, 2008, US/France) 
77) Kikujiro (Takeshi Kitano, 99, Japan)
78) The Man in the Moon (Robert Mulligan, 91, US)
79) Dazed and Confused (Richard Linklater, 93, US)
80) C'est La Vie (Diane Kurys, 90, France) 
81) Clueless (Amy Heckerling, 95, US) 
82) Marvin and Tige (Eric Weston, 83, US)
83) Rushmore (Wes Anderson, 99, US)
84) The Grand Highway (Jean-Loup Hubert, 87, France) 
85) The Other (Robert Mulligan, 72, US)
86) Lord of the Flies (Peter Brook, 63, UK)
87) Eve's Bayou (Kasi Lemmons, 97, US) 
88) Empire of the Sun (Steven Spielberg, 87, US) 
89) Fast Times at Ridgemont High (Amy Heckerling, 82, US)
90) Whistle Down the Wind (Bryan Forbes, 61, UK)  
91) The Kid with a Bike (Jean-Pierre and Luc Dardenne, 2011, Belgium) 
92) The Yearling (Clarence Brown, 46, US) 
93) What Maisie Knew (Scott McGehee and David Siegel, 2012, US) 
94) The Reflecting Skin (Philip Ridley, 90, Canada) 
95) Fish Tank (Andrea Arnold, 2009, UK) 
96) Phantasm (Don Coscarelli, 79, US) 
97) The Red Balloon (Albert Lamorisse, 56, France)
98) Fresh (Boaz Yakin, 94, US) 
99) The Cowboys (Mark Rydell, 72, US) 
100) My Bodyguard (Tony Bill, 80, US) 
101) The Member of the Wedding (Fred Zinnemann, 52, US)

The movies I'm sad I had to leave off: 

Little Men (2016), Out of the Blue, National Velvet, Shane, Yi Yi, Beasts of the Southern Wild, Valarie and Her Week of Wonders, Somers Town, Lady Bird, Dope, God Bless the Child, Heaven Help Us, Beautiful Thing, Ratcatcher, Little Fugitive, Old Enough, After Lucia, The Miracle Worker (62), Mon Oncle, The White Balloon, Rosetta, The Piano, Careful He Might Hear You, Ghost World, Breaking Away, Freaks and Geeks (US TV series), A Tree Grows in Brooklyn, The Kid (21), Jeremy, Foxes, City of God, Fame, Heavenly Creatures, Come and See, Leave It to Beaver (US TV series), Pelle the Conqueror, Cooley High, Goodbye First Love, Conrack, Puberty Blues, Play, Bambi, The Parent Trap (62), Pinocchio, Kipperbang, The Iron Giant, Sixteen Candles, A Nos Amour, Peppermint Soda, Big, Vagabond, Never Let Me Go, Monsters Inc., The Ice Storm, 20th Century Women, A Little Princess, These Three, Radio Days, Shadow of a Doubt, Spellbound (2002), Mad Hot Ballroom, Dogs is Dogs, Easy A, Our Mother's House, The Grand Highway, Peter Pan (Disney), Mary Poppins, How Green Was My Valley, The Tribe, Lassie Come Home, The City of Lost Children, The Squid and the Whale, Alice in the Cities, Leon, La Petit Amour, The Little Colonel, Tex, The Outsiders, Moonlight, The Witch, Village of the Damned, A Christmas Story, Miracle on 34th Street (46), Paperhouse, The Chalk Garden, A Boy Named Charlie Brown, Tiger Bay, The Search, The Night of the Shooting Stars, David Copperfield (35), Oliver Twist (48), I Wanna Hold Your Hand, Thirteen, Smooth Talk, The Breakfast Club, Ferris Bueller's Day Off, Searching for Bobby Fischer, Killer of Sheep

CINEMA GALLERY: 30 Scenes of Loneliness

 I felt like doing an essay on this subject matter, simply because this is where I'm at right now.  

Diane Keaton at the end of LOOKING FOR MR. GOODBAR (Richard Brooks, 77) 

Blood smears the screen in CRIES AND WHISPERS (Ingmar Bergman, 72) 

Time stops for THE EXORCIST (William Friedkin, 73)

23 SKIDOO (Julian Biggs, 64) 

One man doing what's right.  THE TRAIN (John Frankenheimer, 64) 

The squid finds its fate in 20,000 LEAGUES UNDER THE SEA (Richard Fleicher, 54) 

"Where is love?" Mark Lester as OLIVER! (Carol Reed, 68) 

"Dear Sir,......" AND NOW FOR SOMETHING COMPLETELY DIFFERENT (Ian McNaugton, 71) 

Desperation and inspiration mix in AMERICAN SPLENDOR 
(Sheri Springer Berman and Robert Pulcini, 2003)

THE TRAGEDY OF MACBETH (Roman Polanski, 71)

Arnold.  PUMPING IRON (Robert Fiore and George Butler, 77)

Amy Locane in CARRIED AWAY (Bruno Barreto, 96)

The comedian of the moment, dialing it up in LOUIE CK: HILARIOUS (Louie CK, 2010)

BRING ME THE HEAD OF CHARLIE BROWN (Jim Reardon, 86) 

A bride adrift. MELANCHOLIA (Lars Von Trier, 2011) 

God contemplates in THE WORLD'S GREATEST SINNER (Timothy Carey, 62) 

What to do? THE PROMOTION (Steve Conrad, 2008) 

DUSTY AND SWEETS MCGEE (Floyd Mutrux, 71) 

Johnny Smith has a premonition in THE DEAD ZONE (David Cronenberg, 83)

A bad apple.  ONCE UPON A TIME IN ANATOLIA (Nuri Bilge Ceylan, 2012) 

He sees you.  Raymond Burr in REAR WINDOW (Alfred Hitchcock, 54) 

A single second from VERY NICE VERY NICE (Arthur Lipsett, 61) 

The decimated kitchen from WHEN THE WIND BLOWS (Jimmy Murakami, 86) 

"You're Herbie Stemple..." QUIZ SHOW (Robert Redford, 94) 

LAST YEAR AT MARIENBAD (Alain Renais, 61) 

"Can I give you a call?"  TAXI DRIVER (Martin Scorsese, 76)

A homeless kid listens to advice from his imprisoned father in STREETWISE (Martin Bell, 84) 

"I'm delivering the milk." Pam Grier in FRIDAY FOSTER (Arthur Marks, 75)

Inside the cigar box.  TO KILL A MOCKINGBIRD (Robert Mulligan, 62) 

The robin of hope, perched at the conclusion of BLUE VELVET (David Lynch, 86)