Archive for the ‘jaren 60’ Category
August 22nd, 2005 | 
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bobby hutcherson ( 1965 )
Bron: mp3.com
Perhaps the single album that best sums up Bobby Hutcherson’s early musical personality, Components is appropriately split into two very distinct halves. The first features four Hutcherson originals in a melodic but still advanced hard bop style, while the latter half has four free-leaning avant-garde pieces by drummer Joe Chambers. (…)
Boccaccio ‘70 ( 1962 )
In Boccaccio ‘70 (1962) verfilmen drie van Italië’s beste en meest toonaangevende regisseurs elk één van Boccaccio’s erotische vertellingen (ieder met zijn favoriete leading lady). In Federico Fellini’s Le tentazioni del dottor Antonio prikkelt Anita Ekberg de overspannen verbeelding van een dokter. Eerste kleurenfilm voor Fellini en een teken van de dingen die nog komen gingen. Romi Schneider (opgegroeid en opengebloeid sinds Sissi) schittert in Il lavoro, LuchinoVisconti’s bittere pareltje over een vrouw (Schneider) die wraak neemt op haar overspelige minnaar. En Vittorio De Sica en ‘zijn’ Sophia Loren doen met La riffa wat ze later nog vaak met succes zullen herhalen : een pittige komedie maken met een temperamentvolle madame in de hoofdrol. De lichtverteerbare moraal van Boccaccio ‘70 : waar liggen de seksuele grenzen van elkeen en hoe die te herkennen.
Bron: cinebel.be
the beatles ( 1964 )
On February 7, 1964, The Beatles arrived in the US for the first time. They had already conquered England and Europe, but they desperately wanted to succeed in America, the birthplace of rock ‘n’ roll. The Beatles were well aware that other English pop stars like Cliff Richard had failed in America, and they were nervous about how they would fare.
Bron: wolfgangsvault.com
from russia with love ( 1963 )
The elements of From Russia with Love move the movie closer to the recognizable “Bond formula” than was the case for its predecessor, Dr. No. Here, the action scenes are more numerous and generate added tension, the title sequence has a familiar flavor, John Barry’s distinctive score replaces the workmanlike music of Monty Norman, Q makes his first appearance, and Connery tones up 007’s sophistication while downplaying his cold-bloodedness.
