Usually (if not consistently) I can give you a decent first-hand account when discussing these anniversary essays, but alas I was not born until 4 years later. And yet, while a lot of change can occur in 4 years time, the end of the 1970s and the early 1980s had a lot in common: space exploration was still a newsworthy endeavor, the Cold War carried on, violence in the Middle East persisted, Michael Jackson and Van Halen were topping the charts, and Facts of Life and Dukes of Hazzard were still on the air. And I actually can say from personal experience that, inside people's homes, the decor and fashions and general lifestyle remained very "70s" for most of the decade that followed.
So how do we firmly define this year - the last year of The Disco Era? Well, for one, Disco was still King despite its many detractors; Bee Gees, Donna Summer, ABBA, and Village People were practically at the heights of their respective careers. Even Kiss and The Stones were bending to the trend just moments before this empire collapsed. So that's how 1979 sounded, which is crucially indicative of any moment in civilized society. And what about the rest? How do we fill in the rest of the vibe? Politics? Technology? Philosophy? Astrology? As usual, we look to the movies (because what else are they good for?).
I can spy with my sagacious eye and say with some authority that "70s Cinema" and all that implies truly did run out the clock; the timid whimsy of 80s movies wasn't even on the radar yet (STAR WARS mania notwithstanding) as 1979 still packed in the punch of gritty realism, casual violence, and crackling originality. The Comedies were crass, the Horror was strange, the Action was dangerous, the Dramas were dismal, and for however confrontational the subject matter was, they followed suit with their abstractions; scary movies had funny moments, sad movies could be uplifting, car chases were romantic. Crossing genres and pace changes were the nuts and bolts of 70s Films and this year kept good on that bargain - particularly in contrast to the primary-colored kiddie pools of current Cinema. Sequels like Rocky II and More American Graffiti were strident reminders that franchises and reboots would almost always buckle under the weight of their origins and just felt out of place in this decade of fresh ideas.
There was a lot in '79 - I stand back and look at my list and while it's an accurate representation of my own tastes, the omissions are palpable because there was that much. There are so many different flavors and so many different toppings that even just a selection of five movies would be a strong enough representation of the depth and dominance of this year (and also decade). But I've kept it at a modest Twenty for sanity's sake, and I'll forgo the explicit, longwinded observation of how fun and easy it was to compile a list of favorite movies from 45 years ago and what a tedious trudge it would be to do that with any year from the past 20.
Someday this war's gonna end.
- Paul
1. The In-Laws
Tracy & Hepburn. Newman & Redford. Hanks & Hooch. "Chemistry" is so rarely a notable attribute anymore, but at the top of my list of that magic element is this singular outing of Arkin & Falk: two great actors on their own but absolutely unstoppable as a pair in this collaboration. But a big reason they play so well off each other is that they have this ridiculous script to work with that I quote so often that half the time it's not even applicable to my own situation. The best Comedy of the year, and best non-Woody Allen Comedy of the 1970s.
2. ...And Justice For All
I'd say it's the Second Best Comedy but it's just too damn dark. But that's the genius of it: not just because it juggles polar opposites of emotions, but because as a whole it's a terrifying mosaic of absurdity that you can't help but laugh at the dumbness of the American Legal System. Along with Rocky and Cuckoo's Nest it's on the short list of films with a climax that'll bring you to your feet and cheer.
3. Zombie
Or Zombie 2 if you prefer, but I choose not to minimize this wholly original masterpiece by sequelizing it to an unrelated spinoff (Dawn of the Dead). I was never entirely interested in zombies, but they're so rarely this monstrous and creative and cool. Living dead aside, this whole movie is such a humid, sleazy, putrid vibe that could've only been achieved in this era.
4. Apocalypse Now
I prefer the Redux but that's partly because I just wanted more movie. I've never seen a Vietnam film exactly the way I'd like it to be, but this is still the closest and that's because of its surrealism. It's adequately atmospheric and frightening - especially the often maligned Brando final act, which I find to be the most effective.
5. The Frisco Kid
The Western was all but done in '79 as they'd become the subject of parody or evolved into robots and laser guns. This movie ignored all conventions for something entirely new and the result is a Lite Comedy with legitimate Western Action all grounded in an incredibly touching story of friendship, spirituality, and love. I could never compare it to anything else.
6. Alien
At a time when "Serious Horror" (or "Elevated Horror" as it's called now) was still boring as all hell, it was such a punch to the chest to be fooled into witnessing imagery that was so gross and awesome. Like The Exorcist years before, once we're grounded in the safety of reality (or realistic characters), then a truly intelligent picture will abuse that trust by any means.
7. The Kids Are Alright
Possibly the most abstract movie on my list, primarily because it's not necessarily a movie - it's not even a documentary. As a structureless collage of archival footage and staged performances, it's a dizzying Love Letter to The Loudest Band in The World, put together by an actual fan -- and it made one outta me.
8. Rock 'n' Roll High School
Who knew a Punk Rock parable about antiestablishment youths and violent protest could be so fun and lighthearted? Very few Roger Corman productions hit a direct bullseye with me, but I will always watch this whenever I'm in the mood to be in a good mood.
9. Gas Pump Girls
I'm not sure what you call the genre in which "Young Ladies Use Their Sexuality to Attract Customers to a Failing Business" but this is the best movie of that genre. And if a warm sunshiny Comedy full of retro gas station decor and scantily-clad women isn't enough, it's got a melancholy singalong moment that rivals Magnolia's "Wise Up."
10. The Brood
One of Cronenberg's more accessible "What if" scenarios and I buy right into it. Very often his attempts at suspense are watered down with esoteric whimsy, but this movie nails a perfect balance of bizarre and coherent in a way that seems to satisfy him as much as it does me.
11. Beneath the Valley of the Ultra-Vixens
Technically Russ Meyer's final feature, which is tragic as he'd clearly reached the peaks of his talents. There were tame American Sex Comedies this year like Meatballs and 10 but Russ was doing it with the panache and pornography of European Dramas. Quentin can only hope he bows with this much of a bang.
12. Manhattan
I've long stood by the contention that Woody was a greater writer and performer than director. But in the late 70s he proves me so wrong and this movie falls right in the sweet spot. There isn't a scene in this movie where you can't feel the same amount of effort and talent in the visuals as in the dialogue and acting, proving him a well-rounded auteur.
13. Escape From Alcatraz
It's part of the decades-long "Prison Bad, Prisoners Good" subgenre, but I'm sure it hit differently in a post-Vietnam society. The best surprise of this film is that it focuses less on the mechanics of the "escape" and more on its sprawling cast of supporting characters - made up entirely of a lotta my favorite actors.
14. The Visitor
I don't like using the word "weird" when describing movies, it's too broad of a term. But that's the point, I can't explain it in a few short sentences. Featuring John Huston as a sympathetic hero and cameos from Kareem Abdul-Jabbar, Sam Peckinpah, and Franco Nero as Jesus (I think).
15. Mad Max
Maybe the truest example of where the 70s met the 80s: car chases and villains had to be more exciting than STAR WARS and your violence had to make Dirty Harry look tame. And for all that craziness this movie has outstanding performances and a strong emotional core.
16. The Electric Horseman
Another meta Western to round out the decade, but its cleverness is that the premise would still work in an older movie. Mostly I'm just here for the scenery, up to and including Redford and Fonda lookin' just fine.
17. Time After Time
On paper it's the best idea I could ever imagine: H.G. Wells uses his time machine to chase Jack The Ripper into the 20th Century (specifically The 1970s). And between casting and story structure it's expertly executed, but mostly it's refreshing to see Malcolm McDowell as a sweet romantic lead (especially in the same year he played Caligula).
18. The Amityville Horror
Big chunks of this movie are a real trial to get through, but when they put in the effort it's effective; the characters are weak and unlikable but it makes up for it in atmosphere and jump scares. And I'm a sucker for ghosts (and Margot Kidder).
19. Phantasm
The coolest thing about this movie (aside from the black 'Cuda) is how many genres it employs: it's a Mystery Thriller with car chases and guns and sex and gore and aliens, all presented like a Gothic Hammer Film. But, again, with a 1971 Plymouth 'Cuda.
20. Tourist Trap
In the moments between Halloween and Friday the 13th there was Tourist Trap, and in several ways (writing, acting, and just general creepiness) it's better than both of them. And the ending is scarier than most Horror Movies, period.
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