Planet of the Apes - 1968

Planet of the Apes, 1968
12 in. x 9 in.

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A thought-provoking and engrossing science-fiction film classic - a loose adaptation (by formerly blacklisted Michael Wilson and Rod Serling) of the Pierre Boulle novel La Planète Des Singes (Monkey Planet), about four NASA astronauts, including Colonel 'George' Taylor (Heston), who have traveled for centuries in cyrogenic suspension. After a crash landing on an Earth-like planet, they find themselves stranded in a strange and remote place dominated by English-speaking simians who live in a multi-layered civilization. The apes dominate society, and humans (who possess few rights) have been reduced to subservient mute slaves and are even hunted as animals. In danger of being castrated or lobotomized, Taylor cries out the memorable: "Get your stinking paws off me, you damn dirty ape!" The apes in this exciting and engaging action thriller include archaeologist Dr. Cornelius (McDowall), his scientist fiancee Zira (Hunter) - an 'animal psychologist,' and malevolent, arrogant, government orangutan leader Dr. Zaius (Evans). This Vietnam War, Cold War and Civil Rights era film makes many subtle points about race, animal rights, the establishment, class, xenophobia and discrimination.

The film is most noted for its twist ending when George rides down a beach on horseback in the Forbidden Zone with beautiful mute cavewoman Nova (Harrison), and suddenly he stops when he sees something, and dismounts to stare upwards; as the camera pans forward toward Taylor, through a spiked object, he exclaims: "Oh, my God! I'm back, I'm home. All the time, it was..." He drops to his knees: "We finally really did it." He pounds his fist into the sand and rails against Earth's generations almost 2,000 years earlier that had destroyed his home planet's civilization with a devastating nuclear war: "You maniacs! You blew it up! Ah, damn you! Goddamn you all to hell!" The full object comes into view as the camera pans backward - the spiked crown of a battered Statue of Liberty buried waist-deep in beach sand. This film was also a pioneer in modern movie marketing, spawning not only four sequels and a 2001 remake (and two television series spinoffs), but also action figures and other similar merchandising, foreshadowing later merchandising for Star Wars (1977) and the Indiana Jones series.

Night of the Living Dead - 1968

Night Of The Living Dead 3D
27 in. x 41 in.

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One of the most important and influential horror films of all time - George Romero's ultra-low budget debut film shot in grainy black-and-white with an unknown cast reinvented the genre. The film was actually improved by its crude "drawbacks," since they lent a documentary feel and reality that made the film all the more horrific. The screenplay was taken from an unpublished short story Romero had written called Anubis, so-named after the Egyptian god of the dead. In the simple yet brutally relentless plot of claustrophobic horror, the 'living dead' (re-animated corpses) mysteriously rise from the grave for no known reason (though there are vague references to radiation from a fallen satellite), forcing a group of seven strangers to take refuge from the shuffling, hungry, flesh-eating zombies in an isolated Pennsylvania farmhouse.

A capable black man (Jones) assumes leadership as the army of corpses repeatedly try to enter the house during a terrifying siege, amidst both unspoken racial and generational tensions between him and a less capable, older white family man (Hardman). The images of the film are haunting, from the opening scene in the cemetery, where flighty female lead Barbra (O'Dea) is teased by her brother Johnny (Streiner in an uncredited role): "They're coming to get you, Barbra!" before being attacked by one of them, to the shot of the zombified little girl consuming her mother (often taken to be a social metaphor for the late 1960s youth of the nation rebelling against their elders). Meanwhile, news and radio reports from the mass media emphasize the panic and threat. The tragic ending comes from the actions of real mindless zombies -- living lynch mobs. While initially considered drive-in schlock, the film gained in popularity and critical respect, and raised Romero to great heights as a horror filmmaker. He would go on to make a zombie trilogy with the successful Dawn of the Dead (1978) and the lesser Day of the Dead (1985), before remaking his own Night of the Living Dead (1990) in color and with subtle changes to the plot, including a reworked beginning and ending.

Valley of the Dolls - 1967

Valley of the Dolls, 1967 Giclee Print
9 in. x 12 in.

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They don't make 'em like this anymore. Well, John Waters might, if he ever had a big enough budget. A steamy "inside look" at the alternately sleazy and glamorous world of catfighting, backbiting show-biz starlets, this Hollywood hit from the bestselling novel by Jacqueline Susann is a high-gloss camp artifact--a time capsule (or some kind of capsule, anyway)--from the screwy '60s, when a broad was a broad, a bitch was a bitch (whether "her" name was Neely O'Hara or Ted Casablanca), and a "doll" was a prescription drug.

These dames of whine and poses obsessed over their bust lines, booze, and barbiturates. The once-shocking and scandalous language and behavior of these Broadway babes has been eclipsed by Dallas, Dynasty, and Melrose Place, but time has only enhanced the stature of Valley of the Dolls as a classic--and it still puts Showgirls to shame. With Patty Duke, Susan Hayward, Sharon Tate, Lee Grant, Barbara Parkins, and Martin Milner (and juicy, scene-chewing dialogue such as the infamous: "They drummed you out of Hollywood, so you come crawling back to Broadway. But Broadway doesn't go for booze and dope--now get out of my way, I've got a man waiting for me!"), Valley of the Dolls is the Mount Rushmore of backstage movie melodramas.

Beat Girl - 1961

Beat Girl Masterprint
12 in. x 16 in.

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Before swinging London and the rock & roll explosion took over English youths, Britain's first teen rebel didn't have much of a cause but plenty of attitude. Pouty art-school student Jennifer (teen sex kitten Gillian Hills, looking very much a British Bardot) is the Beat Girl of the title, an alienated teenager who hangs out in coffee shops and underground clubs with beatniks and teddy boys.

When her self-absorbed father returns home with a sexy French bride, the picture warps into lurid melodrama as Jennifer tracks a suspicion about her stepmom to a sleazy strip club managed by an even sleazier Christopher Lee, whose salacious desires she realizes too late. Director Edmond T. Greville, a craftsman of the old school, brings an unexpected, edgy grit to the low-budget picture, injecting the callow clichés of lost youth with a nervous energy and a genuine sense of desperation.

John Barry's growling score gives the film a rumbling undercurrent, and the cheap, claustrophobic sets (often hiding in darkness) only enhance the sleazy atmosphere. The mix of teenage desperation, rock & roll music, and lurid sensationalism (complete with teasing nudity in the strip club) creates a strange hybrid: a teen exploitation film with a film noir soul. Costar Adam Faith sings a couple of songs and Oliver Reed appears in a few scenes as a drugged-up, funked-out teddy boy.

The Lion in Winter - 1969

The Lion in Winter, 1969 Giclee Print
12 in. x 9 in.

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An historical, dramatic tale of dysfunctional family intrigue set in the court of British King Henry II (O'Toole) in 1183, from James Goldman's sharply written screenplay (adapted from his own play). Ten years earlier, Henry II had imprisoned his wife, Queen Eleanor of Aquitaine (Hepburn, who won her third of four acting Oscars), as punishment for helping precipitate a civil war against him. His three treacherous sons who are also vying for the British throne consist of the eldest, the legendary and fiery Prince Richard the Lionhearted (Hopkins in his film debut), the quiet but dangerous middle son Prince Geoffrey (Castle), and the youngest, the manipulative and thieving scoundrel Prince John (Terry).

The three sons and estranged wife Eleanor are summoned by Henry to the castle for a Christmas family reunion in Chinon, France. He has decided to name one of his three sons as his heir to the throne. Adding to the intrigue and plotting of who will be favored (Henry favors John, while Eleanor favors Richard), the teenaged but cunning monarch King Philip II of France (Dalton in his film debut) is also invited, with his older sister Princess Alais (Merrow) - Henry's mistress. The film shines with the performances and dialogue between the two leads: 36-year old O'Toole as the 50 year-old monarch, and 61 year-old Hepburn as his younger wife.

In the Heat of the Night - 1967

In the Heat of the Night, 1967 Giclee Print
12 in. x 9 in.

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In the Heat of the Night, 1967 Giclee Print
12 in. x 9 in.

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An intense whodunit detective story thriller set in the little town of Sparta, Mississippi during a hot summer, with an innovative score by Quincy Jones and title song sung by Ray Charles. Norman Jewison masterfully directed this murder melodrama from a screenplay by Stirling Silliphant that was based on John Ball's novel. The film's posters proclaimed: "They got a murder on their hands. They don't know what to do with it."

The liberal-minded film, realistically-filmed by cinematographer Haskell Wexler (who had just filmed Who's Afraid of Virginia Woolf? (1966) and would later go on to Coming Home (1978)), was a milestone for the racially-divided mid-60s because it forced the odd-couple collaboration of a bigoted but shrewd, redneck Southern sheriff named Bill Gillespie (Steiger) and a lone, intelligently-clever black homicide expert from Philadelphia named Virgil Tibbs (Poitier).

The film, with a non-white actor in a lead acting role, was so controversial that it couldn't be filmed in the Deep South, so the sets were recreated in various small towns in two states: Sparta, Freeburg, and Belleville, Illinois, and Dyersburg, Tennessee. Following the success of this film, Sidney Poitier reprised his Virgil Tibbs character in two other films: he investigated the murder of a prostitute in the sequel They Call Me Mister Tibbs! (1970), and battled against a drug smuggling ring in The Organization (1971).

A Hard Day's Night - 1964

A Hard Day's Night, 1964 Giclee Print
9 in. x 12 in.

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Starring: John Lennon, Paul McCartney, George Harrison, Ringo Starr, Wilfrid Brambell
Director: Richard Lester

The Beatles' first charming, wacky, original and impish movie was released not long after the Fab Four's landmark debut appearance on The Ed Sullivan Show. At first thought to be a cross-promotional exploitation of their phenomenal 'Beatlemania', even critics agreed that it was an inventive, funny and ingenious musical comedy that later helped to inspire the music video craze. Innovative American director Richard Lester used the same type of goofy humor and imaginative visuals from his earlier experimental, grainy, hand-held short film, The Running, Jumping and Standing Still Film (1959) starring Peter Sellers and Spike Milligan, along with black-and-white film stock and a semi-documentary style.

Screenwriter Alun Owen based his Oscar-nominated script on the group's frenzied popularity, supplemented by musical interludes of concert footage. The frantic film documents thirty-six hours of the group's life as they are on their way to London for a TV performance, marked by the memorable opening intercut to the title song - as the Liverpool group is chased by screaming, hysterical teenage girls while they board a train. The rock-and-roll stars express their charming, laid-back, and saucy personalities in this slice-of-life film that fictionalized their lives -- best exemplified during their interview scenes with their dry, playful one-liner responses (Reporter: "Are you a mod, or a rocker?" Ringo: "Um, no. I'm a mocker"). Wilfrid Brambell also plays Ringo's "very clean," eccentric grandfather who serves as the film's trouble-maker.

The Academy's membership unjustly overlooked the now-classic songs in the film's un-nominated soundtrack in favor of those from Mary Poppins ("Chim Chim Cher-ee"), Dear Heart, Hush...Hush, Sweet Charlotte, Robin and the 7 Hoods ("My Kind of Town"), and Where Love Has Gone. However, George Martin, the Beatles' producer often recognized as the "Fifth Beatle," was nominated for Best Adapted Score. The Beatles as a group would later star in Help! (1965), Yellow Submarine (1968) and the documentary that showed their breakup, Let It Be (1970).

Other 'British invasion' bands copied this work with their own film projects, such as the Dave Clark Five's Having a Wild Weekend (aka Catch Us If You Can) (1965). The Monkees' mid-60's TV-show was also an offshoot of this film.

The Good the Bad and the Ugly - 1966

The Good, the Bad and the Ugly Framed Poster
30.38 in. x 42.38 in.

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The third and final installment (but actual a prequel) in under-rated Italian director Sergio Leone's The Man with No Name epic trilogy, this is perhaps the best-known "spaghetti western" of all-time. 'The Man with No Name' was Eastwood's star-making role, after appearances in the previous A Fistful of Dollars (1964) and For a Few Dollars More (1965). Elements of his character can be found in his later anti-hero cop "Dirty" Harry Callahan character in Dirty Harry (1971). As with Leone's other westerns, this film is viciously violent and machismo in tone, but buoyed by the classic, instantly-recognizable, twanging Ennio Morricone score. In this sweeping, stylistic, and operatic film, The Man with No Name (but dubbed Blondie) (Eastwood) is the unsmiling anti-hero "Good" guy, Angel Eyes Sentenza (Van Cleef) serves as the vile and ruthless "Bad" guy, and Tuco Ramirez (Wallach) provides the greedy, talkative, clownish and self-centered "Ugly". With very little dialogue, lots of closeups, and vast widescreen landscapes, the film's plot, set during the Civil War, concerns the acquisition of a treasure chest of $200,000 in stolen Confederate gold buried in a grave at a faraway location.

All three of the main characters, basically amoral, anti-social bounty hunters, outlaws, and murderers, are forced to form an uneasy partnership or alliance, leading to the film's climactic graveyard shootout in which the opportunistic desperados find themselves facing off one last time for the fortune. [In 2003, a special restored and extended English language version, almost three hours in length with about 15 minutes of previously-cut scenes, was released that used the original Italian release cut, with Clint Eastwood and Eli Wallach dubbing in their voices to scenes that were cut from the USA release.]




Clint Eastwood Framed Art Print
21 in. x 17 in.

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Blow-Up - 1966

Blow Up, 1966 Giclee Print
12 in. x 9 in.

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A thought-provoking, art-house masterpiece from Italian director Michelangelo Antonioni - a view of the world of mod fashion, and an engaging, provocative murder mystery that examines the existential nature of reality through photography. It was Antonioni's first film in English, and quickly became one of the most important films of its decade, and a milestone in liberalized attitudes toward film nudity and expressions of sexuality. [The film in some respects resembles Hitchcock's Rear Window (1954), and proved influential for other young filmmakers: i.e., Coppola's The Conversation (1974), and De Palma's Blow Out (1981).]

A desensitized-to-life, nihilistic, high-fashion London free-lance photographer Thomas (Hemmings), who lives a mid-60s life of excess (riches, fame, and women), becomes bored with his lucrative career of glamour photography. So he resorts to photographing, in documentary style, the seamy and sordid side of life in London, in flophouses and slums. Innocently, he takes candid photos in a deserted park of a lover's tryst-rendezvous between a kerchief-wearing, enigmatic woman (Redgrave) and a middle-aged, gray-haired man in a light-gray suit. She pursues him to ask for the illicit photos, as he imagines that he has witnessed a scene of sexual intrigue - never thinking that he may have accidentally obtained visual, criminal evidence of a murder. The climax is a suspenseful, obsessive sequence of the photographer processing and blowing up several pictures from his park visit, and magnifying them larger and larger to poster size.

As tension heightens, he pins the pictures on the wall of his living room - in sequence - giving them life as if they were individual frames in a motion picture. Ultimately, they reveal a riveting possibility. In the film's finale is another indelible, symbolic image emphasizing the slim line between objective reality and illusion - a group of pantomiming students in white-face playing an invisible game of tennis with non-existent rackets and balls - and audience.

The Birds - 1963

The Birds (1963) is a modern Hitchcock thriller/masterpiece, his first film with Universal Studios. It is the apocalyptic story of a northern California coastal town filled with an onslaught of seemingly unexplained, arbitrary and chaotic attacks of ordinary birds - not birds of prey. Ungrammatical advertising campaigns emphasized: "The Birds Is Coming." This Technicolor feature came after Psycho (1960) - another film loaded with 'bird' references.

Novelist Evan Hunter based his screenplay upon the 1952 collection of short stories of the same name by Daphne du Maurier - Hitchcock's third major film based on the author's works (after Jamaica Inn (1939) and Rebecca (1940)). In du Maurier's story, the birds were attacking in the English countryside, rather than in a small town north of San Francisco. The film's technical wizardry is extraordinary, especially in the film's closing scene (a complex, trick composite shot) - the special visual effects of Ub Iwerks were nominated for an Academy Award (the film's sole nomination), but the Oscar was lost to Cleopatra. Hundreds of birds (gulls, ravens, and crows) were trained for use in some of the scenes, while mechanical birds and animations were employed for others.

The film's non-existent musical score is replaced by an electronic soundtrack (including simulated bird cries and wing-flaps), with Hitchcock's favorite composer Bernard Herrmann serving as a sound consultant. It was shot on location in the port town of Bodega Bay (north of San Francisco) and in San Francisco itself. Hitchcock introduced a 'fascinating new personality' for the film - his successor to Grace Kelly - a cool, blonde professional model named 'Tippi' Hedren, in her film debut in a leading role. [Hedren reprised her character in a minor supporting role, in an inferior made-for-TV sequel, The Birds II: Land's End (1994), set in the New England fishing town of Land's End. The director was Rick Rosenthal, although the standard generic pseudonym 'Alan Smithee' is found in the credits. Leads Rod Taylor and Tippi Hedren are replaced by Brad Johnson and Chelsea Field.]

Initially, critics were baffled when they attempted to interpret the film on a literal level and measure it against other typical disaster/horror films of its kind. The typical Hitchcock MacGuffin is the question: Why do the strange attacks occur? But the film cannot solely be interpreted that way, because as the actors in the film discover in the long discussion scene in the Tides Restaurant, there is no solid, rational reason why the birds are attacking. They are not seeking revenge for nature's mistreatment, or foreshadowing doomsday, and they don't represent God's punishment for humankind's evil.

Splendor in the Grass - 1961

Splendor in the Grass Framed Art Print
16 in. x 22 in.

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A tragic, coming-of-age melodrama set in the mid-1920s in a small, rural Kansas town, from playwright William Inge's original, award-winning script. Star-crossed, teenaged sweethearts, poor HS senior Wilma Dean "Deanie" Loomis (Wood) and rich Bud Stamper (Beatty in his film debut) fall deeply and passionately in love, but are repressed by the sexual mores of the time, their class differences, and disapproval from their parents - especially her prudish, puritanical mother (Christie) and his rigid, domineering father (Hingle).

Deanie's pent-up sexual longings cause her to almost go insane in a memorable bathtub scene. Repercussions cause Bud to chase after slutty girl Juanita Howard (Norris), and eventually marry Italian Angelina (Lampert), while Deanie is institutionalized following a suicidal nervous breakdown. Years later, the two meet again and she resolves her feelings about him.

The Sound of Music - 1965

Sound of Music, Julie Andrews, Christopher Plummer, 1965 Giclee Print
12 in. x 9 in.

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Based on the Rodgers and Hammerstein stage musical and the true story of the von Trapp family - a lovely film with a mixture of comedy, romance, and suspense - and a wonderful collection of musical tunes. Restless novice postulant Maria at the Nonnberg Abbey in Salzburg, Austria, first pictured daydreaming on the hillside surrounded by the beautiful Alps, is persuaded by the Reverend Mother (Wood) to take a governess position for the motherless, singing family of stern widower Captain von Trapp (Plummer), who is engaged to Baroness SchrÖder (Parker).

The seven children include: 16 year-old Liesl (Charmain Carr), 14 year-old Friedrich (Nicholas Hammond), 13 year-old Louisa (Heather Menzies), 11 year-old Kurt (Duane Chase), 10 year-old Brigitta (Angela Cartwright), almost 7 year-old Marta (Debbie Turner), and 5 year-old Gretl (Kym Karath). The children have a well-deserved reputation for scaring off caretakers, but Maria wins them over, and falls in love with her employer, amidst the ominous Nazi occupation. Includes the songs: "Maria," "The Sound of Music," "My Favorite Things," "You Are Sixteen, Going On Seventeen," "Climb Ev'ry Mountain," "Do-Re-Mi," and "Edelweiss."

Rosemary's Baby - 1968

Roman Polanski's first American film, from Ira Levin's best-seller - a convincing, creepy, psychological, Satanist horror/thriller about a young pregnant wife who suspects and has strange premonitions about diabolical forces (a witches' coven) threatening her unborn baby. Young newlywed couple Rosemary (Mia Farrow) and aspiring, out-of-work actor/husband Guy Woodhouse (Cassavetes) move into a gothic NYC apartment complex, with intrusive, elderly next-door neighbors Roman (Blackmer) and nosy Minnie Castevet (Gordon). With a fertile imagination, Rosemary gradually believes that she hasn't been impregnated by her husband but by the Devil.

Starring: Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer
Director: Roman Polanski

Romeo and Juliet - 1968

The classic and immortal Shakespearean tale of forbidden, tragic, and star-crossed love. Adapted in this modern and realistic version by Zefferelli for the first time with two teenaged leads as the youthful, innocent, strong-willed lovers Romeo (Leonard Whiting) and Juliet (Olivia Hussey). Their warring families, the bitterly-hateful Montagues and Capulets, doom their tender romance, with a first-time-ever scene of the nude couple on their wedding night. In gorgeous Technicolor, shot on location in Italy and enhanced by a memorable soundtrack from Nino Rota. Academy Award nominations: 4, including Best Picture, Best Director. Academy Awards: 2, Best Cinematography, Best Costume Design.

Starring: Olivia Hussey, Leonard Whiting, Milo O'Shea, Michael York, Paul Hardwicke, John McEnery, Pat Heywood, Laurence Olivier (narrator)
Director: Franco Zefferelli

The Manchurian Candidate - 1962

The Manchurian Candidate Framed Art Print
16 in. x 22 in.

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Based on Richard Condon's novel, and adapted by George Axelrod. A complex, realistic depiction of brainwashing in a frightening, satirical psychological thriller. An American platoon fighting in the Korean War is captured and brainwashed by Communist North Koreans in Manchuria. Upon their return to the US, one of the veterans Major Bennett Marco (Sinatra) is haunted by recurring nightmares about their frightening incarceration. He slowly realizes that fellow hero and Congressional Medal of Honor winner Sgt. Raymond Shaw (Harvey), controlled and manipulated by his spy-agent "Queen of Diamonds" ambitious mother (Lansbury) (the wife of right-wing, McCarthyite demagogue Senator John Iselin (Gregory)), is behind the sinister plot to assassinate political enemies. The mind-controlled operative Shaw murders his own wife Jocie (Parrish) and his father-in-law, liberal Senator Thomas Jordon (McGiver). In the tense climax, Marco uncovers the programmed killer's fiendish plans to assassinate the presidential nominee.

The Hustler - 1961

Paul Newman in The Hustler Framed Art Print
11 in. x 13 in.

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A dramatic, realistic character study based on Walter Tevis' novel. A young, arrogantly-cocky, anti-hero, pool-hall hustler, "Fast Eddie" Felson (Newman), challenges acclaimed, cool, professional Minnesota Fats (Gleason) in Ames Billiards Room in New York City. The naive, talented, and ultimately self-destructive challenger loses. Defeated and self-pitying, he meets and falls in love with another loner - alcoholic, desperate, waifish cripple Sarah Packard (Laurie) - whom he ultimately forsakes. He attracts the attention of slimy, calculating, venal, and repulsive promoter Bert Gordon (Scott). With financial backing from the pimpish entrepreneur, Felson struggles to get back on top - at a great cost to his own self-esteem and soul. Reprised twenty-five years later, with Paul Newman as an older, wiser Eddie Felson in director Martin Scorsese's Color of Money.

Cool Hand Luke - 1967

Cool Hand Luke Framed Art Print
16 in. x 22 in.

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Based on Donn Pearce's novel and one of the great prison-chain-gang films. A spirited, irreverent, social misfit Luke (Newman) is arrested for destroying parking meters and imprisoned in a tough Southern prison farm, commanded by a sadistic, prison officer Captain (Martin). After boxing with the chain-gang boss Dragline (Kennedy), he eventually becomes a hero to his fellow inmates, earning the title "Cool Hand Luke" because his will cannot be broken. A visit by Luke's dying mother (Van Fleet) reveals facts about his past. The stubborn, unruly and independent rebel refuses to submit and continually and cooly defies the authorities with repeated escape attempts. As the inmates start worshipping him as a folk hero, he risks everything in order to live up to their expectations, and is sacrificed in the tragic climax. With the memorable line of dialogue: "What we have here is failure to communicate," and the classic egg-eating scene.

Butch Cassidy and the Sundance Kid - 1969

Butch Cassidy and the Sundance Kid Framed Art Print
16 in. x 22 in.

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One of the most-popular, appealing, beguilingly star-driven, tragi-comedy Westerns ever made. About two charming, turn-of-the-century, train-robbing outlaws - with comedy, drama, action, a witty script, and two handsome leads. The romanticized buddy film is loosely based on real-life, legendary outlaws Robert Leroy Parker (Butch Cassidy) and Harry Longbaugh (The Sundance Kid) and the Hole in the Wall gang. The film's early 1900's anti-heroes are free-wheeling, non-chalant Butch (Newman) and sharpshooting Sundance (Redford), both with human fallible traits - their specialty is robbing trains, until they bungle their second attempt on the Union Pacific Express and are relentlessly pursued by authorities in a posse. With Sundance's beautiful, school-teacher lover Etta Place (Ross), they flee to Bolivia to seek further wealth. In the end, they are outnumbered and die in a blazing, hail of bullets, freeze-frame shootout, reminiscent of Bonnie and Clyde. Features the song "Raindrops Keep Falling On My Head" while Etta and Butch share a bicycle ride.

The Apartment - 1960

Apartment Framed Art Print
16 in. x 22 in.

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A classic, caustically-witty, satirically cynical, melodramatic comedy about corporate politics - and a bitter-sweet romance. In a bid to get ahead, an ambitious, lowly, misguided and young insurance clerk C. C. Baxter (Lemmon) generously lends out the keys to his NYC apartment to his company's higher-up, philandering executives for romantic, adulterous, extra-marital trysts, including to his callous married boss J. D. Sheldrake (MacMurray). Baxter's own budding crush toward his building's elevator operator - melancholy, and vulnerable Fran Kubelik (MacLaine) turns ugly when he discovers he has been outsmarted - she is the latest conquest of his boss - and has attempted suicide in his apartment.

Baxter's next-door, philosophizing doctor/neighbor Dr. Dreyfuss (Kruschen) convinces Baxter to confront the craven ethics of his superiors - and he wins the affections of Fran. Academy Award Nominations: 10, including Best Actor--Jack Lemmon, Best Actress--Shirley MacLaine, Best Supporting Actor--Jack Kruschen, Best B/W Cinematography, Best Sound. Academy Awards: Best Picture, Best Director, Best Story and Screenplay, Best B/W Art Direction/Set Decoration, Best Film Editing.

Who's Afraid of Virginia Woolf? - 1966

Who's Afraid of Virginia Woolf? Framed Art Print
16 in. x 22 in.

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Who's Afraid of Virginia Woolf? (1966), a famous and shocking black comedy, was based on Edward Albee's scandalous play (Ernest Lehman's screenplay left the dialogue of the play virtually intact). It was first performed in New York in October of 1962, and it captured the New York Drama Critics Circle Award and the Tony Award for the 1962-63 season.

The film's title refers to Virginia Woolf (1882-1941), an influential British feminist writer who pioneered the 'stream of consciousness' literary style while examining the psychological and emotional motives of her characters. [Perhaps the 'fear' of VW refers to the film's characters who are suffering marital discord in the emotionally-draining film, and who may have 'known' that she suffered from mental illness and ultimately went insane and committed suicide.] The title is also a parody of Who's Afraid of the Big Bad Wolf?, a tune sung in Disney's Three Little Pigs (1933) animated short film. The names of the two major characters, George and Martha, are those of the first US President and his wealthy wife - a marriage of convenience.