Best Documentary Movies of 1967
Bob Dylan - Dont Look Back
In this wildly entertaining vision of one of the twentieth century’s greatest artists, Bob Dylan is surrounded by teen fans, gets into heated philosophical jousts with journalists, and kicks back with fellow musicians Joan Baez, Donovan, and Alan Price.
The film is a stark and graphic portrayal of the conditions that existed at the State Prison for the Criminally Insane at Bridgewater, Massachusetts. TITICUT FOLLIES documents the various ways the inmates are treated by the guards, social workers and psychiatrists.
The Things I Cannot Change
"This feature documentary is considered to be the forerunner of the NFB's Challenge for Change Program. The film offers in inside look at 3 weeks in the life of the Bailey family. Trouble with the police, begging for stale bread, and the birth of another child are just some of the issues they face. Through it all, the father tries to explain his family's predicament. Although filmed in Montreal, the film offers an anatomy of poverty as it occurs throughout North America." - NFB
Portrait of Jason
Interview with Jason Holliday aka Aaron Payne. House-boy, would-be cabaret performer, and self-proclaimed hustler giving one man's gin-soaked, pill-popped view of what it was like to be coloured and gay in 1960s Unites States.
The Paperwork Explosion
The Paperwork Explosion is a four and a half minute film shot by Jim Henson in 1967 for IBM's Magnetic Tape Selectric Typewriter. The film features a number of office workers and other employees (including Frank Oz and the voice of Jim Henson) placing an emphasis on the innovation of machines in the workplace: "Machines should work; people should think." The soundtrack, provided by Raymond Scott, was featured on the album "Manhattan Research, Inc." as a music-only track, the original track with dialogue and other sound effects, and a test reel including improvisational material that would end up in the final film. (Muppet Wiki)
The Maltese Cross Movement
The film reflects Dewdney's conviction that the projector, not the camera, is the filmmaker's true medium. The form and content of the film are shown to derive directly from the mechanical operation of the projector - specifically the maltese cross movement's animation of the disk and the cross illustrates graphically (pun intended) the projector's essential parts and movements. It also alludes to a dialectic of continuous-discontinuous movements that pervades the apparatus, from its central mechanical operation to the spectator's perception of the film's images... (His) soundtrack demonstrates that what we hear is also built out of continuous-discontinuous 'sub-sets.'
Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.
Monument to the Dream
Soaring above the banks of the Mississippi River in St. Louis, Missouri, the Jefferson National Expansion Memorial Arch stands today as the nation's tallest arch and national monument. "Monument to the Dream", at unnerving heights, traces the adventures of the Arch's evolution, from the early concepts on the drawing board to the fabrication of its stainless steel sections, and the triumphant placement, in a race against the sun, of its final section in the fall of 1965. Through the words of the master architect Eero Saarinen, and the ambient chorus of mallets beating metal sheets into graceful curves, the film reveals the innovative structural techniques and the brilliant design of this avant-garde monument, presenting one of this century's greatest civil engineering achievements as a metaphor for the struggle to win the West. This film went on to be nominated for an Academy Award® for Best Documentary Short in 1967.
This ground-breaking cinema véritè classic documents five weeks in the lives of twelve children in a home for emotionally disturbed children. It is the first in the form that King later described as actuality drama. All the action is spontaneous and undirected, with neither interviews nor narration. The theme is the outrage of life. The children asked the filmmakers, Why is it that whenever pictures of us are put in the papers, our faces are blacked out. What is so awful about us that we cant be seen? They wanted to be filmed so that they could be seen.
"Rail" captures British Railways at a major turning-point in its history. In certain respects, this was a period of considerable upheaval and loss. There was a facing-up to the increasing need for a big modernisation drive. Full and speedy electrification, or the wider promotion of diesel-power on remaining lines, became a matter of top priority. Geoffrey Jones recorded a rapidly disappearing world of everyday steam travel, with its labour-intensive rail workforce : some of the footage in "Rail" (recognisable from "Snow") dates from around 1962. (IMDb)