Ruth Condomine: If I died, I wonder how long it would be before you married again.
Charles Condomine: You won’t die. You’re not the dying sort.
Ruth Condomine: Neither was Elvira.
Charles Condomine: She was, now l come to think of it. She had a certain ethereal quality. Nobody could call you even remotely ethereal.
Ruth Condomine: Nonsense. She was of the earth, earthy.
Charles Condomine: Yes, well, she is now, anyhow.
Ruth Condomine: That’s the kind of observation that shocks people.
Charles Condomine: Discouraging to think how many are shocked by honesty and how few by deceit.
Ruth Condomine: Write that down. You might forget it.
I know there is at least one book on this subject and I haven’t had a chance to read it yet, but thanks to TCM showing several movies from that year, I have to agree completely. What I mean by Cinema, is Hollywood and American Cinema, because a lot of how it changed was based on things French New Wave directors had already been doing for almost ten years.
One way to see this change is by looking at the five films that were nominated for Best Picture at the Oscars that year. Four of the films are harbingers of the new Hollywood. One is old guard and because of that in addition I want to talk about another film that, although nominated for four Oscars, was not up for Best Picture.
The five films up for Best Picture were Bonnie & Clyde, Doctor Dolittle, The Graduate, Guess Who’s Coming To Dinner and In The Heat of the Night. The film sixth film I’m going to discuss is In Cold Blood.