Paul Varjak: You know what’s wrong with you, Miss Whoever-you-are? You’re chicken, you’ve got no guts. You’re afraid to stick out your chin and say, “Okay, life’s a fact, people do fall in love, people do belong to each other, because that’s the only chance anybody’s got for real happiness.” You call yourself a free spirit, a “wild thing,” and you’re terrified somebody’s gonna stick you in a cage. Well baby, you’re already in that cage. You built it yourself. And it’s not bounded in the west by Tulip, Texas, or in the east by Somali-land. It’s wherever you go. Because no matter where you run, you just end up running into yourself. [takes out the ring and throws it in Holly’s lap] Here. I’ve been carrying this thing around for months. I don’t want it anymore.
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.