Since Gregory Peck's Oscar win for ToKillAMockingbird over Peter O’Toole in LawrenceOfArabia is one of those “Damn, same year?” rather than “How could they?” victories, there was clearly something special in the water in 1962
There’s never a bad time to be reminded of and introduced to great cinematic works and their authors and filmmakers, but 2020 is turning out to be a particularly necessary time for cultural enrichment and artistic nourishment. At home.
For those cineastes who might challenge that proclamation, and substitute, say, 1939, 1999 or my particular favorite, 1969, for that vaunted honor, the book thankfully opens with an astute and succinct preface by Oscar-winning writer-“I’ve found that a cineaste’s ‘greatest year’ more often than not lines up with the early years of his or her adolescence,” observes Condon, expressing a theory I’d always assumed was mine alone.
Since Gregory Peck’s lead actor Oscar win for “To Kill a Mockingbird” over “Lawrence’s” Peter O’Toole is one of those “Damn, same year?” rather than a “How could they?” victories, there’s more evidence that there was something special in the water in 1962.
The frantic, fevered prose of the Beat Generation, combined with unprecedented creative ambition and freedom in European cinema, was starting to impact the emerging American filmmakers at that time. The authors show how the later landmark films made by American auteurs such as Sam Peckinpah had their roots in majestic, assured early works such as his classic, 1962 Western “Ride the High Country.”
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