I will be watching all 5 nominees from 1968 before I move on to the next year. The goal here is to watch them and have an internal discussion among them to try to piece together a “history” of the year. Let’s get to it.
The human eye, for its awesome complexity, is imperfect. An average human can distinguish among 10 million colors to varying levels of intensity. Trichromacy is a distinguishing factor among primates from other mammalian species and is responsible for evoking (occasionally vivid) emotional responses. Artists and filmmakers decide that crisp and clear color might symbolize a specific emotion or mood; to that effect, an artist with a different objective might elect to dull a palate of colors enough to push a different set of feelings. A filmmaker’s choice can only really reflect intent, however, as each human, just as she has different eyes also sees things through a unique perspective. Sometimes the human eye, it its awesome complexity, cannot interpret crispness as imperfection causes the physiology to distort.
To examine the history of film is to undertake an impossibly knotty task. Separate, and often collinear threads, like technology’s insatiable progress and public opinion’s often disheartening demagoguery, or a deepening mistrust of authoritarian figures and a shift in music tastes, that have little to do with one another often superimpose one another, intentional or not. The eye, as propagator of one of humans’ most treacherous senses, cannot piece cognitive dissonance together: against evidence to the contrary, what it sees it believes, even at the behest of the other senses; the eye is the human’s most slanderous sense. 1968’s Rachel, Rachel remains honest with intent, but blurry in obscurity. Released during a time of global tribulation, its soft reflection on human suffering seems trivial – but, once again, the human eye deceives. Continue reading