...or any movie at least 10 years old and “culturally, historically, or aesthetically significant.” But please consider Two for the road (Stanley Donen, 1967).
The other day I found a post about These Amazing Shadows, a documentary written and directed by Paul Mariano and Kurt Norton about the National Film Registry. The American movies that are included in this registry are preserved in the Library of Congress, so the NFR is a big deal.
Well, Paul Mariano was interviewed in different sites and when asked if he had favorite films to be chosen for the NFR this year, he said:
"Two for the Road with Audrey Hepburn and Albert Finney, I adore it. It’s such an incredible film, a great script, wonderful actors, but it also speaks to the issue of what a marriage is all about, a fantastic relationship and a fantastic film."
And also said:
"Obviously, I put my favorite film in the world, which is Two for the Road. It is a 1969 Stanley Donen film with Audrey Hepburn and Albert Finney. I absolutely adore that film. I can remember seeing it back in 1969 and I had gotten married the year before in 1968 and it spoke to me, as George would say. It spoke to me about what a marriage is. It’s this kind of bantering semi-fighting, but in a very romantic way. I’ve always loved that film. I don’t believe that there are any Stanley Donen films in the registry and that is a shame because he was an incredibly good director."
That's so cool, Mr. Mariano. I love Two for the road too! I remember I watched it over and over again. It feels so human, it has so many intense and realistic moments, such a wonderful performances by Audrey and Albert, such marvelous music by Henry Mancini and a simply touching script by Frederic Raphael. It also has an interesting and ahead of its time way of telling the story continuously using flashbacks. If you don't think it was ahead of its time, you just have to read the New York Time review from 1967, which at some point stated:
"So mixed up are her [Audrey's character] memories and so erratic is the continuity Mr. Donen and Mr. Raphael have devised for this helter-skelter film that it isn't quite clear at what point continuation beyond the flight to southern France breaks free of recollection, or where the past and coming events merge. In other words, it becomes uncertain who is carrying the narrative ball."
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