"How unlikely that one of the least definable films from the last half-century would also be one of the most beloved. A favorite of classroom AV diversions, and an abridged presentation on the very first episode of '60 Minutes' helped make it the most viewed educational film of all time. 'I don't know what it all means,' Saul Bass himself admitted, and his 'Why Man Creates' (1968) is far more loose and playful than the rigid thesis its title might imply. In fact, it is the searching and open-ended nature of the various vignettes that perhaps makes the film resonate so strongly with viewers. Though an Oscar®-winner for Documentary Short Subject, the film is almost entirely invented, apart from recollections of old masters like Edison, Hemingway and Einstein, and brief encounters with scientists striving to innovate for the betterment of mankind. Creators invariably encounter problems, and have no choice but to persevere in the face of discouragement. If the film argues anything, it is that the unbridled pursuit of new ideas makes us uniquely human."
"The directors of The Best of Enemies, a documentary about the 1968 debates between Gore Vidal and William F. Buckley, could have produced a riveting movie simply by splicing together old debate footage. This movie is about many weighty matters--politics, ideology, history, society and the media--but the delicious spectacle of watching two sexy men in their prime, with rapier wit, speaking in the accents of a gone American elite, slicing each other into fine ribbons, makes the film a guilty indulgence.
These two ghosts from a bygone era still make great television. It worked so well, in fact, that the series of debates, created by ABC to attach to the two 1968 conventions–Republicans in Miami and Democrats in Chicago–became the prototype for every television talking head show for the next half-century.
Sadly, no one has ever done it better. ...
The Buckley-Vidal debates could be the high moment in the history of the televised American political debate. But the spectacle contained within itself the seed of the end too. Extreme civility was about to explode and cool William Buckley, whose fate it was to manifest that explosion, would regret it for the rest of his life."
(Nina Burleigh, 1 February 2015, Newsweek)
"This is one of those rare and unsettling examples of a rock film which has the all the immediacy of reportage from a distant war–zone. The terrain is Olympic Studios in London in June 1968, where the Rolling Stones, recovering from the critical mauling of At Their Satanic Majesty's Request, are at work on the tracks that would become Beggars' Banquet. The film–maker was Jean–Luc Godard, at the height of his reputation as Europe's most daring director. Godard had briefly left Paris for London in the wake of the Paris riots of May '68 with the aim of making a film about art, power and revolution. The Stones, at their most dazzling and Luciferian, were, as Godard saw it, perfect for the role of agents of anarchy in a movie whose stated aim was to 'subvert, ruin and destroy all civilised values'. ...
As the track is worked and reworked, we glimpse the inner dynamics of the Stones. Bill Wyman and Brian Jones are on the margins (Jones spends most of the film shuttered away, ostracised, playing an inaudible and irrelevant acoustic guitar). Charlie Watts is every inch the dapper jazz mod, as spare with his incisive drumming as he is meticulous with his clothes. Jagger is languid, bored and then sexually ambiguous and cruel, coming only properly to life when he sings the lyrics. Most compelling of all is Keith, changing rhythms and cues at will, eyes gleaming, restless and fiercely intelligent, a million miles from the stoned zombie of legend. When he choreographs and leads the band and acolytes (including the witchy Anita Pallenberg) into the 'whoo, whoos' that make the track so malicious, it is sinister and stunning."
(Andrew Hussey, 21 May 2006, The Guardian)
"In 1968 Kay created a very interesting concept – the Dynabook. He wanted to make A Personal Computer For Children Of All Ages – a thin portable computer, highly dynamic device that weighed no more than two pounds The ideas led to the development of the Xerox Alto prototype, which was originally called the interim Dynabook. It embodied all the elements of a graphical user interface, or GUI, as early as 1972. The software component of this research was Smalltalk, which went on to have a life of its own independent of the Dynabook concept."