Instead of focusing on any one year in movies, perhaps it’d be more interesting to pick three flicks from the latter half of the 20th century that are widely considered classics of cinema as well as archetypes of the eras that spawned them. Okay, are you ready? Here we go

Easy Rider (1969)

This is a film where the ideals of two factions of society abrasively (and often comically) rub up against one another. On a superficial level, the movie is a travel log of two hippies who hit monumental US landmarks as they travel by motorcycle across the country during the 1960′s. On another level, however, the movie picks characters that represent the deep divides in cultural and social opinion. There is a constant clash of opposites in this film: drugs and liberal sexual conduct versus more puritanical lifestyle choices; poor versus rich; and, unconventional versus Establishment ideology.

A disillusioned lawyer, brilliantly played by Jack Nicholson, sums up his feelings in a marijuana fueled campfire conversation: “It’s really hard to be free when you’re bought and sold in the marketplace.” That’s a sentiment that resonated with legions of people at the time.

From start to finish, the film is bold, experimental, wonderfully shot, freewheeling, and symbolically rich in contrasts. This is one that’s not to be missed.

Apocalypse Now (1979)

A Vietnam movie that was facetiously called “Apocalypse When?” by fans who anxiously awaited the film’s delayed release following a series of production delays. This film captures the incredible violence and meandering nature of Vietnam War combat. That said, its staying power is due to its beautifully shot set pieces and existential themes that are so universal that they still vibrate today.

A key scene in the movie is the opening montage featuring Martin Sheen who plays a displaced combat leader awaiting assignment in a ramshackle Oriental motel room. Sheen’s dialogue overlays stark images and poses poignant questions for anyone who has thought deeply about the ethicality of war.

Roger and Me (1989)

Michael Moore’s classic documentary about the repercussions to unthinking layoffs by General Motors in impoverished Flint, Michigan. Moore somehow strikes a perfect balance between the anxiety surrounding these events and his own brand of humor in this dark comedy. In one scene featuring Moore – who both acts in and directs Roger and Me – the idea that he can’t barge in to the office of General Motor’s chairman, Roger Smith, and have an impromptu meeting completely shocks Moore. As the audience, we know it clearly shouldn’t come as a huge revelation.

This movie is remarkable for its ability to highlight economic injustice while maintaining a sense of humor. In that way it plays like a Dicken’s novel. Roger and Me is both a black comedy and a classic of documentary filmmaking.

Well, that’s all for now. Watch these movies if you can: you won’t regret it. Even if you don’t quite agree with their classic status, you’re bound to be entertained!

For example, who can ever forget the horse head scene in The Godfather? Who was not shocked and amazed by the first appearance of the great white shark in Jaws? Who will ever forget the horror of the assault scene on the canoe paddlers by mountain men in Deliverance? Can anyone ever forget the vomiting and spinning head of the little girl in The Exorcist? These are but a few of the scenes of the decade that have become part of the fabric of current pop culture.

The 1970′s were a huge decade for the advancement of film. This was a time when artistic integrity co-existed with box office sales, and the two had yet to differ. This was an era that saw film reach far beyond the mainstream viewer, and affected cultures at large. Watching movies from the 1970′s is still an entertaining, as well as educating, pastime for any fan of film.

The scenes in these movies are second to none in the world of movie making. Take the scene in All About Eve with Ann Baxter and Celeste Holm in the ladies room at the club. There was Ann’s character trying to convince Celeste’s character yet again to let her be Margo Channing. Then there’s the scene on the stage with Bette’s character trying to get sympathy from her on-screen lover played by Gary Merrill. She brilliantly sets the scene up by sacheting on stage after the rehearsal has finished and gets everyone’s attention with a melodramatic continuous banter. Brilliant! Because you really can’t take your eyes off of Bette Davis’s character for one minute.

The Day the Earth Stood Still, with Sam Jaffee, also has memorable scenes. As his character is being given much anticipated information from Rennie’s character, Jaffee’s interest grows on his face like pronounced acne and he can’t contain his excitement. His child-like interest is almost uncanny.

Who could forget William’s character stumbles across the patio to the pool where he meets his final end in Sunset Boulevard. Then, there’s the scene when Gloria’s character comes down the long and winding staircase to meet her public with camera’s flashing and people milling about – she is in her element and it showed.

No one can argue that one of the final scenes while Rick (Humphrey Bogart) is telling Ilsa (Ingrid Bergman) that she has to get on the plane with her husband. If you don’t he tells her, “you’ll regret it. Maybe not today, maybe not tomorrow, but soon and for the rest of your life.” The look of love and desire is her eyes shadowed by her large hat in the rainy night. It hurts Rick to say it.

Another film of the 1940′s that has left us with many classic movie scenes, is “It’s a Wonderful Life” (1947). Despite its dated schmaltz, one cannot deny James Stewart’s acting in the film. The scene in which he is beside himself with hopelessness and lashes out at his Uncle Billy is moving and upsetting. “Someone’s going to jail and it’s not gonna be me!”, George shouts.

Later, he is in the bar, distraught, drinking and finally George prays gently. “Please, God. I need help. I’m at the end of my rope.” He utters gently but shakily.