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Broken Glass

The film shows the risks associated with different driving speeds and the impact of collisions. It includes demonstrations of controlled impacts, part of experiments conducted by the University of California to study car crashes and improve safety. This includes the use of anthropometric dummies to measure the effects of collisions on passengers. The importance of safety seat belts and shoulder harnesses in preventing injuries is shown, as well as the dangers to unrestrained children in car accidents and the use of lifelike dolls in experiments. The conclusion of the film emphasises the driver's role in ensuring safety by being attentive and careful.

Broken Glass

NR 1963
Bitch

“Andy Warhol called Marie Menken and Willard Maas ‘the last of the great bohemians,’ and, in 1965, made Bitch, his real-life parody of Edward Albee’s play Who’s Afraid of Virginia Woolf?, with Willard and Marie sitting on the couch in their living room, drunk and arguing on a Sunday afternoon. Unscripted, shot with a stationary camera in his signature home-movie documentary style, Warhol’s Bitch has never before been seen by the public—until now…” (Philip Gefter).

Bitch

8.0 1965
Shola Aur Shabnam

Ravi or "Bunnu" as he's called at home and Sandhya (Chandrakala) are childhood sweethearts despite Ravi being poor, and Sandhya being rich. Sandhya's father, who is a senior official in the Railways is posted to a distant location; Ravi and Sandhya are separated and out of contact. Many years later, Ravi has matured into a strapping young man. Not being rich or influential, Ravi finds it hard to find a job and decides to approach his friend Prakash (played by M. Rajan). Prakash is a happy-go-luck rich kid, whose family runs a large timber factory amid lush jungles, and is only too happy to hire Ravi at a generous salary (Rs.300 per month, although Ravi asks for only Rs.100).

Shola Aur Shabnam

NR 1960
Harlow

Loosely based biography of 1930s star Jean Harlow as she begins her climb to stardom. One of two "Harlow" film biographies that appeared in 1965, this one stars Carol Lynley in the title role that begins as Jean Harlow, a bit player in Laurel and Hardy comedies, is invited to test for director Jonathan Martin for the lead in Howard Hughes's "Hell's Angels." She is an instantaneous sensation, and in a series of films devoted more to her body than her talent, she becomes Hollywood's "Platinum Blonde."

Harlow

4.7 1965
The Committee

The Committee, starring Paul Jones of Manfred Mann fame, is a unique document of Britain in the 1960s. After a very successful run in London’s West End in 1968, viewings of this controversial movie have been few and far between. Stunning black and white camera work by Ian Wilson brings to life this “chilling fable” by Max Steuer, a lecturer (now Reader Emeritus) at the London School of Economics. Avoiding easy answers, The Committee uses a surreal murder to explore the tension and conflict between bureaucracy on one side, and individual freedom on the other. Many films, such as Total Recall, Fahrenheit 451 and Camus’ The Stranger, see the state as ignorant and repressive, and pass over the inevitable weaknesses lying deep in individuals. Drawing on the ideas of R.D. Laing, a psychologically hip state faces an all too human protagonist.

The Committee

5.4 1968
Ebn El-Hetta

Exploiting the great resemblance between Ashour El-Aaghati and actor Farid Shawky, director Mahmoud Al-Badrawi decides to use him in many scenes. At the same time, Ashour relates to his neighbor Najat and decides to marry despite all the attempts of the master, the owner of the cafe, to stand in the way of their love. At the same time, a painful accident occurs to the artist Farid, leading to his death, and director Mahmoud decides to use Ashour as an alternative, declaring that the actor will not die.

Ebn El-Hetta

10.0 1968
The Triumph of Lester Snapwell

A low budget industrial film shot for the Eastman Kodak company. The mildly funny film that shows all the troubles of a man named Lester Snapwell (Keaton), who, in the late 1860's, tries to photograph his sweetheart, Clementine, and her mother. However, he has too much trouble with the bulky camera. Then he is accidentally killed and father time transports him forward in time. In each successive period he struggles with the photographic technology of the day. Then he arrives in the 1960's where the new Kodak Instamatic" camera puts all his troubles to rest.

The Triumph of Lester Snapwell

8.0 1963