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In December, 1963, Life published a special issue on “The Movies.” The United States, the magazine asserted, had fallen behind the rest of the world. Hollywood was too timid, too worried about the national “image.” Meanwhile, Swedish, Japanese, Italian, and French filmmakers were making movies that people talked about. “While the whole film world has been buzzing with new excitement,” the magazine concluded, “Hollywood has felt like Charlie Chaplin standing outside the millionaire’s door—wistful and forsaken.” Exactly four years later, which, in feature-film production time, is virtually overnight, Time, the sister publication of Life, ran a cover story on “The New Cinema.” “The most important fact about the screen in 1967,” it announced, “is that Hollywood has at long last become part of what the French film journal

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