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What Ever Happened to Aunt Alice? (1969) in the PNW

Details: Written by: Mortado; Category: The 1960s in Northwest Cinemas; Hits: 463

This is a collection of media from the initial runs of "What Ever Happened to Aunt Alice?" (1969) in the Pacific Northwest.

Click on images for larger versions.

What Ever Happened to Aunt Alice? (1969)
“What Ever Happened to Aunt Alice?” takes the polished surface of late‑1960s domestic respectability and slowly peels it back to reveal something far more caustic. Set in the sun‑bleached quiet of suburban Arizona, the film uses its seemingly placid environment as a stage for a story about greed, loneliness, and the predatory instincts that can hide behind genteel manners. What begins as a portrait of a recently widowed woman adjusting to her new circumstances gradually becomes a study in how desperation can curdle into something ruthless, even monstrous, without ever tipping into camp or overt melodrama.

The film’s tension grows from the contrast between its genteel façade and the increasingly unsettling behavior of its central figure. She is a woman accustomed to comfort and control, and the loss of financial security exposes a brittle, grasping side of her personality. The screenplay treats her not as a caricature but as someone whose entitlement has calcified into a worldview where other people exist primarily as instruments. The story’s suspense comes from watching how far she is willing to go to preserve the life she believes she deserves, and how carefully she masks her intentions behind polite smiles and social niceties.

Into this environment enters a new housekeeper whose presence subtly shifts the film’s balance. She is warm, attentive, and seemingly unthreatening, yet there is a quiet intelligence in her that unsettles the protagonist in ways she cannot articulate. Their relationship becomes a psychological duel conducted through small gestures, clipped conversations, and the unspoken awareness that each woman is studying the other. The film’s power lies in how it lets this dynamic unfold without telegraphing its moves, allowing suspicion and dread to accumulate in the spaces between words.

Visually, the film uses its bright, airy setting to ironic effect. Sunlit rooms, tidy gardens, and wide desert vistas create an atmosphere that should feel safe, yet the camera lingers just long enough to make these spaces seem isolating, even menacing. The contrast between the environment’s openness and the characters’ secrets gives the film a slow, tightening grip. It belongs to the same lineage of psychological thrillers that explore the rot beneath domestic order, but it does so with a restraint that makes its darker moments land with greater force.

“What Ever Happened to Aunt Alice?” ultimately works as both a character study and a critique of genteel cruelty. It examines how social roles—employer and servant, widow and companion, lady of the house and the woman who keeps it running—can become battlegrounds when power is threatened. The film’s suspense grows not from elaborate twists but from the chilling realization that the most dangerous acts can be committed quietly, politely, and with a smile.

Directors: Lee H. Katzin, Bernard Girard
Writers: Theodore Apstein, Ursula Curtiss
Stars: Geraldine Page, Ruth Gordon, Rosemary Forsyth

August 19, 1966 ad (Portland)

August 19, 1966 ad (Seattle)

August 20, 1966 ad (Portland)

August 20, 1966 ad (Seattle)

August 21, 1966 ad (Seattle)

What Ever Happened to Aunt Alice? (1969) poster

What Ever Happened to Aunt Alice? (1969) trailer

Midnight Cowboy (1969) in the PNW

Details: Written by: Mortado; Category: The 1960s in Northwest Cinemas; Hits: 407

This is a collection of media from the initial runs of "Midnight Cowboy" (1969) in the Pacific Northwest.

Click on images for larger versions.

Midnight Cowboy (1969)
“Midnight Cowboy” moves through late‑1960s New York with a kind of bruised poetry, following two men who cling to each other not out of sentiment but out of sheer human necessity. The film frames the city as both a glittering promise and a grinding machine, a place where dreams are advertised in neon but rarely delivered. At its center is Joe Buck, a young man who arrives in Manhattan convinced that charm, good looks, and a carefully curated cowboy persona will open doors. What he finds instead is a metropolis indifferent to fantasy, where identity becomes a performance one must constantly renegotiate to survive.

The film’s power lies in how it strips away Joe’s illusions without ever mocking them. His optimism is treated as something fragile and almost sacred, a remnant of a culture that taught him to believe in simple myths about masculinity, sexuality, and success. As those myths collapse, the story shifts into a portrait of urban alienation, where the city’s noise and crowds only heighten the sense of isolation. The film uses its visual language—gritty street photography, fragmented flashbacks, and hallucinatory editing—to evoke a world where memory and desire blur, and where the past intrudes on the present with unsettling force.

Joe’s unlikely bond with Ratso Rizzo becomes the emotional spine of the narrative. Their relationship is not romanticized; it’s shaped by desperation, mutual exploitation, and a slowly emerging tenderness neither man fully understands. Ratso, with his sharp instincts and failing body, embodies the city’s contradictions: cunning and vulnerability, bravado and decay. Together, the two form a makeshift partnership that exposes the film’s deeper concern with the ways people construct family out of circumstance rather than blood.

“Midnight Cowboy” ultimately becomes a study of survival in a society that measures worth through appearance and performance. It critiques the hollow promises of American aspiration while finding moments of grace in the smallest gestures of loyalty and care. The film’s refusal to offer easy redemption or tidy resolutions gives it a lingering emotional weight. It captures a moment when the country’s cultural fabric was fraying, and it channels that uncertainty into a story about two outsiders who, for a brief time, manage to hold each other up against the world’s indifference.

Director: John Schlesinger
Writers: Waldo Salt, James Leo Herlihy
Stars: Dustin Hoffman, Jon Voight, Sylvia Miles
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July 30, 1969 ad (Seattle)