In the last episode, we talked about the One-Location Movies back in the 50s. Now, let's dive into the 60s movies. We go from a prison in France to a club in Mexico. Check out the list of movies in the description.

In "The Hole," a 1960 movie, it's all about breaking out of prison and dealing with betrayal. Since there's no music, every noise you hear is just what you'd hear in a real prison.

Another movie from the same year, "To Each Own Life," is set in Mexico City and shows a bunch of sex workers getting together in a club to ring in the New Year. Along the way, we see their struggles and letdowns.

Things get pretty confusing in this era. Take "Last Year at Marienbad" from France or Swedish films like "The Silence" and "Persona”. But the mysterious "The Exterminating Angel" from Mexico stands out. In this one, a rich group of people find themselves stuck in a fancy dinner party for no good reason, making us think about society, people, and relationships in some pretty strange situations.

The British cinema made waves with "Lord of the Flies," all about power, right and wrong, and what happens when we play with our wild side. And the Japanese achieved great success with "Woman in the Dunes," a captivating story set in a sandpit, reflecting on the struggles we all face.

But not every movie from this time was a winner. "Violated Angels" by Kōji Wakamatsu didn’t quite hit the mark like others did. I found it lacking in substance, so I chose not to include it in my curated list of '60s one-location movies.

Over in America, filmmakers are pushing the envelope with movies like "Who’s Afraid of Virginia Woolf?" and "What Ever Happened to Baby Jane?" These films dig into dysfunctional families and their psychological troubles. Then, there's "They Shoot Horses, Don’t They?" which explores how desperation can lead people to be exploited in extreme situations. And let's not forget about "The Party," which brings the laughs within the one-location movie universe.

In the 50s and 60s, indie films started getting big in the US. Andy Warhol, famous for his art, gave experimental filmmaking a shot. His films were more about being creative than having big budgets. And when he started showing different sexual preferences on screen, it was a big deal, showing how society was changing.

In the mix of all 60s movies, those set in just one place let directors go wild with their creativity, breaking the rules and showing us what it means to be human, even in small spaces.

In the last episode, we established "12 Angry Men" as a key reference and the initial benchmark for our journey into single-location films. Now, let's rewind a bit more and explore another collection of compelling one-location movies. After carefully reviewing a multitude of films, I've curated a list of around 30 titles. You can find further details in the article linked in the description.

Now, remember when Hitchcock was the master of suspense, crafting stories in a single location like an artist with a paintbrush? Those were the days when filmmakers weren't afraid to tackle big, moral stories, set against backdrops ranging from a prison cell to the deep blue sea, from the gas station in Arizona to a hospital in Stockholm, love was portrayed as the selfless, heart-pounding emotion it is, but a means of confronting the punishments of the past.

Take "Street Scene" from 1931 – the street isn't just a name; it's the stage where life's drama unfolds. It's like the street itself is a character, shaping the narrative and trapping our heroes in the web of human interactions. It's storytelling, street style!

Back in the day, filmmakers drew inspiration from plays, bringing theatrical productions to the silver screen.

Akira Kurosawa and Ingmar Bergman left their mark internationally, diving into the depths of humanity and showcasing life's complexity through the lens. Kurosawa ventured into the forest, while Bergman opened the door to a maternity ward,

Across the English Channel, French and British filmmakers introduced psychology and philosophy to the single-location setting. In 1945, the British film "Dead of Night" served as a framing narrative for several stories told within the confines of a room in a country house, employing flashbacks. Each story exhibited a quality of horror, weaving everything into a psychologically entangled loop.

In France, Jacqueline Audry turned Jean-Paul Sartre's play "No Exit" into a movie depicting a unique kind of hell—no physical torture, just the presence of other people. In Audry’s adoption, we get to see the characters' loved ones as well. However, in the BBC adaptation; they simplified the story and kept us on the edge of our seats with just three actors in hell.

This adaptation proved that movies shot in multiple locations can be remade in a single location without flashbacks or external shots. It highlights a theatrical storytelling style, relying on characters and dialogue to drive the plot.

Exploring one-location movies from the 50s and earlier reveals a rich tapestry of cinematic storytelling within confined settings. Despite the technological limitations of the early sound film era, filmmakers demonstrated remarkable creativity and ingenuity in crafting compelling narratives.

The single-location concept transcended genres through innovative visual storytelling for the medium of cinema from horror to arthouse movies and from drama to crime mystery.

The 1950s cinema era wrapped up with films like "12 Angry Men" and "House on Haunted Hill," where right and wrong kept being questioned. Up until a point in "Seven Waves Away," the narrator directly asks the audience to be the judge.

Besides tackling deep questions about truth and morality which wasn’t new to theatre, this era marked a shift. Filmmakers realised the importance of engaging the audience, they realised what they show could be different from what the characters say, and close-ups changed the game of storytelling. Cinema wasn't just for

Sidney Lumet, with a background in theatre, directed over 40 movies. His debut, the breakthrough films "12 Angry Men," set a benchmark for one-location movies. This cinematic achievement involves real-time storytelling and unfolding a narrative within a single room. It gives the camera a purpose, conveying the passage of continuous time without openly drawing attention.

"12 Angry Men" was filmed using a series of continuous takes. Each sequence of events unfolds in a single continuous shot before transitioning to the next. The story progresses by moving the camera into different types of framing. This seamlessness is due to our eyes naturally following what is being emphasised. Consequently, we don't consciously register that what we're watching is all captured in a single shot; it feels more expansive. The magic of this visual storytelling technique ensures that we witness reactions as they happen without the need for cutaways. This fluidity in visual storytelling is achieved through the movement of actors and the continuous running of the dynamic camera, creating an immersive experience.

Sidney Lumet carried this directorial style into "Deathtrap," another one-location movie. Deathtrap's story happens mainly in a house along with a few scenes of theatre, a taxi and a train station.

Avoiding extensive set changes, he gradually reveals the house's layout, using variations in decor to reflect changes in the story and characters' actions, infusing a theatrical vibe, and calculated staging. His choice of shots creates more space around the characters and lets the audience and the characters have room to breathe. The overall effect is a theatrical atmosphere where mobile staging becomes a tool for character revelation. Deathtrap looks stunning. Sidney Lumet's commitment to prioritising story over decorative style or over-imposing his skills onto the screen is respectable, and this dedication also shines through in "12 Angry Men." And became one of the most highly-rated films of all time. This film goes beyond mere entertainment; it transcends the medium of cinema. Lumet's vision was not confined to the screen; it became a timeless exploration of the importance of asking questions, engaging in arguments for reasoned decisions, critiquing the justice system, and addressing human biases and prejudices.

For all aspiring writers out there, he re's a nugget of inspiration: "12 Angry Men" was Reginald Rose's second teleplay, inspired by a trial he experienced. It reminds us all that opportunities lie in unexpected places. So keep your curiosity sharp, hone your skills, and let your passion and ambition guide you. There's always a story waiting for your unique perspective in every room you step into.

This is the one-location movie podcast, where every location tells a story!