1970 was fraught with widespread discontent from the American people with the government and its authorization of the Vietnam War. It was 1970 that uncovered the atrocious events at My Lai and furthered lowered the Americans’ faith in their troops. This disillusionment with war was coupled with a growing trend in environmental awareness and protection. It is therefore unsurprising that the top movies and songs of 1970 featured a combination of earth-centered, anti-war, and pro-pacifist themes.
The top ten movies of 1970 were, in descending order: “Love Story” (grossing 106.4 million dollars), “Airport!” ($100.5 million), “M.A.S.H.” ($81.6 million), “Patton” ($62.5 million), “The Aristocats” ($55.7 million), “Woodstock” ($34.5 million), “Little Big Man” ($31.6 million), “Ryan’s Daughter” ($30.8 million), “Tora! Tora! Tora!” ($29.5 million), and “Erinnerungen an die Zukenft (Chariot of the Gods)” ($25.9 million) [1]. “Airport!” featured a former World War II demolition expert as the major threat to the passengerers, “M.A.S.H.” heavily parodied a military outfit in the Korean War, “Patton” portrayed an elitist and ruthless leader, “Little Big Man” painted General Custer as a bloodthirsty egomaniac, “Ryan’s Daughter” examined the effects of post-war trauma on former soldiers, and “Tora! Tora! Tora!” speculated on the mistakes and incompetency surrounding the Pearl Harbor bombing. These movies were to some degree anti-war propoganda. Even “Love Story” promoted the idea that love was enough and that “love means never having to say you’re sorry” – resonant of the pacifism that was gripping the nation. “Woodstock” highlighted the drug problem that plagued Americans who desperately sought to escape the troubles of 1970. In addition “Aristocats” and “Erinnerungen an die Zukenft,” fantastical in nature, could also be indications of escapism during 1970.
It is evident that the same audience who flocked to the theatre tuned into the radio. The top ten songs of 1970, in descending order, were: “Raindrops Keep Falling On My Head,” “I Want You Back,” “Venus,” “Thank You,” “Bridge Over Troubled Waters,” “Let it Be,” “ABC,” American Woman,” “Everything is Beautiful,” and “The Long and Winding Road.[1]” Through similes and metaphors, the basic device for most songs, an undercurrent of harmony with nature and its beauty ran throughoug. Amid the normal love songs, lyrics like “because I’m free, nothing’s worrying me,” and “speaking words of wisdom, let it be, let it be” reflected the growing pacifist sentiment. “ABC” stands out from this list as having virtually no discernible theme, though the lack of a theme is itself a statement about America’s search for an escape.
That heavily represented anti-war movies ran concurrent with the unusually low draft numberers is not a coincidence. Young men all over the country were finding ways to avoid Vietnam. A prospect would rely on a “doctor’s affidavit certifying a weak knee, flat feet, or bad eyes” or a college graduate on his “critical occupation” such as teaching or engineering to stay home from war [3]. Cowardice? Maybe in some cases. In the majority of the cases, however, this unheard of unpatriotism stemmed from the deep aversions of the atrocities committed in this unwinnable and – in many citizens’ opinions – unjustified war.
While by themselves, these movies and songs might not have done as well (“Love Story” is notorious for its combination of over – and under – acting, snooze-worthy montages, and occasionally absurd script-writing), the 1970 battle-weary-tree-hugging America paved their way to success.
[1] “Internet Movie Database.” Internet Movie Database. IMDB.Com. 20 Nov. 2006.
[2] Davidson, Heyrman, Lytle, Stoff, and Gienapp. Nation of Nations. 4th ed. New York: McGraw Hill, 2006. pg 892-893
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