Film

I Love You, Alice B. Toklas!

Peter Sellers is a buttoned-up lawyer seduced by hippie life and a free-spirited woman in this 1968 comedy about the generation gap. It's a time capsule of late-60s anxieties about counterculture, played with genuine warmth beneath the period satire. For anyone curious about how mainstream America saw the Summer of Love, or who loves Sellers doing comedy against type.

TMDb rating2.6

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The Graduate1967

Another portrait of a young man caught between two worlds, confused about what he actually wants. Dustin Hoffman's Benjamin is equally adrift, and the film shares an almost identical anxiety about generational collision and authenticity.

But It's been canonised to death. The famous scenes have become cultural shorthand, which can make watching it feel like homework rather than discovery.

The Graduate poster

Five Easy Pieces1970

Jack Nicholson plays another man caught between identities—here, a drifter hiding from a cultured past. It explores the same territory of reinvention and self-deception with real bite and melancholy beneath the comedy.

But It's slower and far less funny. The tone is autumnal and sometimes punishing; this is not a feel-good night.

Five Easy Pieces poster

Greaser's Palace1972

Robert Downey Sr's absurdist hymn to counterculture excess, where a vaudeville performer descends into a post-apocalyptic hippie landscape. Sellers' journey into that world gets a genuinely surreal, anarchic answer here.

But It's deliberately strange and resistant to plot. The acid-trip logic will exhaust anyone wanting a straight story.

Greaser's Palace poster

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Harold and Maude1971

Both feature men named Harold wrestling with authenticity and social expectation. Both use romance as the engine for questioning who they really are. But Ashby's film treats the question as tragic rather than comic.

Like Sellers' Harold, Bud Cort's character is trying on an identity that doesn't fit. But this film goes deeper into the psychology of reinvention and really asks whether escape is possible or wise. The tone is darker and more philosophical.

But It's got a gothic, melancholic atmosphere beneath the whimsy. The ending won't satisfy anyone looking for conventional resolution.

Harold and Maude poster
More like this (7)

Coming Home1978

Jon Voight and Bruce Dern explore generational and personal conflict with real vulnerability. The film takes the counterculture seriously as a genuine moral position, not a phase or rebellion.

But It's melodramatic and at times sentimental. The famous scenes lean on earnestness that modern viewers might find overwrought.

Coming Home poster

Alice's Restaurant1969

Arlo Guthrie's almost plotless ramble through 1960s bohemia. It captures the rambling, anarchic spirit of the hippie lifestyle far better than most, with genuine anarchism rather than played-for-laughs rebellion.

But There's barely a plot. It's essentially a very long joke, and if the joke doesn't land for you in the first ten minutes, it won't work.

Alice's Restaurant poster

The Magic Garden of Stanley Sweetheart1970

Don Johnson drifts through New York counterculture in this neglected gem. It captures the seduction and exhaustion of the lifestyle with surprising candor and a rock-and-roll pulse.

But It's structurally loose and sometimes feels aimless, which mirrors the protagonist's journey but doesn't always make for engaging viewing.

The Magic Garden of Stanley Sweetheart poster

Getting Straight1970

Elliott Gould plays a disillusioned veteran trying to return to college life amid student activism. Another genuinely conflicted portrait of a man between worlds, with real political edge.

But The political rhetoric has dated unevenly, and the film can feel preachy about generational grievances that time has settled.

Getting Straight poster

Zachariah1971

A genuinely weird Western that reimagines the outlaw as a hippie drifter. It's got the same counterculture-meets-establishment DNA, but through a completely different genre lens.

But It's deeply eccentric and often badly made. The weirdness is sometimes in service of nothing but its own strangeness.

Zachariah poster

Marjoe1972

A documentary about a former child evangelist confronting his past. It has the same theme of a man trapped in an inherited identity trying to find something authentic, but handled with documentary's unblinking eye.

But It's a documentary, which means slower pacing and no narrative arc. The subject matter is also quite heavy and sometimes deeply sad.

Marjoe poster

A Man and a Woman1966

Both are about a square (or reserved person) being transformed by romance into a version of themselves they didn't expect. But where Sellers' film is comedy about that collision, this one treats it as genuine metamorphosis worth mourning when it ends.

Claude Lelouch's French romance uses stunning colour and a joyous spirit to explore two people from different worlds colliding and changing each other. It's about the seduction of a different life, filmed as pure visual rapture.

But The sentimentality is overwhelming by modern standards. The film is utterly unconcerned with irony or complexity—it just wants you to feel love.

A Man and a Woman poster

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