MJs Sing-Along Blog: Seahawks won the Super Bowl, Woo Hoo!

[Mighty Jack]

38. The Best Years of Our Lives (1946)
William Wyler’s thoughtful look at the life of soldiers (and the people who love them) after the war. While there are sentimental melodrama’s inherent in movies from that decade, it was a film ahead of its time, it addresses its subject soberly and it holds up remarkably well. The most powerful moment comes when a pilot stumbles upon an aircraft graveyard… the man once flew these planes and now he’s as without purpose and forgotten as they are.




37. Groundhog Day (1993)
I loved this thing from the start, but I guess it was seen as a mild success, and then built a big fan-base over the years. Despite centering around one joke, it’s a movie that’s held up well to repeat viewings, and is custom made for Bill Murray’s style of dry humor. He plays a cynical weatherman who is forced to relive the same day over and over again. Hilarious love story with a message -- Beyond Murray's wonderful turn, it shows off a colorful cast... ala funny/annoying Ned Ryerson.




36. Elizabeth (1998)
I love Gwyneth Paltrow and was enchanted by her Oscar winning performance in “Shakespeare in Love”, but Cate Blanchett had the more demanding role. The nuanced arc -from tentative youth to steel resolved ruler- offered a great challenge, and it was a challenge met. It should have netted Cate the Award. This fictionalized account of the life of the virgin Queen is a fascinating character study blended with sweeping political intrigue. It’s a beautiful looking picture with an razor sharp script -- and Geoffrey Rush is remarkable. But the film belongs to Blanchett, and her portrayal of Elizabeth was one for the ages.




35. Wild Strawberries (1957)
A milestone for Ingmar Bergman - It was the first I film caught from the director and it still stands as my favorite (with nods to Seventh Seal and the Virgin Spring). It’s about an aging professor who is struggling to find meaning in his life. As he travels to receive an award, certain landmarks spark memories of his past. It’s one of Bergman's warmest pictures and his most accessible.




34. Woman in the Window (1944) & Scarlet Street (1945)
Actors Edward G. Robinson, Joan Bennett and Dan Duryea teamed up with director Fritz Lang on two films with similar themes - That of the lonely or meek man, drawn to a beautiful younger woman; who will ultimately lead him down the road to ruin. With Window: This is one of several movies from this time, where the term “Noir” was first applied to American films. The only problem I have with it, is that the ending feels tacked on, perhaps a victim of a production-code edict? I like Scarlet a shade more. But in each - the heartbreaking story, faultless direction and rich performances makes them special.




33. Monty Python and the Holy Grail (1974)
Absurd and impudent, Python’s Quest crashes and burns at the end, but before then its comedy gold. I remember the first time I saw it, with my sister, what an insanely funny experience it was. And for its time, rather twisted. During the battle with the Black Knight, my sis was saying, “I can’t believe they are doing this”, as she laughed herself sick.




32. The Last Detail (1973)
Jack Nicholson had an incredible run during the early 70s: Chinatown, Five Easy Pieces, One Flew Over the Cuckoo’s Nest -- But nestled amongst those classics is one that is often overlooked. It shouldn't be, because it is one of the actor’s finest. Jack plays one of 2 Navy MPs escorting a sailor (Randy Quaid) to a military prison. The thing I remember about the movie was that, at the time, it was considered the most fouled mouth feature of all time (I haven’t seen it in years, I wonder if that still holds true?) Aside from that, it had memorable character interaction.



During its theatrical run, a cartoon short – Cheech and Chong’s “Basketball Jones”, preceded the film. It was a rock/comedy extravaganza that featured George Harrison on guitar, Klaus Voorman (bass), Carole King (electric piano), Nicky Hopkins (piano), Tom Scott (saxophone), Billy Preston (electric organ). With Michelle Phillips, Ronnie Spector and Darlene Love providing the backup vocals.

Some scenes NSFW




31. 8 ½ (1963)
8 ½ is in a world all its own, which makes it an exhilarating viewing experience. The movie is about a filmmaker who is suffering through a block. But it is also, as critic Desson Thomson put it, “....about the inability in all of us to make sense of our lives, put it all together and come up with something meaningful.”

While I appreciate film on its intellectual basis, I tend to be more an emotional rather than intellectual viewer. Which might explain why -of the great Italian filmmakers- I have more an affinity for Fellini than say, an Antonioni. I also have an artists brain, which might explain why this visual collision of reality and fantasy isn't as difficult for me as it seems to be for others. The delirum speaks to me (saying that, there are puzzles to this film that will never be solved).

This is Fellini's last black and white picture, and it's looks stunning. While color would seem to suit the director well, I find it actually adds a bit of sensory overload. I don't feel his color films achieve the beauty found in 8 ½'s B&W cinematography. Another thing to watch is the way he stages character interaction, it’s an elaborate choreography that bears close attention.

The movie collected many disciples over the years, David Lynch, Woody Allen... even the Coens made an anemic stab at the style with Barton Fink. Terry Gilliam is another heir to the mad Gods throne, and here are his fascinating thoughts on the movie….

[Mighty Jack]

The Final 30

30. Viridiana (1961)
Luis Buñuel is smarter than me, which makes his movies challenging and richly enjoyable. I really have to concentrate when I watch him. Viridiana, condemned by the Catholics as blasphemous, tells the story of a nun (played by the beautiful and talented Silvia Pinal) on the verge of taking final vows. She instead winds up disillusioned and beaten by life's cruel realities.

As with most Buñuel, it's irreverent and is steeped in socio/political critiques. Symbolism is ever present. A little girl deliberately spilling her milk on a cows head. A crucifix that opens to reveal a knife... all these little touches say something bigger to the whole.




29. The Freshman (1925)
This film is noted for the football game, a scene often shown on clip shows and documentaries on the silent comedy era. Arguably Lloyd’s funniest picture, it is not only loaded with laughs, but is a heartfelt romance. Harold and co-star Jobyna Ralston have such great chemistry together. It is quintessential Lloyd. It draws on sympathy as likeable Lloyd is mocked by the campus hot shots as he tries so hard to fit in. Joby convinces him to be himself and tells him that she believes in him. That’s all you the setup you need to send us into the final act and the hilarious big football game where the kid who never says die, gets his chance to shine.

I like that this film isn’t one gag after another. It’s very funny, but it takes time to set up and tell a story. I think Harold might very well have influenced Keaton in this regard. Buster’s Steamboat Bill Jr. especially uses the model established by The Freshman. Set up the story, the relationships first, and then deliver the knock out ending.

The Freshman proved to be Harold’s biggest hit, and was second to Chaplin’s “Gold Rush” (also released in 1925) as the most successful full length comedy of the entire silent era.




28. Last Tango in Paris (1972)
“Bernardo Bertolucci's controversial drama is actually a dark, torrid masterpiece about love and grief”. – Jamie Russel BBC – A movie that inspires a lot of impassioned debate. I think it’s brilliant, and Brando is a raw force of nature. The emotion he set forth as expatriate Paul, a jaded hotel owner whose wife has committed suicide, is almost too much to bear. He enters into an odd sexual liaison with a younger woman and that’s what set the world a buzz. Pauline Kael wrote a famous gushing critique praising the film. Roger Ebert described it as "the most famous movie review ever published"




27. Chinatown (1974)
One of the cinemas greatest private eye mysteries --- Jack Nicholson is hard-boiled detective Jake Gittes in a flick that mixes classic pulp elements with a 70s Hollywood sheen. From RT: As bruised and cynical as the decade that produced it, this noir classic benefits from Robert Towne's brilliant screenplay, director Roman Polanski's steady hand, and wonderful performances from Jack Nicholson and Faye Dunaway




26. The Three Colors Trilogy: Blue (1993), White and Red (Both 1994)
Krzysztof Kieślowski’s ambitious final film foray was a 3 part humanistic story with interconnecting threads. Blue, white, and red are the colors of the French flag in left-to-right order, and the story of each film is loosely based on one of the three political ideals in the motto of the French Republic: liberty, equality, fraternity. The trilogy are also interpreted respectively as an anti-tragedy, an anti-comedy, and an anti-romance.

The best film of 1994 wasn’t Gump. It wasn’t Quiz Show or Shawshank or even (gasp) Pulp Fiction. The best film of the year didn’t receive a nomination for best picture, and it wasn't nominated for best foreign language film. The best film of 1994 was Kieslowski’s Red. And I’m going to be a snot here and say that this assertion isn’t even up for debate. It’s the best of the year, one of the best of the decade, period. I say this because it excels on every cinematic level. From color to sound to editing to set design...

Film critic Geoff Andrew wrote of it... "While Kieœlowski dips into various interconnecting lives, the central drama is the electrifying encounter between Valentine - caring, troubled - and the judge, whose tendency to play God fails to match, initially, the girl's compassion. It's a film about destiny and chance, solitude and communication, cynicism and faith, doubt and desire; about lives affected by forces beyond rationalization. The assured direction avoids woolly mysticism by using material resources - actors, color, movement, composition, sound - to illuminate abstract concepts. Stunningly beautiful, powerfully scored and immaculately performed, the film is virtually flawless, and one of the very greatest cinematic achievements of the last few decades. A masterpiece."

[Torgo]

Huh. The final 30 is shorter than I expected it to be.

[Mighty Jack]

I'll get there eventually, about 5 steps at a time...

[Mighty Jack]

25. Sullivan's Travels (1941)
Preston Sturges blends screwball comedy with social issue melodrama, Hmm, call it Screwodrama? Meloball? The story concerns a depression era director (Joel McCrea) who is tired of making fluff and wants to produce a serious film for the people titled, “O Brother, Where Art Thou?” To help make the film as real as he can, he decides to live among the poor by pretending to be poor… which gets him into a heck of a mess. Joining him along his travels is the glamorous Veronica Lake, who is adorable in this film. (all the actors are an engaging plus (and pay attention to the Chauffeur? That’s Frank Moran, Angel from “The Corpse Vanishes”)

As with the director’s other works, the dialog is sharply written -- though sometimes the comedy is broad (if Sturges has a weakness, it’s a propensity to indulge in over the top sight gags). The film satirizes socially conscious films and champions the need for laughter in troubled times.




24. Enter the Dragon (1973)
Look up cool in the dictionary and you’ll find a picture of Bruce Lee (and if there’s not, there should be). Bruce Lee’s best and coolest was sadly, his last. This martial arts masterpiece is not only packed with brilliant fight sequences, it thankfully allows us to hear Lee’s own voice (in other US releases he was dubbed by others, even though he could speak English). It’s refreshing touch. Lee might not be Olivier, but he was decent for what he was doing – hell, he was a better actor than Jim Kelly (and maybe it helped pave the way for people like Schwarzenegger. Foreign voices for leading men were no longer seen as automatic box office poison). The movie is rife with memorable scenes; most especially its end battle in the room of mirrors.




23. Breakfast at Tiffany's (1961)
Despite its flaws (Mickey Rooney) and criticism that it takes liberties with the source material, I absolutely adore this movie. In spite of the character’s being users, caught in their own little self-made traps, I liked watching these people – they were fascinating to me. But above it all I loved Audrey Hepburn. Her Holly Golightly is a bubbly spirit with a haunted past she’s trying to escape - and I’ll never forget the first time I saw her in this.

It was late, I was channel surfing, but I kept stopping at this movie with this enchanting sprite. I couldn't take my eyes off her (it was only later that I discovered the title and who the actress was). Eventually I stopped surfing and stuck with the film, and was completely taken by Audrey’s charm and beauty. She was just so incredibly cool and stylish.

This is a movie for my heart, rather than my intellect. But I think the heart is as important film barometer as the mind, and that’s why Tiffany’s ranks so high on this list.




22. Unforgiven (1992)
Clint Eastwood responds to his violent movie past with this intellectual meditation on the nature of violence. It explores the gray areas and digs deep beneath those classic western archetypes. Good guys aren't always so good, the bad aren't completely bad – and what you end up with is violence meeting violence to no good end (Deserves got nothing to do with it, as Mundy tells his adversary). Nick Schanger summed it up smartly, "Conveys the power of the Western genre's myths ... as well as the ugly, unromantic realities that lurk behind them."

I think it's Clint greatest achievement, Unforgiven is a surprisingly complex and eloquent western, with a slow simmering, somber rhythm that I found appealing




21. Iron Giant (1999)
While I admire the computer-generated art seen in modern animated films, I do miss the old style, line drawing look. Though computer graphics are employed in this film, the organic hand drawn art is most prevalent… and it adds to the flavor of the piece. Directed by Brad Bird, the story tells of a boy who befriends a towering robot. Unfortunately a paranoid government agent wants the bot destroyed. Suspenseful, funny and touching --The Giant itself is imbued with it’s own sense of humanity, to such a degree that the "Superman" line near the end actually gets me choked up.

[Torgo]

If the "Superman" moment in Iron Giant doesn't get to you, then you have no soul.

I'm just stating a fact.

[Mighty Jack]

20. The Third Man (1949)
I’m staring at this blank page, overwhelmed by this films magnificence and not sure how to address it – what words can I find that can adequately describe the cunning plot, the noir tinged atmosphere, the seamless collaboration between writer (Graham Greene) and director (Carol Reed) or the nuanced characters brought to vivid life by Joseph Cotton and Orson Welles (who takes an evil man and makes him somewhat likable). Nothing I write does it justice -- so go watch, experience the moral ambiguity and cynicism that settles into this post-WWII thriller for yourself.




19. Robocop (1987)
This ultra violent, ultra smart social satire is full of over the top moments. But what elevates this over other Paul Verhoeven sci-fi flicks is that touch of humanity. As in a scene where police officer Murphy- now transformed into programmed cyborg- returns home and images of his past life start to filter in - that's real, painful and a heartfelt sequence.

I remember way back, seeing the trailer for this thing and finding it laughable, Robocop? What kind of cheesy nonsense is that? But my brother wanted to see it, so we went -- and I was blown away. This was no simple cartoonish action flick; this had some meat on its bones. It became a fast favorite and is one that I watch over and over again.




18. American Beauty (1999)
It’s interesting how viewers compartmentalize this film. This one doesn't like it because of the kids- that one gets hung up by the homosexuality. I do it as well (but on the positive); I focus on Lester and his midlife explosion. When I first saw it, parts of his dialog echoed my own sentiments (feeling you've lost something - his anger when his wife shows more concerned about the material things (a couch), than their relationship). That was the compartment I was drawn too.

Watching it again, with eyes wide open, I was even more impressed with it on the whole. Just like Lester eventually does, I saw the big picture. Annette Benning’s character for example, became more understandable and I became a bit more sympathetic towards her

Alan Ball’s script tears the facade off this suburban neighborhood and reveals its true face. Sam Mendes direction is concise, there’s not an ounce of fat on this movie (unlike many directors, Mendes will cut and cut and cut, until he captures a stories truest essence…. This caused concern among writers, producers and the studio heads at DreamWorks, who were worried he was editing out too much). It’s astute and has a cutting sardonic wit. There are elements of farce (which works for some, fails for others). It can be visually arresting (the scene where the roses spring from the cheerleaders chest), Conrad Hall’s cinematography is all about the details - the lighting, reflection and painterly red. The distinct score from Thomas Newman eschews traditional conceits and adds much to the personality of the film.

As for the paper bag that trips up some viewers? I was an art student; I once starred at a rusted old pipe where a glint of sunlight caught a bubble of dew. I thought it was beautiful. Filming a bag floating around and seeing something profound in it is something I can relate to. (an old GF called this trait my "Quirky ways", lol. So I can understand why some might find it weird)

The ending is poignant – at the point of seduction Lester’s dream girl says something that opens his eyes. He sees her for what she is – not a Goddess, not an object to possess - but an insecure, uncertain kid. Throughout the movie he’s been about feeding his specific wants and desires. Until finally, he sees the bigger landscape - and what emerges from that is one of the most perceptive and beautiful a moments I've ever experienced in a motion picture.




17. In a Lonely Place (1950)
From director Nicholas Ray – this is Humphrey Bogart’s most layered performance; he plays a writer with a temper who finally finds what he’s looking for. Finally has a chance for real love and peace…. and then he is accused of murder. It’s one of the most desperate, heartbreaking love stories I’ve ever seen and it lays claim to one of cinemas great lines, "I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me"




16. Princess Mononoke (1997)
In a word, it’s ‘perfection’. There’s not a missed beat, not a flaw in the theme or the narrative. Director Hayao Miyazaki delivers his message (about ecological destruction) but I never felt like he was hammering me over the head with it. I loved the ambiguity: Lady Eboshi isn't cut and dried villainy, she does good for her people. On the other hand, nature can be volatile and dangerous (I laughed when the wolf grabs the Prince's head and starts shaking it – these aint Disney’s happy, helpful singing animals); we are given many shades of gray. The ending is epic, truly breathtaking. The box cover compares it to Star Wars (what, it’s cheesy and dated?) I think it strikes a higher chord than that, and can stand among Japans greatest cinematic efforts.

Oh, and I like those forest ghost baby things, cute and freaky.

[Mighty Jack]

15. Goldfinger (1964) & the Bond Franchise
James Bond has long been part of my world. I turned 50 last year, Bond films turn 50 in 2012. While I continue to dig the adventures of 007 to this day, he’ll always be a special a part of the swinging 60s. The best Bond was Connery and the best Bond run came in the 60s. From Dr. No to On Her Majesty’s Secret Service (with the under-rated George Lazenby). And the best Bond movie is still Goldfinger.

Sean is perfect here. He's brash arrogant, dashing -- and though slick, Connery came from a working class background. So his 007 feels like a guy who earned his lifestyle, instead of one who was born into it. I loved the opening bit where a gal tries to distract James as a thug sneaks up behind, ready to bash James on the noggin. 007 turns the tables on the betraying woman and swings her about so she takes the hit instead. Harsh, but hilarious and it says a lot about the kind of guy Bond is (He might be a lover, but he's not a sap).

Great villains (Oddjob), great Bond girls (Pussy Galore, what a name), great theme song, great dialog ("No Mr. Bond, I expect you to die"), great scenes (the girl painted gold) and that Aston Martin, way too cool for words. Plus Sean has one hell of a nice golf swing (whereas Mr. Goldfinger swung like an old hacker. Ha Ha)

The pacing of the film is arguably the best in the series. While some of the 007 movies can feel a little overlong, Goldfinger is tight as a drum. Though I can't figure why the baddie went into such detail with the gangsters, and then gasses them all. (In the commentary rack it is stated that it's done simply to show off a cool set and give 007 some important info on the plot -- and in the world of Bond, cool always takes precedence over logic). Apart from being great Bond, it's simply a great movie. Even after all these years, Goldfinger remains as fresh and exciting as the first time I saw it.




14. Jesus Christ Superstar (1973)
This movie was a big part of my entertainment life. In 1969 – Unable to get financial backing for the play, they first released an album (that I listened to non stop). Which later became a breakout theatrical hit for Andrew Lloyd Webber (I saw it on stage) and then became a movie by Norman Jewison. Critics are lukewarm to it; they say it does not resonate emotionally. Balderdash! Not only is the music is incredible, but after all these years, and seeing the film countless times, I still tear up at the end. It must have some emotional resonance somewhere. The acting and vocals are great: Ted Neely plays the rather impatient Jesus (the story focuses more on his humanity than his divinity) and Carl Anderson is stellar as the troubled Judas.




13. The Red Shoes (1948)
As with other releases from the Archers, it’s heavy on the melodrama, but if you can get past that you’ll find yourself immersed in a work of unparalleled genius. It’s Powell and Pressburger's masterpiece. Red Shoes is a musical tragedy, filmed in three-strip Technicolor – a time consuming and long abandoned technique that yields a stunning and unique color pallet. The film is a wonder to behold, and the script a groundbreaking melding of fantasy and reality -- and as Tom Huddelstone wrote, it "Blend(s) impressionist art and expressionist film, blurring the barriers between theatre and cinema, body and camera, reality and dream, drawing equally on the avant-garde and the classical."

It’s a work of sheer breathtaking brilliance. And any critic who calls it overrated needs to hand in his union card. Let him eat soft food and watch Battlefield Earth, because he’s not grown-up enough for cinematic heights such as these.




12. A Hard Days Night (1964)
What, another musical? I didn't plan it that way, but here we go. It’s the Beatles. That in and of itself is enough to make it wonderful. That it’s a well acted and funny look at Beatlemania at its height... and is simply a flat out great movie to boot, is more than enough reason to rank it so high.




11. Once Upon a Time in the West (1968)
The greatest western of all time? I dunno, but it is my favorite. Sergio Leone’s stylish, sprawling spaghetti western is a feast for the eyes, mind and –with the Ennio Marricone score- the ears. It’s a classic old story, breathed with new life. The actors all bring something distinct to their roles. Leone cast against type, which offers up a bounty of surprises. Chief among them: The usual calmly intelligent Henry Fonda, playing a cold-blooded, blue-eyed killer. Jason Robards, who at that time was known as a polished Broadway actor, is seen as an unpolished grimy bandit. And harmonica playing Charles Bronson looks like the bad guy... At first! It’s a long movie, but every minute is a joy.

[Mighty Jack]

10. Dark City (1998)
While Roger Ebert and I don’t see eye to eye on the Graduate and To Kill a Mockingbird, we are simpatico when it comes to Dark City (a film he listed as the best of the year in 1998 and recorded several insightful DVD commentaries for).

I've read complaints that the moody and stylistic sci-fier is too effective, that the characters are so disassociated that they aren't relatable. I guess people are more stable than I thought -- but I got it - at times I’ve felt out of synch with the world, so empathy wasn’t a problem. The director’s cut is even better is conveying that ‘off kilter’ vibe (for example they no longer dub Jennifer Connelly’s singing voice with that of a professional. Which is as it should be, you should be saying to yourself, “Something’s not right here. This woman isn’t supposed to be doing this”). That cut also shows more respect for the viewer’s intelligence (gone is the introductory voiceover that spells it all out for the dummies), which has a side benefit of adding a growing sense of unease

The movie is about as perfect as anything I've ever seen. I love the idea of it all, and the execution: Every movement, piece of dialog, camera work, and expressionistic set design, etc… it just clicks seamlessly for me. And even though Connelly hasn't matured into the top-notch actress she will become, she at least looks the part.




9. Roman Holiday (1953)
Lithesome Audrey Hepburn and dashing Gregory Peck in one of the screens most enchanting romantic comedies. Unlike most modern rom-coms, this one is bittersweet - to the point where it always leaves me with a lump in my throat (and heart). This is Audrey’s first American film and she is radiant. She and co-stars Peck and Eddie Albert share magical scene chemistry that makes the movie all the more wonderful. Without them, I don’t know that it would be as special. That’s not to dismiss the efforts of Director William Wyler and writers Dalton Trumbo, John Dighton. Whose collaboration offered up something poignant, hilarious and tender to a fault.




8. Jaws (1975)
I had Jawsmania bad, and I'll never forget the first time I saw it (I've watched it on the big screen numerable times since -on it's first run and on tours and re showings). It is considered the movie that changed our modern viewing patterns; it is considered the first summer blockbuster (in an era when most of the big guns were released in December). And it was like nothing I'd ever experienced before. The line to see it was astronomical, the viewing was visceral, funny, thrilling... and what a group of distinct and likeable characters: Quint, Brody and Hooper.




7. The Apartment (1960)
"Director Billy Wilder's customary cynicism is leavened here by tender humor, romance, and genuine pathos." - RT. Billy Wilder is a name that has shown up a few times on this list, but he’s kind of my forgotten favorite director. I’ll quickly list Hitch and Kurosawa as favorites, but Billy frequently gets left in the lurch. I’ll not slight him here; The Apartment is his crowning achievement. This gem of a picture is bitingly funny, while making a sad statement about the potential consequences to be had on the road to success. Thankfully, someone does something decent. Without that heart this movie might have been too hard to stomach. Jack Lemon, Shirley MacLaine and Fred MacMurray make for a remarkable cast.




6. Casablanca (1942)
Bogart. Bergman -- A classic romantic pair in a film full of heartbreak and longing, set in a wartime backdrop. What more can be said about this beloved classic. It was a movie that so captivated my 8 or 10-year-old mind (I was somewhere in that age bracket) that instead of going out to play with my siblings and the neighborhood children, I stayed with the picture. It was a tough choice, those kids looked like they were having a blast, but I couldn’t tear myself away from this story, and that cool Bogart and that captivating Ingrid Bergman. I remember my parents and grandparents coming home and finding me watching TV*, “What in the world are you doing in doors?” my father asked, a bit amused that his son was watching some old black and white movie that was probably over his head -- But not so much. I got it and was enthralled.




* Note: In those days, before computers and video games -- staying inside during a sunny weekend was kind of odd. You went outside and played, or swam or went to picnics or the park or what not.

[Mighty Jack]

5. Citizen Kane (1941)
Kane seems to get separated by people who separate movies into categories of "entertainment fun" and "Dry arty fare that's technically brilliant, but an entertainment bore". I don't see it. Never have. Kane is a movie I enjoy watching as much as I do a movie like Spider-Man. It's not dry to me - and while a landmark of achievement in direction, story and camera work, it's also a gripping tale that holds my interest to the end.

There so much great dialog (the girl in the white parasol) but above it all, it is a movie that becomes something different in every stage of my own life. I discover something new - When I was 18 it was about the mystery (what's Rosebud) when I was 40 I could understand the theme of loneliness and how life doesn't always go according to Hoyle. To me, Kane isn't great simply because it's clinically great, but also because it lives and breathes.




4. Vertigo (1958) & the films of Hitchcock
Hitch's most challenging film is a powerfully haunting story of obsession. It's also his most perfect use of the German Expressionism techniques (Sound, color, matte work, rear projection) that defined his style. Tonally it keeps one off balance - there is an ever-pervading feeling of unease and dread. Hitchcock tidies up the mystery a half hour before the film closes, because the movie isn’t about the mystery. That was simply the frame; the movie is about Scotties mania.

As you probably have reasoned, I changed my 3-film rule for Hitch and Kurosawa (and added Buster Keaton into the mix). It just seemed silly. 3 were too few and 20 would be too much. So it became ‘one slot to serve them all’. To read my thoughts in full, I have a thread… 25 Days of Hitchcock. In short: The man is the master and Vertigo, his spiraling psychological tale with Jimmy Stewart, is my favorite from Sir. Alfred. Behind that is – North by Northwest, Rear Window, Notorious, Strangers on a Train, the 39 Steps, The Birds, Psycho, Marnie, Sabotage, Shadow of a Doubt, The Wrong Man, Lady on a Train, Foreign Correspondent, Rebecca, lady Vanished, Dial “M” for Murder, Frenzy, To Catch a Thief, the Man Who Knew Too Much (both versions), Young and Innocent, Rope, Lifeboat, Stagefright…




3. The General (1926) & the films of Buster Keaton
Buster had an rare gift: One that revealed itself in clever short films and hilarious features like the Navigator, Steamboat Bill Jr. 7 Chances and Sherlock Jr. He created enduring classics that are as brilliant and funny today as they were in the 20s. But if I had to choose one standout from Keaton, It would have to be the General. IMHO it is the singular masterpiece of silent comedy. It stands above everything and anyone. You can argue for Chaplin or Langdon or Lloyd but you'll never convince me that any single film was as important or as fantastic as this. It's not just good comedy, it's not only a wonder of timing and skill and technical achievement... it's also a great civil war story, and its bedrock is the genius of Keaton manifested in full.




2. The Seven Samurai (1954) & the films of Kurosawa
As I've stated several times, Seven Samurai is, with "On The Waterfront", my favorite film of all time (funny, they both were released in the same year). And I’ve covered why in this thread - Kurosawa. Beyond the epic and human brilliance of the 7, I also love – Ikiru, Yojimbo, Sanjuro, Rashomon, Stray Dog, Ran, Dersu Uzala, Red Beard, Throne of Blood, High and Low...

Akira Kurosawa created an impressive body of work. One that influenced past masters (Ingmar Bergman admits to his films from the 50s being greatly influenced by Kurosawa's productions) as well as leaving an imprint on directors of today.




1. On the Waterfront (1954)
The final collaboration between Kazan and Brando is the pinnacle of both men’s careers. Visually it is a work of art. The gloomy, gray skylines highlight the sorrow and the struggles revealed in the story. The acting was multi faced, nurtured by Kazan’s deft hand, Brando gives the performance of a lifetime. Waterfront is a tale of redemption that is soaked in blood and tears and regret. Even the score is often a mournful cry. All of it, every ounce of sweat that went into making this film was molded into something transcendent.

The story is about corruption on the New York docks and of a young punch drunk ex-fighter who has it easy because he’s aligned with this group of thugs who hold the power. He follows orders, keeps quiet and only wakes up when he realizes that he had a hand in causing unbearable hurt to someone he’s falling in love with. Kazan said that the heart of the film, what made it work, was that relationship - and I agree. Eva Marie Saint has never been more beautiful, never more perfect in a film and her chemistry with Brando is palpable - their scenes are the soul of the picture.

The performances are seamless, it goes beyond mere acting - it is real, flesh and blood. It’s method acting done better than it has ever been done. The scene in the park, when Terry picks up Edie’s glove and puts it on his own hand. He’s found a way to keep here there, talking with him, but there’s also something sweet, even intimate in it. He has a part of her. Their scene in the bar is another touching moment. When Edie tells Terry that she knows that he’d help her (find her brother’s killers) if he could and then gently places her hand on his arm, the expression that washes over Malloy’s face is devastating. It’s subtle but it’s there - all the guilt and the anguish and desperation. He so wants to be clean of this stain, so that he can just be with her. Love her.

Of course there’s the famous taxicab sequence between the brothers (I could have been a contender). That speech, the acting, there’s so much loss in it and it has become one of filmdom enduring moments.

You can examine this movie frame by frame and discover treasures like this throughout. It’s simply amazing: well acted, written, directed, filmed and scored.

[Torgo]

I didn't find Kane boring at all, so this idea of it being dry is news to me. I need to see it again though, it's been years.

And Seven Samurai at number 2 = flawless victory.

[Mighty Jack]

There seems to be this thing were people who champion Godfather as the #1, have to pipe in that Kane is clinically great, but not entertaining for modern audiences. Off the top of my head, Empire Magazine in their top 500 was one of those who made that kind of statement. I've also read this sentiment on a few film forums. I've never understood the need to throw mud on one classic when favoring another?


Tomorrow I'm gonna wrap this up with 11 that missed the cut, sometimes because I plumb forgot them until it was too late. (and I'll list a few other honorable mentions).

[Mr. Atari]

Jan 18, 2012 1:23:30 GMT -5 Mighty Jack said:

There seems to be this thing were people who champion Godfather as the #1, have to pipe in that Kane is clinically great, but not entertaining for modern audiences.

I find that odd. I have my issues with Kane, but the story is very powerful and entertaining. I found the Godfather to be dull as paint. Am I not a modern audience?

Nice list you got here. Needs more Coen Brothers.

[Torgo]

Jan 18, 2012 21:44:56 GMT -5 Mr. Atari said:

Am I not a modern audience?

Stop being old, Samptari.

Technically the modern audience is full of Twi-Hards. So yeah, Kane's a little out of their depth.

[Mighty Jack]

I don't find the Coen's as omnipotent as some, but I do like 'em and there are a couple that made my honorable mentions. I find it more egregious that Fellini was missing.

----------------

Every big blockbuster gets a sequel, whether it deserves it or not. Here is another 10, plus 1, that I either forgot until it was too late, or were squeezed out. In hindsight I'd probably switch out Trek IV, Mystery Men, Talk of the Town and yes, Bride of Frankenstein, for any one of these, or a Fellini.


102. Witness For the Prosecution (1957)
I had this on the original 101, but when I got to it I realized that it was a Billy Wilder film -- and I already had 3 on the list (Ace in the Hole, Sunset Blvd, Major and the Minor) with a 4th on the way (The Apartment). I decided to switch it out with the “Best Years of Our Lives”. But it’s worthy of higher listing. An adaptation of an Agatha Christie play, it is a funny and suspenseful mystery/courtroom drama, starring Charles Laughton as a defense attorney who is having a difficult time staying retired.

103. Anatomy of a Murder (1959)
"Panties! Panties! Panties! Panties! Panties..." – Professor Bobo. Yet another great courtroom drama for the list -- and one of many things that inspired Bobo in that infamous MST3K skit. The screenplay caused a stir because back in the 50s, using words like “panties” was controversial. Directed by Otto Preminger (who created another sht-storm when he used the word “virginity” in his film “The Moon is Blue”). An acting tour de force with Jimmy Stewart and George C. Scott – as for panties…



104. The Usual Suspects (1995)
Bryan Singer films a simple enough story, then adds layer upon layer of twist and turns and deceit upon deceit… before pulling the rug right out from under us. This intricate puzzle may not be one that can be watched over and over again, but the first time is as sweet as anything you could hope for.

105. The Producers (1968)
One of Mel Brooks funniest, most tasteless, over the top movies -- notable for the madcap performances of Gene Wilder and Zero Mostel. It takes no prisoners as it skewers the business side of film. This was one of my father’s favorites. I remember him howling with laughter throughout.

106. Paths of Glory (1957)
Stanley Kubruicks powerful anti-war drama packs an emotional wallop and concerns the court-martial of 3 men who refused to continue with an impossible attack. Yes, I think it’s better than Dr. Strangelove.

107. Raise the Red Lantern (1991)
Another great work from Yimou Zhang (Ju-Dou, Hero). It’s a quiet, slow moving but beautifully crafted story about the rivalry between several concubines in 1920s China. Critic John Hartle called it, "A near-perfect movie that often recalls the visual purity and intensity of silent films”.

Siskel & Ebert’s review...



108. How to Steal a Million (1966) & the films of Audrey Hepburn
I could have grouped Audrey in one, but decided to focus on my top 3 individually. That meant that a slate of films I enjoyed weren't given their due. Including Billy Wilder’s romantic comedies, ”Love in the Afternoon” and “Sabrina”. The mature look at marriage, (Two For the Road}. A musical with Fred Astaire (Funny Face), the suspense thriller about a blind woman trying to outsmart a gang of drug dealers (Wait Until Dark), and the western “The Unforgiven”. “How to Steal a Million” is a lighthearted romantic comedy caper with Peter O'Toole

The Audrey Top 10
1. Roman Holiday * 2. Breakfast at Tiffany’s * 3. Charade * 4. How to Steal a Million * 5. Love in the Afternoon * 6. Two For the Road * 7. Funny Face * 8. Wait Until Dark * 9. Sabrina * 10. The Unforgiven

109. Sex, Lies and Videotape (1989)
The movie that ushered in the modern Indie film movement. I’ll just quote RTs summary… In his feature directorial debut, Steven Soderbergh demonstrates a mastery of his craft well beyond his years, pulling together an outstanding cast and an intelligent script for a nuanced, mature film about neurosis and human sexuality.

Yup, that says it well. I remember this film creating quite a buzz in its day. It was the "one to watch" for discerning cinephiles (i.e, film snobs) .

110. Wings of Desire (1987)
Avant-garde German existentialism from Wim Wenders. The movie is as slow and laid back as it’s director. Plus it was filmed without a script. Wim had an idea, and later some random monologues, but nothing concrete. And yet somehow it all coalesces into a brilliant work of art.

It concerns Angels who watch over us. They can’t see color, experience taste or smells. And while they can comfort us, they can’t interfere with our free will. All they can do is watch and listen to our thoughts as we go around our mundane lives. Angel’s congregate at the library, where hundreds of inner thoughts and ideas flood the air. It is here that we are given a scene of pure elevation: A rousing choir swells - a crash of dialog is heard, and an Angel closes his eyes and lifts his head as if in rapture.

Later, one Heavenly being (Bruno Ganz), becomes so fascinated with a trapeze artist that he decides to give up his wings to be with her and experience all the sweetness and the sorrows that being human can offer.

The movie is long, and it belabors its point… but I gather that was the point. Appreciate life, all aspects of life. The pain you feel, the love, even the boring parts of it. Brad Siberling, who directed the so/so American adaptation, called the original "A human epic of intimate proportions", and that sums it up nicely.



111. Them! (1954)
The greatest atomic age monster movie from the era. It’s about giant mutated ants, yeah ants - and they’re scary! Go figure. This is the movie Bert I. Gordon wishes he could have made (and borrowed from frequently). Look for Leonard Nimoy in a bit part. And anyone who has seen this, do you recognize that little girl who screams “Them!”

112. The Man Who Knew Too Little (1997)
One more solely for merriment: This is an unfairly abused and dismissed little comedy and one of my favorites from Bill Murray. I can’t fathom why it’s hated. It’s cute and silly and does what a comedy is supposed to do, make me laugh and feel good. I've seen it knocked for casting Murray out of type, but he’s played clueless guys before (the acclaimed “What About Bob?”) so that sounds like sour grapes to me.

It’s farce; about a failed actor who thinks he’s playing a part in TV show/game (theater of the real) but instead, unbeknown to him, stumbles into a dangerous –and real- nest of political intrigue. I thought Bill was great playing this sweet guileless guy and I was won over by the films charms. I’m in the minority, but then again, I’m the better off for it. The grumps are the ones missing out on all the fun.

More Honorable Mentions (1920 to 1999)

Miracle of Morgan’s Creek (Preston Sturges)
Day the Earth Stood Still (1951 – Robert Wise)
To Sir With Love (Sidney Poitier)
Brother Orchid (Edward G. Robinson comedy)
As Good as it Gets (Jack Nichsolson)
Edward Scissorhands (Tim Burton)
Planes, Trains and Automobiles (John Hughes, with John Candy & Steve Martin)
The Kid Brother (Harold Lloyd silent comedy)
Red River (John Wayne)
The Naked Gun (Leslie Nielsen)
Cat on a Hot Tin Roof (Elizabeth Taylor, Paul Newman & Tennessee Williams)
Ghostbusters (Bill Murray)
Wild River (Elia Kazan)
Blue Velvet, Eraserhead & The Straight Story (David Lynch)
Iron Monkey (Donnie Yen)
Terminator/Terminator 2 (Cameron & Schwarzegnegger)
She Wore A Yellow Ribbon (John Wayne)
Dr. Strangelove (Kubrick)
My Neighbor Totoro (Miyazaki)
Deliverance (John Boorman)
Little Big Man (Dustin Hoffman western)
West Side Story (Robert Wise)
The Doctor (William Hurt & Elizabeth Perkins)
Clueless (Amy Heckerling updates Austen)
12 Angry Men (Henry Fonda)
Rocky (Sylvester Stallone)
Pelle the Conqueror (Max Von Sydow)
The Phantom and the Rocketeer
Help (The Beatles)
Rock and Roll High School (The Ramones)
Exotica (Atom Egoyan)
Teahouse of the August Moon & the Films of Marlon Brando
The Cabinet of Dr. Caligary (1920)
Better Off Dead
The Treasure of the Sierra Madre
Tommy Boy
Mona Lisa
This Boys Life
Murder by Decree (Chrstopher Plummer & James Mason as Holmes & Watson)
David and Lisa
Mystery Train (Jim Jarmusch)
Zelig (Woody Allen)
Doctor Zhivago (David Lean)
M (1931)
Bedazzled (1967 - Dudley Moore & Peter Cook)
The Sure Thing
The Adventures of Buckaroo Banzai Across the Eight Dimension
Re-Animator
Continental Divide (John Belushi)