tag:blogger.com,1999:blog-5789972648167563072024-03-13T12:00:46.856-04:00Goodfella's Movie BlogA running log of film watching and cinematic discoveries...Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.comBlogger256125tag:blogger.com,1999:blog-578997264816756307.post-88561273622641120432010-08-13T11:27:00.000-04:002010-08-13T11:27:37.133-04:00Directors Series Wrap-Up<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw5zvKTr5cTkE0frBkrIKBGgzijKltl7pd5A_HKWHtJu-EOnIAh8I6Z-BxaN3l4oObkf-T977jHEvlacRXQS_sknxtp__jcS-kc_F2i8VeJomnxoH3x3REqkZtCHdKBC4OE5T6Ry48FETb/s1600/camera.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 241px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw5zvKTr5cTkE0frBkrIKBGgzijKltl7pd5A_HKWHtJu-EOnIAh8I6Z-BxaN3l4oObkf-T977jHEvlacRXQS_sknxtp__jcS-kc_F2i8VeJomnxoH3x3REqkZtCHdKBC4OE5T6Ry48FETb/s320/camera.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5504916330841563122" /></a><br />OK, so the countdown did not conclude with the exact scenario that I would have chosen, but all in all I still found it to be one of the most rewarding series that I have done in the history of the blog. Perhaps it was not as time-consuming or as in-depth as some of the other countdowns, but it was every bit as difficult to make the list and then to try and rank sometimes massive bodies of work. Still, it was fun for me to do. As everyone who follows the blog knows, I am the type of cineaste that takes great pleasure in re-watching favorites. Sometimes, this works to my detriment, as I re-watch films two and three times at the expense of finally getting to the piles of movies that are waiting to be viewed for the first time. But it works perfectly for an exercise like a favorite directors series, as it was an excuse to go back and watch some all-time favorites.<br /><br />As for this post, I at least wanted to conclude the series as I have all of the other countdowns with a wrap-up post that ties everything together. As I said from the start, the list would have a slant/bias toward American or English-language directors. This is not because I have anything against world cinema, it's just natural that I would give high positions to what I am more familiar with. Thus, 26 of the 30 directors in the countdown worked in Hollywood at some point in their careers. A number of them were born outside of the United States, and did significant work in Europe, but eventually came to the States and found great success. Perhaps this statistic just shows how little I know about cinema in general, but I make no apologies. Everyone on this list is a master and deserves such recognition. As I continue to become familiar with more and more directors (particularly from around the world), they might knock many of these Americans out of such a list. Until then, I stand by my choices and love the work of each director.<br /><br />What I thought would be most interesting would be to throw up the names of a dozen directors who I painfully was forced to keep out of the Top 30, along with give a brief thought or explanation on their films or why I didn't include them. Although these aren't really in any particular order, the first name on the list was the hardest one to decide what to do with:<br /><br />-<span style="font-weight:bold;">David Lynch:</span> There were times when I thought Lynch would push for the Top 15. Others, as ultimately happened, I wasn't sure I would even include him. The problem I have with forming an overall opinion of Lynch's work is how I tend to respond to his films. He has a few that I absolutely love and think are masterpieces - <span style="font-style:italic;">Mulholland Drive</span> and <span style="font-style:italic;">Lost Highway</span>. But there are others that I flat out dislike - <span style="font-style:italic;">Dune, Wild at Heart, Inland Empire</span>. Even my high regard of <span style="font-style:italic;">Twin Peaks</span> has tempered somewhat. So there is very little middle ground, although <span style="font-style:italic;">Blue Velvet</span> has recently begun to click for me. So basically, it's a very hot-or-cold relationship I have with Lynch, making it very hard to place him in the context of a Top 30. So, I eventually opted to have him just on the outside looking in.<br /><br />-<span style="font-weight:bold;">Michael Curtiz:</span> This would have a been a surprising selection I am sure, but it very nearly happened. And thinking about it now, I easily could have included Curtiz at least at #29 or #30. He might not have the most impressive overall body of work, but he made my favorite movie of the 1930s (<span style="font-style:italic;">Angels With Dirty Faces</span>) and my first or second favorite film of the 1940s (<span style="font-style:italic;">Casablanca</span>). After those two films, though, there is a drop off, with <span style="font-style:italic;">Mildred Pierce</span> being the only other Curtiz film that really does a whole lot for me. Still. those top two are so strong that he very nearly made the list.<br /><br />-<span style="font-weight:bold;">Quentin Tarantino:</span> Similar to the situation I described with David Lynch, I tend to have a hot-or-cold relationship with Tarantino. I still firmly believe that his first two films, <span style="font-style:italic;">Reservoir Dogs</span> and <span style="font-style:italic;">Pulp Fiction</span>, are miles and miles ahead of anything else he has ever done. I also enjoy <span style="font-style:italic;">Jackie Brown</span> and have recently come around on <span style="font-style:italic;">Iglourious Basterds</span>, but those few in between do nothing for me. The <span style="font-style:italic;">Kill Bill</span> series I have trouble even taking seriously and <span style="font-style:italic;">Death Proof</span> doesn't really thrill me. In initial drafts of my list Tarantino was included, and in looking at things now he probably makes as a strong a case for me as Spielberg or Ray, but I ultimately sided with the two who have more movies that I enjoy.<br /><br />-<span style="font-weight:bold;">Jacques Becker:</span> It is hard not to take into account the small body of work that I have seen from Becker, but this didn't bar him from the list - after all, I also included Jacques Tati. Still, loving only two films from a director makes it hard to rank him over the other giants he was up against. Even so, I still maintain that <span style="font-style:italic;">Touchez pas au grisbi</span> is one of if not the best French gangster films ever made.<br /><br />-<span style="font-weight:bold;">Jules Dassin:</span> Shockingly enough, Dassin was initially a lock for the list. But when I went to make my rankings of his films, I found that I have a Big Four for him and that's it. <span style="font-style:italic;">Rififi, Brute Force</span> and <span style="font-style:italic;">Night and the City</span> are three of the finest noirs and films of an era. <span style="font-style:italic;">Thieves' Highway</span> is also excellent, even if I consider slightly below the other three. Outside of those, I'm not really a fan of much else. I know that many folks consider <span style="font-style:italic;">The Naked City</span> to be a great film but I have never been a fan. Even so, I still consider myself a huge Dassin fan and cherish those four favorites.<br /><br /><span style="font-weight:bold;">-Raoul Walsh:</span> I feel like I still need to see more Walsh, which might have factored into him not being included. What I have seen though are great ones. <span style="font-style:italic;">The Roaring Twenties</span> remains one of my favorite gangster films and in my opinion one of the best of the '30s. The reputation of <span style="font-style:italic;">White Heat</span> speaks for itself. <span style="font-style:italic;">High Sierra</span> is wonderful. Walsh seems to remain something of an overlooked director - everyone recognizes his work, but few think of him for lists like this.<br /><br />-<span style="font-weight:bold;">William Wyler:</span>: Another classic Hollywood director that sometimes gets lumped in with being a "studio director" but who nonetheless made a number of exceptional films. What might have held him back from the list is that aside from my two favorites - <span style="font-style:italic;">The Best Years of Our Lives</span> and <span style="font-style:italic;">The Letter</span> - the rest of his work remains around the "consistently above average" level. By this I mean that they are very, very good films, but not quite great.<br /><br />-<span style="font-weight:bold;">Sergio Leone:</span> Another odd one to rank, as he made two all-time favorites with <span style="font-style:italic;">Once Upon a Time in the West</span> and <span style="font-style:italic;">Once Upon a Time in America</span>, then a number of films that I just like. The Man With No Name trilogy has a staggering reputation, but I've never really connected with them as so many others have.<br /><br />-<span style="font-weight:bold;">Carol Reed:</span> I've seen a small number of Carol Reed films, but they remain impressive. The <span style="font-style:italic;">The Fallen Idol</span> and <span style="font-style:italic;">The Third Man</span> are an impressive back-to-back combination.<br /><br />-<span style="font-weight:bold;">Joseph L. Mankiewicz:</span> Another studio director that isn't immediately considered for lists like this, but I still love this writer-director's work. <span style="font-style:italic;">All About Eve</span> remains my favorite, but the list of other impressive credits shows his consistency. <span style="font-style:italic;">House of Strangers, Somewhere in the Night, The Barefoot Contessa, The Ghost and Mrs. Muir, Julius Caesar</span> - all very solid work, some at least bordering on great.<br /><br />-<span style="font-weight:bold;">Akira Kurosawa:</span> My guess is that Kurosawa would have been a lock for most list from everyone else. In a "greatest directors" series, he certainly would have made mine. I certainly appreciate his craft and recognize the talent. But since this is a "favorites" series, and Kurosawa is not a director I consistently reach for when I just want to sit back and enjoy a movie, I opted not to include him. This shouldn't be taken as disliking Kurosawa though. I love <span style="font-style:italic;">Ran</span>, <span style="font-style:italic;">Throne of Blood</span>, and <span style="font-style:italic;">High and Low</span>. If I sometimes have trouble connecting to samurai films, it still doesn't detract from appreciating the overall craftsmanship and storytelling.<br /><br />-<span style="font-weight:bold;">Bernardo Bertolucci:</span> I think so highly of <span style="font-style:italic;">The Conformist</span> (a Top 10 all-time film for me) that I nearly catapulted Bertolucci into the ranks on that alone. Obviously that didn't happen, but I still gave him strong consideration. What probably kept him out is that <span style="font-style:italic;">The Conformist</span> is _so_ far out in front of anything else he has ever made, it just didn't feel like the overall body of work could overtake those I included on the list.Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com39tag:blogger.com,1999:blog-578997264816756307.post-16091840122600196002010-08-04T14:23:00.003-04:002010-08-04T14:24:56.722-04:00I AM Alive...Sorry for the lack of updates at the conclusion of the countdown... it was just a convergence of things - me being sick, family coming into town, in the process of moving. I won't bore you with the whole saga, but it certainly was a perfect storm of events to keep me away. Now I am in the process of going on a mini-vacation for the rest of the week, so expect some sort of wrap-up post to the director's countdown sometime next week. I have ended every countdown with a post of this sort, so I think the tradition should continue.<br /><br />Once again, thanks for all the fun that every one contributed to this latest series. We'll wrap it up with thoughts and whatnot next week!Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com9tag:blogger.com,1999:blog-578997264816756307.post-59784500299168379352010-07-30T00:05:00.002-04:002010-07-30T00:05:00.230-04:00#1: Alfred Hitchcock<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv7-2twDopEe8mVSX3lhdMiRpj9Z8iCoq0pRbECQalYx272YagN502kyaTC40BXao1e6Y5UhNqWdItxVLq6kZu19xMMNuLBb1lBLyeAeH_LRMbaDs8Foj2b9QDB0LbEZ2YwI8W87PEtzMi/s1600/alfred+hitchcock.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 255px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv7-2twDopEe8mVSX3lhdMiRpj9Z8iCoq0pRbECQalYx272YagN502kyaTC40BXao1e6Y5UhNqWdItxVLq6kZu19xMMNuLBb1lBLyeAeH_LRMbaDs8Foj2b9QDB0LbEZ2YwI8W87PEtzMi/s320/alfred+hitchcock.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5499485324676870002" /></a><br /><blockquote><span style="font-style:italic;">- “Give them pleasure - the same pleasure they have when they wake up from a nightmare.”</span></blockquote><br />Perhaps it's a cop-out, or maybe I should just delay this posting as I did Billy Wilder's entry, but after the miserable week I have had I am just going forward now. As you'll notice, this is not a completely written out entry as all of the others have been. I had every entry to done well in advance, except for Hitch's, assuming that I would write it this week while posting the first two runners-up. Then I got sick to start the week and am only now beginning to feel human again. Even so, I'm still nowhere near 100% and have an energy level that is zapped very quickly.<br /><br />Fortunately, though, there was not a whole lot of drama as to who #1 would be once Scorsese and Wilder were off the board. I've waxed lyrical about my love for a number of different Hitchcock films (Rebecca, Rear Window, Psycho), so I'll direct folks there if they want some more in-depth analysis. What I will add is that I tried to play out scenarios where the obvious choice of Hitchcock at #1 wouldn't happen... and I just couldn't do it. He has too many films that I love, a filmography too deep to be matched. I still need to better familiarize myself with his earlier British period, which will likely just increase my love of the Master of Suspense.<br /><br />Once again, I apologize to end the series like this, but I'm assuming most everyone will understand. The important thing is that I'm on the mend and that everyone can now post their favorite Hitch lists!<br /><br />1. Rear Window (1954)<br />2. Psycho (1960)<br />3. Rebecca (1940)<br />4. Vertigo (1958)<br />5. Strangers on a Train (1951)<br />6. Shadow of a Doubt (1943)<br />7. Dial M for Murder (1954)<br />8. I Confess (1953)<br />9. North by Northwest (1959)<br />10. Notorious (1946)<br />11. The Lady Vanishes (1938)<br />12. The Birds (1963)<br />13. Foreign Correspondent (1940)<br />14. Frenzy (1972)<br />15. Marnie (1964)<br />16. To Catch a Thief (1955)<br />17. Blackmail (1929)<br />18. The Thirty-Nine Steps (1935)<br />19. Suspicion (1941)<br />20. Spellbound (1945)<br />21. Rope (1948)<br />22. Saboteur (1942)<br />23. Lifeboat (1944)<br />24. The Wrong Man (1956)<br />25. The Man Who Knew Too Much (1956)<br />26. The Man Who Knew Too Much (1934)<br />27. Stage Fright (1950)<br />28. Torn Curtain (1966)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com38tag:blogger.com,1999:blog-578997264816756307.post-21474745321249295312010-07-28T00:05:00.002-04:002010-07-28T00:05:00.261-04:00#2: Billy Wilder<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl9wZpIvCtY6DrjBWQQNfOaiG6t0oBZbCskKiZDe_Xqj8JRAUy9dV-ACvyEjzHXAh-gKyVWI0KAhuK-E1vdvTUl_4Pgxj0V3fsswzUAG6Nt7RSAt5V6-Rq6-JPlzfv90_JNJXCA7CPT_ug/s1600/billy+wilder.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 299px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl9wZpIvCtY6DrjBWQQNfOaiG6t0oBZbCskKiZDe_Xqj8JRAUy9dV-ACvyEjzHXAh-gKyVWI0KAhuK-E1vdvTUl_4Pgxj0V3fsswzUAG6Nt7RSAt5V6-Rq6-JPlzfv90_JNJXCA7CPT_ug/s320/billy+wilder.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5498680306218077666" /></a><br /><blockquote><span style="font-style:italic;">- “A director must be a policeman, a midwife, a psychoanalyst, a sycophant and a bastard.”</span></blockquote><br /><br /><a href="http://www.youtube.com/watch?v=kebqj_grGC0">http://www.youtube.com/watch?v=kebqj_grGC0</a><br /><br />I love this video and when I saw it for the first time about a month ago while searching for the video I included in the Ernst Lubitsch entry in this series, I vowed that I had to include it in the inevitable Billy Wilder post. For whatever reason, it won't allow emedding, but I encourage everyone to go watch it. It is a great example of that innate gift of storytelling that Wilder possessed – just watch him here, recounting this experience, building it to a climax, but doing so completely off the cuff as if he is just having a conversation with someone. He did the same thing in his screenwriting, effortlessly spinning tales – however believable or not – that are perfectly paced, flawlessly executed and invariably deliver a payoff to live up to any expectations.<br /><br />While not quite as diverse as the resume of Howard Hawks, Wilder is another classic Hollywood director who tried his hand in a number of genres and hit it out of the park in many different stadiums, so to speak (Hey, the Reds are winning, why not use the baseball metaphor?!). And I don’t mean that he simply made outstanding films in a number of areas, I mean that he helmed movies that are routinely cited as being the best of their kind ever made. Look at the praise they have received. <span style="font-style:italic;">Some Like It Hot</span> was voted the greatest American comedy ever made by the AFI in the year 2000. <span style="font-style:italic;">Double Indemnity</span> is routinely cited as one of the finest films noir ever made. <span style="font-style:italic;"> Sunset Boulevard</span> is another classic noir, but transcends such genre classification and is rightly acknowledged as one of the finest movies ever made in Hollywood. With <span style="font-style:italic;">The Apartment</span>, Wilder created not only one of the funniest films of the sound era, but the romantic comedy that countless big budget productions and popular television sitcoms have been mimicking ever since. I could go on with further examples, but anyone familiar with Wilder’s work already knows the score. The man could craft a story in any style or genre and not just make it work, but make it spectacular.<br /><br />Similar to what I did say for Hawks, though, is that Wilder brought a cohesive vision to each unique project, essentially stamping his own imprint in each genre. Everything Wilder did, no matter how serious, always seems to have been done a bit tongue-in-cheek. Even as Walter and Phyllis were plotting murder in <span style="font-style:italic;">Double Indemnity</span>, the breakneck speed and cadence of the dialog can’t help but make one grin. Ditto for <span style="font-style:italic;">Sunset Boulevard</span>, which at times plays like a black comedy. The outlook that Wilder adopted for much of his work is actually a rather dark, pessimistic one. His films might eventually wind their way to more optimistic territory, but for most of the proceedings Wilder puts on display the sleazy side of human nature. Trysting couples plotting murder for profit. A reporter keeping a man trapped in a cave in order to further is his own career. An insurance man fishing for a promotion by opening his own apartment to company higher-ups to conduct affairs. A down on his luck writer who strings out the money and affection of an ex-star. Initially, these are not immediately likable characters. Yet, Wilder’s wit is enough to keep any of his films from being completely dark. The dialog is so crisp, the situations so entertaining, that eventually you find yourself being won over or rooting for any of them. This of course doesn’t apply to all of his films, but is applicable in many of them.<br /><br />It must have been easy to impart these themes and views in each of his films, as Wilder co-wrote every film he ever directed. In fact, even after he became one of the most celebrated directors in Hollywood, Wilder was still known to view himself primarily as a writer. Just look at his tombstone, which can easily be seen by doing a simple Google search. The only inscription reads: “BILLY WILDER – I’M A WRITER BUT THEN NOBODY’S PERFECT.” Legend has it that Wilder fully threw himself into directing only because he didn’t want to have to hand over his scripts to those that might butcher them. It is thus no coincidence that he co-wrote every film he ever directed. So it is also worth applauding his writing partners I.A.L Diamond and Charles Brackett who worked perfectly with Billy. Even so, while his focus may have been more on the writing process, Wilder was wily enough to team with technical geniuses, resulting in strikingly memorable visuals. Working with legends like John Seitz, Joseph LaShelle, Charles Lang and others meant that all of his films are wonderful to look at. His directorial technique may not have been groundbreaking, but the results were still spectacular.<br /><br />I still have a way to go before I have made my way through Billy Wilder’s entire filmography. But I can honestly say that I don’t dislike a single one of the nineteen films listed below, which makes me even more excited to finally get to those that I am missing.<br /><br />1. The Apartment (1960)<br />2. Double Indemnity (1944)<br />3. Sunset Boulevard (1950)<br />4. Five Graves to Cairo (1943)<br />5. One, Two, Three (1961)<br />6. Ace in the Hole (1951)<br />7. A Foreign Affair (1948)<br />8. Stalag 17 (1953)<br />9. Kiss Me Stupid (1964)<br />10. Some Like It Hot (1959)<br />11. Witness for the Prosecution (1957)<br />12. The Seven Year Itch (1955)<br />13. Avanti! (1972)<br />14. The Fortune Cookie (1966)<br />15. Sabrina (1954)<br />16. The Lost Weekend (1945)<br />17. Irma La Douce (1963)<br />18. The Private Life of Sherlock Holmes (1970)<br />19. The Spirit of St. Louis (1957)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com28tag:blogger.com,1999:blog-578997264816756307.post-29211378516760435532010-07-26T16:25:00.003-04:002010-07-26T16:27:39.460-04:00One day delay...Unless things change drastically this evening, I am going to push back the countdown by one day and have it resume on Wednesday. I feel absolutely horrible, with what apparently is not official strep throat but feels the same nonetheless, and have no desire to rush the post for tomorrow. It is ready to go, it just needs to be edited, formatted, etc., which isn't an overly difficult task, but just posting this small message is zapping most of my energy. Sorry for the delay, but I just feel like staying in bed all evening and praying I feel better tomorrrow.Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com9tag:blogger.com,1999:blog-578997264816756307.post-72682035652801540822010-07-25T00:05:00.005-04:002010-07-25T00:05:00.550-04:00#3: Martin Scorsese<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB2po1uloXqqvY3QWB8syaeQAxNUDCF9Pvx58LxHkNpBYhZLPWZm3hfoGYBs_BoMkkforBRp1CeGS4YJQ1NWFR8fLP-4FVIaKY6Z9JmvZPycC2QpJeyTDVo8xvoKkjeE4RqPa6afJ5fx3o/s1600/martin+scorsese.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 243px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB2po1uloXqqvY3QWB8syaeQAxNUDCF9Pvx58LxHkNpBYhZLPWZm3hfoGYBs_BoMkkforBRp1CeGS4YJQ1NWFR8fLP-4FVIaKY6Z9JmvZPycC2QpJeyTDVo8xvoKkjeE4RqPa6afJ5fx3o/s320/martin+scorsese.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5497607880073448610" /></a><br /><blockquote><span style="font-style:italic;">- “Cinema is a matter of what`s in the frame and what`s out.”</span></blockquote><br />The inclusion is no shocker, although the fact that he did not place #1 might be. Just looking at the name of this blog should give away the fact that Martin Scorsese is not only one of my favorite directors, but also one of the most important in my development as a lover of cinema. He was the first director that made me consciously realize that I was watching a man who excelled at making crossover films – entertaining enough to appeal to a mass audience yet weighty enough for serious scholars and critics to sink their teeth into. It is no coincidence that this blog is named after my favorite Scorsese film. I watched <span style="font-style:italic;">Goodfellas</span> as a kid who was obsessed with all things organized crime and was more interested in anything gangster-related than I was in movies. I came away completely obsessed with film. I knew nothing about technical achievements (and I suppose you could argue I still don’t!), but I was aware enough recognize the sensation that some of Scorsese’s skills produced – the legendary tracking shot at the Copa, the use of “Layla” while revealing the dead bodies. Those moments are what drew me toward appreciating films as more than just simple entertainment.<br /><br />Really, that opening paragraph alone should be enough to justify placement in a personal favorites list. His films – and <span style="font-style:italic;">Goodfellas</span> in particular – were and are that important to me. I relish each phase of his career. I love the early indie feel of <span style="font-style:italic;">Mean Streets</span> and <span style="font-style:italic;">Who’s That Knocking at My Door?</span> The middle period that produced classics like <span style="font-style:italic;">Taxi Driver, Raging Bull</span>, and <span style="font-style:italic;">The King of Comedy</span> is now the stuff of legend and justifiably so. The 1990s saw him produce what I consider to be the finest gangster film ever made and a number of intriguing genre exercises. Even now, when many are quick to dismiss him as over the hill, I find Scorsese in the last decade to have been spectacular – I still have so much fun watching <span style="font-style:italic;">The Aviator</span> and remain in love with <span style="font-style:italic;">Shutter Island</span>. At no point in my journey through Scorsese’s works have I found myself bored.<br /><br />Knowing a bit about Scorsese himself, hearing him discuss how he personally fell in love with movies, is also very appealing. Watch any interviews of him discussing his favorite childhood films or admired filmmakers. He gets a glint in his eye when he recalls seeing <span style="font-style:italic;">The Searchers</span> for the first time, or watching a Michael Powell classic like <span style="font-style:italic;">The Red Shoes</span>. Like so many of his contemporaries in the “film school generation,” Scorsese is first and foremost a film fanatic. He loves everything about the cinema and takes great pleasure in drawing attention to his own personal favorites. I love this about Marty. I guess you could argue that this attribute really shouldn’t have an impact in a list like this, but I think it is essential to Scorsese. It fuels that passion that he infuses into all of his work. Someone who didn’t love movies as deeply as does Marty would not be able to keep this up for over thirty years.<br /><br />His technical chops are well-chronicled, and I touch on just a few of my favorites in that opening paragraph. The talent to combine all of the elements of a movie – camera movement, actors, dialog, soundtrack, pacing – into one cohesive, all-consuming experience is his greatest strength. While this is a series devoted to my favorite directors, Scorsese’s longtime collaborator and friend Thelma Schoonmaker at least deserves credit for an assist, as without her continuing presence Scorsese’s films just wouldn’t feel right. In connection with his long association with Schoonmaker, it is also interesting to note the number of longstanding relationships that Scorsese has developed with various actors and personalities over the years, recalling other great directors that preferred using a stock group of players and associates. It is hard to ponder Scorsese’s career without also bringing to mind personalities like Robert De Niro, Harvey Keitel, Joe Pesci, Paul Schrader, and Leonardo DiCaprio.<br /><br />This selection was never in doubt. The only drama came from deciding where in the Top 4 he would land. As for my list below, there will be one notable omission from my list – <span style="font-style:italic;">The Last Temptation of Christ</span>. For whatever reason, I still have not seen it and have remained hesitant to do so. I can’t even explain why this has been the case, it simply has. I know many folks consider it be one of Marty’s very best, so I need to make a point of getting to it, which I will eventually. It should also be noted that depending on when you ask me, <span style="font-style:italic;">Goodfellas</span> could be a routine choose as my all-time favorite movie.<br /><br />Ask me to fiddle with the rankings tomorrow and Scorsese could very easily be #1. So keep that in mind as the remaining two are revealed. Even more so than in the annual countdown and noir series, these rankings are incredibly fluid.<br /><br />1. Goodfellas (1990)<br />2. Raging Bull (1980)<br />3. Taxi Driver (1976)<br />4. Casino (1995)<br />5. The King of Comedy (1983)<br />6. Shutter Island (2010)<br />7. Mean Streets (1973)<br />8. The Aviator (2004)<br />9. Who’s That Knocking at My Door? (1967)<br />10. The Departed (2006)<br />11. Gangs of New York (2002)<br />12. The Age of Innocence (1993)<br />13. Bringing Out the Dead (1999)<br />14. Alice Doesn’t Live Here Anymore (1974)<br />15. Kundun (1997)<br />16. Cape Fear (1991)<br />17. The Color of Money (1986)<br />18. After Hours (1985)<br />19. New York, New York (1977)<br />20. Boxcar Bertha (1972)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com23tag:blogger.com,1999:blog-578997264816756307.post-46170995441012763282010-07-23T00:05:00.003-04:002010-07-23T00:05:00.499-04:00#4: Preston Sturges<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi045VOdiJdmotQ5f1ofzr0fB8xYa0l6KrcnKyxUXwzhZ2z6M4lNDsyuFNZLpz2pkU3fi7vJt4J6-p_Rp_VTD14su4-UjBHjb-X-B-bpExi9NByQG-Rd32zhx1D-pIuXfU_bG6rd6YhMNTZ/s1600/preston+sturges.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 200px; height: 256px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi045VOdiJdmotQ5f1ofzr0fB8xYa0l6KrcnKyxUXwzhZ2z6M4lNDsyuFNZLpz2pkU3fi7vJt4J6-p_Rp_VTD14su4-UjBHjb-X-B-bpExi9NByQG-Rd32zhx1D-pIuXfU_bG6rd6YhMNTZ/s320/preston+sturges.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5496514100005254466" /></a><br /><blockquote><span style="font-style:italic;">- “The most incredible thing about my career is that I had one.”</span></blockquote><br />If there was a dark horse to sneak up and steal the top slot in this countdown, it was certainly Preston Sturges. As the series has progressed, I have gone back and forth over who will occupy that first position and in all honesty, I could make a case for each of the top four. In fact, at various times, I’ve floated the idea in my own mind of completing the countdown with each of them. In this case, it was hard to resist the temptation after re-watching all ten of the Preston Sturges films that I own. Sturges, Chaplin and Malick were the only directors that I did this for and it is no coincidence that this refresher course in each man’s oeuvre cemented such prominent placements. It reminded me that I have still not seen a single poor Sturges film, and even more importantly that his top eight pictures are infinitely enjoyable. Even having seen each of them multiple times, I never fail to laugh and smile in the same spots every single time and discover jokes that I overlooked in previous go-rounds. The writing is so well-crafted, the humor so witty and sly to try and slip things past powerful censors of the day; they are light comedies that actually reward close repeat viewings.<br /><br />Sturges the man is almost as fascinating as the spectacular body of work that he created. His career path is a complete anomaly, not only because of the short window of time in which he shined but for how he entered the film business. Sturges began his career on Broadway, but even his stint there is unique in that he didn’t even begin writing plays until he was thirty years-old. After quickly finding success on the stage, movie executives came calling and lured him to Hollywood. Sturges spent the 1930s working as a writer-for-hire, penning a number of outstanding screenplays like <span style="font-style:italic;">Easy Living</span> and <span style="font-style:italic;">Remember the Night</span>. As wonderful as the dialogue and comedy are in those underrated films, though, it was the astounding seven comedies he made between 1940 and 1944 that account for the Sturges legacy. The legend of how Sturges managed to convince Paramount Pictures to let him try his hand at directing is one of my favorites. Knowing that he had penned a great script, Sturges took it to Paramount and offered a deal – he would sell it to them for only $1 on the condition that he would be allowed to direct it. The discounted <span style="font-style:italic;">The Great McGinty</span> script was good enough to earn Sturges the first ever Academy Award for Best Original Screenplay and the film itself remains a classic. It kicked off arguably the most productive four year span from a director in Hollywood history.<br /><br />It could be argued that Sturges is so well regarded more for his writing than his directing. When I consider his films, I think more of the humor and dialog of the screenplays than I do virtuoso camera movements or great visuals. But similar to my feelings toward Charlie Chaplin, I don’t think it’s necessary to separate the two components of his work. As Sturges himself would acknowledge, the fact that he wrote his own material was pivotal to his success. “I did all my directing when I wrote the screenplay. It was probably harder for a regular director,” Sturges would reminisce. “He probably had to read the script the night before shooting started.” So there is no question that the writing is integral. But I don’t think that Sturges the director should be completely overlooked. Aside from the humor of his dialog, his best films display a great deal of wonderfully choreographed physical comedy which would seem to require more than a sharp pen. His later classic (“later” in terms of Sturges’ career) <span style="font-style:italic;">Unfaithfully Yours</span> is magically handled from a technical standpoint, weaving together dream sequences seamlessly.<br /><br />In the end, it matters very little whether you want to specifically credit Sturges the writer or Sturges the director. He was the man at the helm of eight of the greatest comedies I have ever seen. He took the sophistication of Ernst Lubitsch, combined his own brand of screwball antics and situations, and the result was a uniquely Sturges mixture of laugh out loud hilarity, poignant social statements, startling sensuality, and tongue-in-cheek subversiveness. To me, Preston Sturges is at the very least the greatest writer-director of comedy to work in Hollywood in the sound era – if not in any era. His films never fail to make me smile.<br /><br />1. The Lady Eve (1941)<br />2. The Palm Beach Story (1942)<br />3. Christmas in July (1940)<br />4. Sullivan’s Travels (1941)<br />5. Unfaithfully Yours (1948)<br />6. Hail the Conquering Hero (1944)<br />7. The Miracle of Morgan’s Creek (1944)<br />8. The Great McGinty (1940)<br />9. The Sin of Harold Diddlebock (1947)<br />10. The Great Moment (1944)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com14tag:blogger.com,1999:blog-578997264816756307.post-26021459960836648982010-07-21T00:05:00.005-04:002010-07-21T00:05:00.086-04:00#5: Charles Chaplin<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidvYi2Z5j2vZHdGD9gEXeohS8WKrZnAmBkzHKNGKcTlLXpxc-RbVVVd0CBrET4qYzaRA1HglJCx_05uT_dXh_3yLxYp5O1v6F89vIDruOVuz4CE9gQqniNVLcB7BP_Nka2jz6TOOz56IwP/s1600/charlie+chaplin.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 256px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidvYi2Z5j2vZHdGD9gEXeohS8WKrZnAmBkzHKNGKcTlLXpxc-RbVVVd0CBrET4qYzaRA1HglJCx_05uT_dXh_3yLxYp5O1v6F89vIDruOVuz4CE9gQqniNVLcB7BP_Nka2jz6TOOz56IwP/s320/charlie+chaplin.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5494550308374790674" /></a><br /><blockquote><span style="font-style:italic;">- “I went into the business for the money, and the art grew out of it. If people are disillusioned by that remark, I can't help it. It's the truth.”</span></blockquote><br />Even today, his face is one of the most iconic images in the history of cinema. Just saying his name evokes daydreams of vintage era Hollywood and a period of vibrant creativity in the movie industry. People completely unfamiliar with his films or cinema history are aware of the symbols that he made famous – the Little Tramp Character, the trademark mustache, the top hat and cane. Charlie Chaplin’s contributions to the movie industry cannot be overestimated. As an actor and performer, he was the first comedy megastar of the screen, perfecting a brand of slapstick and physical comedy that has never been equaled. As a pioneer in the industry, Chaplin became one of the first stars to gain virtual autonomy over his projects, writing, directing, producing, starring in, and in many cases writing the music for, his greatest accomplishments. Chaplin the businessman was equally as important. Soon after coming to Hollywood he had already worked his way to being the highest paid actor in the world. In 1919, in hopes of gaining even greater control over every stage of his work, he partnered with fellow film veterans Mary Pickford, D.W. Griffith and Douglas Fairbanks to found United Artists. This was revolutionary for the time.<br /><br />So to call Chaplin a GIANT is to understate his significance. He is arguably _the_ giant of film.<br /><br />It’s impossible for me to separate Chaplin the director from Chaplin the actor, or Chaplin the all-around creative genius. And I don’t know that it’s even necessary to do so, even for such a list like this. The reason I say this is because his approach to moviemaking, at least through the most celebrated years of his career, centered on his being able to draw on every talent he possessed in the process of filming. Rarely did he write a completed script before beginning shooting. Instead he started with a general premise, acquired the necessary sets and equipment, and then began tinkering as he went. As one idea came on top of another, the general structure of the film would begin to crystallize and everyone would play off of what developed. The Little Tramp is the perfect character for such a style, as his crazy antics come across just as freewheeling as the director’s.<br /><br />He was one of the rare comedians who could just as easily make you misty-eyed as he could make you laugh. Aside from the hilarious comedy that is prevalent in his films, it is that sincere heart that infuses Chaplin’s work that appeals most to me. Some may argue that things border on overly sentimental, but the amazing thing is that when Chaplin makes such obvious appeals to emotion, the pathos comes across as genuinely heartfelt. Few directors, actors, or artists period can pull that off and Chaplin did it routinely.<br /><br />I still have many, many Chaplin shorts to get to, but I feel pretty solid on my ranking of his features.<br /><br /><span style="font-weight:bold;">Features</span><br />1. Modern Times (1936)<br />2. City Lights (1931)<br />3. The Circus (1928)<br />4. The Kid (1921)<br />5. The Gold Rush (1925)<br />6. The Great Dictator (1940)<br />7. Limelight (1952)<br />8. Monsieur Verdoux (1947)<br />9. A Woman of Paris (1923)<br />10. A King in New York (1957)<br />11. A Countess from Hong Kong (1967)<br /><span style="font-weight:bold;"><br />Shorts</span><br />1. The Adventurer (1917)<br />2. The Cure (1917)<br />3. Easy Street (1917)<br />4. The Immigrant (1917)<br />5. Shoulder Arms (1918)<br />6. One A.M. (1916)<br />7. A Dog’s Life (1918)<br />8. Behind the Screen (1916)<br />9. The Pilgrim (1923)<br />10. The Floorwalker (1916)<br />11. The Idle Class(1921)<br />12. The Pawnshop (1916)<br />13. The Vagabond (1916)<br />14. The Count (1916)<br />15. The Fireman (1916)<br />16. The Rounders (1914)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com14tag:blogger.com,1999:blog-578997264816756307.post-84753902921188084212010-07-19T00:05:00.006-04:002010-07-19T00:05:00.596-04:00#6: Terrence Malick<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAhBoq_L8haT_ctVbxStgBDt3_5J15UYmB97AiXNhaKDJSS10ZZDcO8jbZUWEF_ydc3kulXHup8K_0RQIolghKsdKNz2lPpE7wgVese-nipKxusg7XincO7DxEScApSnrQIx7EgJr7FFKr/s1600/terrence+malick.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 260px; height: 307px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAhBoq_L8haT_ctVbxStgBDt3_5J15UYmB97AiXNhaKDJSS10ZZDcO8jbZUWEF_ydc3kulXHup8K_0RQIolghKsdKNz2lPpE7wgVese-nipKxusg7XincO7DxEScApSnrQIx7EgJr7FFKr/s320/terrence+malick.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5494640841395197570" /></a><br /><blockquote>- <span style="font-style:italic;">“They’re not intellectual so much as they’re visceral. I don’t know how you explain it… they’re like poems, you know. You can analyze it to death, but it still is not going to get to what this poem is doing to you… to your psyche, your body, you know, it’s never going to solve that.”<br /><br />- Sam Shepard</span></blockquote><br />Trying to find a quote about direction or film in general from the notoriously reclusive Terrence Malick is a nearly impossible task, so rather than scouring the ‘net looking for one, I thought that this statement from <span style="font-style:italic;">Days of Heaven</span> star Sam Shepard would be the perfect opening to this entry. It comes from one of the extras on the recently released <span style="font-style:italic;">Days of Heaven</span> Criterion Collection, as Shepard describes what drew him to working with Malick. Coming into the project as a writer, Shepard talks about how there was something magnetic in the script, something that pulled him to doing the project, and then attempts to describe Malick's films. And in ruminating on what it is about Malick’s work that maintains such a mesmerizing hold on so many people, he offers this fitting thought. It meshes so perfectly with my own feelings toward Malick’s work that I jotted it down the first time I heard it and vowed to somehow work it into this post.<br /><br />If placing Francis Ford Coppola was the most difficult task of this project, deciding exactly where to place a man with just four total movies to his credit ran a close second. What exactly do you do with someone who has made only four films over the course of a nearly forty year career? On Thursday in the Coppola entry, I even touched on the fact that at this stage in the countdown that consistency and depth of quality films has to play a role. Such diversity is obviously lacking from a man whose workrate equates to roughly averaging one film released per decade. The issue is compounded by the fact that one of his four films is one that I have only recently begun to grow fond of. So while I might not be maintaining consistency when it comes to criteria in evaluating each director, such standards are irrelevant when I assess my passion for the cinema of Terrence Malick. It is a testament to the transcendent experience of his three films that I do love – two in particular retaining the ability to routinely give me chills at times while watching them – when I do not hesitate in giving Malick such a high placement.<br /><br />Over the short history of this blog, I have written and discussed Malick’s <span style="font-style:italic;">The New World</span> more than any other film. I’ll direct folks <a href="http://goodfellamovies.blogspot.com/2009/11/2005-new-world-terrence-malick.html">here</a>, where <span style="font-style:italic;">The New World</span> was chosen as my top film of 2005, if anyone is interested in seeing my full thoughts on that film. I also produced a similar post for <span style="font-style:italic;">Days of Heaven</span>, which might not be as gushing as the ’05 entry, but also shows the love I have for that film. What draws me to films like this, which the uninitiated or non-Malick fans find so lumbering and inane? To answer this question, I ultimately return to the Sam Shepard quotation above. I’ve thought many times and can never quite put my finger on it. The more I analyze it, the less I feel like I can explain it. All I know is that Malick’s films have the ability to completely, totally transfix me. The incredibly beautiful images virtually hypnotize me. Even that explanation is an evasion, though, as for me it is more than just the gorgeous cinematography. Many people argue that Malick’s narrative technique leaves much to be desired, but the man has created some of the most powerfully moving drama I’ve ever experienced. The plague and wildfire of <span style="font-style:italic;">Days of Heaven</span>; Witt’s death in <span style="font-style:italic;">The Thin Red Line</span>; the reunion between John Smith and Pocahontas in <span style="font-style:italic;">The New World</span>; and, most especially, the closing sequence with Pocahontas’ death – these scenes are so well done they give me chills. And so as Shepard says, no amount of analysis is going to pinpoint what it is.<br /><br />Regarding the spectacular visuals in his films, I have written elsewhere about Malick concerning the credit he deserves in this area. Not knowing a whole lot about technical production, I’m always a bit hesitant as to who deserves the bulk of the praise for the look of a film – the director or the cinematographer. Malick’s case is unique though, in that he has worked with a different director of photography on all four of his films, yet all four of them look marvelous. This leads me to believe that Malick himself much be a significant factor in achieving these results.<br /><br />Malick easily could be a Top 5 selection. Trying to separate favorites at this point is excruciatingly hard. Particularly in this instance, where a movie like <span style="font-style:italic;">The New World</span> is continually inching toward being my all-time favorite film. Perhaps one or two more films like his recent releases and Malick will move toward the very top of a list like this. Bring on <span style="font-style:italic;">Tree of Life</span>!<br /><br />As a postscript, since I haven't talked about <span style="font-style:italic;">Badlands</span> at all in this post, I thought I would pose this question to everyone. I re-watched it specifically for this series, which was probably the fourth time I've seen it. What struck me about it this time around was how dryly funny it can be. Kit's one-liners and retorts, the off the wall things he says out of nowhere, something about the entire storyline makes me view it as some sort of unique dark comedy. I've never viewed it this way before, but that is all I could think about when watching it this time.<br /><br />1. The New World (2005)<br />2. Days of Heaven (1978)<br />3. The Thin Red Line (1998)<br />4. Badlands (1973)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com10tag:blogger.com,1999:blog-578997264816756307.post-8454950927797002372010-07-17T00:05:00.000-04:002010-07-17T00:05:00.376-04:00#7: Howard Hawks<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgivcyPnHsSNy3Fj1DZRg9GRNdjZgrAhBRypVDijpfYsk5N3a3T330C5FS1RSCyXVh1N604wGc1yjvgdbY1JMMSJwA6Lr3PTYFJk_VvTQeH5OUoNfudc1uGfBsXUKBa_hG9-CmbpGHTuPba/s1600/Howard+Hawks.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 264px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgivcyPnHsSNy3Fj1DZRg9GRNdjZgrAhBRypVDijpfYsk5N3a3T330C5FS1RSCyXVh1N604wGc1yjvgdbY1JMMSJwA6Lr3PTYFJk_VvTQeH5OUoNfudc1uGfBsXUKBa_hG9-CmbpGHTuPba/s320/Howard+Hawks.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5494637397104313298" /></a><br /><blockquote><span style="font-style:italic;">- “I'm a storyteller - that's the chief function of a director.”</span></blockquote><br />His is the first name to come to mind when I think of the preeminent American-born directors of the classic Hollywood era. Many of his contemporaries, both in terms of time period and actual talent or stature, immigrated to America and then rose to dominate Hollywood – Billy Wilder, Frank Capra, Fritz Lang, Robert Siodmak were just a few of many who were born in Europe and rose to prominence in Tinseltwon. There were also many other outstanding Americans rising to prominence around the same time – indeed, other great American directors like Anthony Mann and John Huston have already been featured in this series. But in my mind, when I think of the archetypal American director of the period, it is always Howard Hawks.<br /><br />What makes this such a natural belief is that Hawks not only dabbled in nearly every significant genre of the 30s, 40s and 50s, he produced all-time classics. His comedies of the 1930s are considered to be not only among the best screwball comedies, but some of the funniest movies ever made. <span style="font-style:italic;">Bringing Up Baby</span> and <span style="font-style:italic;">His Girl Friday</span> are routinely listed among the greatest comedies. His original version of <span style="font-style:italic;">Scarface</span> in 1932 is arguably the best of the classic gangster films. <span style="font-style:italic;">The Big Sleep</span> is among a handful of absolutely essential films noir that anyone wishing to familiarize themselves with the genre/style must see early in their quest. <span style="font-style:italic;">Air Force</span> is as good as out-and-out propaganda films get. <span style="font-style:italic;">To Have and Have Not</span> is as close as anyone would ever come to matching <span style="font-style:italic;">Casablanca</span>. <span style="font-style:italic;">The Thing From Another World</span> (which he is commonly assumed to have handled much of the directorial duties on) is a splendid piece of 1950s science-fiction and horror. <span style="font-style:italic;">Gentlemen Prefer Blondes</span> is a musical comedy par excellence, which even someone like myself who normally has no interest in such films finds outstanding. And westerns like <span style="font-style:italic;">Rio Bravo</span> and <span style="font-style:italic;">Red River</span> are as incredible a one-two western punch as any director – Ford, Mann, Leone, Eastwood, anyone – ever made.<br /><br />I could go on listing examples, but I think you get the point. There are other directors that can match his versatility, but I can count on one hand the directors who can match his mastery of such different genres and styles. Why was he so successful while moving in such varying fields? It might play like a broken record in these parts, as regulars here at Goodfella’s have heard me say it again and again, but Howard Hawks is simply one of the finest storytellers in the history of cinema. He might not have been a writer like other greats such as Wilder, Welles, and others. But he worked with a core group of writers that brought staggering talent to the page – Jules Furthmann, Leigh Brackett, Ben Hecth, William Faulkner – and whose screenplays inevitable possessed the characteristics that have now come to be recognized as “Hawksian.” Themes concerning friendship, professionalism, and seeing a job through to very end regardless of the consequences are the foundations of a Hawks drama. I still maintain that no one, not even the great Sam Peckinpah, ever handled ideas of bonding and close, intense friendship among male characters better than Hawks.<br /><br />So with such versatility and excellence, it is easy to understand why I revere Howard Hawks. This is a placement that I almost regret, as I want to nudge him just a little higher. For now, I can’t as the competition is getting far too tough. Suffice to say that from this point on, the list could be inverted and I wouldn’t really quibble with the rankings.<br /><br />1. Rio Bravo (1959)<br />2. Red River (1948)<br />3. The Big Sleep (1946)<br />4. Gentlemen Prefer Blondes (1953)<br />5. To Have and Have Not (1944)<br />6. Scarface (1932)<br />7. Twentieth Century (1934)<br />8. His Girl Friday (1940)<br />9. Only Angels Have Wings (1939)<br />10. Air Force (1943)<br />11. Monkey Business (1952)<br />12. The Thing from Another World (1951)<br />13. El Dorado (1967)<br />14. The Criminal Code (1931)<br />15. Bringing Up Baby (1938)<br />16. Tiger Shark (1932)<br />17. Sergeant York (1941)<br />18. Ball of Fire (1941)<br />19. Rio Lobo (1970)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com20tag:blogger.com,1999:blog-578997264816756307.post-75263512903432621772010-07-15T00:05:00.005-04:002010-07-15T00:05:00.849-04:00#8: Francis Ford Coppola<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHDROkrJVizQfsjyggz3WIT5Ck67z6hOlx9Y7hjOdjl7y0TN-YCK_BFel-YPds8KYf_MsqhaAa8CdJeJLfFeXTEV9oWjwv3sOul8H8dv0vndz2wcR8lv6TNukw_yxjzjjhh6iYEBafoGrT/s1600/francis+ford+coppola.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHDROkrJVizQfsjyggz3WIT5Ck67z6hOlx9Y7hjOdjl7y0TN-YCK_BFel-YPds8KYf_MsqhaAa8CdJeJLfFeXTEV9oWjwv3sOul8H8dv0vndz2wcR8lv6TNukw_yxjzjjhh6iYEBafoGrT/s320/francis+ford+coppola.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5492631856050765074" /></a><br /><blockquote><span style="font-style:italic;">- “A number of images put together a certain way become something quite above and beyond what any of them are individually.”</span></blockquote><br />Placing Francis Ford Coppola in a countdown of this scope has been, without question, the most difficult task of the entire project. Trying to slot him into a comfortable position made me examine exactly how I was judging and ranking each director, and at the end of it all, I’m still not certain that consistency has been maintained. I say this because, as I have repeated many times in discussions on various blogs throughout the ‘net, I am a person who is much more interested in seeing how high one can reach, rather than dwelling on misfires. I don’t care if a director makes ten duds if he manages to squeeze out one or two masterpieces along the way; I’m much more interested in devoting my time to the great ones than worrying about the stumbles. Considering Coppola’s career in that frame of mind, he could make a strong case for jumping all the way to the top spot. If we’re stacking up irrefutable masterpieces, Coppola in my opinion boasts as many as any other director you will find in this Top 30. In my eyes, Coppola _owned_ the 1970s. I’d be leery of anyone claiming that <span style="font-style:italic;">The Godfather, The Godfather: Part II</span>, or <span style="font-style:italic;">Apocalypse Now</span> are not truly great films. I'd personally make the argument of elevating <span style="font-style:italic;">The Conversation</span> to that level as well. On the basis of those four films alone, Coppola would enter this countdown.<br /><br />And that’s precisely what makes placing him so difficult – it is almost solely because of those four masterpieces that he merits such lofty praise from me. <span style="font-style:italic;">The Godfather Part III</span> and <span style="font-style:italic;">Dracula</span> are very good films, but to me they pale in comparison to Coppola’s best. The conundrum is made even more difficult by the fact that at this stage of the countdown – meaning the Top 10 – every single director has multiple masterworks on their resume. So a certain amount of depth and consistency has to come into play. In that area, Coppola doesn’t quite match up to those ahead of him.<br /><br />I also am not one of those who constantly cry and lament over the “lost genius” of a once transcendent filmmaker. Make no mistake, I don’t think he has done anything post-<span style="font-style:italic;">Apocalypse Now</span> that comes close to his four masterpieces of the 1970s, but I do still like <span style="font-style:italic;">Dracula</span> the final installment of <span style="font-style:italic;">The Godfather</span> trilogy, and even enjoyed his recent <span style="font-style:italic;">Tetro</span>. Even so, it’s hard not to at least give thought to the “what might have been” scenarios in which he continued making truly great films into the next decade as some of his contemporaries did. Rather than dwelling on such hypothetical situations, though, I instead just return again and again (and again and again…) to my favorite Coppola works. I have yet to tire of <span style="font-style:italic;">The Godfather</span> films. <span style="font-style:italic;">Apocalypse Now</span> arguable trumps them all. <span style="font-style:italic;">The Conversation</span> improves upon Antonioni’s intriguing original vision. For all of the mythology and hoopla that has come to surround his biggest productions - not to mention the seriously grating, conceited personality that he regularly displays - it is important to never forget how great a director Coppola can be.<br /><br />The top three on my list are completely interchangeable, with any ordering being perfectly acceptable. For now, this is what I will stick with (even though during the 70s poll last year at Wonders in the Dark, I had Apocalypse Now as my #1 for the decade...)<br /><br />1. The Godfather (1972)<br />2. The Godfather Part II (1974)<br />3. Apocalypse Now (1979)<br />4. The Conversation (1974)<br />5. Dracula (1992)<br />6. The Godfather Part III (1990)<br />7. Tetro (2009)<br />8. The Outsiders (1983)<br />9. Rumble Fish (1983)<br />10. Tucker: The Man and His Dream (1988)<br />11. The Rainmaker (1997)<br />12. Jack (1996)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com21tag:blogger.com,1999:blog-578997264816756307.post-76519345638508534872010-07-13T00:05:00.002-04:002010-07-13T00:05:00.184-04:00#9: Jean-Pierre Melville<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLYTwL0itLkWms09bEtVlEGT-06_h2TzW5_oprh-egHO0Z9W_7MUJvlYJvLW8_SrRg2azs2k-z9Io2YNjuVbW_U0nVjXr5WiRDGQliob5DaUxGR0wpXE_jFZi2ook-2qKxdDeZ1QZOOChf/s1600/jean+pierre+melville.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 247px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLYTwL0itLkWms09bEtVlEGT-06_h2TzW5_oprh-egHO0Z9W_7MUJvlYJvLW8_SrRg2azs2k-z9Io2YNjuVbW_U0nVjXr5WiRDGQliob5DaUxGR0wpXE_jFZi2ook-2qKxdDeZ1QZOOChf/s320/jean+pierre+melville.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5492629574896185298" /></a><br /><blockquote><span style="font-style:italic;">- "I believe that you must be madly in love with cinema to create films."</span></blockquote><br />I love the title of the Ginette Vincendeau’s biography of Jean-Pierre Melville – <span style="font-style:italic;">Jean-Pierre Melville: An American in Paris</span>. While such an epithet might be a little too constraining in assessing the work of such a great director, I bring it up here because it is one of the qualities that first attracted me to Melville. When I first started to branch out and familiarize myself with films from around the world, Melville was one of the first directors that I turned to. Everything I read about and from the man fascinated me. His obsession and encyclopedic knowledge of classic Hollywood cinema intrigued me, as he was known to worship so many of the same directors, films, and actors that I had grown to love. It wasn’t just cinema either, but his complete love of American culture fascinated me. And in the first films that I watched, I saw the fingerprints of this love of all things American. I was instantly amazed at how he adapted conventions from classic Hollywood noir, gangster films, and crime drama to the streets of his native France – and almost had to pinch myself when I realized that not only did he adapt them, he improved upon them.<br /><br />But to look at him solely as an American in Paris overlooks how important his French heritage, and the era in which he came of age, is in much of his best work. Melville may be regarded as the greatest director of “gangster pictures,” but his work centered on the French Resistance is just as impressive. Perhaps the two facets of Melville’s work shouldn’t really be separated, though, as he infused a noirish element into these war films, making <span style="font-style:italic;">Army of Shadows</span> an experience unique from any other similar movies of the era.<br /><br />I began taking stock of all of the Melville that I had seen shortly before this series began, when Doniphon began his wonderful series on Melville at <a href="http://thelongvoyagehome.blogspot.com/">The Long Voyage Home</a>. I encourage everyone to check out Doniphon’s insights into the cinema of Melville, as he provides far more astute observations than you will find in this piece. What I realized in reading Doniphon’s work, and in gathering my thoughts for my own entry here, is why Melville’s work is so durable for me. By durable, I mean the way that it simply stays with you – his are not movies that are viewed for two hours and then cast aside as you move on to the next film. A Melville stays with you, forcing you to ruminate on it, begging you to return to it. Why do his films have such an effect? I attribute it to the unmatched ability of the director to create enveloping moods. There are certainly technically brilliant elements on display in many of his films – the great cinematography in <span style="font-style:italic;">Le Doulos</span> immediately comes to mind, as does the wonderful use of drab colors in <span style="font-style:italic;">Le Samourai</span> – but none of those individual technical achievements are as memorable as the moods and tones Melville creates. Just thinking about <span style="font-style:italic;">Le Samourai</span> makes me think of steamy Parisian streets and a jazz club. <span style="font-style:italic;">Le Doulos</span> instantly has me picturing fedoras and gangsters. <span style="font-style:italic;">Le Cercle Rouge</span> brings to mind the ultimate game of cat-and-mouse. <span style="font-style:italic;">Bob le Flambeur</span> transports me to a casino of some sort. No one has ever been better at creating moods.<br /><br />There is not a bad movie on my list.<br /><br />1. Army of Shadows (1969)<br />2. Le Samourai (1967)<br />3. Le Cercle Rouge (1970)<br />4. Le Doulos (1962)<br />5. Le deuxième souffle (1966)<br />6. Bob le Flambeur (1955)<br />7. Le Silence de la Mer (1949)<br />8. Un Flic (1972)<br />9. Les enfants terribles (1950)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com14tag:blogger.com,1999:blog-578997264816756307.post-59002863397743493832010-07-11T00:05:00.005-04:002010-07-11T00:05:00.132-04:00#10: Sam Peckinpah<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhII7Ys6MNVcD5Aj1Ss9y6KthOdbmnWaUQxmmyxx0jGxB4I4Z6WYDkoHeAoiewQr38zCz-TFBYddEW2ypadOV_bOeFv6Jr4H7MGpHpsZaFMdgo7s8aUuOstJAAZU-a0wKPQsMeJqSaPTdXQ/s1600/sam+peckinpah.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 273px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhII7Ys6MNVcD5Aj1Ss9y6KthOdbmnWaUQxmmyxx0jGxB4I4Z6WYDkoHeAoiewQr38zCz-TFBYddEW2ypadOV_bOeFv6Jr4H7MGpHpsZaFMdgo7s8aUuOstJAAZU-a0wKPQsMeJqSaPTdXQ/s320/sam+peckinpah.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5490248144368202882" /></a><br /><blockquote><span style="font-style:italic;">- “I loved Westerns as a kid, and I wanted to see if they held up.”</span></blockquote><br />Like #14 in this series, this is another of my more recent interests. If this countdown had been done just a year ago, Sam Peckinpah would not have been included. My initial reaction to the man known as Bloody Sam, which came from watching his most acclaimed film <span style="font-style:italic;">The Wild Bunch</span> a few years ago, was not as positive as I expected it to be. Perhaps I was still too much in a Howard Hawks frame of mind, as the opinionated director was on record as declaring that he didn’t think too much of the violent and frenzied action sequences that Peckinpah sprinkled throughout <span style="font-style:italic;">The Wild Bunch</span>. Something just didn’t completely click – I liked it, but wondered what all the fuss was about. It’s amazing the transformation that one positive experience can bring about. All it took was one viewing of his notorious <span style="font-style:italic;">Pat Garrett & Billy the Kid</span> to make me a believer. Going into it considering myself at best lukewarm toward Peckinpah, I came away from it completely floored. It still holds the power to transfix me ever time I watch it. That film showed me that the main criticism of Peckinpah’s work – that of it being little more than gunfights and bloodbaths – is completely off the mark. His admitted preoccupation with violence serves a purpose. But even more important, Peckinpah rarely gets the credit he deserves for the subtle, intimate touches he so masterfully intersperses with the violence. There are particular scenes in <span style="font-style:italic;">Pat Garrett</span> and <span style="font-style:italic;">Bring Me the Head of Alfredo Garcia</span> that are achingly beautiful in both their visual poetry and content. And these sequences deserve just as much praise as Peckinpah’s chops as a director and editor of action.<br /><br />This key realization made me not only reassess what little Peckinpah I had seen before <span style="font-style:italic;">PG&BtK</span>, but also to immediately go through the rest of his films. What I discovered was a director that has had me under his spell for months now. Many of his best films are not easy to love, requiring me to watch them multiple times before I felt comfortable with them. Peckinpah has emerged for me as a director with a unique worldview, using almost every filmmaking opportunity to deal with a specific set of ideals. Ideas of fearing death and violence, yet constantly courting it; of the ending of eras; the closing of the Old West; dealing with living past your usefulness. These obsessions constantly return in Peckinpah’s greatest works. Outside of Howard Hawks, no one ever dealt with the strong bonds of friendship between male comrades as did Peckinpah. You will rarely see me use the chic “auteur” label in my writings, but it feels so fitting when discussing Bloody Sam (sorry, I just love that nickname too much not to use it again!).<br /><br />As you’ll see from the rankings, I’ve come quite a long way from my original assessment of <span style="font-style:italic;">The Wild Bunch</span>. I still don’t rank it at the top of my list as most Peckinpah fans do, but my appreciation of it continues to grow. I wonder how many other people (and would love to hear thoughts on this) change their mind about a film(s) when revisiting it after having delved deeper into a director’s other work? This is precisely what happened with me and Peckinpah’s most famous western. The other thing about Peckinpah’s entire filmography that never ceases to amaze me is that despite how many financial disasters he made, his Top 10 films are consistently outstanding. Ordering may vary, but my guess is that most people will agree with the top ten, and there is not a subpar film in the group. I can’t go so far as to say that he never made a bad film, because later in his career he mailed it on a few duds. But those first ten are all outstanding. A number of them are ridiculously underrated – <span style="font-style:italic;">Major Dundee</span>, even its butchered form, is near great; Cross of Iron is an overlooked war epic; <span style="font-style:italic;">The Ballad of Cable Hogue</span> is irresistible. If I had to the guts to do it, I could easily place <span style="font-style:italic;">Cable Hogue</span> all the way at #3. Before I saw <span style="font-style:italic;">Straw Dogs</span> for the first time, I was led to believe that I might have the same problems I experienced with <span style="font-style:italic;">A Clockwork Orange</span>. I didn’t – in <span style="font-style:italic;">Straw Dogs</span> I actually cared to contemplate why the violence is taking place. <span style="font-style:italic;">The Getaway</span> is sitting at #10, which might come across as a putdown, but it really isn’t. All ten are very good, some flat out great. A few of them I really struggled and went back and forth on while trying to place them. For instance – there were times when I felt both <span style="font-style:italic;">Bring Me the Head of Alfredo Garcia</span> and <span style="font-style:italic;">Cross of Iron</span> should definitely have been Top 5, but I still don’t feel like I have a complete read on either film, <span style="font-style:italic;">Alfredo Garcia</span> in particular. It is such a beguiling movie, one that left me unsure whether I loved or it hated it after watching it.<br /><br />So as you can see, the Peckinpah bug has really bitten me. These are movies that reward multiple viewings and that show him to be a much more complex director than he is often given credit for. And I’d give almost anything to be able to seen <span style="font-style:italic;">Noon Wine</span>! Is it even available anywhere?<br /><br />1. Pat Garrett & Billy the Kid (1973)<br />2. The Wild Bunch (1969)<br />3. Ride the High Country (1962)<br />4. Straw Dogs (1971)<br />5. The Ballad of Cable Hogue (1970)<br />6. Bring Me the Head of Alfredo Garcia (1974)<br />7. Cross of Iron (1977)<br />8. Major Dundee (1965)<br />9. Junior Bonner (1972)<br />10. The Getaway (1972)<br />11. The Deadly Companions (1961)<br />12. The Killer Elite (1975)<br />13. Convoy (1978)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com15tag:blogger.com,1999:blog-578997264816756307.post-65158386470922009322010-07-09T00:05:00.005-04:002010-07-09T00:05:00.191-04:00#11: Orson Welles<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZqzwPqgLPc_lsQ958OrSk9XO4HfkUODnaYV1_ECXP6kighNZveXSwtm9LTsJoY0CWxCiA_4Mi7lTmoBdPDy0vpR2sDhoVKH5Cdm_fKQFSb0evBAGqTOyaXn_5lZwdbYIM0tOxFQMFw-z/s1600/orson+welles.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 250px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZqzwPqgLPc_lsQ958OrSk9XO4HfkUODnaYV1_ECXP6kighNZveXSwtm9LTsJoY0CWxCiA_4Mi7lTmoBdPDy0vpR2sDhoVKH5Cdm_fKQFSb0evBAGqTOyaXn_5lZwdbYIM0tOxFQMFw-z/s320/orson+welles.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5490245647776281538" /></a><br /><blockquote><span style="font-style:italic;">- “A film is never really good unless the camera is an eye in the head of a poet.”</span></blockquote><br />Here he is… the three thousand pound gorilla in any list of favorite or best directors. A slight backlash against Mr. Welles has developed from some, due to his constant ranking as the greatest director of all time and the assumption that <span style="font-style:italic;">Citizen Kane</span> must sit atop any ranking of the best films ever made. But if the shoe fits… There is no question that the influence that Welles has had on countless generations of filmmakers to come after him and the technical and structural innovations he used in his work make him a towering figure in the history of cinema. And I admit that the task of placing him in a list like this is difficult after becoming accustomed to seeing Welles unanimously placed at the top of similar projects or pieces about the most important directors of all time.<br /><br />One thing that I have always pondered is what Welles’ reputation would be like if he had been able to at least moderately adjust to the Hollywood studio system. As everyone knows, the story of Welles post-<span style="font-style:italic;">Kane</span> projects is littered with battles against studio heads and grappling for the final say on editing of his films. The result was that for a bulk of his prime years, Welles was a star without a home. He worked as a freelance director taking the best offers he received. After the war, he directed mostly low budget pictures for studios like Republic and International Pictures. For most of the 1950s he went into self-imposed exile in Europe, picking up money from acting jobs that he used to finance his own directorial projects as best he could. In the 1960s, when he was no longer the boywonder of the entertainment world, he arguably soldiered on to make some of his finest work, even though box office success was a thing of the past. So, the question I often ponder is this: had he been able to fit in better in Hollywood, how would his reputation have been affected? Two interesting options always come to mind. It’s possible that he would have been able to stay in the States for his entire career, resulting in greater exposure for more of his work (outside of <span style="font-style:italic;">Citizen Kane</span>, <span style="font-style:italic;">Touch of Evil</span>, the usual suspects) and his status would only increase. On the other hand, I can’t help but thinking that the independent streak that Welles is remembered for can’t hurt in building his legend. There is something admirable about a man who refuses (or at least goes down fighting) to compromise his vision and decides to strike out on his own rather than submit to the whims of executives. I have no answer to this hypothetical, but it’s an interesting “What if?” I’d be interested in hearing the thoughts of others.<br /><br />Regardless of all of this speculating, the reputation that Welles currently enjoys is justified. He is the greatest actor-director of the sound era, and arguably of all time. I respect his acting ability so much that I’m not sure which of his two talents impresses me more. No actor was better at launching into on-screen monologues like Welles. As a director, I have always admired his choice of material, involving very in-depth character studies. His constant experimenting with abstract visual styles and techniques is probably his greatest contribution. Pulling away all of the acclaim and hyperbole that has accumulated over the years reveals a director who is every bit as good as advertised. There is a reason that the praise has piled up for decades – Welles was simply a great and visionary filmmaker.<br /><br />1. Citizen Kane (1941)<br />2. Touch of Evil (1958)<br />3. Chimes at Midnight (1965)<br />4. Othello (1952)<br />5. Mr. Arkadin (1955)<br />6. The Lady from Shanghai (1947)<br />7. The Magnificent Ambersons (1942)<br />8. The Stranger (1946)<br />9. The Trial (1962)<br />10. Macbeth (1948)<br />11. F for Fake (1973)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com13tag:blogger.com,1999:blog-578997264816756307.post-54833928871527702572010-07-07T00:05:00.002-04:002010-07-07T00:05:00.395-04:00#12: Joel & Ethan Coen<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7boJ2Q9GgsibNLtYnGaIodv6JRKJQ-y4Bwrqk-7sPhIHviiCzCqfb7Aj2i8i2CdfQ0eyuEPzJmnmQ3Ph43_16eYhkkZaqxaOoDMVyXPzXcY2wvB_1NbowHsPXKvmrUIWj4iNLF_P8bLbq/s1600/coen+brothers.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 209px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7boJ2Q9GgsibNLtYnGaIodv6JRKJQ-y4Bwrqk-7sPhIHviiCzCqfb7Aj2i8i2CdfQ0eyuEPzJmnmQ3Ph43_16eYhkkZaqxaOoDMVyXPzXcY2wvB_1NbowHsPXKvmrUIWj4iNLF_P8bLbq/s320/coen+brothers.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5489809508013453874" /></a><br /><blockquote><span style="font-style:italic;">- “One of the pleasures of movies is creating a world . . . it gives you a license to do certain things.”</span></blockquote><br />They may be among the preeminent visual stylists of this era, but it’s hard to deny that the greatest asset the Coen Brothers possess is their unparalleled writing talent. They are equally adept at writing the crass stoner comedy of <span style="font-style:italic;">The Big Lebowski</span> or the casual philosophical wit of <span style="font-style:italic;">A Serious Man</span>. They can write traditional drama equally as well, creating situations and dialogue in <span style="font-style:italic;">Blood Simple</span> and <span style="font-style:italic;">No Country For Old Men</span>. Then, of course, are their famed hybrids, films like <span style="font-style:italic;">Fargo</span> or <span style="font-style:italic;">Barton Fink</span> that aren’t straight comedy but aren’t straight drama either. All of their films have an undeniable “Coens feel” to them, but each one is varied from any of its predecessors. It’s easy to imagine that their scripts are so well written that directors need simply to follow them to a tee and positive results will ensue. In fact, I’ve heard as much in interviews. I remember seeing John Goodman talking about the making of <span style="font-style:italic;">The Big Lebowski</span> and how the screenplay was so spot-on that no one dared change anything about it… even down to following the stutters and cadences that were written directly into the script.<br /><br />Still, it’s impossible to deny the visual flair that their films boast. And I don’t say this in a Malick-like way, where every film just looks spectacular. Instead, each Coens film is unique, with an appearance that seems to perfectly fit the story being told. <span style="font-style:italic;">Blood Simple</span> captured the gritty, B-noir feel of the murder plot. Fargo lets the snow whites of South Dakota wash over everything. The noirish <span style="font-style:italic;">The Man Who Wasn’t There</span> boasts the best black and white cinematography of recent years. As a modern western of sorts, <span style="font-style:italic;">No Country For Old Men</span> allows the landscape to be shown off through dusk-like lighting and photography. These are just a few examples, but it substantiates what I am saying. They are definitely more than just talented writers who happen to direct/produce.<br /><br />Even when they are playing it straight though, there is a certain wit or cynicism lying just beneath everything. Like Billy Wilder before them, it’s easy to imagine Joel and Ethan sitting behind the camera with a sly grin on their faces. They are two of the few filmmakers where I have never once thought that they might be taking themselves too seriously. Perhaps they really do, but it never comes across that way to me as a viewer. Their films often seem to aspire toward a deeper meaning – or, perhaps, people are just quickly to look for such interpretations – but they never lose the sense of genuinely enjoying what they are creating.<br /><br />My top choice is immovable, even if it is far from being their most critically-lauded or brimming with powerful statements. <span style="font-style:italic;">The Big Lebowski</span> is so entertaining, I don’t care, and I still maintain that Walter Sobchak is one of the greatest character creations I’ve ever seen.<br /><br />1. The Big Lebowski (1998)<br />2. Miller’s Crossing (1990)<br />3. Barton Fink (1991)<br />4. No Country for Old Men (2007)<br />5. Fargo (1996)<br />6. The Man Who Wasn’t There (2001)<br />7. O Brother Where Art Thou? (2000)<br />8. A Serious Man (2009)<br />9. Blood Simple (1984)<br />10. Burn After Reading (2008)<br />11. The Hudsucker Proxy (1994)<br />12. Intolerable Cruelty (2003)<br />13. Raising Arizona (1987)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com18tag:blogger.com,1999:blog-578997264816756307.post-80016847226406997022010-07-05T00:05:00.004-04:002010-07-05T00:05:01.051-04:00#13: Jacques Tourneur<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsrPk3ipft8YLcMC1jWrLngKGaWdACd39Thp9QqwWbOZX27ydNfjJAZ8Td5-da2AtgVtgrSVORsG_ZSK0e3MJOjATzOpXMdSJE3J3UNlULRCBY1bgzqkFYin0x_11u5RJVpadKOzl2bsIW/s1600/jacques+tourneur.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 277px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsrPk3ipft8YLcMC1jWrLngKGaWdACd39Thp9QqwWbOZX27ydNfjJAZ8Td5-da2AtgVtgrSVORsG_ZSK0e3MJOjATzOpXMdSJE3J3UNlULRCBY1bgzqkFYin0x_11u5RJVpadKOzl2bsIW/s320/jacques+tourneur.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5489810386938335554" /></a><br /><blockquote><span style="font-style:italic;">- "Everything must come from inside. It mustn’t be superficial.”</span></blockquote><br />Jacques Tourneur unfortunately remains a director that is fully appreciated by only a select few. To those that delve deeply into the world of film noir or classic horror films, Tourneur is rightly recognized as being one of the preeminent stylists of either genre. For the general movie fan, though, his name is likely to elicit little recognition beyond <span style="font-style:italic;">Out of the Past</span>. At the risk of sounding elitist, I know that most of those reading this post are much more familiar with the work of Tourneur beyond just his most famous film (I know my readers!). And so I think that I will get little argument from anyone when I give him such a prominent placement on this list.<br /><br />When I hear the name “Jacques Tourneur” I instantly make the connection to film noir, which is interesting because in my opinion he only made one truly great noir - <span style="font-style:italic;">Nightfall</span> pushes closes, but not quite. That one great noir, though, is the most quintessential film of the entire genre/style. I may have rated <span style="font-style:italic;">Out of the Past</span> at #2 in my noir countdown, but I did so reluctantly, as I made clear in my entry. It should be the first film that any newbie to film noir watches and I have yet to meet a single person who dislikes it. Even with this fact, ranking his films shows what an accomplished director of horror Tourneur was. The movies he made with producer Val Lewton are among the finest horror movies ever made. I prefer <span style="font-style:italic;">I Walked With a Zombie</span>, but I know knowledgeable critics who argue that <span style="font-style:italic;">Cat People</span> transcends the horror label is actually a Top 10 all-time caliber film. What makes Tourneur’s horror films so great – and this includes <span style="font-style:italic;">Night of the Demon/Curse of the Demon</span> – is how the scares and horror come not from shock tactics, but from psychological intrigues. Tourneur gets into your mind and plays on universal fears and neuroses. There is no need to for gore or blood; he is talented enough to terrify you without them.<br /><br />And while he rarely receives recognition for his work with westerns, both that I have listed here are of very high quality. <span style="font-style:italic;">Wichita</span> has recently become available via Warner Brother’s Archive series, which is how I was able to finally watch it. It is a fictionalized account of Wyatt Earp’s (played by Joel McCrea) days in the famed cattle town. I recommend it highly both for fans of westerns and of Tourneur. <span style="font-style:italic;">Canyon Passage</span> is even better and fortunately can be obtained on DVD. I have long felt that if <span style="font-style:italic;">Canyon Passage</span> had a name like Ford, Hawks or Mann attached to it, it would have a reputation as one of the most overlooked westerns of its era. Unfortunately, it has no such reputation, but it should.<br /><br />1. Out of the Past (1947)<br />2. I Walked With a Zombie (1943)<br />3. Night of the Demon (1957)<br />4. Canyon Passage (1946)<br />5. Cat People (1942)<br />6. Wichita (1955)<br />7. The Leopard Man (1943)<br />8. Nightfall (1957)<br />9. Berlin Express (1948)<br />10. The Flame and the Arrow (1950)<br />11. Stars in My Crown (1950)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com19tag:blogger.com,1999:blog-578997264816756307.post-10522809407856488872010-07-03T00:05:00.006-04:002010-07-03T00:05:00.841-04:00#14: The Archers - Michael Powell & Emeric Pressburger<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAONAh7yknHEC-Gv9UTeyrWCuI1nJw6838PM5X2Qnoibxhbbg9q_k04F4WxV_3N04lvfwCVTG10mJEY3-wyeSXrP5s73bTBRkJDO6B4FRS_Ms75oNbmbob8QLpWAP7tsIZkpM1u2fhxd4o/s1600/powell+and+pressburger.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 242px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAONAh7yknHEC-Gv9UTeyrWCuI1nJw6838PM5X2Qnoibxhbbg9q_k04F4WxV_3N04lvfwCVTG10mJEY3-wyeSXrP5s73bTBRkJDO6B4FRS_Ms75oNbmbob8QLpWAP7tsIZkpM1u2fhxd4o/s320/powell+and+pressburger.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5487609788973230674" /></a><br />For those that have frequented Goodfella’s since the days of the annual countdown, this one will certainly come as a surprise. Not just the high placement will be a surprise, but the fact that Michael Powell and Emeric Pressburger made the Top 30 at all. As some will undoubtedly remember from the yearly series, I noted that while I did enjoy the couple of Archers films that I had seen, none had really captured me as they had so many people whose tastes my own normally align with. What I also freely admitted at the time, though, was that the sample size I used to base my opinion on was tragically small – I had seen only <span style="font-style:italic;">The Life and Death of Colonel Blimp, Black Narcissus</span> and parts of <span style="font-style:italic;">The Red Shoes</span>. <span style="font-style:italic;">Black Narcissus</span> was the only one of the three that made me think that maybe, just maybe, I needed to delve deeper. Thinking that perhaps I was missing something, I felt that I owed it to myself to experience more of their work and see what all the hype was about. What ultimately won me over were two films from the classic P&P run, which surprisingly enough, neither of which occupy the top two positions in my rankings below.<br /><br />Watching <span style="font-style:italic;">A Canterbury Tale</span> for the first time was an experience akin to marveling at a more-charming, innocent <span style="font-style:italic;">Mulholland Drive</span>. It’s a weird comparison, I know, but the indefinable allure of the film drew me in immediately. It is funny, beguiling, innocent, menacing, and haunting all at once. All together, it proved irresistible to me. After watching it, I moved on to <span style="font-style:italic;">A Matter of Life and Death</span>, still reluctantly expecting a nice little bit of patriotic propaganda. Then came the opening ten minutes of what I consider to be one of the finest opening sequences ever put on film. That was it – I had to go back to the beginning and plow through as much of their work as possible. What I found was an unbelievably consistent, impressive body of work. Every film I have listed below is worth seeing, regardless of one’s taste. Keeping in mind that I still have not seen everything they made, I still maintain that there is not a bad film in the bunch.<br /><br />It should be noted that I am in fact cheating a little bit, as I have listed films that are not actually Powell & Pressburger efforts, but are only films that Michael Powell himself directed. I thought that it was worth acknowledging that he made some worthy films on his own, but none of them for me equal anything that the The Archers did together. I include them in my list, but the true reason that either man has made it into this countdown is their unbelievable success as collaborators. The first eight are the real cream of the crop in my opinion.<br /><br />What I like most about The Archers work is how the strengths of both men are allowed to be fully utilized – Pressburger supplying imaginative story ideas and tightly constructed scripts, Powell utilizing a fantastic visual sense that is both sweeping in outdoor scenic shots and intimate in tension-filled moments like the <span style="font-style:italic;">A Matter of Life and Death</span> opening mentioned earlier. The two come together and create movies that are bubbling over with emotions – sad, jubilant, poignant, passionate, dark, humorous, and many more. One thing that I don’t see mentioned as much as it should be is the sheer playfulness on display. In much of their work, P&P are dealing with deadly serious issues centered primarily on surviving in the face of horrific warfare or obstacles. And yet, much like Hitchcock’s mischievousness while dealing in murder and mayhem, there is an inescapable sense of good humor dancing around everything. Not so much as to invalidate the seriousness, but enough to generate a definite charm that most other directors would be incapable of producing.<br /><br />And before going straight to the ranking, I’ll put in a word for what I look to as possibly their most underrated film: <span style="font-style:italic;">49th Parallel</span>. Scouring the web for reviews and opinions on it, it seems to routinely be dismissed as mere propaganda fluff and just a warm-up to what would come from The Archers in the next few years. There’s no denying its propagandist purposes, but I don’t see this as reason to brush it aside. Many of the greatest films ever made have similar origins (<span style="font-style:italic;">Casablanca</span>, anyone?). Not that I’m ready to anoint <span style="font-style:italic;">49th Parallel</span> an all-time classic – after all, I place it only at #6 below – but the first half of that film in particular is very strong. It might not manage to maintain that same level for the entire length, but I never tire of watching the camera of cinematographer Freddie Young take in the sweeping Canadian landscapes.<br /><br />Those top two are unlikely to ever be unseated for me, but <span style="font-style:italic;">A Canterbury Tale</span> pushes close… or perhaps once I get the courage to undertake <span style="font-style:italic;">The Tales of Hoffman</span>, which I purposely have been putting off due to my complete antipathy toward the idea of filming an opera, I’ll be pleasantly surprised!<br /><br />1. Black Narcissus (1947)<br />2. The Red Shoes (1948)<br />3. A Canterbury Tale (1944)<br />4. A Matter of Life and Death (1946)<br />5. The Life and Death of Colonel Blimp (1943)<br />6. 49th Parallel (1941)<br />7. The Small Back Room (1949)<br />8. I Know Where I’m Going! (1945)<br />9. The Thief of Bagdad (1940)<br />10. Peeping Tom (1960)<br />11. The Edge of the World (1937)<br />12. The Spy in Black (1939)<br />13. One of Our Aircraft is Missing (1942)<br />14. Contraband (1940)<br />15. The Battle of the River Plate (1956)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com17tag:blogger.com,1999:blog-578997264816756307.post-36118379863763653072010-07-01T00:05:00.004-04:002010-07-01T00:05:00.415-04:00#15: Buster Keaton<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvuUC9LSb9ykamGfjCXL7PRQ0LM92gsj6Vw3RiB9yr-ruwkwQYb9DoXxkDGzMV2pbvzZPuiKmG-LN8hynUSgR3nFU3wyRh8PumeBt882qYbZH2iu5NNP49JiPfvcnJiJJ-03G2A9X6ssIk/s1600/buster+keaton.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 244px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvuUC9LSb9ykamGfjCXL7PRQ0LM92gsj6Vw3RiB9yr-ruwkwQYb9DoXxkDGzMV2pbvzZPuiKmG-LN8hynUSgR3nFU3wyRh8PumeBt882qYbZH2iu5NNP49JiPfvcnJiJJ-03G2A9X6ssIk/s320/buster+keaton.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5487605650627814898" /></a><br /><blockquote><span style="font-style:italic;">- “When we made a picture we ate, slept and dreamed them.”</span></blockquote><br />Although we have had our spats in the blogosphere, this entry in my favorite directors series owes a nod to <a href="http://wondersinthedark.wordpress.com/">Wonders in the Dark’s Allan Fish</a>. Before Allan began his epic countdown of his Top 100 films of the silent era, I wasn’t completely in the dark concerning the cinema of Buster Keaton. I was familiar with some of his more well-known features – <span style="font-style:italic;">The General, Sherlock, Jr., Steamboat Bill, Jr.</span> – but as with most of silent cinema, I hadn’t really taken the time to fully delve into the work. The outstanding series at WitD, and the fantastic reviews posted daily by Allan, were the impetus needed. And while still far from being a Keaton expert, I have at least now made my way through his features and a number of shorts, and come to understand what I had been missing by putting off Buster’s work. I was already a fan of Keaton, and even before diving head-first into the rest of his career, felt certain that <span style="font-style:italic;">Sherlock, Jr.</span> was the best silent film I had ever seen. I still stand by that bold declaration, but realize that he has a handful of features that are nearly just as good, along with an array of shorts that are equally as impressive.<br /><br />Where does one even begin to praise such a titan of cinema? Keaton’s genius for comedy needs no explanation or analysis and I don’t know if I have enough knowledge to do so anyway. But it is still astounding to watch the physical gags and well-choreographed chases that he performed in his greatest films. Keaton has to be considered the first great stuntman of the screen. Even if his routines are not as harrowing or spectacular as they appear – and I don’t know enough about his production methods to say so – the fact that they come across as magnificently as they do speaks to the unmatched physical gifts he displayed in front of the camera. In an era when technology lacked far behind the creativity of many talented directors, Keaton was able to translate his wildly inventive scenarios into believable adventure-comedies. Watching him do things like clinging to the pistons of a charging train, dodging avalanching boulders barreling down on him, or fighting off deep sea creatures truly separates him from any of his contemporaries. Perhaps other comedians of the era were funnier, perhaps there were adventure stories that provided greater thrills (both debatable points), but I have personally never come across someone who combined the attributes as seamlessly as did Buster. In addition to being one of the greatest comedians of cinema, I think a case could be made for him being one of the earliest action stars.<br /><br />What ultimately made the greatest impression on me is something that longtime fans of Keaton have probably known all along: for all the praise of his comedy and physical skills, his talent as a director is just as impressive. His films are not just plopping a camera down and taking in whatever the star does in front of it. Although Keaton is quoted as saying that he made his films without any scripts or written direction, I find it impossible to believe that there was not considerable planning and forethought given to how something would play out. If everything was purely off the cuff, then it’s even more impressive. Even so, Keaton clearly understood the possibilities that film provides and made great use of them. The celebrated dream sequence in <span style="font-style:italic;">Sherlock, Jr.</span> feels just as fresh in today’s CGI-dominated movie world as it must have in 1924.<br /><br />Below, I rate the Keaton that I have enjoyed so far. It clearly is not everything that needs to be seen in Buster’s career – I have seen all of the features where Keaton is generally accepted to have been the director and 14 of his shorts. There are plenty of other shorts that I still need to get to and I look forward to them. It should also be noted, that in some of these films (such as <span style="font-style:italic;">Steamboat Bill, Jr., The Cameraman</span> and <span style="font-style:italic;">Spite Marriage</span>) Buster is not credited as director, but it has been generally accepted that he remained the controlling hand. So perhaps it is cheating a little, but most critical analysis and histories accept Buster as being, at the very least, a co-director in these projects.<br /><br /><span style="font-weight:bold;">Features</span><br />1. Sherlock Jr. (1924)<br />2. The Navigator (1924)<br />3. The General (1927)<br />4. The Cameraman (1928)<br />5. Our Hospitality (1923)<br />6. Seven Chances (1925)<br />7. Steamboat Bill Jr. (1928)<br />8. Battling Butler (1926)<br />9. Go West (1925)<br />10. College (1927)<br />11. Three Ages (1923)<br />12. Spite Marriage (1929)<br /><br /><span style="font-weight:bold;">Shorts</span><br />1. The Scarecrow (1920)<br />2. Neighbors (1920)<br />3. Cops (1922)<br />4. The Goat (1921)<br />5. One Week (1920)<br />6. Daydreams (1922)<br />7. The Blacksmith (1922)<br />8. The Playhouse (1921)<br />9. The Paleface (1922)<br />10. The Electric House (1922)<br />11. The Boat (1921)<br />12. Hard Luck (1921)<br />13. The High Sign (1921)<br />14. Convict 13 (1920)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com13tag:blogger.com,1999:blog-578997264816756307.post-49220300490978310212010-06-29T00:05:00.005-04:002010-06-29T00:05:00.254-04:00#16: Fritz Lang<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb1p_dL1U4JKkWKTayQs-Py56PMncDf8xQEBkGap457GyJ-WC3YXwsgBAETPuazEseJqm4-NuHU5PKiAZzPCbKbrONRBHKmlrYvFRdFJ9IkogQPFqJIenNmGzJJia_YblNCI_LvbfO5jUz/s1600/fritz+lang.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 246px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb1p_dL1U4JKkWKTayQs-Py56PMncDf8xQEBkGap457GyJ-WC3YXwsgBAETPuazEseJqm4-NuHU5PKiAZzPCbKbrONRBHKmlrYvFRdFJ9IkogQPFqJIenNmGzJJia_YblNCI_LvbfO5jUz/s320/fritz+lang.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5487602808013387314" /></a><br /><blockquote><span style="font-style:italic;">- "“Each picture has some sort of rhythm which only the director can give it. He has to be like the captain of a ship.”</span></blockquote><br />Everyone reading this will likely agree that if Fritz Lang never came to the United States in 1936, his output in his native Germany alone would have still been strong enough to warrant placement in a countdown of this scope. Indeed, when you see my ranking of his films below, the top three all come from Lang’s pre-Hollywood days. But I am guessing that most people reading this are also similar to me in that they first came to Lang through his much more widely-available – and arguably more accessible – Hollywood films. Once I made my way through those that were easier to come by, it was inevitable to move on to his more critically acclaimed early days and see how the Lang legend was built. It was surprisingly difficult for me to try and compare and rank the films from these two distinct periods in Lang’s work, particularly when factoring in the fables and tales that have grown concerning the production of many of Lang’s early films. In terms of that hard-to-define quality of “greatness,” few if any of Lang’s American movies can trump those from Germany. Even so, I do love Lang’s American work, almost as much as his earlier German period, and in terms of favorites I place the best of his American work quite high.<br /><br />These two separate phases make Lang’s complete body of work all the more fascinating, in my opinion, as it is interesting to observe the similarities and differences between them. In visual terms, there is no question that the more experimental and interesting work was done in Germany, as the cinematography and camera work in masterpieces like <span style="font-style:italic;">Metropolis</span> and <span style="font-style:italic;">Destiny</span> are still a marvel to behold almost a century later. His pictures of the 1920s display flair and style that almost immediately identify them as Fritz Lang films. I acknowledge that <span style="font-style:italic;">Metropolis</span> is the greater and better film, but I have recently fallen in love with <span style="font-style:italic;">Destiny</span> and am amazed at how beautifully eerie the cinematography is in that one. It is absolutely brilliant.<br /><br />His best work on the western side of the Atlantic unquestionably centered on highly skilled crime dramas. Focusing less on technical artistry and experimentation, dark narratives and storytelling characterize these films. Taking a cue from what I consider the best movie he ever made – 1931’s <span style="font-style:italic;">M</span> – Lang became a master at tackling dark subject matter, and even more impressively dark characters. The leading men and women in Lang movies like <span style="font-style:italic;">Fury, You Only Live Once, Scarlet Street, The Big Heat</span>, and others seem like people predestined to hardship and suffering. Even the most hardened, bitter characters are rendered at least somewhat sympathetic in the way that Lang and his collaborators portray them. This ability is a main reason why Lang is one of the few men of the era who can stake a legitimate claim to being the greatest director of film noir. I don’t quite personally give him that mantle, but he is very close.<br /><br />The sheer number of outstanding films in his total filmography might be the most impressive thing. I have ranked 20, which is nowhere near his entire output, and there honestly is not a bad movie in the entire list. Not all of them are <span style="font-style:italic;">M</span> or <span style="font-style:italic;">Metropolis</span>, and not all of them would be considered favorites, but all are enjoyable and worth seeking out.<br /><br />1. M (1931)<br />2. Metropolis (1927)<br />3. Destiny (1921)<br />4. Scarlet Street (1945)<br />5. The Big Heat (1953)<br />6. While the City Sleeps (1956)<br />7. Die Nibelungen (1924)<br />8. Spies (1928)<br />9. Testament of Dr. Mabuse (1933)<br />10. Clash by Night (1952)<br />11. House by the River (1950)<br />12. Dr. Mabuse the Gambler (1922)<br />13. You Only Live Once (1937)<br />14. The Blue Gardenia (1953)<br />15. The Woman in the Window (1944)<br />16. Hangmen Also Die! (1943)<br />17. Fury (1936)<br />18. Western Union (1941)<br />19. Man Hunt (1941)<br />20. Secret Beyond the Door (1948)<br /><br />Up next: We go <span style="font-weight:bold;">BLIND</span>! Now things will be like countdowns of the past. Folks making submitting their own lists will not suffer, as I am highly unlikely to roll out a director that people are completely unfamiliar with. Plus, with two days for each entry, there is plenty of time. So the tension mounts! (LOL)Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com11tag:blogger.com,1999:blog-578997264816756307.post-61602492979026362772010-06-27T00:05:00.004-04:002010-06-27T00:05:00.073-04:00#17: Ernst Lubitsch<object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/7jOVRKzwURY&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/7jOVRKzwURY&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br /><br />I challenge any fan of classic cinema to watch that clip and not be completely put in the mood to watch the first Ernst Lubitsch film that you can get your hands on. Hearing Billy Wilder talk about Lubitsch, the man he unceasingly championed as his personal idol in Hollywood, truly is inspiring. His love of Lubitsch has become well known through the often repeated story of how Wilder hung a single sign in his office door that asked: “What would Lubitsch do?” The famed “Lubitsch Touch” is what Wilder continually strove to reach. To see an aging Wilder in the above clip, an undisputed master of direction himself, get that glint in his eye as he meticulously describes a scene Lubitsch created decades earlier (although, the astute Lubitsch fan will notice that he ultimately does reference the wrong film!) reiterates why Lubitsch remains such a fascinating director. Very few contemporaries of the sound era could direct comedy as magnificently as Lubitsch. Even today, he towers above contemporary directors.<br /><br />The fact that so many accomplished directors themselves seemed keen to declare him the greatest director of comedy speaks volumes. Defining the “Lubitsch Touch” is an elusive task, and I’m sure that everyone has a slightly different explanation of what it means. Lately, though, for me the term has come to symbolize Lubitsch’s ability to make absolutely timeless films. His best work remains just as dynamic today as it did when it first premiered. These films maintain the air of sophistication that Lubitsch did better than anyone, while at the same time preserving the underlying sensual nature of his stories. The placement and movement of his camera created tension and sensuality that never would have slipped by Hays Code censors in more demonstrative form. The physical romance that runs through most of his stories takes place off camera, but he is skilled enough to make sure that the seductiveness and sexuality of it all remains palpable.<br /><br />But who am I to try and describe in words the brilliance of Lubitsch? His films really just need to be experienced. So, on with the list! And I realize that the number of movies I have seen from Lubitsch is nowhere near being complete. He still has a number of musicals and films from his early years that I have yet to see. Everything I have seen, I love, which speaks well about any "new" Lubitsch movies I watch in the future. And while I'm at it, I'd like to point out how close I came to bumping <span style="font-style:italic;">To Be or Not to Be</span> to the top of the list. It and <span style="font-style:italic;">Trouble in Paradise</span> are two of the funniest movies I have ever seen. I couldn't quite supplant <span style="font-style:italic;">Trouble in Paradise</span>, but it is so close. The next four in line could probably go in any order, but this is how I feel at the moment.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5lrooX-If-96nBW6gtJnuorSLMhksIydFDLLr8AqZciRkcWjimZ-TQkUMxk2FM10W8frqkaBSmVYYcGU5FeDpKnPZ3519Vim8KpHzm1qngQRp1ohLKWSmyJNFbuTrDzhPtiljum0TwjrI/s1600/ernst+lubitsch.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 225px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5lrooX-If-96nBW6gtJnuorSLMhksIydFDLLr8AqZciRkcWjimZ-TQkUMxk2FM10W8frqkaBSmVYYcGU5FeDpKnPZ3519Vim8KpHzm1qngQRp1ohLKWSmyJNFbuTrDzhPtiljum0TwjrI/s320/ernst+lubitsch.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5477416584727254146" /></a><br />1. Trouble in Paradise (1932)<br />2. To Be or Not to Be (1942)<br />3. Heaven Can Wait (1943)<br />4. Ninotchka (1939)<br />5. The Shop Around the Corner (1940)<br />6. The Merry Widow (1934)<br />7. Cluny Brown (1946)<br />8. The Smiling Lieutenant (1931)<br />9. The Student Prince in Old Heidelberg (1927)<br />10. Design for Living (1933)<br />11. Broken Lullaby (1932)<br /><br />Next in line: <span style="font-weight:bold;">Fritz Lang</span>.Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com16tag:blogger.com,1999:blog-578997264816756307.post-43354848530532033222010-06-25T00:05:00.012-04:002010-06-25T00:05:00.891-04:00#18: Brian De Palma<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikZ1ckYUz-_hArKxy1rZcDdcw0U3Q_VajHuKbfSlyFH73GA7gBj3bogzBvqpG-IcL3c-_cTBEtiknO8B7wbNsQs2Bb2WExsTYsSpEcVxf41Wte4ulxZuNGPXAGgceITvlv9kw3s-dU3d8Y/s1600/brian+de+palma.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 242px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikZ1ckYUz-_hArKxy1rZcDdcw0U3Q_VajHuKbfSlyFH73GA7gBj3bogzBvqpG-IcL3c-_cTBEtiknO8B7wbNsQs2Bb2WExsTYsSpEcVxf41Wte4ulxZuNGPXAGgceITvlv9kw3s-dU3d8Y/s320/brian+de+palma.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5477417871636478642" /></a><br /><blockquote><span style="font-style:italic;">- "So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point."</span></blockquote><br />Brian De Palma can split film critics and moviegoers faster than anyone, Steven Spielberg included. What is so interesting in regard to De Palma is that there is rarely any middle ground in assessing his body of work. To those that appreciate him, De Palma is a technical virtuoso who has inherited the mantle of his cinematic idols. For those that don’t care for his films, he has simply made a career out of producing cheap, second-rate imitations of Hitchcock and other legitimate giants. Where do you fall in this debate? Is there any middle ground among those that dare to venture to each newly-released and critically-panned De Palma film?<br /><br />Where I fall on the spectrum is obvious since he is included in this list. I have always had at least a limited interest in De Palma, but it was only recently that I went on a serious binge. I had actually shied away from some of his more maligned efforts, figuring if they were panned _that_ badly, then everybody couldn’t be completely wrong… right? Wrong. What is commonly listed as being among his worst films is now sitting atop my list of favorites. And as my appreciation of De Palma’s visual style has continued to increase, so too has my appreciation of his earlier films, as I went back and re-watched movies that I had not seen in some time.<br /><br />De Palma is one of the great visual stylists working today. Those that dislike his films in general are likely to deny such praise, but I stand by it. The man does things with the camera and editing that rarely fail to impress me. Maybe someone will not enjoy the story, but I am amazed that fans of cinema are not at least mildly interested or impressed by his visual flair. De Palma gets playful, exulting in what he can do with the camera and the film, and this is often interpreted as being tricky and rendering his stories incomprehensible. Certainly, many of his stories can be hard to follow at times. But in most cases, repeat viewings show that De Palma has actually laid things out. The clues might not be easy to pick up, but they are there. Rather than concentrating on them, though, I recommend just taking in the wonderful atmosphere and scenes that De Palma revels in creating. Finding a coherent story and interpretation will be there on repeat viewings.<br /><br />I’ll be particularly interested to hear thoughts from everyone on some of De Palma’s more reviled films that I hold dear – particularly <span style="font-style:italic;">The Black Dahlia</span> and <span style="font-style:italic;">Mission to Mars</span>. Both have been completely torn apart by critics, but I think they are very, very good.<br /><br />1. The Black Dahlia (2006)<br />2. Carlito’s Way (1993)<br />3. Dressed to Kill (1980)<br />4. Blow Out (1981)<br />5. Scarface (1983)<br />6. Femme Fatale (2002)<br />7. The Untouchables (1987)<br />8. Mission to Mars (2000)<br />9. The Fury (1978)<br />10. Casualties of War (1989)<br />11. Body Double (1984)<br />12. Sisters (1973)<br />13. Obsession (1976)<br />14. Carrie (1976)<br />15. Raising Cain (1992)<br />16. Greetings (1968)<br />17. Mission Impossible (1996)<br />18. Hi, Mom! (1970)<br />19. Phantom of the Paradise (1974)<br />20. The Bonfire of the Vanities (1990)<br />21. Snake Eyes (1998)<br />22. Murder a la Mod (1968)<br /><br />Next we come to the man with the famous Touch: <span style="font-weight:bold;">Ernst Lubitsch</span>.Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com20tag:blogger.com,1999:blog-578997264816756307.post-30674605123743073552010-06-23T00:05:00.005-04:002010-06-23T00:05:00.355-04:00#19: Anthony Mann<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUDqDeRMRmWn2e7PiqQDZDlF-sbczNTevLOCK6oR3a3eb07BY91V6xBk0y9Bmkan_vIm_zfbp3SDxEZvgtv-yyO-18ZprCsarg5pvqcv8vyRzpcig5LAEGnSzndBRds-Nb3p0YSsFx0lSI/s1600/anthony+mann.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 224px; height: 287px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUDqDeRMRmWn2e7PiqQDZDlF-sbczNTevLOCK6oR3a3eb07BY91V6xBk0y9Bmkan_vIm_zfbp3SDxEZvgtv-yyO-18ZprCsarg5pvqcv8vyRzpcig5LAEGnSzndBRds-Nb3p0YSsFx0lSI/s320/anthony+mann.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5480094379052787938" /></a><br /><blockquote><span style="font-style:italic;">- “The shock of glimpsing an entire life, an entire world, in a single little shot is much more important than the most brilliant dialogue.”</span></blockquote><br /><a href="http://www.moviemail-online.co.uk/scripts/article.pl?articleID=344">Anthony Mann & The Western Renaissance</a><br /><br />I post the link to this wonderfully written article, titled “Anthony Mann & The Western Renaissance,” because writer Peter Wild raises a key point that factors into my own assessment of the career of Anthony Mann. Wild’s piece deals with the recent mini-renaissance of high-quality westerns that have been released – <span style="font-style:italic;">The Assassination of Jesse James</span>, the remake of <span style="font-style:italic;">3:10 to Yuma, The Proposition, Seraphim Falls</span> – and argues that many key elements in these films are heavily influenced by Mann’s work in the genre five decades earlier. It is a very interesting read, and I encourage anyone interested to read through the whole thing, but there is one point in particular that I want to highlight. Wild brings up the fact that there isn’t a single Anthony Mann western that one would likely hold up as “the greatest western ever made.” John Ford has <span style="font-style:italic;">The Searchers, The Man Who Shot Liberty Valance, and My Darling Clementine</span>. Howard Hawks has <span style="font-style:italic;">Rio Bravo</span> and <span style="font-style:italic;">Red River</span>. Clint Eastwood has <span style="font-style:italic;">Unforgiven</span>. Sam Peckinpah has <span style="font-style:italic;">The Wild Bunch</span>. All have, at one time or another, been listed as possible candidates as the best western of all time. <br /><br />Despite making a number of outstanding westerns, Anthony Mann has no such signature film. His cycle of Jimmy Stewart westerns is universally praised. <span style="font-style:italic;"> Man of the West</span>, seen as one of Gary Cooper’s final great performances, is highly regarded by critics. Overlooked gems such as <span style="font-style:italic;">The Furies</span> have been rediscovered and re-released in the past few years and are beginning to be appreciated. But even I, as a huge Anthony Mann fan, don’t know that I would put forth just one of these westerns as possibly the best ever made. Instead, as Wild points out in his article, the power of Mann’s westerns is apparent when considered in total. Individually, they might not reach the heights of the best Ford or Hawks western, but cumulatively they make up a body of work that places Mann as an equal of any other director to work in the genre. The same kind of argument could probably be extended to cover his work in film noir as well. In my opinion, none of his noirs are quite to that “greatest of all time” level, but when you look at how consistently outstanding his work is and consider a body of work that includes gems like <span style="font-style:italic;">T-Men, Raw Deal, Side Street, Border Incident</span>, and even a noirish thriller like <span style="font-style:italic;">Reign of Terror</span>, it becomes apparent that he really is one of the best.<br /><br />Particularly with his westerns, I think the main reason why it is not easy to select just one or two of them as his best are that they are all of a consistently high quality. The five “psychological westerns” that Mann made with James Stewart are all great films. But which one is the best? Ask five different movie fans and you could get five different answers. Then you have to consider accomplishments like <span style="font-style:italic;">Man of the West, The Furies</span>, and even <span style="font-style:italic;">Devil’s Doorway</span> which is an overlooked gem. Such consistency makes it hard to pinpoint exactly which of Mann’s westerns deserve to be championed as worthy of the lofty labels mentioned earlier.<br /><br />And this is without even mentioning the final stage of Mann’s career, that of the epic adventure. I have only seen <span style="font-style:italic;">El Cid</span> from this stage, but I absolutely love it, as I do Mann’s entire output. He was a workingman’s director, who gradually moved his way up through Hollywood and pieced together a wonderful career. There is not a bad film listed below.<br /><br />1. The Man from Laramie (1955)<br />2. Bend of the River (1953)<br />3. T-Men (1947)<br />4. El Cid (1961)<br />5. Winchester ‘73 (1950)<br />6. The Furies (1950)<br />7. Man of the West (1958)<br />8. The Naked Spur (1953)<br />9. Raw Deal (1948)<br />10. Reign of Terror (1949)<br />11. Devil’s Doorway (1950)<br />12. The Tall Target (1951)<br />13. The Far Country (1954)<br />14. Side Street (1950)<br />15. The Tin Star (1957)<br />16. Men in War (1957)<br />17. He Walked by Night (officially credited to Alfred L. Werker) (1948)<br />18. Border Incident (1949)<br />19. Strategic Air Command (1955)<br /><br />Reactions to the next entry ought to be interesting and all over the map. Up next is the always controversial <span style="font-weight:bold;">Brian De Palma</span>.<br /><br />And just as a general note, I decided that we're going to the "blind countdown" mode at the midway point, so 15 and in. That's the perk of running things, I can switch it up slightly at my own whim! Revealing each director in advance only gives one off day to prepare any kind of list. But with two days allotted for each posting, the blind reveal still allows a second day for comments and lists. So, to heighten drama for the second half, I think it will work well.Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com24tag:blogger.com,1999:blog-578997264816756307.post-841381618631301872010-06-21T00:05:00.011-04:002010-06-21T00:05:00.188-04:00#20: John Huston<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiFYGy4VneYnkvjT34rZb_RzQ_oMFlvEmNvKojmolKk8_JFYCv8XvispqctA0KGLeksFj8lvuDnEF3LZ1TdAWd8KCIOzn-kqNWTbAUN6iNzzj5prAif2s0uGbvOoOF-VlsA23yifU_8Znl/s1600/john+huston.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 260px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiFYGy4VneYnkvjT34rZb_RzQ_oMFlvEmNvKojmolKk8_JFYCv8XvispqctA0KGLeksFj8lvuDnEF3LZ1TdAWd8KCIOzn-kqNWTbAUN6iNzzj5prAif2s0uGbvOoOF-VlsA23yifU_8Znl/s320/john+huston.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5477172265390659090" /></a><br /><blockquote><span style="font-style:italic;">- "Hollywood has always been a cage... a cage to catch our dreams."</span></blockquote><br />I am in no way suggesting that John Huston should be classified as an “underrated” director. How could he be, considering that a number of his top films are rightly regarded as being among the finest ever produced in Hollywood. I do think, though, that his top two or three movies (and I suppose his role in Roman Polanksi’s <span style="font-style:italic;">Chinatown</span>) are viewed as a complete summary of the man’s extraordinary career, which is a shame because there is so much more there. To be certain, his most famous pictures – <span style="font-style:italic;">The Maltese Falcon, The Treasure of the Sierra Madre, The Asphalt Jungle</span> – deserve all of the acclaim that they receive. I love every one of them. But his lesser-known films are of such high quality, it amazes me that they are not more widely praised. <span style="font-style:italic;">The Misfits</span> receives publicity because of the stars attached to it – it was the final film for both Marilyn Monroe and Clark Gable, and Montgomery Clift gave one his final performances, and Arthur Miller penned the screenplay – but it deserves recognition as the equal of Huston’s best work. <span style="font-style:italic;">Fat City</span> is one of the four or five best boxing films ever made. <span style="font-style:italic;">The Dead</span> is beautifully poetic. <span style="font-style:italic;">The Night of the Iguana</span> might be my favorite screen adaptation of Tennessee Williams.<br /><br />This is a man who continued making outstanding films for over forty years, remaining interesting through every phase.<br /><br />Most of Huston’s films have a general vibe or feeling that make it known that he is the guiding force of his projects. I have seen his auterist credentials questioned, but I rarely have trouble recognizing Huston's style. His movies may not have been personal, but they contained similar threads that stamped them as John Huston films. Part of this I’m sure is due to the fact that, at least early in his career, he almost always had a hand in writing the scripts that he directed. His talents as a writer deserve nearly as much praise as those as a director. Being involved in projects from this early stage allowed Huston to instill a trademark understated cynicism to every film. It isn’t cynicism like one gets from a Billy Wilder film, where Billy is poking fun at everyone and everything. It is a cynicism where a fateful break, a stretch of bad luck, or good old ironic twists triumph in the end. His heroes come oh-so-close to fairytale endings, but never quite get there. Is it a pessimistic view? Some could read it that way, but to me it just feels realistic.<br /><br />A connection to a modern director that I always think about is a lineage from John Huston and his early crime genre work and current crime film specialist Michael Mann. Both men set up great set pieces centered on heists and mysteries, but both Huston and Mann are more interested in examining why the participants are involved in the schemes and what compels them to take such risks. The heists or action is just the means by which they can examine their main characters.<br /><br />1. The Treasure of the Sierra Madre (1948)<br />2. The Asphalt Jungle (1950)<br />3. The Maltese Falcon (1941)<br />4. Fat City (1972)<br />5. The Night of the Iguana (1964)<br />6. Key Largo (1948)<br />7. The Misfits (1961)<br />8. The Red Badge of Courage (1951)<br />9. The Dead (1987)<br />10. The Man Who Would Be King (1975)<br />11. The African Queen (1951)<br />12. Heaven Knows, Mr. Allison (1957)<br />13. Under the Volcano (1984)<br />14. Wise Blood (1979)<br />15. In This Our Life (1942)<br />16. The Unforgiven (1960)<br />17. Beat the Devil (1953)<br />18. Prizzi’s Honor (1985)<br /><br />Up next, a man who dabbled in many styles and produced classics in all of them: <span style="font-weight:bold;">Anthony Mann</span>.Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com19tag:blogger.com,1999:blog-578997264816756307.post-70961611557895708902010-06-19T00:05:00.006-04:002010-06-19T00:05:00.524-04:00#21: Robert Siodmak<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9EEvVDh_So2yp-pNcytD515xhVj_LH2wZJUQ0svNG_sPdUU9RvNqf-IrC6Uwxpcv-etQ8z57tbmYUn73lSNzjjlM8Mw4H9K8cQWo1_6ZDIMi1A91dAwT7eCSiWQjJlPhfsAp6HI1MI_la/s1600/robert+siodmak.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 263px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9EEvVDh_So2yp-pNcytD515xhVj_LH2wZJUQ0svNG_sPdUU9RvNqf-IrC6Uwxpcv-etQ8z57tbmYUn73lSNzjjlM8Mw4H9K8cQWo1_6ZDIMi1A91dAwT7eCSiWQjJlPhfsAp6HI1MI_la/s320/robert+siodmak.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5480093236782462722" /></a><br />In case my counting down my 100 favorite films noir did not give it away, I’ll reiterate the fact that I am a film noir junkie. I try and see anything and everything resembling a noir that I possibly can. I have seen a lot in the short amount of time that I have been obsessed and feel like I have a pretty good handle on the greatest stylists in the genre/style. A number of the finest directors to ever work in United States at some point dabbled in noir – Wilder, Lang, Hawks, Tourneur, Ray, Huston, Welles, the list could go on. Some of these names will be, and already have been, featured in this favorite directors series. And even with such giants of cinema, if exclusively considering true noirs produced by such directors, I don’t think that I would choose any of them as my personal favorite handlers of noir. If forced to make such a selection, I’d actually have to go with this man: Robert Siodmak. He made two of the finest noirs of all time, a handful of others of high quality, and was instrumental in developing the template that others followed throughout the classic noir period.<br /><br />Born to Polish Jewish parents in Germany at the turn of the century, Siodmak was successful in German cinema in the 1920s before the Nazi rise to power. For obvious reasons, he was not a favorite of the Party. Unfortunately, I have not seen any of the work he produced in his native country, but when Universal Studios signed Siodmak to a seven-year contract in 1943, he quickly developed the distinctive style that he has come to be identified with. The horror picture <span style="font-style:italic;">Son of Dracula</span> features expressionistic lighting and visual style that Siodmak would perfect a few years later, allowing him to take a rather standard B-movie storyline and give it a noir feeling. By 1944, Siodmak would embark on a string of noirs and noirish thrillers that matches up favorably with any of his contemporaries – <span style="font-style:italic;">The Suspect, The Spiral Staircase, The Killers, The Dark Mirror, Cry of the City, Criss Cross, and The File on Thelma Jordan</span> all in a five-year period.<br /><br />Clearly, he did not _only_ make noirs. <span style="font-style:italic;">The Spiral Staircase, The Suspect, Son of Dracula</span>, even <span style="font-style:italic;">The Dark Mirror</span> all contain elements similar to noir, but are not fully enmeshed in the style/genre. So to call him a one-trick pony would be an overstatement. His horror work is just as superlative, with a masterwork like <span style="font-style:italic;">The Spiral Staircase</span> arguably being an even greater visual achievement than his best noirs. Just thinking of the movie the word “black” comes to mind. Dark, dark black. Black to the point of zero visibility. The kind of shadowy, dark black sets that only could be achieved on a sound stage in the classic studio system. It really has to be seen to be appreciated.<br /><br />Even so, there is a reason that the zenith of Siodmak’s days in Hollywood came at the height of the classic noir cycle. By the mid-1950s, his career was already on a downward path. But watching the movies produced during the decade-long burst of creativity that contains Siodmak’s finest work, it should be quite obvious why I think so highly of him. His use of lighting and shadows is like a textbook in noir. His depiction of anguished characters, carrying baggage from past lives or relationships, is always compelling. Siodmak is certainly not underrated by those that have any familiarity with his work, but his name remains one that deserves to be more well-known. I rank him a master director.<br /><br />1. Criss Cross (1949)<br />2. The Killers (1946)<br />3. Cry of the City (1948)<br />4. The Spiral Staircase (1945)<br />5. The Suspect (1945)<br />6. The File on Thelma Jordan (1950)<br />7. Phantom Lady (1944)<br />8. Christmas Holiday (1944)<br />9. The Dark Mirror (1946)<br />10. Son of Dracula (1943)<br />11. Custer of the West (1967)<br /><br />Next in the countdown is a contemporary of Siodmak's and another man with multiple great noirs (among others) to credit: <span style="font-weight:bold;">John Huston</span>.Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com11tag:blogger.com,1999:blog-578997264816756307.post-68557401304453809062010-06-17T00:05:00.005-04:002010-06-17T00:05:00.201-04:00#22: Stanley Kubrick<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeyWxj3GXF9rIAwTQoArkPzYpWQkG0F90oYqLbqgxWrUwsJ_QXrsRnfEgvfFlB93apoGjcba8lORHBmG3RmWLnuXYRLkBmCwXKo4SB7UBKlzKlGM5ZvILBLrklc5HOxxlhlS5OzY3zhqJ4/s1600/stanley+kubrick.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 246px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeyWxj3GXF9rIAwTQoArkPzYpWQkG0F90oYqLbqgxWrUwsJ_QXrsRnfEgvfFlB93apoGjcba8lORHBmG3RmWLnuXYRLkBmCwXKo4SB7UBKlzKlGM5ZvILBLrklc5HOxxlhlS5OzY3zhqJ4/s320/stanley+kubrick.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5477139126506960690" /></a><br /><blockquote><span style="font-style:italic;">- "If it can be written, or thought, it can be filmed."</span></blockquote><br />In terms of greatness this place - as was John Ford's on Tuesday - is far too low. The Kubrick legacy is one that has aged very well as his status as one of the finest directors to ever work in the medium remains as strong as ever. Ranking him here is no disrespect at all, but simply a matter of personal tastes. When you scroll the bottom of this entry and look at how I rank my favorite Kubrick films, you will notice that my ordering is certainly unique. Normally, devoted Kubrick followers place <span style="font-style:italic;">A Clockwork Orange</span> and <span style="font-style:italic;">2001: A Space Odyssey</span> at, or at least near, the top. My taste runs contrary to the traditional viewpoint though, which I think says a lot about the overall body of work Kubrick produced over his forty-plus years in cinema. The fact that I can come up with such a different ordering of his films, placing his two most critically-acclaimed movies outside of the top half of the rankings, shows how strong his filmography is. Depending on your taste or preferences, there is something in his work for everyone. I am a sucker for crime dramas and historical epics – thus I gravitate toward classics like <span style="font-style:italic;">The Killing</span>, <span style="font-style:italic;">Paths of Glory</span>, and <span style="font-style:italic;">Barry Lyndon</span>. Others might prefer the more experimental or science fiction, which means that <span style="font-style:italic;">Clockwork</span> and <span style="font-style:italic;">2001</span> would justifiably be pushed toward the top. Of course, this doesn’t exactly explain something like <span style="font-style:italic;">Dr. Strangelove</span>, but that movie is beyond classification…<br /><br />I would point out that this is probably the first time that I have finally decided to boost <span style="font-style:italic;">Dr. Strangelove</span> to the top of a Kubrick list. Ever since I watched <span style="font-style:italic;">The Killing</span>, it has been firmly planted as my personal favorite. <span style="font-style:italic;">Dr. Stranglove</span> I enjoyed from the get-go, but it is a movie that has grown even better for me over time and repeat viewings. My sense of humor is dry and dark anyway, and since <span style="font-style:italic;">Strangelove</span> is as black as a newly-laid driveway, it was likely inevitable that it would come to be my favorite Kubrick.<br /><br />What has struck me most in my recent Kubrick viewings is (no surprise) the unmatched visual sense that he possessed. A fact that I knew, but never really gave much thought to until I was reminded of it once again by John Greco at <a href="http://twentyfourframes.wordpress.com/">Twenty Four Frames</a>, is that Kubrick began work as a semi-professional photographer while still a teenager. A famous photo that he sold to <span style="font-style:italic;">Look Magazine</span> while only 16 can be easily found at various spots on the ‘net. This still photographer’s eye can be seen in the impeccable taste he shows in framing shots. Every movie he ever filmed displays incredible images, regardless of the director of photography or other principals behind the camera. This tells me that Kubrick remained the guiding force and reason for this continued visual excellence.<br /><br />1. Dr. Strangelove (1964)<br />2. The Killing (1956)<br />3. Eyes Wide Shut (1999)<br />4. Paths of Glory (1957)<br />5. The Shining (1980)<br />6. Barry Lyndon (1975)<br />7. Full Metal Jacket (1987)<br />8. 2001: A Space Odyssey (1968)<br />9. Lolita (1962)<br />10. Spartacus (1960)<br />11. Killer’s Kiss (1955)<br />12. A Clockwork Orange (1971)<br /><br />Next in the series is the the underrated noir and thriller specialist <span style="font-weight:bold;">Robert Siodmak</span>.Davehttp://www.blogger.com/profile/07134196370913749544noreply@blogger.com23