Film du Maison
25
To Kill a Mockingbird
1962
50-26
It has been over one month since I watched a film on my American Film Institute list, so last night I started off my final quarter with #25 - To Kill a Mockingbird starring Gregory Peck. I read the book and saw the move back in the 9th grade, and this was my first viewing since then.
Scout (Mary Badham) is a young girl living in a small town in Alabama during the 1930s with her brother Jem (Phillip Alford) and father Atticus Finch (Peck), a town lawyer. The film covers three summers in these young children's lives. While Atticus has been asked to represent Tom Robinson (Brock Peters), a black man who is charged with rape against a young white girl, Scout and Jem attempt to find out more about their reclusive neighbor Boo Radley and learn lessons about racism, tolerance, courage and compassion from the moral hero, their father.
It had been a long time since I had seen the film or read the book, but I remembered basic plot points and how much I loved all of the main characters. That fact didn't change when watching it again. The kids were great and I loved Scout's first day at school when she is put in a dress. I also love that the kids call their father by his first name - seems fitting with the fact that he treats everyone around him with respect regardless of age, race or station.
I also failed to notice the first time I saw it that Boo Radley is played by a young Robert Duvall. He may only have a few minutes in the movie, but that is a name and character I could never forget and I couldn't believe I didn't recognize him the last time I saw this.
This classic film truly is timeless. Gregory Peck as Atticus specifically is one of those guys that everyone wishes they knew. His reasoning for his actions and his soothing way of explaining things to Scout makes him absolutely one of the best cinematic fathers of all time. I, along with Scout, would have been very upset if my reading time with him was shortened because of school.
Sitting in the Top 25 is the right place for this film, and I dare say it should be lower.
Favorite quote:
"There's a lot of ugly things in this world, son. I wish I could keep 'em all away from you. That's never possible." - Atticus Finch
24
E.T. The Extra-Terrestrial
1982
I was productive this Labor Day weekend and watched another movie on my American Film Institute Top 100 list: #24 - E.T. The Extra-Terrestrial. This film marked Steven Spielberg's #4 of 5 movies on this list, more than any other director.
Elliott (Henry Thomas) is a lonely 10-year old boy living in California with his recently separated mother Mary (Dee Wallace), his brother Michael (Robert Macnaughton), and little sister Gertie (Drew Barrymore). One night when going outside to pick up a pizza, he notices something hiding in the tool shed. While his family doesn't think anything of it, Elliott is convinced and returns later that night using Reeses Pieces to lure the alien out and into the house. He then develops a friendship with the extra-terrestrial (dubbed E.T.) and realizes that he needs to help his friend find his way back home.
I saw this film when I was a child sometime in the late '80s or early '90s, so it had been at least 20 years since I had watched it. At first the film started out just like I remembered, but it went by really quickly - before I knew it, E.T. was already living in the house and talking about phoning home, then all of the sudden he is already in the basket on Elliott's bike flying to the forest. This seemed to happen the entire time - my childhood memory had been fixated on key points in the film, not the actual progression of it. Now viewing it in a totally different context, I enjoyed it much more than I remember. Specifically, E.T. himself.
I have found that it is a polarizing topic with people within my age range (late 20s to early 30s) - you either loved E.T. and wished he lived in your closet, or he was the monster that terrified you and you hoped didn't live in your closet. I am definitely in the former group and found him lovable, adorable, funny and enchanting. It is hard for me to understand how he is scary since he did so many wonderful things (and let Gertie dress him up).
If anything, this movie makes me feel like the true enemy is adults. And specifically, adults in the government or government-like groups who want to do nothing more than to take something special away or use science as a weapon. Elliott, Michael and Gertie's need to protect E.T. feels noble and innocent and truly did warm my heart. I was able to ignore problems regarding the age of the film (special effects, costumes, makeup) because the story and the feelings it inspired transcended time and technical specifications.
I'm happy I watched this film again, and agree with it's inclusion on the list (although I would probably move it up into the 30s).
Favorite Quote:
Gertie: "I don't like his feet."
Elliot: "They're only feet, you little twerp."
23
The Grapes of Wrath
1940
Working down my American Film Institute list, I watched #23 - The Grapes of Wrath (film) starring Henry Fonda and based on the Pulitzer prize novel by John Steinbeck. This was my first Steinbeck film and only second Fonda film (the first being 12 Angry Men, which was #87).
Tom Joad (Fonda) is a young man just released from prison and trying to get back home to his family farm in Oklahoma. He plans on working the farm, just like the rest of his family has. Once returning home, he finds out that his family has been driven off the land, their home foreclosed by the bank. With no job prospects in sight, they decide to head west to California where they heard there is plenty of work waiting. However, their grueling trip to California ends up resulting in much hardship and the grim facts of what circumstances many families are in.
This 1940 black and white film is set in the 1930s Great Depression, so immediately I was interested in the story line for historical reasons alone. Although I have read many things about this time in America, I hadn't read a story quite like this one - where it becomes clear how individuals and families lived and survived during this difficult time. The way of life is so foreign to me, that I was enthralled with how societies were functioning and what people were willing to do just to put dinner on the table every night (or as often as possible).
This was only my second Henry Fonda movie, and I couldn't believe how young looking he was! It took me a few minutes to be completely sure that it was him playing this young ex-con. He was superb and I was not at all surprised to find out that this was his first Academy Award nomination.
I have never read Steinbeck nor seen any other films based on his writings. I really enjoyed the story, and I wonder how much of the dialogue was directly lifted because there were a few moments that were extremely poignant. I also read that the ending was changed for the film due to the book being too controversial at the time. Since I've decided to do a book list after I'm finished with this one, I'll be sure to read this novel so I can find out how much was the film version or the novel itself that I enjoyed and appreciated.
Favorite Quote:"I wouldn't pray just for a old man that's dead, 'cause he's all right. If I was to pray, I'd pray for folks that's alive and don't know which way to turn." - Jim Casey
22
Some Like it Hot
1959
Being sick is a perfect reason to sit at home and watch old movies, and last night I did just that with my American Film Institute #22: Some Like it Hot starring Jack Lemmon, Tony Curtis and Marilyn Monroe. This is the second film on the list for all three stars (Jack for The Apartment, Tony Curtis for Spartacus, and Marilyn for All About Eve).
Joe (Curtis) and Jerry (Lemmon) are musicians in Chicago in the 1920s. After having to flee the club they were working at due to a prohibition sting, they find themselves caught in the mob crossfire during the Saint Valentine's Day Massacre. On the run, they decide to join a women's only band in order to get out of town. Joe (now Josephine) and Jerry (now Daphne), board a train headed for Florida and meet the band's lead vocalist/ukulele player Sugar (Monroe). Both men befriend her and struggle with having to keep up their persona as female musicians despite growing affection for Sugar as well as many other complications.
This film was directed by Billy Wilder, making it #3 of 4 of his films on this list (The Apartment, Double Indemnity and Sunset Blvd are the others). He is one of the most prolific writers, directors and producers of Hollywood's Golden Age, and this film is a testament to that. I love that his films are very buttoned up - nothing is accidental, there are no such thing as filler scenes. He also has great dialogue and clearly understood the talent he works with - this is the best I've ever seen Jack Lemmon.
Now when I was a kid, Jack Lemmon was already an old man. I knew him from Grumpy Old Men and Grumpier Old Men. This younger Jack is just incredible! Not only was he hilarious as Jerry, but as Daphne he was the shining star of the film. I couldn't believe the mannerisms and facial expressions he had acting like a woman. Absolutely terrific.
Marilyn, oh Marilyn. Having only seen her in All About Eve, where her part is small, this film helps me understand why she was such a superstar. She is of course stunning and has that sweet little voice, but her screen quality is ineffable. I can't tell you why I was so drawn in by her, I just was. And this is coming from someone who LOVES Tony Curtis. The other two stars eclipsed that gorgeous man. Now that is saying something!
My favorite quotes:
Jerry: Have I got things to tell you!
Joe: What happened?
Jerry: I'm engaged.
Joe: Congratulations. Who's the lucky girl?
Jerry: I am!
It took me two days to finish this next American Film Institute movie, but only because I started it too late on the first night and realized about 15 minutes in that I was going to definitely want to be more awake for the rest of it. So last night I finished #21 - Chinatown starring Jack Nicholson and Faye Dunaway and directed by Roman Polanski. Now I'm definitely glad I waited until I could give the movie my full attention.
Jake Gittes (Nicholson) is a private investigator in Los Angeles who makes most of his money following cheating husbands around. He gets hired by a woman to follow her husband Hollis Mulwray and finds out that he is the chief engineer of the LA Department of Water and Power. While carrying out surveillance, he overhears him publicly oppose the creation of a new reservoir (which is a big deal since they are currently going through a drought) and then snaps pictures of him with a young woman. Satisfied after the photos show up in the following day's paper, he soon finds out the woman that hired him was actually not the wife. Before he is able to question Mr. Mulwray about who would want to have him followed, he turns up dead. Not believing any of this is a coincidence, Gittes is determined to find out what is going on and pursues anyone connected with Mulwray including his wife Evelyn (Dunaway) and his former business partner (John Huston).
Going into this film, I had no idea what the overall story was about. I knew that it was a neo-noir, but wasn't really sure exactly what that was going to mean. Now I'll tell you exactly what it means - all the elements that make a good film noir (interesting camera angles and low key lighting), only done in color and updated to look even better.
I already knew I was a fan of Roman Polanski's work. His psychological horror film Rosemary's Baby is my most favorite horror film of all time and I absolutely loved The Pianist. This film is yet another fine example of his expertise in making a beautiful film still happen within an elaborate/complicated story.
My favorite thing about this movie was Jack Nicholson. He is always entertaining, and this is a much more mellow version of him that I was still entranced by. I also love how the director made sure that in the entire film, I only see things from Gitte's perspective. I only ever know as much as he knows. It really adds to the mystery of the film and kept me guessing all the way until the end.
This is such a great movie and could so easily be ruined, I will only say this: I love when things don't end the way you think they'll end. No matter how much you pay attention or put things together. I read that there was a dispute between the screenwriter and director on how to finish the story. Kudos to Polanski on making the decision that changed this movie for the better and made it something I haven't been able to stop thinking about.
This film sitting at #21 is just about right. Although watching it again, I may change my mind and say it should be in the teens. It is so beautifully done and damn near perfect.
My favorite quote:
"Course I'm respectable. I'm old. Politicians, ugly buildings, and whores all get respectable if they last long enough." - Noah Cross
21
Chinatown
1974
20
It's a Wonderful Life
1946
This weekend I was able to watch another American Film Institute movie and this time it was a personal favorite of mine. #20 - It's a Wonderful Lifestarring Jimmy Stewart and Donna Reed and directed by Frank Capra. I usually reserve this movie for the holiday season, and it had been a few years since I had seen it.
The film opens up with multiple people praying for a man named George Bailey (Stewart). Hearing these prayers, an angel named Clarence (Henry Travers), who is waiting to get his wings, is assigned to visit George and help him with his troubles. In order to understand just who George Bailey is, we go on a journey through his life to see how he got to where he is including him saving his brother as children, taking over the family business to try to protect the town from the local slumlord Mr. Potter (Lionel Barrymore) and meeting his eventual wife, Mary (Reed). Everything comes to a head on Christmas Eve when his business suddenly faces bankruptcy and a warrant is issued for his arrest. George finds himself contemplating jumping off the bridge and committing suicide only to be thwarted by his guardian angel Clarence and shown what the world would be like if George Bailey had never been born.
Frank Capra, who is responsible for 3 movies on this list, has said this is his most favorite film he directed. I couldn't agree more. Although some critics considered it to be a little idealistic and too sentimental, I find it charming and uplifting. It was hard to understand that initially this film recorded a loss at the box office. It wasn't until years later that it became a holiday staple.
One reason I think the tides may have changed was because of the two stars - Jimmy Stewart, who is a beloved American actor who only gets better in time, and Donna Reed who went on to have her own television show and is still one of the best television mothers ever. Both of them are absolutely wonderful as George and Mary, and knowing they continued to have wonderful careers only makes this early film seem even sweeter to me.
This movie was nominated for 5 Academy Awards and didn't win any (4 of those wins going to The Best Years of Our Lives). It is hard to believe, but considering how the film was initially received and the fact that The Best Years of Our Lives (#37 on this list) is a solid film, I'm not surprised. I can only be glad that America's perception of this film has changed over time.
I'd like to address the #20 position in the Top 100. In my opinion, this movie belongs at least within the Top 20, if not Top 10 films of all time. I have seen this movie many times, and it doesn't matter how often or how long it has been - I can't help but tear up, repeatedly, every time I watch it. If you haven't seen it, save it for December. If you have, it's just about time to watch it again.
Favorite Quote:
"What is it you want, Mary? What do you want? You want the moon? Just say the word and I'll throw a lasso around it and pull it down. Hey. That's a pretty good idea. I'll give you the moon, Mary." - George Bailey
19
On the waterfront
1954
Breaking into the teens on my American Film Institute list, I watched my second Marlon Brando film on the list - #19 On the Waterfront. This film received 12 Academy Award nominations, winning 8 including Best Picture and Best Actor. I had VERY high expectations of the film.
The film centers around the New York Waterfront and the union boss Johnny Friendly (Lee J. Cobb) who controls it. Terry (Brando) is a dockworker and former boxer whose brother Charley (Rod Steiger) is one of Friendly's right hand-men. When Terry unintentionally leads another dockworker to his death, he is confronted by Edie (Eva Marie Saint) and urged to testify regarding the actions of Mr. Friendly. Terry then has to choose between doing the right thing or facing the wrath of Friendly and his brother and complicating his life.
I liked this movie quite a bit. The story was interesting and kept very concise, the acting by both Brando and Saint was spectacular, and I felt the filming being in black and white actually added to the grittiness of the story. I think they also did a spectacular job with the locations they chose to shoot - they actually filmed at the docks, alleys, rooftops and bars in Hoboken, New Jersey. It definitely added a level of authentication.
I have to mention the famous line by Brando. Prior to watching the film, the only thing I knew was the, "I coulda been a contender" line. Not having any idea the context, it has always been a pretty funny line (due to the amount of parodies it has received in pop culture). Now knowing the gravity of that conversation - the emotion behind it - I don't think I'll ever hear it the same way again. In a good way.
As much as I enjoyed this film, I am not sure it really belongs in the Top 20. I'd probably put it somewhere in the low 30s.
Favorite Quote:
Edie Doyle: "Which side are you with?"
Terry Malloy: "Me? I'm with me, Terry."
18
The General
1926
This weekend I was able to watch two American Film Institute movies, so I'll start with #18 - The General produced, directed and starring Buster Keaton. I had never seen a film by this iconic silent film star and he supposedly considered this his best film.
Johnnie is a Western & Atlantic Railroad engineer going to visit his fiance Annabelle when the Civil War breaks out. He rushes to go join the Confederate Army, but is rejected because he is too valuable as an engineer. Without being told this, he leaves sadly and is confronted by Annabelle (Marion Mack) who tells him that she will not speak to him again until he is in uniform. Some time later, Annabelle is notified that her father has been hurt in the war. She decides to take Johnnie's train, The General, to visit him. During a routine stop the passengers deboard only to have the train stolen by Union soldiers. Thus begins an exciting and unorthodox chase for Johnnie to reclaim his beloveds The General and the hostage Annabelle.
I really liked the movie, more than I thought I would. Buster Keaton's deadpan face is so funny in itself (his nickname was The Great Stone Face). He was known for his physical comedy and now I understand why. I didn't have the same level of affection for him as I have had with Charlie Chaplin's characters, but he still kept me entertained throughout and his expressionless face mixed with the physical comedy was a big reason for that.
Unbeknownst to me, this film is actually based on a real event during the Civil War known as The Great Locomotive Chase. I thought that was so interesting and it made me appreciate the film even more.
With this being a silent film, I had to give it my complete attention and that is why it had taken so long for me to watch it. The running time is only about 75 minutes, but they did a good job of moving the story along so to keep me interested throughout. This is Buster Keaton's only major film on the list and while I appreciate that, I don't think it belongs in the Top 20. I'd probably put it up in the Top 40.
My favorite fact about this film (as there is no dialogue):
There is a scene where a bridge collapses as a railroad train crosses it. This was done in Cottage Grove, Oregon and after the film was over they left the wreckage which then became a minor tourist attraction until WWII.
17
The Graduate
1967
I'm behind on my reviews for my American Film Institute movies, so I'll start with #17 - The Graduate starring Dustin Hoffman and Anne Bancroft. It had probably been about 5 years or so since I last watched this movie, so I was anxious to see it again.
Benjamin Braddock (Hoffman) is a recent college graduate who is worried about his future. After returning home, his parents throw a party where everyone wants to congratulate him and ask what his future plans are. He gets out of this uncomfortable situation by driving his father's business partner's wife, Mrs. Robinson (Bancroft), home. Once at home she clearly tries to seduce the nervous Ben before he quickly leaves. Soon after he decides that he is interested in having an affair with her while loafing around his parents house avoiding any type of future plans. With pressure from his parents, Benjamin takes Mrs. Robinson's daughter Elaine (Katherine Ross) out on a date. This is the beginning of a very messy situation for the aimless and confused college graduate.
This movie is most definitely one of my favorite Dustin Hoffman films. I love him as Benjamin, and his nervous energy feels extremely authentic, especially in his interactions with Anne Bancroft. I also love the fact that he was only 6 years younger than the "much older woman", but that is easy to ignore due to the caliber of talent.
One thing that I had completely forgot about until watching it again was the soundtrack. I always forget how awesome Simon and Garfunkel are, and this was a reminder of the fact that I need to listen to them more. Not only is the music itself great, but it lends itself perfectly to the film's tone.
I feel like this film definitely belongs in the Top 20, and I might even consider it being in the Top 10. It is such a rich film that evokes so many different emotions, and it does it without pushing the viewer towards anything. I love that. Mike Nichols definitely created his masterpiece with this film and I was sad to hear of his passing this year on November 19th.
It is also worth mentioning that Mr. Feeny (William Daniels) from Boy Meets World plays his father. He is only 10 years older than Hoffman.
Favorite Quote:
"It's like I was playing some kind of game, but the rules don't make any sense to me. They're being made up by all the wrong people. I mean no one makes them up. They seem to make themselves up." - Benjamin Braddock
Getting back on track with my American Film Institute reviews, I recently watched #16 - Sunset Blvd starring William Holden and Gloria Swanson. I was extremely excited for this film because it was another Billy Wilder film and I have loved all his films in this Top 100 list.
Joe Gillis (Holden) is a screenwriter who is trying to pitch a script to Paramount Pictures and stave off getting his car repossessed. After hiding his car in a lot across from his apartment, he flees the repo men and turns into a seemingly deserted mansion on Sunset Boulevard. He decides to hide his car in the garage of the abandoned house only to find that it is not abandoned at all. A woman calls to him, thinking he is someone else, and soon he is ushered into the mansion by a butler named Max. He finds out that the woman is formerly famous silent-era actress Norma Desmond (Swanson). She learns he is a writer and tells him of a fantastic script she has written and insists he read it. Even though he thinks the script is abysmal, he agrees to help her rewrite it and finds himself being moved into her house and becoming a kept man by a delusional narcissist with dreams of an ill-fated comeback.
I loved this movie so much. I think this may be my favorite film I've watched on this list so far. The story is a classic, but because this is from 1950 I can tell that a lot of films took many elements of this film and that is why the story has been done in one way or another since. The way it was filmed, in a noir-style, and the signature Wilder writing that doesn't linger on anything unnecessy creates an intriguing look with great pacing.
I'm not extremely familiar with either of the leads in this film, but I did see Holden in The Wild Bunch and Bridge on the River Kwai. He was by far best in this film. As for Swanson, it turns out that she was an extremely prominent silent-era leading lady, and she was nominated for the first ever Academy Award for Best Actress. I'm unsure how much life imitated art, but I wouldn't doubt that there had to have been a lot of Norma Desmond in Gloria Swanson. She was absolutely terrific.
There were two major things that I learned about this film that made me extremely happy. The first is the narrative of Joe Gillis and how the film starts out. It reminded me quite a bit of American Beauty in that sense. The second was that I FINALLY know where one of the most famous quotes in all of film came from.
This film is sitting at #16. I don't know what will happen with the next 15, but I am telling you it is going to be hard to beat. I believe this is Top 10 material.
Favorite Quote:
Joe: You're Norma Desmond. you used to be in silent pictures. You used to be big.
Norma: I AM big. It's the pictures that got small.
16
Sunset Boulevard
1950
When I recently watched my latest American Film Institute movie on the Top 100 list, I was initially excited. #15 - 2001: A Space Odyssey directed by Stanley Kubrick, was my last of his four on the list and surely my memory of being impressed with this movie was going to be validated, right? Definitely not.
The film is broken out into four major sections. The first is the Dawn of Man, where we find early hominids foraging for food and learning how to use a tool. The second is TMA-1, which brings us into the future where we encounter a space station and doctors and scientists traveling the moon. The third is the Jupiter Mission where we meet scientists Dr. David Bowman (Keir Dullea) and Dr. Frank Poole (Gary Lockwood) who are pilots traveling on a secret mission with three cryogenic hibernated colleagues and the ship's computer HAL 9000. The final section is Jupiter and Beyond the Infinite where Dr. Bowman leaves his pod to investigate a monolith and gets pulled into a sudden vortex.
On the face of it the movie looks like it is going to be killer and my memory of it was that it was totally awesome. Watching it again, this time not through the easily impressed eyes of a teenager, it felt like a pretentious and pontificating exercise in abstraction by Mr. Kubrick. I was really bored for the majority of this film, and as soon as I got to the fourth section, I was just waiting for it to be over.
That being said, there are quite a few positives in the film. The soundtrack is outstanding and at least attempts to keep you company during an otherwise dull story line, the special effects, given that this was made in 1968, could rival movies 20 years younger or more. It also had some very cool space-y furniture and clothing.
However, that doesn't make up for the boredom that is the entire beginning of the film, the end of the movie that feels like it will never, ever end, and the "where in the story am I" portion of TMA-1. Being thrown into the middle of a story with zero context is not something I enjoy on its own, and I enjoy it even less when it is never really given context. If you're going to make it relatively pointless, at least do something interesting (see: cool furniture).
The core story, Jupiter, is the only part really worth watching in my opinion. It actually has a story line that is enjoyable, actors that do an extremely good job, and a computer that you are able to feel is the most important character in the film, which is pretty impressive in itself. My prior favorite part of this movie is still my most favorite: Hal singing "Daisy Bell."
Cinematic achievements schmeivements. This shouldn't be at #15. For technical reasons, it should be on the list somewhere over 50. But not here.
Favorite Quote:
" I am putting myself to the fullest possible use, which is all I think that any conscious entity can ever hope to do." - HAL 9000
