Film du Maison
74
The Silence of the Lambs
1991
75
In the Heat of the Night
1967
I was able to finish out the first quarter of my American Film Institute list last night with #75 In the Heat of the Night. A 1967 mystery film with strong racial tension, the story centers around a murder of a rich white man in a small southern town and Virgil Tibbs (Sidney Poitier) just happens to be in the town visiting from Pennsylvania. After (of course) being a suspect, it is discovered that he is not only a police officer, but also a homicide expert and ends up helping the podunk cops in catching the killer.I was intrigued by the film, and I had read that this was one of Sidney Poitier's best films. I found that his performance was good and I enjoyed his character (especially the famous, "They call me Mr. Tibbs!" line). But ultimately I thought that Rod Steiger was the guy to watch in this film. Gum chewing aside, his role as a small town cop who begrudgingly asks for the help of Virgil Tibbs was spot on.I really enjoyed the movie and so many references that have been made to it now make a lot more sense. One thing though - after watching, I couldn't get the theme song out of my head for hours. Thanks Ray Charles.
Last night I watched my American Film Institute #74 film - The Silence Of The Lambs. It had been a while since I had seen the entire thing, and I had seen the sequels (Red Dragon and Hannibal) more recently. So I was excited to get to the movie that started it all. Anthony Hopkins is absolutely mesmerizing as Hannibal Lecter. The entire time he is on screen (and it is roughly only 20 minutes) you hang on his every word and can't take your eyes away from that unblinking stare. And Jodie Foster as Clarice Starling is a perfect contrast. As I was reading about the film and seeing all the different actresses they considered for the role, I don't think it would have been nearly as good with anyone else.The movie was released in 1991, but this is one movie that truly stands the test of time. I didn't even think about how old it is, what other movies the actors have been in, or how the technology or quality feels old. In fact I didn't think about anything but Hannibal and Buffalo Bill throughout the entire film (and for the rest of the night).I have seen some great films in the first 25 that I have watched on the list, but I can honestly say that no film I have watched so far is better than this movie.For a thriller movie, this has some of the best quotes of all time. My personal favorite: "It puts the lotion on the skin or it gets the hose again!"
I watched #72 on the American Film Institute list - The Shawshank Redemptionstarring Tim Robbins and Morgan Freeman. The film, based on the Stephen King novella, is far and away one of the best films of the '90s. I was eager to watch it despite how many times I had previously seen it.Before I mention anything, I must first off say that this film has the best narration of all time. Morgan Freeman's voice is incredible. This is the movie that made everyone realize it.The story itself is so rich and the characters are so well developed. It makes you surprised that you are on the side of all these convicts and the "good guys" are all the real criminals. No matter how many times I watch it, the Brooks story line makes me cry. And when Andy plays the opera music over the speaker system I can't help but grin along with him. I don't know if it is the story, the acting, or the magical combination of both but this film tugs hard on your heart strings without ever feeling campy or cheesy. That is not an easy thing to do.One thing I noticed during this viewing was the sound effects. How much of an emphasis is put on the sound of the cells closing, the mops in the tar, even steps inside the prison. I never really thought about how important those sounds were until you think about how quiet that prison would be otherwise (no TVs or stereos at the time). Pretty awesome once I really listened for it.One question I did always have though - Zihuatanejo? Why? I wonder if that place's tourism rate went up after the film. But then again - I would go on a chartered fishing trip with Andy and Red anyday.
I watched my American Film Institute #73 film - Butch Cassidy & Sundance Kid. I am a big fan of both Paul Newman and Robert Redford and you would think that being from the state where this movie was filmed, I would have already seen it. But I just never had and now I am ashamed no more. This movie is pretty effing cool.I don't know much about the real life Butch Cassidy and Sundance, but the way they were depicted in the film was pretty awesome. They were funny, their banter back and forth was great, and even though they were bank robbers, I found myself rooting for them most of the time. I was also surprised about how good this film looked. For being from 1969, it was very visually pleasing (with a little help from the Uintah Mountains of course) and overall a great film.Two awesome things that I found out while watching this film: 1. I didn't realize that the security guard LaFours in Mallrats was based on the character LeFors in this movie (even with the same white hat). Very cool play Kevin Smith.2. The song Raindrops Keep Fallin' on My Head was written for this movie. That entire scene cracked me up and made me feel that the Spider-Man 2 scene with the same song was a little bit of an homage.
72
The Shawshank Redemption
1994
73
Butch Cassidy and the Sundance Kid
1969
75-51
71
Saving Private Ryan
1998
70
A Clockwork Orange
1971
The #71 film on the American Film Institute list was Saving Private Ryan starringTom Hanks, Matt Damon and Tom Sizemore and directed by Steven Spielberg. This is regarded as not only one of the best WWII films, but war films in general. Not only was it on the AFI Top 100 list, it also ranked at #8 on The Top Ten Most Epic films of all time. I had seen the film one other time (and recently), but I was still happy to watch it again. The biggest reason for me was due to the cast. Although the big names (Hanks, Damon) were connected to it, there is a slew of awesome actors that were in this film including some of my favorites Giovanni Ribisi, Paul Giamatti and the "other Ryan" Nathan Fillion. It is almost hard to pick out a standout character because they are all so good in different ways - exactly what you would want with soldiers. But if I HAD to pick one it would honestly be Tom Sizemore. His character felt so balanced against Tom Hanks and all the other soldiers. Plus his final battle is nothing short of extraordinary and ultimately heartbreaking.One thing that I absolutely LOVE about this film is the cinematography (which it won an Academy Award for). When it comes to war films, they always seem to be so saturated. This almost black and white almost sepia beautiful mixture just adds a sense of realism to the film. Like it was a lost reel from the actual battles. In some scenes it feels so soft and delicate, while in others everything that is happening is so severe. This film most definitely deserves to be on the list, and reminds us all why we know and respect Steven Spielberg. He is truly one of the great filmmakers (this marks his 1st of 5 films on the list).
So I finally got to my #70 film on the American Film Institute list - A Clockwork Orange. I had never seen this movie in full, and was looking forward to it since I generally like Stanley Kubrick and had heard so many good things about it. So I hate to say it, but I was a little let down.I get that the movie speaks specifically to violence, youth, sex, psychiatry (or behavioural science) and this was a big deal when the movie was released in 1971. But I find that this film doesn't have the same message it initially intended watching it in 2013. I get frustrated with films that are shocking for the sake of being shocking, and many scenes in this film felt like that. I know this was based on a book (that I have not read) so I'm not sure if the themes are due to the original author or Stanley Kubrick. One thing that I did love about this movie, however, was the costumes and makeup. Alex and his band of "droogs" looked great, and the fact that some of the more "normal" women were wearing pink or purple wigs was mildly amusing. I also loved when Alex wears his Beethoven-esque clothing. Ties nicely into that element in the film.It wasn't a bad film, but it wasn't nearly as great as I was expecting. One major problem for me? That damned Cockney English. Right, brother?
My #69 film on the American Film Institute was Tootsie starring Dustin Hoffman. Considered one of the great American comedies, this movie's premise was funny in itself. An out of work actor decides to dress in drag in order to get work. Wasn't this movie from 1982 remade in the 90s and called Mrs. Doubtfire? There are similarities in the two that is for sure.Dustin Hoffman is spectacular in both roles. Michael Dorsey is neurotic, pushy, difficult, and somehow still a loveable guy. But when he becomes "Dorothy Michaels" he is hilarious! He is that pushy aunt who while conservative will still lay the smack down if need be. One of my favorite things about it was the fact that Michael was so invested in his character "Dorothy" the he would talk about his hair styles, clothing choices, and even the type of people that would hypothetically be at her house as though she was a real person. It was funny to watch a method actor be a "method actor."I will just say this. Dustin Hoffman is a terribly AWFUL looking woman. But he has all these cute gentle mannerism that you just kind of forget that she is a man. It is a sweet enough story that the creep factor of him falling for his co-star Jessica Lange (and her thinking that she is a lesbian) still comes across well. Speaking of the other cast members, I was pleasantly surprised to see Teri Garr, Charles Durning and my favorite...Bill Murray. Maybe it is the fact that cross-dressing isn't that bizarre anymore, but the movie wasn't as laugh out loud funny as I thought it was going to be. To say it is one of the funniest movies of all time? I don't think so. But it was still great. It was a feel good funny movie that felt very 80s.
69
Tootsie
1982
As I mosey on down my American Film Institute list, I stopped at #68 -Unforgiven starring Clint Eastwood, Gene Hackman and Morgan Freeman. This was the second western in the list, and it was heads and shoulders above the previous one. I think some of it had to do with the fact that this movie was released in 1992 (and see the cast above). I read that this film was slated to be Clint Eastwood's final Western film. And I think he did an exceptional job picking it. This movie felt like a love letter to the entire genre. It had the look of a much older film, there were all the people you'd think you would see in a Western there (whores, lawmen, gunfighters, Indians) and it felt very minimalistic in both the script and the action. In a good way. I always felt that the best cowboys were those "man of few words" kind, and William Munny was just that. Clint Eastwood has such a strong presence that sometimes I felt I was getting more from him when he was saying nothing. What a rare gift that is. I also loved Gene Hackman as Little Bill. To be honest, I was a little worried when I saw he was in the film because I have unfortunately seen his other western The Quick and the Dead. He should have taken queues from Clint and stopped here.The Western genre is not really one I enjoy. There are VERY few that I like. But this will now be included in that short list because it had a core character that I was both intrigued with and entertained by. The movie started me off like that and ended it like that. And I couldn't have been more pleased.
68
Unforgiven
1992
I finally got back to my American Film Institute list and watched the #66 film Raiders of the Lost Ark. I love Harrison Ford in the role of Indiana Jones, and although this isn't my favorite of the series, I am happy to watch this movie anytime.
I am not going to break the movie down because I am assuming everyone has seen it. And if you haven't, you need to go watch it now instead of reading any of this. The entire series is the beautiful magic that happens when George Lucas is kept in check by Steven Spielberg. This introduction to the character of Indiana Jones is surprising in hindsight because even though I feel I know him better due to the other two movies (I will not count Kingdom of the Crystal Skull), watching it again it doesn't feel like there was ever a learning curve in understanding his motivations, actions or dialogue.
Now the movie came out in 1981 and as timeless as it is, some of the graphics and special effects are laughable compared to today's standards. Apparently anyone that ever dies makes an extremely horrible face before they do so and their skeletal remains have that face forever. I couldn't help but laugh after Satipo (Alfred Molina) runs away with the idol only to be seen dead a few minutes later in what was probably one of the worst faces of them all.
This movie deserves to be on the list. And since the AFI has a habit of only including the 1st movies of trilogies, I will assume that is the only reason Indiana Jones and the Temple of Doom was not also on the list. I don't care what anyone says. THAT is the best Indiana Jones movie.
The next film on the American Film Institute list was #67 - Who's Afraid of Virginia Woolf? starring Elizabeth Taylor and Richard Burton. This highly acclaimed drama is one of those movies that I always thought about watching and knew I should since I am a Taylor fan and this was the movie that resulted in her second Academy Award.
The movie takes place for the most part in Martha (Taylor) and George's (Burton) home while entertaining a younger couple after a night of drinking. It is almost constant banter between the main characters so when I say it is dialogue heavy - that is an understatement. It made sense that the film was originally a play (I think it would almost work better that way). There isn't a whole lot of excitement or things transpiring and so unless you are prepared for it - the film starts to feel like an acting exercise for everyone involved. Despite the wordiness of it, I have to say there are some wonderful insults flying around that were not commonly used language at the time (and they are made even better with Elizabeth Taylor being the one doling them out).
This movie garnered some serious praise both when it was released and through the years. And unfortunately, I feel that it was a bit oversold. Although I liked it and I was impressed with the performances of all the actors involved, it became tiresome about half-way through and I found myself wondering how much longer the film was going to be because nothing was really happening. The other issue I had was the black and white aspect. I don't have a problem with this choice normally, but it is a little bit of a let down when you're going to watch a movie with one of the most beautiful women in the history of cinema and you can't even appreciate those famous violet eyes.
Knowing this movie was coming up, I decided to punish myself by watching the Lindsay Lohan Lifetime movie Liz and Dick. I won't even go into my issues with that movie because it is beyond terrible. But it did make me understand more why this movie was such a big deal when it came out. The relationship between Taylor and Burton would be on the cover of every celebrity magazine nowadays and so the prospect of a volatile real life relationship being a volatile film relationship would be exciting and make this movie that much more entertaining.
Too bad it isn't 1966. Both Mrs. Taylor and Mr. Burton may have deserved their Oscars/nominations, but I think I would rather watch Cleopatra.
66
Raiders of the Lost Ark
1981
67
Who's Afraid of Virgina Woolf?
1966
Next up on the American Film Institute was #64 - Network. From 1976 and starring Faye Dunaway and Robert Duvall, I had absolutely zero interest in watching this movie until I saw that it was on this list. Frankly I didn't know anything aside from finding out that it was nominated for the Best Picture Academy Award (during a year of great films) and won in numerous other categories. So I just assumed I was in for some outdated satirical film about media.
Despite this movie being over 30 years old and television networks not being the media giants they once were, I was still able to not only be entertained by the film, but I could still relate to it. The movie opens with network news anchor Howard Beal (Peter Finch) stating during his broadcast that his life is pointless and he is going to shoot himself on the air. At first the network scrambles to distance themselves from this lunatic until they realize they can capitalize on his emphatic and angry speeches. He soon becomes more popular than he ever was in his legitimate anchor career including him even having his own catchphrase, "I'm mad as hell, and I'm not going to take it anymore!"
With the attention the media gives people like Amanda Bynes, Britney Spears and Mel Gibson (to name a few), this movie hammers in that the language of money is and always will be the primary driving force for just about anything in the media. No matter whether you agree or disagree about what someone says or the mental state they are in when saying it, sensational sells. Think about how many magazine covers you have seen about so-and-so's breakdown in the last 5 years. Too many to count. And the stacks of bills generated is even more immeasurable.
I thoroughly enjoyed the film - not only was the story interesting, the writing fantastic, and the performances by everyone involved great, but I was happy to see a movie with this subject matter that could have easily been only good for a few years but was instead done so well it will continue to be a classic for many years to come.
On a weird side note - I had heard Sublime's song "We're Only Gonna Die For Our Arrogance" (only the unedited version) and it included samples of one of Howard's speeches. I never knew where it came from. Only took me 15 years to figure that out
65
The African Queen
1951
64
Network
1976
63
Cabaret
1972
62
American Graffiti
1973
60
Duck Soup
1933
61
Sullivan's Travels
1941
59
Nashville
1975
58
The Gold Rush
1925
57
Rocky
1976
55
North by Northwest
1959
54
M*A*S*H
1970
52
Taxi Driver
1976
53
The Deer Hunter
1978
I have now completed half of the American Film Institute's 100 Years...100 Movies. The film that holds the distinction of ringing in the 1 year anniversary of starting this project is #51 - West Side Story starring Natalie Wood and Richard Beymer. I hadn't seen this film since Junior High, but I of course remembered songs like "America" and "I Feel Pretty" and was excited to watch this again.
The story is inspired by Romeo and Juliet, and focuses on an ongoing rivalry between two street gangs - the Jets (led by Riff) and the Sharks (led by Bernardo). Each group wants to rule the streets, and so at a dance the Jets propose an all-out rumble once and for all. Here enters the complication of Bernardo's sister Maria (Wood) and Riff's best friend, and former member of the Jets, Tony (Beymer). As soon as they see each other, it is love at first sight. As with the inspiring work, this tragic story of star-crossed lovers does not have a happy ending.
This film won 10 Academy Awards - more than any other musical. Even though it is from 1961, watching it now I can still understand why it was so highly acclaimed. The first thing I noticed was how vibrant everything was - specifically with the cinematography and costuming. With this film being an adaptation of a play, it feels like they took the best aspects from a stage production to pay homage to where it came from. This was also the case with the set design - each scene was fully contained in one set. Although I sometimes find that to feel a little phony, that is not the case with this film. Again with it originally being a play, this style works to its advantage by allowing you to focus on the best thing about this film.
I'm talking about the dancing. I mean - WOW. During the opening sequence of the Jets and the Sharks running around the city tussling with one another I was thinking to myself, "wouldn't it be cool if real gangs actually danced around like this." It is so awesome to see groups of 10 - 30 men fight/dancing and jumping around beautifully. It wasn't something I necessarily appreciated the last time I saw this movie.
The acting was well done, the singing was perfect, and the story itself is wonderful and entertaining. I found it very interesting that Wood was chosen to portray Maria, a Puerto Rican, since she is Russian. However to her credit, I had to look that up because you would never know that just watching her as Maria.
I know that this is probably one of the top most redone plays in High Schools across America, but watching it again I completely understand. Racial intolerance, catchy songs, young romance ending badly - it has everything every high schooler wants.
51
West Side Story
1961
56
Jaws
1975
It has been such a busy month, my American Film Institute Top 100 list has been neglected. Trying to get back on track, I watched #61 - Sullivan's Travels starringVeronica Lake and Joel McRea. I didn't really know much about Veronica Lake before seeing the film. I knew her for that peekaboo hair style and Kim Basinger's portrayal of a look-alike prostitute in L.A. Confidential.
The movie, from 1941, was cute. It is a story about a wealthy director (Mcrea) who yearns to make movies that are more realistic and socially-conscious. So he decides to dress as a "tramp" and eventually runs into "the girl" (Lake) who is a failed actress that buys him breakfast. Together they eventually succeed in this effort and hitch rides on trains, eat in soup kitchens, and sleep in cramped homeless shelters. Like most movies from this era it has an unrealistic turn of events and then eventually finds it's happily ever after (with a little help from Disney, too!). A story about self-discovery, but still shallow enough to be able to wade through.
I was really taken aback by Veronica Lake. For one thing, I didn't know how tiny she was, or that she had such a FANTASTIC voice. I assume that without her personal struggles with mental illness and alcoholism, she would have done more. When she was on the screen, you couldn't take your eyes off her. Really mesmerizing and a true reminder of what old Hollywood brought you - silver screen "stars."
I will now be looking for some more films with Veronica Lake as I read just about everything online that I could find (I will also be searching for her official autobiography as it is some crazy price on Amazon). It isn't very often that I am so surprised with an actor/actress in this way. I recommend that anyone curious about this Hollywood legend check out this film. If only to see that famous hairdo.
My next movie on the American Film Institute was #60 - Duck Soup. And of course the last movie in the 60s had to be a hard one because I'm trying to get to at least half way through with the list by the one year mark. The film is another Marx Brothers movie, from 1933. I wasn't crazy about the last Marx Brothers movie, so I will say that it took more than one try to finish this film.
Just like the last one, the story is ridiculous and there is a lot of nonsense conversation and then comedy shorts or bursts into song happening randomly. I found myself getting very tired of Groucho Marx. I get the fact that he was the king of puns, but nowadays it just feels like cheap one liners. Honestly, I can now say my favorite Marx Brother is Harpo Marx. Because he is the silent one.
This movie is famous for the mirror scene. Groucho's character finds himself in a doorway with one of his brothers acting just like him. I was actually very entertained by this portion of the film simply because it felt like I was watching Looney Tunes. I'm pretty sure I've seen Bugs Bunny do that same act. I can now see that the Marx Brothers are what influenced things like Looney Tunes, which makes them valuable in my book. However, I will say that I think some of these old gags or jokes are a lot funnier coming from a cartoon rabbit.
The next film on my American Film Institute Top 100 list was #59 -Nashville. Directed by Robert Altman and recipient of numerous awards and nominations, I was expecting something pretty spectacular. When both Roger Ebert and Leonard Maltin hail it as one of the best films of 1975, I have to feel that I'm going to at least appreciate it if not like it.
The film is (obviously) set in Nashville and focuses on the country music scene and a political campaign that is currently going on. The enormous cast of 24 has overlapping stories throughout the five days, and of course there are a LOT of songs.
I'm not a country music fan. I'm especially not a country music of 1975 fan. All the singing was all snoozes for me. I was so bored every time they broke into song. Yet at the same time, I was glad at least only one story was going on at that time.
My biggest problem with this film was the size of the cast. It was just too big. How people's stories were interwoven was forced and you never get enough from anyone to really care about them. So all the events that happen feel meaningless and superficial.
After reading reviews about the movie to see what I was or wasn't missing, I felt like this was one of those times that people looked at the cast and director and instead of seeing no character development or lack of substance, they instead thought those things were intentional and praised them for it. People say it is "artistic" only because the other adjectives to use would all sound negative: disorganized, uncompelling, and just plain tiresome.
I know I have one more Robert Altman movie coming up in the near future. Considering how I feel about some of his other work and after this waste of time, I'm not really expecting much.
I wasted no time in getting to my next movie on the American Film Institute - #58The Gold Rush starring Charlie Chaplin. After my complete surprise of his last film on the list, I was anxious to see the movie that he said he was most proud of and wanted to be remember for.
Once again, Charlie's "Little Tramp" finds himself on an adventure. After traveling to the Yukon, he gets stuck in a cabin during a snowstorm (in which he has to eat his own shoe and is mistaken as a giant chicken). He then ventures into a nearby town and decides to give up on prospecting and meets a girl. Of course he falls for her, and in his wooing does one of my favorite things I've seen him do thus far - the dance of the rolls (which was copied by Johnny Depp in Benny & Joon).
This movie was a little different as it had a voice over explaining some of the situations. This wasn't needed in Modern Times, so I found that I liked that better. However, the music in this movie was great. They used some famous pieces of music (such as Flight of the Bumblebee) which really added to the comedy of some of the sketches.
I can't explain how much I love to watch Chaplin as the Little Tramp. It is unbelievable how good he really is. Without a word, I know everything his character is thinking and feeling. His pantomiming is so incredible. No wonder he was avoiding doing "talkies" for so long - he didn't need language.
I'm looking forward to the last Chaplin film I have on this list but already three does not seem like enough.
I'm not looking forward to writing this next film review, because I have to take back a lot that I've said. I'm talking about the American Film Institute's #57 - Rocky. I had only seen this movie one other time and that was 15 years ago. And I couldn't stand it. I hated the music, I hatedSylvester Stallone, I hated everything. I couldn't believe it was even on this list.
Well, I have to take it back. I don't hate this movie. I don't know what was wrong with 15 year old me, but apparently I didn't know anything. Because I loved it. Pretty much every minute of it. Even the music. Even the workout montauge ending with him on the steps of the Philadelphia Museum of Art. I'm not going to break down the film because this is another one that I'm assuming everyone has seen.
I couldn't help but LOVE Rocky! I loved his cheesy jokes made specially for Adrian. I loved that he had pet turtles. That he wore that dumb hat sidways. And the way he answered questions and the things he "invented." These little things just made him more and more adorable to me. Which I couldn't believe was happening.
The most important thing I got out of watching it this time was that I loved how he made me feel. I felt sorry for him, I felt hopeful for him, I felt proud of him even. Those feelings proved to me he was a well crafted, well written, well directed, and well acted character.I'm still not sure on whether it was the best film of the year in 1976 (that was an amazing year), but I have a ton more respect for Sylvester Stallone.
As much as I hate saying I'm wrong, this movie proved the point of me going through this list. Not only did I want to see films that I had never seen, but I also wanted to revisit some I had maybe not given a fair chance the first time.
And with that, I will place my foot firmly in my mouth and await my next film.
So after my complete surprise over the last movie, I was more excited to watch the next film on the American Film Institute list - #56 Jaws. I had seen the movie, but never the whole thing in one sitting and commercial free.
An iconic film about a giant great white shark attacking swimmers around Amity Island, the film marks Steven Spielberg's second of five on this list. It is impressive when you think about the fact that this was only Spielberg's fourth movie and it was the first real summer blockbuster and changed the way movie studios went about releasing and marketing films. Having theaters across the country show the film the same weekend and advertising on television was unheard of before Jaws. Part of the reason it was the first film to break $100 million.
I have to say that the real star of this movie is composer John Williams. The score in this movie is so good. You don't need dialog or props to know that something sinister is happening and when you hear those two notes going back and forth, faster and faster, that something bad is coming towards you. Absolute magic. I'd also like to point out that this is his second of five films on this list also.
Jaws went on to be nominated for and win multiple Academy Awards (including best score) and become one of the best suspense films of all time. Now days, it is rare to see a thriller or suspense film even considered for such nominations.
I think the reason this movie stood out was the fact that there is actually very little Jaws on screen. With the acting and the music, it is more about the feeling of knowing there is a giant shark in the water. When Chrissie is being attacked during the first 10 minutes, you know that underneath the water something horrific is going on - but you only see it in your imagination. And no amount of props, makeup or CGI can compete with that. Especially in 1975. The whole less is more thing is what made this movie so entertaining and scary.
Well, that and the blood. There was a lot of blood in the water.
Making some headway on my American Film Institute Top 100, I watched #55 North by Northwest. This was my first of four Alfred Hitchcock films on the list, and I was excited to finally get to one of his as well as see this for the first time.
The film is about a man named Roger Thornhill (Carey Grant) who gets confused for a man named George Kaplan. He proceeds to be kidnapped, jailed, framed for murder, and then pursued by police, FBI and the gangsters that confused him in the first place. Along the way, he meets a woman named Eve (Eva Marie Saint) who seems to be helping him, but she has her own secrets as well. The ultimate case of mistaken identity, this thriller keeps you on your toes through great acting, story lines, and that special something that Hitchcock brings to cinema.
I'm talking about the camera work. There is no question it is a Hitchcock film. The famous cropduster scene for one was awesome. There Carey Grant is, standing on a deserted road surrounded by fields, and a plane keeps getting closer and closer to him as he ducks to avoid getting hit. This film is from 1959 - there were no special effects, just great camera work. Not only were some of these high suspense scenes great, but the movie overall has a feeling that you don't get from anyone else.
As much as I liked it, this movie made me want to watch two others that are coming up - Rear Window (because as of now, it is my favorite Hitchcock film) and On the Waterfront (because Eva Marie Saint won the Academy Award for Best Actress and this was my first introduction to her, and so far I like her).
This movie did have one of the best quotes I had never heard before, so I have to share it:
"Now you listen to me, I'm an advertising man, not a red herring. I've got a job, a secretary, a mother, two ex-wives and several bartenders that depend upon me, and I don't intend to disappoint them all by getting myself "slightly" killed."
I just finished watching the next movie on the American Film Institute's list and what an endeavor that was. I'm talking about #54 - MASH. This 1970 black comedy by Robert Altman was not something I ever planned on seeing. If it weren't for this list, I can categorically say that it is not something I would have ever sought out.
The movie is about one particular MASH (Mobile Army Surgical Hospital) during the Korean War. The story follows colorful characters like Hawkeye (Donald Sutherland), Duke (Tom Skerritt), Trapper John (Elliott Gould) and Radar (Gary Burghoff) from one hijinks to another. Although I was not exactly entertained by most of it, the entire scene that causes the chief female nurse to be called "Hot Lips" for the rest of the film was quite hilarious. I surprised myself in actually laughing out loud a few times during the film.
I had two major reasons to not like this film. The first was the fact that it was directed by Robert Altman. King of large casts. Having just recently watched Nashville and not being a fan, I wasn't sure what he was going to have in store for me. And mostly I got what I expected. A large cast, dialogue without context, and for some reason everything seems REALLY small. The people, what they are doing - everything. Maybe that is just me.
The second is that I absolutely could not stand the TV show. When I was a kid, I would hear the iconic song "Suicide is Painless" and that was an indication that Saved by the Bell was over and it was time for me to do my homework. My dad would occasionally watch it, and it would just be a bunch of people in a tent performing surgery and talking. How BORING. And within the first 20 minutes of the film, that is EXACTLY what is going on.
I tried to have an open mind. And when I say it was an endeavor to watch, I only mean that I fell asleep 3 times trying to watch this. Hard to get into, and when I did get into it, it literally felt like it should have been split into 30 minute stories. No wonder they made a TV show out of it. I think the biggest saving grace for me was because I love Donald Sutherland and I liked his little whistle every time he would say his name
I didn't hate this movie nearly as much as I anticipated, but I don't think it has any business being on this list. One of the Top 100 films of all time? Please. I could take it or leave it if I please.
I finally got to watch my most anticipated movie in the first half of the American Film Institute's list - #53 The Deer Hunter starring Robert DeNiro, Christopher Walkenand Meryl Streep. I had never seen it before and once I decided to start watching the movies on this list, I made sure to not find out anything about the film so it would be a complete surprise.
The movie starts out in a steel mill town in Pennsylvania and centers around a group of Russian-American workers/friends. They celebrate a wedding and the fact that the groom along with two friends are going to be leaving to serve their country in Vietnam. Break to them actually being there, and soon it becomes very dark with them in a prison camp, being forced to play Russian Roulette by the guards, and then their escape/rescue and separation and how they each deal with the trauma they endured. I don't want to say anything further for those of you that haven't seen it. But it is...heartbreaking to say the least.
This film won best picture at the 1979 Academy Awards. And I can see why. It was a great story full of rich characters and it was beautifully done (especially some of the scenes when they are hunting in the mountains of Pennsylvania). But the thing I ended up loving the most about it was the acting itself. There are so many instances where there is no dialogue and yet you can feel so much about what is going on and how the characters are feeling (specifically when Mike (DeNiro) comes back alone from the war and his awkwardness in normal life).
Although DeNiro is the draw here, and he was great in the role, I was most impressed by Christopher Walken. It came as no surprise to me to find out that this earned him his first Oscar. Not only did I love seeing him so young and fresh faced, but whenever he was on screen, I was mesmerized by him. And with DeNiro and Streep sharing the screen most of those times, that is saying something. I won't lie that I cried a little when I found out the situation his character ends up in.
The only drawback was that it was LONG. But nevertheless, it did not fall below my incredibly high expectations. And I think that is saying something.
The #65 film on the American Film Institute list was The African Queen starring two of the most famous film actors of all time - Katherine Hepburn and Humphrey Bogart. I had heard of this film many times, but had never before seen it. I didn't even know what it was about and was quite surprised to find that the story opens with Hepburn as a missionary and Bogart as a boat captain in Africa. I was intrigued with where the story was going to go.
Being set at the beginning of World War I, the story follows Rose and Charlie as they escape the Germans and ultimately fall in love along the way. They persevere through attacks, rapids, boat failures and leeches all the while making sweet sentiments at one another. It is cute. Almost too cute. I love both actors, but sometimes I find myself getting tired of Hepburn. She wasn't an over-actor - but she came damn close. And next to Bogey (who looked terrible in comparison to other things I have seen him in) it seems like she is even more uppity than normal.
This was the only movie that Humphrey Bogart ever won an academy award for. And that is a surprise considering the caliber of films under his belt (and on this list i.e. Casablanca, The Maltese Falcon). I am glad he won it and I would have to say that with his appearance and acting style, I didn't think about it being Humphrey Bogart once. He was just Charlie.
In the original AFI list, this movie was at #17. Moving up 48 spots can't be a good sign, but I recognize it's importance of being on the list (if only for that Oscar win) and think that #65 is a much more reasonable place for it to sit. It was good...but not Top 20 good.
Finally continuing on my American Film Institute Top 100 list, I watched #63 - Cabaret starring Liza Minnelli. This movie is one of those that I should have seen long ago, but just never did. I already knew it was iconic - it had to be because even without ever having seen it, the costuming she had in this film is how I tend to think of her; The short black hair under the black bowler hat, long fake eyelashes and blue eyeshadow, and the black backless dance outfit.
When the movie opens and the first song starts out with a makeup covered Joel Grey, I was already getting excited (especially since I recently found out that not only is he Jennifer Grey's father, but he was also Odlrich Novi in Dancer in the Dark and Doc in Buffy The Vampire Slayer). The music and dance numbers are fantastic! Chicago Smishcago. THIS is Cabaret! And I loved every minute of every song (especially Money, Money).
The story was....good. No doubt now why this movie made Liza a star and an Academy Award winner. She was fantastic all the way through. But given what I know about her mother and her own infamous relationships, it made me wonder why she chose to do this film. The reason is that her character Sally ends up in a relationship with her roommate Brian who she comes to find out is gay (or not?). I don't know if that was intentional or life imitating art, but it was on my mind throughout the film.
I would suggest to anyone that likes musicals to see this film. As I said before, the songs and the dance routines were perfectly executed. And the rest of the film was entertaining, interesting, and in some cases laugh out loud funny.
Having never seen her in any other theater/dance/singing type situation in her younger years, it made her whole scene in Sex and the city 2 that much cuter.
The next movie on the American Film Institute list was #62 - American Graffiti starring Richard Dreyfuss and Ron Howard. The only George Lucas film I hadn't seen, I was pumped to watch this for that reason as well as all the positive things I have heard about the film over the years.
The film is a coming of age story set in the early 1960s and centers around a time when "cruising" was the way to pick up girls and show off your car. Both Curt (Dreyfuss) and Steve (Howard) are planning on going to college the next day, Toad wants to try to pick up girls, and John has the hottest and fastest car around. Many things happen in the 112 minute running time and all the characters go through life changing events.
The one great thing about this movie was the soundtrack. So many great songs and I was able to understand the subtle fact that Lucas was trying to show how Rock 'n Roll was changing at the time. I also loved the whole Wolfman thing. And getting to actually see him was pretty cool (I read that the phone calls they used in the film were actual calls and thought that was pretty cool, too).
It is hard to watch a film that has been praised so much already. Expectations are high, and this movie was no exception. While the characters were well constructed and the story was interesting, I found myself wishing I was watching GREASE. Not because it would be better, but that is the movie in that similar style/era that I find a lot more entertaining and nostalgic.
It was good. And I can see how it is "culturally significant." But I really wish I had watched it when I was younger. I think I would have enjoyed it more.
My next film on the American Film Institute list gave me a back to back dose of Robert DeNiro, only this time it was a film I had previously seen - #52 Taxi Driver. This movie is one that is universally revered, and only adds to the power of the names DeNiro and Martin Scorsese. It did in fact score four Academy Award nominations: Best Picture, Best Score, Best Actor and Best Supporting Actress.
The movie follows the hero/villain Travis Bickle, a former marine who is lonely, depressed, and an insomniac. Travis begins driving a cab around New York City and as he does this the movie starts to feel dreamlike as you follow him in his activities which include visiting porn theaters, drinking coffee with other cab drivers, and as the story progresses, his fascination with Betsy (Cybill Shephard) and later Iris (Jodie Foster). You also have some idea of what his thinking is as there is voice over narration of the diary he keeps. With his feelings of rejection, frustration, and his obsessive thoughts and activities, you realize that he has gone too far into his own thoughts. Travis ends up in a situation that starts out with him doing something that would label him a murderer, and ends up being heralded as a hero.
It was really interesting watching this film after just seeing The Deer Hunter. I couldn't help but compare the two DeNiros that I saw. While Taxi Driver came out 2 years earlier, he looks about 10 years younger. There is no doubt in his presence on screen - no matter his age. I'm a big fan of his, and seeing this movie when I was 19 for the first time was one of the reasons that I thought so highly of him. I'm still not a fan of Travis, and I think that is says something about being a great actor. I like what he does so much that I can legitimately say that the character he portrayed is a terrible person. And go on loving him in other roles.
One thing that I really loved about this movie was the pacing and how the music was used to convey different things in the story. When dealing with a main character who has insomnia, I think Scorsese hit the nail on the head by allowing the viewer to sort of get wrapped up in this foggy haze that is Travis' New York City. The music was a HUGE contributor to this feeling - that slow saxophone just lulls you along without making you feel sleepy. Just along for the ride. And even though there is a climactic ending scene, the whole things still gives me this nagging feeling of "did this really happen?" I love that.
Another thing about the Saxophone - I think it should be the official instrument of New York. This movie reminded me of so many other films and TV shows set in New York that use it more than I realized. Not to be a super girl here, but the most immediate one I thought of was Sex and the City. Completely different characters and stories, but the sax lets you know what city you're in.