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LEONARD
MALTIN'S: 100 MUST-SEE FILMS OF THE 20TH CENTURY
(ordered
chronologically)
The
Birth of a Nation (1915), 186 minutes, D: D. W. Griffith The landmark of American
motion pictures. Griffith's epic story of two families during Civil War and Reconstruction
is still fascinating. Sometimes the drama survives intact; other times, one must
watch in a more historical perspective. Griffith's portrayal of Ku Klux Klan in
heroic role has kept this film a center of controversy to the present day. Intolerance
(1916), 178 minutes, D: D. W. Griffith Landmark American epic, interweaves four
stories of prejudice and inhumanity, from the Babylonian era to the modern day.
Melodramatic, to be sure, but gains in momentum and power as it moves toward its
stunning climax. That's Lillian Gish as the mother rocking the cradle; Constance
Talmadge gives a most appealing and contemporary performance as the sprightly
Mountain Girl.
Our
Hospitality (1923), 74 minutes, D: Buster Keaton Buster goes to the South to claim
a family inheritance, and falls in love with the daughter of a longtime rival
clan. Sublime silent comedy, one of Buster's best, with a genuinely hair-raising
finale. Incidentally, Buster married his leading lady in real life.
Greed
(1924), 140 minutes, D: Erich von Stroheim Powerful adaptation of Frank Norris'
novel McTeague, about a simple man whose wife's obsession with money eventually
drives him to madness. Even though von Stroheim's film was taken from him, and
severly cut by the studio (it originally ran eight hours), this remains a stunning
work, one of the greatest of all silent films. The final sequences in Death Valley
are unforgettable.
The
Gold Rush (1925), 82 minutes, D: Charlie Chaplin Immortal Chaplin classic, pitting
Little Tramp against Yukon, affections of dance-hall girl, whims of a burly prospector.
Dance of the rolls, eating leather shoe, cabin tottering over cliff - all highlights
of wonderful, timeless comedy. Chaplin re-edited film in 1942; that version, with
his narration and music, runs 72m.
Potemkin
(1925 - Russian), 65 minutes, D: Sergei Eisenstein Landmark film about 1905 Revolution.
Unlike many staples of film history classes, this one has the power to grip any
audience. Odessa Steps sequence is possibly the most famous movie scene of all
time.
The
Big Parade (1925), 141 minutes, D: King Vidor One of the best WWI films ever;
clean-shaven Gilbert a wonderful hero. Adoree an unforgettable heroine. Filled
with memorable vignettes, and some of the most harrowingly realistic battle scenes
ever filmed. A gem.
The
Freshman (1925), 70 minutes, D: Sam Taylor and Fred Newmeyer One of Lloyd's best
remembered films casts him as collegiate patsy who'll do anything to be popular
on campus, unaware that everyone is making fun of him. Football game finale is
one of several comic highlights. A real audience-rouser.
Metropolis
(1926 - German), 120 minutes, D: Fritz Lang Classic silent-film fantasy of futuristic
city and its mechanized society, with upper-class young man abandoning his life
of luxury to join oppressed workers in a revolt. Heavy going at times, but startling
set design and special effects command attention throughout. Many shorter prints
exist; reissued in 1984 at 87 minutes with color-tints and score by Giorgio Moroder.
The
General (1927), 74 minutes, D: Buster Keaton One of Keaton's best silent features,
setting comedy against true Civil War story of stolen train, Union spies. Not
as fanciful as other Keaton films, but beautifully done.
Sunrise
(1927), 110 minutes, D: F. W. Murnau Exquisite silent film is just as powerful
today as when it was made, telling simple story of farmer who plans to murder
his wife, led on by another woman. Triumph of direction, camerawork, art direction,
and performances, all hauntingly beautiful. Screenplay by Carl Mayer, from Hermann
Suderman's story. Cinematographers Karl Struss and Charles Rosher won Oscars,
as did the film for "artistic quality of production." Gaynor also won Best Actress
Oscar (shared for her performances in 7th Heaven and Street Angel). Remade in
Germany as The Journey to Tilsit. Full title onscreen is Sunrise - A Song of Two
Humans.
The
Crowd (1928), 104 minutes, D: King Vidor Classic drama about a few happy and many
not-so-happy days in the marriage of hard-luck couple. One of the greatest silent
films; holds up beautifully. Written by Harry Behn, John V.A. Weaver, and director
Vidor, from the latter's original story.
All
Quiet on the Western Front (1930), 133 minutes, D: Lewis Milestone Vivid, moving
adaptation of Erich Maria Remarque's eloquent pacifist novel about German boys'
experiences as soldiers during WWI. Time hasn't dimmed its power, or its poignancy,
one bit. Scripted by Milestone, Maxwell Anderson, Del Andrews, and George Abbott.
Academy Award winner for Best Picture and Director.
City
Lights (1931), 86 minutes, D: Charlie Chaplin Chaplin's masterpiece tells story
of his love for blind flower girl, and his hot-and-cold friendship with a drunken
millionaire. Eloquent, moving, and funny. One of the all-time greats.
M
(1931 - German), 99 minutes, D: Fritz Lang Harrowing melodrama about psychotic
child murderer brought to justice by Berlin underworld. Riveting and frighteningly
contemporary; cinematically dazzling, especially for an early talkie. Lorre's
performance is unforgettable.
Dracula
(1931), 75 minutes, D: Tod Browning Classic horror film of Transylvanian vampire
working his evil spell on perplexed group of Londoners. Lugosi's most famous role
with his definitive interpretation of the Count, ditto Frye as looney Renfield
and Van Sloan as unflappable Professor Van Helsing.
Frankenstein
(1931), 70 minutes, D: James Whale Definitive monster movie, with Clive as the
ultimate mad scientist, creating a man-made being (Karloff) but inadvertently
giving him a criminal brain. It's creaky at times, and cries for a music score,
but it's still impressive...as is Karloff's performance in the role that made
him a star. Long-censored footage, restored in 1987, enhances the impact of several
key scenes, including the drowning of a little girl. Based on Mary Shelley's novel.
Followed by Bride of Frankenstein.
Trouble
in Paradise (1932), 83 minutes, D: Ernst Lubitsch Sparkling Lubitsch confection
about two jewel thieves (Marshall and Hopkins) who fall in love, but find their
relationship threatened when he turns on the charm to their newest (female) victim.
This film is a working definition of the term "sophisticated comedy." Script by
Samson Raphaelson and Grover Jones.
King
Kong (1933), 103 minutes, D: Merian C. Cooper Classic version of beauty-and-beast
theme is a moviegoing must, with Willis O'Brien's special effects and animation
of monster ape Kong still unsurpassed. Final sequence atop Empire State Building
is now cinema folklore; Max Steiner music score also memorable. Followed immediately
by The Son of Kong.
Duck
Soup (1933), 70 minutes, D: Leo McCarey The Marx Brothers' most sustained bit
of insanity, a flop when first released, but now considered a satiric masterpiece.
In postage-stamp-sized Freedonia, Prime Minister Rufus T. Firefly (Groucho) declares
war on neighboring Sylvania just for the hell of it. Enough gags for five movies,
but our favorite is still the mirror sequence. Zeppo's swan song with his brothers.
Sons
of the Desert (1933), 69 minutes, D: William A. Seiter Laurel and Hardy's best
feature film; duo sneaks off to fraternal convention without telling the wives;
then the fun begins, with Chase as hilariously obnoxious conventioneer.
It
Happened One Night (1934), 105 minutes, D: Frank Capra Legendary romantic comedy
doesn't age a bit. Still as enchanting as ever, with reporter Gable and runaway
heiress Colbert falling in love on rural bus trip. Hitch-hiking travails, the
Walls of Jericho, other memorable scenes remain fresh and delightful. First film
to win all five major Oscars: Picture, Actor, Actress, Director, and Screenplay
(Robert Riskin). Based on Samuel Hopkins Adams' story "Night Bus," originally
published in Cosmopolitan.
It's
A Gift (1934), 73 minutes, D: Norman Z. McLeod Fields is a grocery store owner
who goes West with his family. Beautiful comedy routines in one of the Great Man's
unforgettable films. Charles Sellon as a blind man, T. Roy Barnes as a salesman
looking for Carl LaFong, contribute some hilarious moments. A remake of Fields'
silent film It's the Old Army Game.
A
Night at the Opera (1935), 92 minutes, D: Sam Wood The Marx Brothers invade the
world of opera with devastating results. Arguably their finest film (a close race
with Duck Soup), with tuneful music and appealing romance neatly interwoven. One
priceless comedy bit follows another: the stateroom scene, the Party of the First
Part contract, etc. This is as good as it gets.
Bride
of Frankenstein (1935), 75 minutes, D: James Whale Eye-filling sequel to Frankenstein
is even better, with rich vein of dry wit running through the chills. Inimitable
Thesiger plays weird doctor who compels Frankenstein into making a mate for his
creation; Lanchester plays both the "bride" and, in amusing prologue, Mary Shelley.
Pastoral interlude with blind hermit and final, riotous creation scene are highlights
of this truly classic movie. Scripted by John L. Balderston and William Hurlbut.
Marvelous Franz Waxman score, reused for many subsequent films. Followed by Son
of Frankenstein.
The
39 Steps (1935 - British), 87 minutes, D: Alfred Hitchcock Classic Hitchcock mystery
with overtones of light comedy and romance, as innocent Donat is pulled into spy-ring
activities. Memorable banter between Donat and Carroll, who thinks he's a criminal,
set style for sophisticated dialogue for years. John Buchan's novel was adapted
by Charles Bennett and Alma Reville; additional dialogue by Ian Hay.
Swing
Time (1936), 103 minutes, D:George Stevens One of the best Astaire-Rogers films,
with stars as dance team whose romance is hampered by Fred's engagement to girl
back home (Furness). Fine support by Moore and Broderick, unforgettable Jerome
Kern-Dorothy Fields songs "A Fine Romance," "Pick Yourself Up." Oscar-winning
"The Way You Look Tonight." Astaire's Bojangles production number is a screen
classic.
Modern
Times (1936), 89 minutes, D: Charlie Chaplin Charlie attacks the machine age in
inimitable fashion, with sharp pokes at other social ills and the struggle of
modern-day survival. Goddard is the gamin who becomes his partner in life. Chaplin's
last silent film (with his own music - including "Smile" - sound effects and gibberish
song) is consistently hilarious, and unforgettable. Final shot is among Chaplin's
most famous and most poignant.
Dodsworth
(1936), 101 minutes, D: William Wyler Superb adaptation of Sinclair Lewis novel
about middle-aged American industrialist who retires, goes to Europe, where he
and his wife find differing sets of values, and new relationships. Intelligently
written (by Sidney Howard), beautifully filmed, extremely well acted, with Huston
recreating his Broadway role. Won Oscar for Interior Decoration (Richard Day).
Unusually mature Hollywood film, not to be missed.
Mr.
Deeds Goes to Town (1936), 115 minutes, D: Frank Capra Cooper is Longfellow Deeds,
who inherits 20 million dollars and wants to give it all away to needy people.
Arthur is appealing as the hard-boiled big-city reporter who tries to figure out
what makes him tick. Capra won his second Oscar for this irresistible film, written
by Robert Riskin (from Clarence Budington Kelland's story "Opera Hat").
Grand
Illusion (1937 - French), 117 minutes, D: Jean Renoir Renoir's classic treatise
on war, focusing on French prisoners during WWI and their cultured German commandant.
Beautiful performances enhance an eloquent script (by Renoir and Charles Spaak).
Snow
White And The Seven Dwarfs (1937), 83 minutes, D: Been Sharpsteen Walt Disney's
groundbreaking animated feature film - the first of its kind - is still in a class
by itself, a warm and joyful rendition of the classic fairy tale, enhanced by
the vivid personalities of the seven dwarfs. Only a real-life Grumpy could fail
to love it. Songs include "Whistle While You Work," "Heigh Ho," and "Some Day
My Prince Will Come."
The
Adventures of Robin Hood (1938), 102 minutes, D: Michael Curtiz Dashing Flynn
in the definitive swashbuckler, winning hand of de Havilland (never lovelier as
Maid Marian), foiling evil prince Rains, dueling wicked Rathbone. Erich Wolfgang
Korngold's outstanding score earned an Oscar, as did the art direction and editing.
Scripted by Norman Reilly Raine and Seton I. Miller. Arguably Flynn's greatest
role.
The
Lady Vanishes (1938 - British), 97 minutes, D: Alfred Hitchcock An old woman's
disappearance during a train ride leads baffled young woman into a dizzying web
of intrigue. Delicious mystery-comedy; Hitchcock at his best, with a witty script
by Frank Launder and Sidney Gilliat, and wonderful performances by Naunton Wayne
and Basil Radford, who scored such a hit as a pair of twits that they repeated
those roles in several other films! Based on Ethel Lina White's novel The Wheel
Spins.
Stagecoach
(1939), 96 minutes, D: John Ford One of the great American films, and a landmark
in the maturing of the Western, balancing character study (as disparate passengers
travel together on the same stagecoach) and peerless action (in a lengthy Indian
attack, featuring Yakima Canutt's famous stuntwork). Also the film that propelled
John Wayne to genuine stardom. Mitchell won an Oscar as the drunken doctor, as
did the music score. Script by Dudley Nichols, from Ernest Haycox's story "Stage
to Lordsburg" (whose plot is reminiscent of Guy de Maupassant's Boule de Suif).
Filmed in Ford's beloved Monument Valley on the Arizona-Utah border.
Gone
With The Wind (1939), 222 minutes, D: Victor Fleming If not the greatest movie
ever made, certainly one of the greatest examples of storytelling on film, maintaining
interest for nearly four hours. Margaret Mitchell's story is, in effect, a Civil
War soap opera, focusing on vixenish Southern belle Scarlett O'Hara, brilliantly
played by Leigh; she won Oscar, as did the picture, McDaniel, director Fleming,
screenwriter Sidney Howard (posthumously), many others. Memorable music by Max
Steiner in this one-of-a-kind film meticulously produced by David O. Selznick.
The
Wizard of Oz (1939), 101 minutes, D: Victor Fleming A genuine American classic,
based on L. Frank Baum's story of a Kansas girl who goes "Over the Rainbow" to
a land of colorful characters and spirited adventure. A perfect cast in the perfect
fantasy, with Harold Arlen and E. Y. Harburg's unforgettable score. Just as good
the fifteenth time as it is the first time. Won Oscars for "Over the Rainbow"
and Herbert Stothart's scoring, plus a special miniature award for Judy.
His
Girl Friday (1940), 92 minutes, D: Howard Hawks Splendid comedy remake of The
Front Page with Grant as conniving editor, Russell as star reporter (and his ex-wife),
Bellamy as mama's boy she's trying to marry amid hot murder story. Terrific character
actors add sparkle to must-see film, scripted by Ben Hecht and Charles Lederer.
The
Grapes of Wrath (1940), 129 minutes, D: John Ford Classic Americana of Okies moving
from dust bowl to California during Depression, lovingly brought to screen. Fonda,
as ex-con, is unforgettable in role of his life. Darwell, as determined family
matriarch, and Ford won well-deserved Oscars. Written for the screen (from John
Steinbeck's classic) and produced by Nunnally Johnson. Don't miss this one.
Fantasia
(1940), 120 minutes, D: Ben Sharpsteen (production supervisor) Walt Disney's eight-part
marriage of music and animated images remains an amazing achievement; Taylor's
narration dates it more than the content. "The Sorcerer's Apprentice" (with Mickey
Mouse), "The Dance of the Hours" (with dancing hippos and alligators), "Rite of
Spring" (dinosaurs stalking the earth), and "A Night on Bald Mountain" (with Chernobog,
the personification of evil) are so stunning that they make up for the less compelling
sequences. Also notable for groundbreaking use of multichannel stereophonic sound.
Sullivan's
Travels (1941), 91 minutes, D: Preston Sturges Tired of making fluff, movie director
McCrea decides to do a "serious" film; to research it, he sets out with 10 cents
in his pocket to experience life in "the real world." Slapstick and sorrow blend
seamlessly in this landmark Hollywood satire, which grows more pertinent with
each passing year. A unique achievement for writer-director Sturges.
Citizen
Kane (1941), 119 minutes, D: Orson Welles Welles' first and best, a film that
broke all the rules and invented some new ones, with fascinating story of Hearst-like
publisher's rise to power. The cinematography (by Gregg Toland), music score (by
Bernard Hermann), and Oscar-winning screenplay (by Welles and Herman J. Mankiewicz)
are all first-rate. A stunning film in every way...and Welles was only 25 when
he made it!
The
Maltese Falcon (1941), 100 minutes, D: John Huston Outstanding detective drama
improves with each viewing. Bogey is Dashiell Hammett's "hero" Sam Spade, Astor
his client, Lorre the evasive Joel Cairo, Greenstreet (in his talkie film debut)
the Fat Man, and Cook the neurotic gunsel Wilmer. Huston's first directorial effort
(which he also scripted) moves at lightning pace, with cameo by his father Walter
Huston as Captain Jacobi.
The
Lady Eve (1941), 94 minutes, D: Preston Sturges Stanwyck is a con artist who sets
her eyes on wealthy Fonda - the dolt to end all dolts, who proclaims "snakes are
my life." Sometimes silly and strident, this film grows funnier with each viewing
- thanks to Sturges's script, breathless ppace, and two incomparable stars.
Casablanca
(1942), 102 minutes, D: Michael Curtiz Everything is right in this WW2 classic
of war-torn Morocco with elusive night-club owner Rick (Bogart) finding old flame
(Bergman) and her husband, underground leader Henreid, among skeletons in his
closet. Rains is marvelous as dapper police chief, and nobody sings "As Time Goes
By" like Dooley Wilson. Three Oscars include Picture, Director, and Screenplay
(Julius and Philip Epstein and Howard Koch). Our candidate for the best Hollywood
movie of all time.
The
Ox-Bow Incident (1943), 75 minutes, D: William A. Wellman The irony and terror
of mob rule are vividly depicted in this unforgettable drama about a lynch mob
taking the law into its own hands, despite protests of some level-headed onlookers.
Based on Walter Van Tilburg Clark's book; superb script by Lamar Trotti.
The
Miracle of Morgan's Creek (1944), 99 minutes, D: Preston Sturges Frantic, hilarious
comedy of Betty attending all-night party, getting pregnant and forgetting who's
the father. Bracken and Demarest have never been better than in this daring wartime
farce. Filmed in 1942.
Double
Indemnity (1944), 106 minutes, D: Billy Wilder Wilder-Raymond Chandler script
(from the James M. Cain novel) packs fireworks in account of insurance salesman
MacMurray coerced into murder plot by alluring Stanwyck and subsequent investigation
by Fred's colleague Robinson. An American movie classic, with crackling dialogue
throughout.
My
Darling Clementine (1946), 97 minutes, D: John Ford Beautifully-directed, low-key
Western about Wyatt Earp (Fonda) and Doc Holliday (Mature), leading to inevitable
gunfight at O.K. Corral. Full of wonderful details and vignettes; exquisitely
photographed by Joseph P. MacDonald. One of director Ford's finest films, and
an American classic. Screenplay by Samuel G. Engel and Winston Miller, from a
story by Sam Hellman. Based on a book by Stuart N. Lake. Remake of Frontier Marshal
(1939).
It's
A Wonderful Life (1946), 129 minutes, D: Frank Capra Sentimental tale of Stewart,
who works all his life to make good in small town, thinking he's failed and trying
to end his life. Guardian angel Travers comes to show him his mistake. Only Capra
and this cast could pull it off so well; this film seems to improve with age.
Capra, Frances Goodrich, Albert Hackett, and Jo Swerling expanded Philip Van Doren
Stern's short story "The Greatest Gift" (which had originally been written by
Stern as a Christmas card!).
The
Best Years of Our Lives (1946), 172 minutes, D: William Wyler American classic
of three veterans returning home after WW2, readjusting to civilian life. Robert
Sherwood's script from MacKinlay Kantor's book perfectly captured mood of postwar
U.S.; still powerful today. Seven Oscars include Best Picture, Wyler, March, Russell,
Sherwood, Daniel Mandell's editing, Hugo Friedhofer's score. Russell, an actual
veteran who lost his hands, also took home a second Oscar, a special award for
bringing hope and courage to other veterans.
Great
Expectations (1946 - British), 118 minutes, D: David Lean One of the greatest
films ever made, a vivid adaptation of Dickens's tale of a mysterious benefactor
making poor young orphan a gentleman of means. Opening graveyard sequence is a
gem. Oscars went to cinematographer Guy Green and art director John Bryan. Lean,
Kay Walsh, Cecil McGivern, and producers Anthony Havelock-Allan and Ronald Neame
all contributed to script.
The
Bicycle Thief (1948 - Italian), 90 minutes, D: Vittorio De Sica Simple, realistic
tale of working-man whose job depends on his bicycle, and the shattering week
he spends with his young son after it is stolen. An honest, beautiful film that
deservedly earned a special Academy Award (before foreign films had a category
of their own); one of the all-time classics.
The
Treasure of the Sierra Madre (1948), 124 minutes, D: John Huston Excellent adaptation
of B. Traven's tale of gold, greed, and human nature at its worst, with Bogart,
Huston, and Holt as unlikely trio of prospectors. John Huston won Oscars for Best
Direction and Screenplay, and his father Walter won as Best Supporting Actor.
That's John as an American tourist near the beginning, and young Robert Blake
selling lottery tickets.
Gun
Crazy (1949), 86 minutes, D: Joseph H. Lewis Knockout of a sleeper in the Bonnie
and Clyde tradition, stylishly (and sometimes startingly) directed. Cummins is
femme fatale who leads gun-crazy Dall into life of crime. Screenplay credited
to MacKinlay Kantor and Millard Kaufman (who was actually "fronting" for then
black-listed writer Dalton Trumbo), from Kantor's Saturday Evening Post story.
Aka Deadly Is The Female.
All
About Eve (1950), 138 minutes, D: Joseph L. Mankiewicz Brilliantly sophisticated
(and cynical) look at life in and around the theater, with a heaven-sent script
by director Mankiewicz (based on the story "The Wisdom of Eve" by Mary Orr). Davis
is absolutely perfect as an aging star who takes in an adoring fan (Baxter) and
soon discovers that the young woman is taking over her life. Witty dialogue to
spare, especially great when spoken by Sanders and Ritter. Six Oscars include
Best Picture, Director, Screenplay, and Supporting Actor (Sanders).
Sunset
Boulevard (1950), 110 minutes, D: Billy Wilder Legendary Hollywood black comedy
about faded silent-film star Norma Desmond (Swanson), living in the past with
butler (von Stroheim), who shelters hack screenwriter (Holden) as boyfriend. Bitter,
funny, fascinating; Gloria's tour de force. Three Oscars include Best Screenplay
(Wilder, Charles Brackett, D.M. Marshman, Jr.) and Score (Franz Waxman).
Rashomon
(1950 - Japanese), 88 minutes, D: Akira Kurosawa Kurosawa's first huge international
success is superlative study of truth and human nature; four people involved in
a rape-murder tell varying accounts of what happened. The film's very title has
become part of our language. Oscar winner as Best Foreign Film.
Strangers
on a Train (1951), 101 minutes, D: Alfred Hitchcock Walker gives his finest performance
as psychopath involved with tennis star Granger in "exchange murders." Lorne is
unforgettable as doting mother; so is merry-go-round climax. First-class Hitchcock,
based on a Patricia Highsmith novel and coscripted by Raymond Chandler.
Singin'
In The Rain (1952), 102 minutes, D: Gene Kelly, Stanley Donen Perhaps the greatest
movie musical of all time, fashioned by Betty Comdon and Adolph Green from a catalogue
of Arthur Freed-Nacio Herb Brown songs. The setting is Hollywood during the transition
to talkies, with Hagen giving the performance of a lifetime as Kelly's silent
screen costar, whose voice could shatter glass. Kelly's title number, O'Connor's
"Make 'Em Laugh," are just two highlights in a film packed with gems.
High
Noon (1952), 84 minutes, D: Fred Zinnemann On his wedding - and retirement - day,
marshal Cooper learns that a gunman is coming seeking revenge. Though he has good
excuses for leaving, he feels a responsibility to stay and face the gunman - but
no one in town is willing to help. The story appears to unfold in "real time,"
as the many on-screen clocks will verify. Legendary Western drama about a crisis
of conscience, written by Carl Foreman, underscored by Tex Ritter's performance
of Oscar-winning Dimitri Tiomkin-Ned Washington song, "Do Not Forsake Me, Oh My
Darlin'." Oscars also went to Cooper, Tiomkin's score, and Elmo Williams' and
Harry Gerstad's editing.
Seven
Brides for Seven Brothers (1954), 103 minutes, D: Stanley Donen Rollicking musical
perfectly integrates song, dance, and story: Keel's decision to get himself a
wife (Powell) inspires his rowdy brothers to follow suit. Tuneful Johnny Mercer-Gene
DePaul score (with Oscar-winning musical direction by Adolph Deutsch and Saul
Chaplin), but it's Michael Kidd's energetic dance numbers that really stand out,
with rare screen work by dancers Jacques D'Amboise and Marc Platt. The barn-raising
sequence is an absolute knockout. Screenplay by Albert Hackett, Frances Goodrich,
and Dorothy Kingsley, from a Stephen Vincent Benet story.
On
The Waterfront (1954), 108 minutes, D: Elia Kazan Budd Schulberg's unflinching
account of N.Y.C. harbor unions (suggested by articles by Malcolm Johnson), with
Brando unforgettable as misfit, Steiger his crafty brother, Cobb his waterfront
boss, and Saint the girl he loves. That classic scene in the back of a taxicab
is just as moving as ever. Winner of eight Oscars: Best Picture, Director, Actor
(Brando), Supporting Actress (Saint), Story and Screenplay, Cinematography (Boris
Kaufman), Art Direction-Set Decoration (Richard Day), and Editing (Gene Milford).
Leonard Bernstein's music is another major asset. Film debuts of Saint, Martin
Balsam, Fred Gwynne, and Pat Hingle.
The
Seven Samurai (1954 - Japanese), 141 minutes, D: Akira Kurosawa Classic film about
16th-century Japanese village which hires professional warriors to fend off bandits.
Kurosawa's "far-east Western" has served as model for many films since, including
American remake The Magnificent Seven (a title once given this film for U.S. release).
The
Searchers (1956), 119 minutes, D: John Ford Superb Western saga of Wayne's relentless
search for niece (Wood) kidnapped by Indians, spanning many years. Color, scenery,
photography all splendid, with moving, insightful Frank Nugent script to match
(based on Alan LeMay's novel). And who could ever forget that final shot?
Paths
of Glory (1957), 86 minutes, D: Stanley Kubrick During WW1, French general Macready
orders his men on a suicidal charge; when they fail, he picks three soldiers to
be tried and executed for cowardice. Shattering study of the insanity of war has
grown even more profound with the years; stunningly acted and directed. Calder
Willingham, Jim Thompson, and Kubrick adapted Humphrey Cobb's novel - based on
fact.
The
Seventh Seal (1957 - Sweden), 96 minutes, D: Ingmar Bergman Sydow, a disillusioned
knight on his way back from the Crusades, tries to solve the mysteries of life
while playing chess game with Death, who has offered him a short reprieve. Spellbinding,
one-of-a-kind masterpiece helped gain Bergman international acclaim.
Vertigo
(1958), 128 minutes, D: Alfred Hitchcock One of Hitchcock's most discussed films.
Retired police detective Stewart, who has a fear of heights, is hired by old school
chum in San Francisco to keep an eye on his wife (Novak), eventually falls in
love with his quarry...and that's just the beginning; to reveal more would be
unthinkable. Alec Coppel and Samuel Taylor scripted, from the novel D'entre les
morts by Pierre Boileau and Thomas Narcejac. Haunting, dream-like thriller, with
riveting Bernard Herrmann score to match; a genuinely great motion picture that
demands multiple viewings.
North
By Northwest (1959), 136 minutes, D: Alfred Hitchcock Quintessential Hitchcock
comedy-thriller, with bewildered ad-man Grant chased cross country by both spies
(who think he's a double agent) and the police (who think he's an assassin). One
memorable scene after another, including now-legendary crop-dusting and Mount
Rushmore sequences; one of the all-time great entertainments. Witty script by
Ernest Lehman, exciting score by Bernard Herrmann.
The
400 Blows (1959 - French), 99 minutes, D: Francois Truffaut Captivating study
of Parisian youth who turns to life of small-time crime as a reaction to derelict
parents. First of Truffaut's autobiographical Antoine Doinel series.
Some
Like It Hot (1959), 119 minutes, D: Billy Wilder Legendary comedy by Wilder and
I.A.L. Diamond about two musicians who witness the St. Valentine's Day Massacre
and try to elude their pursuers by joining an all-girl band heading for Miami.
Sensational from start to finish, with dazzling performances by Lemmon and Curtis,
a memorably comic turn by Monroe as Sugar Kane, and Oscar-winning costumes by
Orry-Kelly. Brown has film's now-classic closing line.
Psycho
(1960), 109 minutes, D: Alfred Hitchcock The Master's most notorious film is still
terrifying after all these years, as larcenous Leigh picks the wrong place to
spend a night: The Bates Motel (12 cabins, 12 vacancies...and 12 showers), run
by a peculiar young man and his crochety old "mother." Hitchcock's murder set-pieces
are so potent, they can galvanize (and frighten) even a viewer who's seen them
before! Bernard Herrmann's legendary (and endlessly imitated) score adds much
to the excitement. Script by Joseph Stefano from the Robert Bloch novel.
La
Dolce Vita (1962 - Italian), 175 minutes, D: Federico Fellini Lengthy trend-setting
film, not as ambiguous as other Fellini works - much more entertaining, with strong
cast. Mastroianni stars as tabloid reporter who sees his life in shallow Rome
society as worthless but can't change. Story and screenplay by Fellini, Ennio
Flaiano, and Tullio Pinelli, with Brunello Rondi. Piero Gherardi's costumes won
an Oscar.
Lawrence
of Arabia (1962 - British), 216 minutes, D: David Lean Blockbuster biography of
enigmatic adventurer T.E. Lawrence is that rarity, an epic film that is also literate.
Loses some momentum in the second half, but still a knockout - especially in 1989
reissue version, which restored many cuts made over the years (and made a few
judicious trims in the process). Still, the only way to really appreciate this
film is on a big screen. Screenplay by Robert Bolt and Michael Wilson, based on
Lawrence's book The Seven Pillars of Wisdom. Seven Oscars include Best Picture,
Director, Cinematography (Freddie Young), Score (Maurice Jarre), Editing, and
Art Direction. O'Toole's first leading role made him an instant star.
8
1/2 (1963 - Italian), 135 minutes, D: Federico Fellini Fellini's unique, self-analytical
movie casts Mastroianni as a filmmaker trying to develop a new project, amid frequent
visions and countless subplots. A long, difficult, but fascinating film, overflowing
with creative and technical wizardry. Certainly one of the most intensely personal
statements ever made on celluloid. Screenplay by Fellini, Tullio Pinelli, Ennio
Flaiano, and Brunello Rondi. Oscar winner for Costume Design and as Best Foreign
Language Film.
Dr.
Strangelove or: How I Learned To Stop Worrying... (1964 - British), 93 minutes,
D: Stanley Kubrick U.S. President must contend with the Russians and his own political
and military leaders when a fanatical general launches A-bomb attack on U.S.S.R.
Sellers plays the President, British captain, and mad inventor of the Bomb in
this brilliant black comedy, which seems better with each passing year. Sellers'
phone conversation with Soviet premier is classic. Outstanding cast, incredible
sets by Ken Adam.
Mary
Poppins (1964), 140 minutes, D: Robert Stevenson There's charm, wit, and movie
magic to spare in Walt Disney's adaptation of P.L. Travers's book about a "practically
perfect" nanny who brings profound change to the Banks family of London, circa
1910. Oscars went to Richard and Robert Sherman for their tuneful score, the song
"Chim-Chim-Cheree," the formidable Visual Effects team, Cotton Warburton for his
editing, and Andrews, in her film debut (though Van Dyke is equally good as Bert,
the whimsical jack of all trades). That's Jane Darwell, in her last screen appearance,
as the bird lady. A wonderful movie.
Blow-Up
(1966 - British/Italian), 111 minutes, D: Michelangelo Antonioni Writer-director
Antonioni's hypnotic pop-culture parable of photographer caught in passive lifestyle.
Arresting provocative film, rich in color symbolism, many-layered meanings. Music
by Herbie Hancock.
The
Graduate (1967), 105 minutes, D: Mike Nichols Landmark film of the late 60s that's
still just as poignant - and funny - as ever. Hoffman, in his first major film
role, plays ultra-naive college grad who's seduced by a middle-aged woman, then
falls in love with her daughter. Perfect song score by Simon and Garfunkel. Script
by Buck Henry (who plays the desk clerk) and Calder Willingham from Charles Webb's
novel. Nichols won Best Director Oscar.
Bonnie
And Clyde (1967), 111 minutes, D: Arthur Penn Trend-setting film about unlikely
heroes of 1930s bank-robbing team has spawned many imitators but still leads the
pack. Veering from comedy to melodrama and social commentary, it remains vivid,
stylish throughout. When released, violent conclusion was extremely controversial.
Screenplay by David Newman and Robert Benton. Parsons and cinematographer Burnett
Guffey were Oscar winners. Wilder's first film.
2001:
A Space Odyssey (1968 - British), 139 minutes, D: Stanley Kubrick A unique masterpiece,
immensely influential; Kubrick starkly depicts several encounters mankind has
with never-glimpsed aliens, from the dawn of Man four million years ago to the
title year, when an alien artifact is found on the Moon. An expedition tracking
its radio signal is launched to Jupiter, with mysterious, haunting results. A
visual feast, film also boasts distinction of having put Richard Strauss into
the Top 40 with "Also Sprach Zarathustra." Oscar-winning special effects. Screenplay
by Arthur C. Clarke and the director, from Clarke's The Sentinel.
The
Wild Bunch (1969), 134 minutes, D: Sam Peckinpah Peckinpah's best film won instant
notoriety for its "beautiful" bloodletting, but seems almost restrained alongside
today's films. Aging outlaws with their own code of ethics find themselves passe
in 1913 and decide to retire after one final haul. Acting, dialogue, direction,
score, photography, and especially editing are world class; an authentic American
classic.
Midnight
Cowboy (1969), 113 minutes, D: John Schlesinger Emotionally shattering dramatization
of James Leo Herlihy's novel was rated X in 1969, but it's essentially an old-fashioned
story with some unusual modern twists: hayseed Voight comes to N.Y.C., becomes
a free-lance stud, and develops unusual and deep friendship with seedy Ratso Rizzo
(Hoffman). Seamiest side of N.Y.C. is backdrop for compelling, keen-eyed character
study that if anything looks better today than it did when it came out. Won Best
Picture, Director, Screenplay (Waldo Salt) Oscars. Graphic effects by Pablo Ferro.
The
Godfather (1972), 175 minutes, D: Francis Ford Coppola The 1970s' answer to Gone
With the Wind, from Mario Puzo's novel on the violent life and times of Mafia
patriarch Don Corleone (Brando). Pulp fiction raised to the highest level; a film
of epic proportions, masterfully done, and set to Nino Rota's memorable music.
Absolutely irresistible. Academy Award winner for Best Picture, Actor (Brando),
and Screenplay (Coppola and Puzo). Followed by two sequels.
Mean
Streets (1973), 110 minutes, D: Martin Scorsese Masterpiece about small-time hood
Keitel, irresponsible friend De Niro and their knock-about cronies in N.Y.C.'s
Little Italy. Technically dazzling film put director Scorsese on the map and deservedly
so.
The
Godfather, Part II (1974), 200 minutes, D: Francis Ford Coppola They said it couldn't
be done, but cowriter-director Coppola made a sequel that's just as compelling.
This one contrasts the life of melancholy "don" (Pacino) with early days of his
father (De Niro) as an immigrant in N.Y.C. Winner of six Oscars including Best
Picture, Director, Screenplay (Coppola, Mario Puzo), Supporting Actor (De Niro),
Score (Nino Rota, Carmine Coppola), Art Direction/Set Decoration (Dean Tavoularis,
Angelo Graham, George R. Nelson).
The
Conversation (1974), 113 minutes, D: Francis Ford Coppola Brilliant film about
obsessive surveillance expert (Hackman) who makes professional mistake of becoming
involved in a case, and finds himself entangled in murder and high-level power
plays. Coppola's top-notch, disturbing script makes larger statements about privacy
and personal responsibility. An unbilled Robert Duvall has a cameo. One of the
best films of the 1970s.
Blazing
Saddles (1974), 93 minutes, D: Mel Brooks Brooks's first hit movie is a riotous
Western spoof, with Little an unlikely sheriff, Korman as villainous Hedley Lamarr,
and Kahn as a Dietrich-like chanteuse. None of Brooks's later films have topped
this one for sheer belly laughs. Scripted by Brooks, Andrew Bergman, Richard Pryor,
Norman Steinberg, and Alan Uger; story by Bergman. Title song sung by Frankie
Laine.
Jaws
(1975), 124 minutes, D: Steven Spielberg A rare case of a bubble-gum story (by
Peter Benchley) scoring as a terrific movie. The story: New England shore community
is terrorized by shark attacks; local cop (Scheider), ichthyologist (Dreyfuss)
and salty shark expert (Shaw) determine to kill the attacker. Hold on to your
seats! Screenplay by Benchley and Gottlieb. Three Oscars include John Williams'
now-classic score, Verna Fields' sensational editing. Benchley has cameo as reporter
on beach. Followed by three sequels.
Nashville
(1975), 159 minutes, D: Robert Altman Altman's brilliant mosaic of American life
as seen through 24 characters involved in Nashville political rally. Full of cogent
character studies, comic and poignant vignettes, done in seemingly free-form style.
Carradine's song "I'm Easy" won an Oscar; Elliott Gould and Julie Christie appear
as themselves. Screenplay by Joan Tewkesbury.
Annie
Hall (1977), 94 minutes, D: Woody Allen Woody's best film, an autobiographical
love story with incisive Allenisms on romance, relationships, fame, N.Y.C. vs.
L.A., and sundry other topics. Warm, witty, intelligent Oscar winner for Best
Picture, Actress, Direction, Screenplay (Allen and Marshall Brickman). Look sharp
and you'll spot future stars Jeff Goldblum (at the L.A. party), Shelley Hack (on
the street), Beverly D'Angelo (on a TV monitor), and Sigourney Weaver (as Woody's
date seen in extreme long-shot near the end of the picture.)
Star
Wars (1977), 121 minutes, D: Geroge Lucas Elaborate, imaginative update of Flash
Gordon incredibly became one of the most popular films of all time. It's a hip
homage to B-movie ethics and heroism in the space age, as a callow youth (Hamill)
becomes an interplanetary hero with the help of some human and robot friends.
R2D2 and C-3PO steal the show. Won seven Oscars for various technical achievements
and John Williams' rousing score.
The
Deer Hunter (1978), 183 minutes, D: Michael Cimino Stunning film about young Pennsylvanian
steelworkers, their lives before, during, and after wartime duty in Vietnam. Long
but not overlong, this sensitive, painful, evocative work packs an emotional wallop.
Story by Cimino, Deric Washburn, Louis Garfinkle and Quinn Redeker; scripted by
Washburn. Five Oscars include Picture, Director, Supporting Actor (Walken), Editing
(Peter Zinner).
Apocalypse
Now (1979), 150 minutes, D: Francis Ford Coppola Coppola's controversial Vietnam
war epic, based on Joseph Conrad's Heart of Darkness. Special agent Sheen journeys
upriver into Cambodia with orders to find and kill errant officer Brando, leading
him (and viewer) on a mesmerizing odyssey of turbulent, often surreal encounters.
Unfortunately, film's conclusion - when he does find Brando - is cerebral and
murky. Still, a great movie experience most of the way, with staggering, Oscar-winning
photography by Vittorio Storaro.
Raging
Bull (1980), 128 minutes, D: Martin Scorsese Extraordinarily compelling look at
prizefighter Jake La Motta, whose leading opponent outside the ring was always
himself. That such an unappealing man could inspire so vivid a portrait is a tribute
to the collaboration of Scorsese, De Niro, and writers Paul Schrader and Mardik
Martin. There's not a false note in characterization or period detail. De Niro
and editor Thelma Schoonmaker won richly deserved Academy Awards.
E.T.
- The Extra-Terrestrial (1982), 115 minutees, D: Steven Spielberg A 10-year-old
boy (Thomas) befriends a creature from another planet that's been stranded on
Earth. A warm, insightful story of childhood innocence, frustration, courage,
and love...with a remarkable "performance" by E.T. An exhilarating experience
for young and old alike. Screenplay by Melissa Mathison. John Williams won an
Oscar for his soaring score, as did the sound and visual effects teams. Trivia
note: Debra Winger contributed to E.T.'s voice.
GoodFellas
(1990), 146 minutes, D: Martin Scorsese A boy grows up in an Italian-American
neighborhood of Brooklyn and dreams of becoming part of the Mob. Fascinating look
at the allure - and the reality - of day-to-day life in a Mafia family, based
on experiences of Henry Hill (Liotta), who wound up in the Federal witness protection
program. The violence is (necessarily) harsh and off-putting, like the film itself
at times, but it's brilliantly realized by Scorsese and cinematographer Michael
Ballhaus. Major criticism: It goes on too long. Bracco and Oscar winner Pesci
stand out in an exceptional cast; that's Scorsese's mother as Pesci's mom. Screenplay
by the director and Nicholas Pileggi, based on the latter's book Wiseguy.
Schindler's
List (1993), 195 minutes, D: Steven Spielberg Staggering adaptation of Thomas
Keneally's best-seller about the real-life Catholic war profiteer who initially
flourished by sucking up to the Nazis, but eventually went broke saving the lives
of more than 1,000 Polish Jews by employing them in his factory, manufacturing
crockery for the German army. Filmed almost entirely on location in Poland, in
gritty b/w, but with a pace to match the most frenzied Spielberg works, this looks
and feels like nothing Hollywood has ever made before. The three central characters
rate - and receive - unforgettable performances: Neeson, who's towering as Oskar
Schindler; Kingsley, superb as his Jewish accountant (and conscience); and Fiennes,
who's frightening as the odious Nazi commandant. Outstanding screenplay by Steven
Zaillian and cinematography by Janusz Kaminski. Spielberg's most intense and personal
film to date. Seven Oscars include Best Picture, Director, Adapted Screenplay,
Art Direction, Cinematography, Editing, and Original Score (John Williams).
Pulp
Fiction (1994), 154 minutes, D: Quentin Tarantino Audacious, outrageous look at
honor among lowlifes, told in a somewhat radical style overlapping a handful of
separate stories. Jackson and Travolta are magnetic as a pair of hit men who have
philosophical debates on a regular basis; Willis is compelling as a crooked boxer
whose plan to take it on the lam hits a few detours. (In fact, there are no slackers
in this cast.) This voluble, violent, pumped-up movie isn't for every taste -
certainly not for the squeamish - but it's got more vitality than almost any other
film of 1994. Tarantino is featured onscreen as Jimmy of Toluca Lake. Roger Avary
gets costory credit with Tarantino (they won the Screenplay Oscar).
Fargo
(1996), 97 minutes, D: Joel Coen The Coen Brothers put a unique spin on a murder
case, layering their story with droll observations about Minnesotans and winding
up with a totally disarming comedy! McDormand is terrific as an efficient (and
pregnant) police chief with multiple murders on her hands; Macy is equally good
as a two-bit schemer who tries to stay cool when he finds himself way over his
head in a quicksand of crime. Love that Muzak in the background! Oscar winner
for Best Screenplay (Joel and Ethan Coen) and Actress (McDormand).
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