| ROLLING
STONE'S 100 MAVERICK MOVIES
1.
The Godfather Trilogy - The Godfather, Part I (1972), The Godfather, Part II (1974),
and The Godfather, Part III (1990), Francis Ford Coppola "The
flawed Part III barely slides in on goodwill. No matter. This is entertainment
raised to the level of art: an offer you can't refuse. Coppola gives us the Corleone
clan of killers, and we identify. How does that happen? Alchemy, that's how; magic
you can't explain except to say that Don Vito and his three sons are as familiar
to us as our own family. We remember all the lines, profound ("I believe in America")
and silly ("Leave the gun, take the cannolis"). These films grow in stature with
the years, their power to move us undimmed, their influence as up-to-date as The
Sopranos. Marlon Brando's don is an icon, but Al Pacino's performance as his son
Michael - taken in toto - is arguably the finest in cinema. Coppola had just turned
thirty when he started work on the first chapter. Even later (The Conversation,
Apocalypse Now), he never topped it. Nobody has." 2.
Vertigo (1958), Alfred Hitchcock "The
master of suspense felt secure enough - he was nearing sixty - to direct the mad,
perverse tale of romantic obsession that had always obsessed him. James Stewart
gives his riskiest performance as a detective in thrall to a dead woman, forcing
Kim Novak to walk, talk, move, and make love according to his definition of beauty
and truth. Do you know a better definition of filmmaking?" 3.
The Searchers (1956), John Ford "Ford
had been making westerns for almost four decades before he acknowledged the racism
inherent in cowboys vs. Indians and directed his masterpiece. John Wayne found
the role of his career as Ethan Edwards, an Indian hater torn apart by the thought
that his kidnapped niece (Natalie Wood) has been raped by savages. He doesn't
know whether to rescue or kill her, a theme Martin Scorsese picked up later in
Taxi Driver. Few film images are more haunting than that of Wayne standing alone
in a doorway, cut off from his family by torments he can't define." 4.
2001: A Space Odyssey (1968), Stanley Kubrick "It
kills me to pick just one Kubrick - Dr. Strangelove, Paths of Glory, A Clockwork
Orange, Lolita, and The Shining all exert a powerful hold - but it's hard to resist
this visionary epic about the dawn of man, the birth of technology and the death
of language and imagination. On its initial release, 2001 hit home mostly with
acid trippers (dig that time warp) and intellectuals (deconstruct that star child).
These days, Kubrick's daring is justly celebrated as a landmark of cinematic ambition
and reach." 5.
Citizen Kane (1941), Orson Welles "Pauline
Kael claims that Welles' debut film - the wonder boy was just twenty-five - is
'more fun than any other great movie.' You can still sense Welles' enthusiasm
for film as 'the biggest toy-train set any boy ever had.' The techniques he used
to tell the story of a tycoon destroyed by ambition and childhood neglect revolutionized
movies in ways that are still being felt. It is, however, wrongly assumed that
Welles never lived up to his huge potential. I'll stand by The Lady From Shanghai,
Chimes at Midnight and especially Touch of Evil, in which he played - brilliantly
- the fat, corrupt slob his detractors latter accused him of becoming." 6.
Raging Bull (1980), Martin Scorsese "The
best director currently working in American movies hit a career peak by turning
the life of boxer Jake La Motta into a poetic meditation on the nature of violence.
Robert De Niro gives the performance of his life as the trim rebel and the flabby
mess he became. Still, it's the heightened urgency with which Scorsese prowls
macho rituals, in and out of the boxing ring, that puts the Bill a hair ahead
of such Scorsese classics as Mean Streets, Taxi Driver, and GoodFellas. 7.
Chinatown (1974), Roman Polanski "Corruption
and political coverups in 1930s Los Angeles are the hooks on which Polanski and
screenwriter Robert Towne hang this definitive allegory of the Watergate era.
Who can forget the shock of Jack Nicholson, as detective Jake Gittes, when client
Faye Dunaway confesses that her sister is her daughter by an incestuous father,
played to the glorious hilt by John Huston. The last scene and the last line ("Forget
it, Jake, it's Chinatown") give off an indelible chill." 8.
The Treasure of the Sierra Madre (1948), John Huston "Huston
broke all the rules in this superb tale of how greed eats at the soul, casing
heroic Humphrey Bogart as a murderous panhandler looking for gold in Mexico and
Walter Huston, the director's father, as a toothless prospector. The son directed
his dad to a well-deserved Oscar." 9.
Blue Velvet (1986), David Lynch "Talk
about freaks. An innocent (Kyle MacLachlan) drops through the rabbit hole of Norman
Rockwell America to find a chaos world ruled by Dennis Hopper's violently mad
hatter. The innocent also finds himself naked in the closet of a masochistic songbird
(Isabella Rosselini). But that's another story in Lynch's perverse masterwork."
10.
Pulp Fiction (1994), Quentin Tarantino "Not
since Orson Welles had a writer-director taken more joy in reinventing film form.
While getting career-best performances from John Travolta, Samuel L. Jackson,
Bruce Willis and Uma Thurman, Tarantino made good on the promise of his 1992 debut
(Reservoir Dogs) and crafted one of the most innovative crime dramas. ever."
11.
King Kong (1933), Merian C. Cooper, Ernest B. Schoedsack "The
creation of the big ape is an emotional and special-effects marvel. Naked, alone
in the big city, in heat for a troubled blonde and brought down by technology,
Kong is the definitive wronged male of the cinema century." 12.
The Manchurian Candidate (1962), John Frankenheimer "Much
more than a paranoid thriller about brainwashing, it's a sharp satire of political
extremism, a workout for Frankenheimer's kinetic gifts and a showcase for the
best performances that Frank Sinatra, Laurence Harvey and a devastating Angela
Lansbury ever gave onscreen." 13.
Fargo (1996), Joel Coen "Kidnap,
murder, Minnesota, snow, strange accents and a pregnant police chief (Frances
McDormand) figure in this black-comic gem from the Coen brothers, who wouldn't
know how to make a dull movie or an obvious movie." 14.
All About Eve (1950), Joseph L. Mankiewicz "'Fasten
your seat belts, it's going to be a bumpy night," says diva supreme Bette Davis
in this immortal take on the freaks of the theater, including Anne Baxter as Davis'
cutthroat protegee, George Sanders as an acerbic critic and the young Marilyn
Monroe as a budding talent who trained, claims the critic, "at the Copacabana
School of Dramatic Arts." 15.
Do The Right Thing (1989), Spike Lee "Lee
writes, directs and stars as a delivery boy for a white-owned Brooklyn pizza joint;
when he tosses a garbage can through the window to protest the murder of a brother,
the screen explodes. This incendiary film - still Lee's best - ended the Eighties
on a high note of revolutionary film fervor." 16.
The Night of the Hunter (1955), Charles Laughton "A
character in Do the Right Thing refers to the psychotic minister played by menacing
Robert Mitchum. He's a killer with the word HATE tattooed on one hand and the
word LOVE on the other, and he's about to take down some orphans unless Lillian
Gish can stop him. Laughton's first and only film as a director is a stunner,
a flop at the time and now one for the ages." 17.
Sherlock, Jr. (1924), Buster Keaton "The
silent era's most gifted clown - Chaplin lags behind - plays a projectionist who
enters the action onscreen. Keaton's comic take on illusion and reality is shot
with a fluid brilliance that leaves imitations like Woody Allen's Purple Rose
of Cairo in the dust." 18.
Some Like It Hot (1959), Billy Wilder "The
sublime comedy of the sound era stars Jack Lemmon and Tony Curtis in drag, Marilyn
Monroe as the jiggly object of their lust and Wilder ( Sunset Boulevard, Double
Indemnity, The Apartment) finding humanity in the wicked laughter. The last line
is 'Nobody's perfect.' Wrong, Wilder is." 19.
Nashville (1975), Robert Altman "Altman
uses a political rally held in the capital of country music to create an astonishingly
complex mosaic of American life that grows more rewarding with each viewing. Along
with McCabe and Mrs. Miller, M*A*S*H and Short Cuts, it's an Altman pinnacle."
20.
The Wizard of Oz (1939), Victor Fleming "It's
ironic that a kiddie favorite so effectively exposes the dark roots of fantasy
("Pay no attention to that man behind the curtain"). Still, it's the young Judy
Garland who takes us over the rainbow. What a kick to follow Oz by viewing the
adult Judy, raw and riveting, on Pioneer's collection of the TV shows she did
for CBS between 1963 and 1964. It's the DVD event of the year and proof that none
of us is in Kansas anymore." 21.
Sweet Smell of Success (1957), Alexander Mackendrick "'You're
a cookie full of arsenic,' says Burt Lancaster's killer columnist to press agent
Sidney Falco (Tony Curtis is smarm incarnate) in this seductively poisonous view
of New York after dark." 22.
Brazil (1985), Terry Gilliam "The corporate culture of the future tries to crush
the dreams of clerk Jonathan Pryce, giving the great Gilliam a chance to use his
gifts for satire and production design to create a nightmare vision of dehumanization."
23.
Invasion of the Body Snatchers (1956), Don Siegel "Wonderfully
subversive sci-fi and a barely veiled satire of the communist witch hunts run
by Senator Joe McCarthy, as small-towners find themselves duplicated by alien
pods if they fall asleep." 24.
Badlands (1973), Terrence Malick "Martin
Sheen and Sissy Spacek play lovers on a killing spree in a debut film that marks
the reclusive Malick as a poet of the cinema." 25.
Don't Look Now (1973), Nicolas Roeg "Venice,
sex, horror and the death of feeling, masterfully explored by Roeg through the
disintegrating marriage of Julie Christie and Donald Sutherland. The climactic
image of the knife-wielding dwarf in a red raincoat possesses an enduring power
to haunt." -----------------------------------------------------------------
(The
following are "mainstream hits that still have juice.") 26.
Gone With The Wind (1939), produced by David O. Selznick - there were three directors,
but Selznick bossed them all around 27.
Casablanca (1942), Michael Curtiz 28.
It's a Wonderful Life (1946), Frank Capra 29.
Singin' In The Rain (1952), Gene Kelly and Stanley Donen 30.
On The Waterfront (1954), Elia Kazan 31.
Jaws (1975), Steven Spielberg 32.
One Flew Over The Cuckoo's Nest (1975), Milos Forman 33.
Lawrence of Arabia (1962), David Lean 34.
The Silence of the Lambs (1991), Jonathan Demme 35.
The Empire Strikes Back (1980), Irvin Kershner "OK,
I'm guilty of heresy for not picking the first Star Wars, which George Lucas directed,
but this sequel offers more fluid storytelling and is a much better film."
(Now
back to our regular programming) -----------------------------------------------------------------
36.
Ed Wood (1994), Tim Burton "Johnny
Depp plays the worst director of all time in Burton's valentine to the joy of
movies, even - and maybe especially - the bad ones." 37.
Faces (1968), John Cassavetes "An
agonizing study of infidelity from the father of American mavericks. To get at
raw truths, Cassavetes encouraged actors to go for broke, often testing audience
endurance. His work still shames studio formula pap." 38.
Annie Hall (1977), Woody Allen "The
Woodman's piercingly funny and touching treatise on what makes opposites attract.
Diane Keaton's la-di-da WASP princess - 'You're what Grammy Hall would call a
real Jew,' she tells Allen on their first date - is a deft and dazzling comic
creation." 39.
Bonnie and Clyde (1967), Arthur Penn "Penn
used bank robbers Clyde Barrow (Warren Beatty) and Bonnie Parker (Faye Dunaway)
to reflect the youth rebellion of the Sixties. The violence, especially the slow-mo
climax, retains its power to floor you." 40.
Straw Dogs (1971), Sam Peckinpah "'Bloody
Sam,' they called him, and this brutal bash, in which Dustin Hoffman's pacifist
avenges what his wife claims was a gang rape, is the most potent in the Peckinpah
canon - just ahead of The Wild Bunch. 41.
The Third Man (1949), Carol Reed "A
gorgeously atmospheric thriller about the black market in postwar Vienna offers
a never-better Orson Welles as cheeky villain Harry Lime. And, oh, that cuckoo
clock." 42.
All The President's Men (1976), Alan J. Pakula "In
Pakula's acutely observed film, Bob Woodward (Robert Redford) and Carl Bernstein
(Dustin Hoffman) blow the whistle on Nixon and Watergate in ways that still make
you want to cheer." 43.
Bride of Frankenstein (1935), James Whale "Gods
and monsters, Whale-style, as Boris Karloff's creature finds a mate in Elsa Lanchester
and the horror genre is transcended with fierce humor and humanity." 44.
Rebel Without A Cause (1955), Nicholas Ray "The
film that made James Dean a legend, from an unfairly neglected director - check
Ray's In a Lonely Place for more proof." 45.
Written on the Wind (1957), Douglas Sirk "An
expressionist master turns a soap opera into a world of articulate shadows. For
phallic symbolism, Dorothy Malone stroking a model of her tycoon daddy's oil derrick
is hard to top." 46.
Swing Time (1936), George Stevens "The
main attraction here is Fred Astaire, of whom a talent scout once infamously wrote,
'Can't act. Can't sing. Slightly bald. Can dance a little.' Just watch Astaire
in this gem as he refuses to dance with partner Ginger Rogers, until her beauty
wears him down and they take off in an orgiastic swirl." 47.
The Red Shoes (1948), Michael Powell and Emeric Pressburger "Two
sublime visual stylists set their sights on ballet." 48.
Network (1976), Sidney Lumet "This
scalding satire of the media seems timelier than ever in the age of reality TV.
Lumet draws a superb performance from Peter Finch as the prophet of the airwaves
who tells viewers to get up, open their windows and shout, 'I'm mad as hell, and
I'm not going to take it anymore.' Consider it done. 49.
Sullivan's Travels (1941), Preston Sturges "Joel
McCrea stands in for Sturges, a comedy director who longs to make a serious film
and hits the road to experience real life - memorably funny and mournful.
50.
The Graduate (1967), Mike Nichols "'What
now?' ask reunited lovers Dustin Hoffman and Katharine Ross in Nichols' pungent
satire of Sixties youth. You might ask the same of the next movie century."
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(At
the midpoint of the list, the following serve as a "tribute to the foreign-language
films that opened up American cinema to new worlds.") 51.
M (1931), Fritz Lang 52.
Zero For Conduct (1933), Jean Vigo 53.
Rules of the Game (1939), Jean Renoir 54.
Children of Paradise (1945), Marcel Carné 55.
The Bicycle Thief (1947), Vittorio De Sica 56.
The Earrings of Madame De... (1953), Max Ophuls 57.
Tokyo Story (1953), Yasujiro Ozu 58.
The Seven Samurai (1954), Akira Kurosawa 59.
Pather Panchali (1955), Satyajit Ray 60.
Breathless (1959), Jean-Luc Godard 61.
The 400 Blows (1959), Francois Truffaut 62.
La Dolce Vita (1960), Federico Fellini 63.
Viridiana (1961), Luis Bunuel 64.
Persona (1966), Ingmar Bergman 65.
The Conformist (1971), Bernardo Bertolucci 66.
Aguirre: The Wrath of God (1972), Werner Herzog 67.
Seven Beauties (1976), Lina Wertmuller 68.
Wings of Desire (1988), Wim Wenders 69.
Women on the Verge of a Nervous Breakdown (1988), Pedro Almodovar 70.
The Killer (1989), John Woo -----------------------------------------------------------------
71.
City Lights (1931), Charles Chaplin "Chaplin's
little tramp (is) memorably in love with a blind flower girl." 72.
Cabaret (1972), Bob Fosse "The
last great musical of the century, by a dancing man who knew the world's wicked
ways." 73.
Quiz Show (1994), Robert Redford "A
1950s TV scandal sparks Redford's anger about the slow death of American values."
74.
A Night at the Opera (1935), Sam Wood "No
director could ever exert control over the durable comic anarchy of the Marx Brothers."
75.
The Producers (1967), Mel Brooks "'Springtime
for Hitler' and comic gold. 76.
Lost in America (1985), Albert Brooks "Another
Brooks in a pitch-perfect comedy. 77.
The Terminator (1984), James Cameron "Cameron
and a robot Ah-nuld set a new standard for sci-fi. T2 is bigger, but T1 rules."
78.
White Heat (1949), Raoul Walsh "A
James Cagney peak - top of the world, ma!" 79.
His Girl Friday (1940), Howard Hawks "Cary
Grant and Rosalind Russell trade barbs in Hawks' spray of machine-gun laughs."
80.
Out of the Past (1947), Jacques Tourneur "Is
there a more perfect example of film noir?" 81.
The Piano (1993), Jane Campion "Passion,
madness and mutilation from the fearless director of Sweetie and Holy Smoke."
82.
Blow-Up (1966), Michelangelo Antonioni "The
dark side of swinging London." 83.
Blow Out (1981), Brian De Palma "The
dark side of political conspiracy." 84.
The Philadelphia Story (1940), George Cukor "The
rich enjoying their bizarre privileges, with a sublime Katharine Hepburn."
85.
Bad Day at Black Rock (1955), John Sturges "Spencer
Tracy uncovers a town's hidden past in a thriller that truly thrills." 86.
Ninotchka (1939), Ernst Lubitsch "Garbo
does Paris as a Russian agent. Be there." 87.
Diner (1982), Barry Levinson "Baltimore
friends in need and in conflict - beautifully done and still Levinson's best film."
88.
To Sleep With Anger (1990), Charles Burnett "A
black family divided by a trickster, demonically played by Danny Glover. Burnett
remains a criminally neglected talent." 89.
Unforgiven (1992), Clint Eastwood "The
revisionist western that Eastwood took a career to make was well worth the wait."
90.
Midnight Cowboy (1969), John Schlesinger "Jon
Voight's hustler and Dustin Hoffman's seedy bum strike up a bizarre bond and a
beautiful friendship." 91.
Lone Star (1996), John Sayles "A
Texas border town provides a broad canvas for Sayles' study of racism and community."
92.
The Naked Kiss (1964), Samuel Fuller "A
bald hooker, played by Constance Towers, brings out the nifty, nutso best in Fuller."
93.
The Crying Game (1992), Neil Jordan "Sexual
and political role-playing dished out with a shocker twist from Jaye Davidson."
94.
Broadcast News (1987), James L. Brooks "Brooks'
light touch doesn't dull his edge." 95.
Dead Ringers (1988), David Cronenberg "Jeremy
Irons plays twin gynecologists in a gut wrencher that's pure Cronenberg."
96.
My Little Chickadee (1940), Edward Cline W.
C. Fields and Mae West in their unholy, one and only comic union. 'Nuf said.
97.
The Night of the Living Dead (1968), George Romero "This
low-budget, rogue model for terror is the stuff of bad dreams." 98.
Monty Python and the Holy Grail (1975), Terry Jones "Inspired
lunacy about silly knights from the peerless Python troupe." 99.
Intolerance (1916), D. W. Griffith "You
can still feel Griffith's pioneer excitement about the medium in this silent epic.
You can also feel his own intolerance about sound: 'We do not want now and we
shall never want the human voice with our films.' That's pretty harsh. But considering
the dialogue in Titanic and the cutesy chattering in Pokemon, maybe old D.W. had
a point." 100.
Freaks (1932), Tod Browning "'One
of us! One of us!' That's what the circus-side-show freaks in Browning's sly fable
shout when they spot a kindred spirit among normal folks, whoever they are. Here's
to those kindred spirits who make movies and to those who watch them. One of us,
indeed." Rolling
Stone(in its 1999 end of the year Millenium issue) and film critic Peter Travers
offered picks for the best (or essential) movies of the last 100 years that were
made by mavericks who "busted rules to follow their obsessions...in the defiant
spirit of rock & roll." Click
here to go to Rolling Stone Magazine
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