The Greatest Films Ever Made: The Top Thirty (#21-30)

Looking for a film to watch? Welcome to my can’t-miss list of the greatest films ever made. Rather than employ a convoluted set of criteria, citing genres, eras, directors, etc, I use two basic guiding principles: a) The immediate impact of the film and b) The compulsive need to see the film again and again. In other words, these films are not only entertaining but will leave a lifelong imprint on your brain. Without further ado, here are films #21-30…

21. Annie Hall (Woody Allen, US, 1976)

Indelible line: “How you got to teach a course in anything is amazing!” (Marshall McLuhan)

Lasting impression: A marvelous array of one-liners and gags

22. The Godfather (Francis Ford Coppola, US, 1973)

Indelible line: “Yeah, let’s talk business, Mike. First of all, you’re done.” (Moe Greene)

Lasting impression: Anti-heroes bathed in golden light

23. Honeyland (Tamara Kotevska & Ljubomir Stefanov, Macedonia, 2019)

Indelible line: “I’m not dying. I’m just making your life misery.” (Hatidže’s mother)

Lasting impression: Isolation and silence

24. Do the Right Thing (Spike Lee, US, 1989)

Indelible line: “The story of life is this: static.” (Radio Raheem)

Lasting impression: The heat of an intense summer day

25. Dead Man (Jim Jarmusch, US, 1995)

Indelible line: “You had the last philistine. This one’s mine.” (Benmont Tench)

Lasting impression: The nearest truth to the Wild West ever offered

26. Being There (Hal Ashby, US, 1979)

Indelible line: “Life is a state of mind.” (President Bobby)

Lasting impression: A fable for the digital world

27. Dazed and Confused (Richard Linklater, US, 1993)

Indelible line: “Now me and my loser friends are gonna buy some Aerosmith tickets.” (Pink)

Lasting impression: It’s remarkable how accepted and cool bullying can be

28. Elephant (Gus Van Sant, US, 2003)

Indelible line: “Fuck, anyway, Mr. Luce. Whatever.” (Eric)

Lasting impression: Mundane life punctuated by brief and shocking violence

29. Gilda (Charles Vidor, US, 1946)

Indelible line: “Gilda, are you decent?” (Ballin) “Me?” (Gilda)

Lasting impression: Rita Hayworth, the epitome of soft focus and key lighting

30. Short Cuts (Robert Altman, US, 1993)

Indelible line: “Marian, you’re not wearing any pants!” (Dr. Wyman)

Lasting impression: Everyone’s life is an utter mess

Aspiring to the Enigmatic: Five Film Scenes

Advertisers want to give us answers, all of our confusion beaten into sell-able pulp.

Christian Dior sells the bag, not the question.

Christian Dior selling purses.

Movie trailers are the same.

Luhrman's "The Great Gatsby"

Baz Luhrman’s “The Great Gatsby”

All of it so simple and pornographically direct. Screenshot (208)The failure is in their intent, attempting to answer everything, give our lives a clear, cohesive narrative, when it is just the opposite.

Being John Malkovich

Spike Jonze’s “Being John Malkovich”

Real questions don’t do well under the spotlight; they wilt and are never clear. Sudden and enigmatic, they only offer a glimpse, making us stop and think, “Wait. What was that?”

5. Being There (1979, Hal Ashby) Chance watches cartoons in a limousine.Screenshot (262)4. The Thin Red Line (1998, Terrence Malick): American soldiers walk by a local in Guadalcanal.

Screenshot (277)3. Punch Drunk Love (2002, Paul Thomas Anderson): A car crashes in an empty street.Punch Drunk (3)2. The Graduate (1967, Mike Nichols): True love is realized…and then what?the_graduate_ending_shot_elaine_and_benjamin_on_bus1. Aguirre, Wrath of God (1972, Werner Herzog): In the end, only monkeys are left for the revolution.600x1000px-LL-89d5a674_aguirre

Who is with me?

Movie Endings: The Good and Much Worse

(Warning: This entire blog is a spoiler alert.)

Movie endings are sadly predictable. No matter the genre – Drama, Comedy, Romance or Action/Thriller – the tendency is toward that moment of understanding, that smile of recognition that we’re all in this together, as seen in so many films such as Casablanca, Dumb and Dumber, When Harry Met Sally and Avatar. But there are those few that stand out – for better and much worse. At the head of the Much Worse would have to be Super 8  (Abrams, 2011), a misguided combination of E.T.  and Close Encounters. Absolutely everything is resolved at the end: all characters touch and understand each other.They also all understand the alien which has terrorized their town and watch in loving awe as he departs to his distant world. (No, I am not exaggerating.) The Grey (Carnahan, 2011) is a close and terrible second. After watching the wolves terrorize and kill everyone else in his group lost in the woods, the audience tenses in anticipation as Liam Neeson finally straps all that broken glass to his knuckles to battle the mother of all wolves…and the film cuts to the credits. And not only that, the film actually cuts back to the scene, after the epic battle, both Neeson and the mother of all wolves dying in the snow. Other disastrously bad endings include Melancholia (Von Trier, 2011) – a giant planet crushes all life on Earth – A.I.  (Spielberg, 2001) you think it’s finally over, and a title card appears “2,000 Years Later” – and Angel Heart (Parker, 1987) – when Mickey Rourke finally realizes that he’s the murderer he’s been chasing all along. (Not a few films have fallen into this self-made trap.) It’s not easy ending well, but there are certainly a chosen few worth mentioning. It is truly heart-wrenching to watch the final shot in Bicycle Thieves (De Sica, 1948) when the boy forgives his father for trying to steal and takes his hand. And it’s hard not to choke up in Planes, Trains and Automobiles (Hughes, 1987) when Neal (Steve Martin) discovers Del (John Candy) alone at the train station and takes him home for Thanksgiving. The Deer Hunter (Cimino, 1978), too, has a gut-wrenching conclusion when the cast gathers for a funeral and sings God Bless America, despite the hell they have been put through with the Vietnam War. Another film that oddly stands out for me is Dirty Mary, Crazy Larry (Hough, 1974). An obvious derivative of Bonnie and Clyde (Penn, 1967), the film chronicles a pair of wild thieves who, when they seem to have finally outrun the law, are suddenly crushed by a freight train. The end. One of the greatest Hollywood endings almost never happened.  Being There (Ashby, 1978) is the story of Chance (Peter Sellers) who has lived in isolation as a simpleton only to be thrown into the world and become an adviser to the President and perhaps will be a leader himself. The final image is of Chance walking on water. We don’t know if this is because he is Chosen or he just doesn’t know any better, but it is a riveting moment. The producers hated the idea and told Hal Ashby to re-cut the film, which he promised to do…and instead actually delivered the film personally – with the ending intact – to the theaters for opening night. It was only after the positive audience response to this ending that the producers relented. This story itself has to be one of the best endings I have ever heard.