The Greatest Films Ever Made: The Top Thirty (#11-20)

Welcome back to my can’t-miss list of the greatest films ever made. Once again the criteria is basic, almost instinctual: 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. And so the next ten of the greatest films ever made..

11. Adaptation (Spike Jonze, US, 2002)

Indelible line: “What if the writer is trying to create a story where nothing happens?” (Charlie)

Lasting impression: Kaufmann breaks every screenwriting rule to create an incomparable script

12. Fantastic Mr. Fox (Wes Anderson, US, 2006)

Indelible line: “Why a fox? Why not a horse, or a beetle, or a bald eagle? Who am I?”

Lasting impression: Kylie’s eyes and lots of frantic digging

13. 2001 (Stanley Kubrick, UK/US, 1968)

Indelible line: “I’m sorry, Dave. I am afraid I can’t do that.” (HAL 9000)

Lasting impression: Silence, punctuated by breathing, in space

14. Cast Away (Robert Zemeckis, US, 2001)

Indelible line: “I don’t know why!” (Chuck Noland)

Lasting impression: Waves washing up on the beach, denoting prison

15. Punch-Drunk Love (Paul Thomas Anderson, US, 2002)

Indelible line: “That’s that.” (Dean Trumball)

Lasting impression: The arrival of the harmonium and unexplained car crash

16. The Celebration (Thomas Vinterberg, Denmark, 1998)

Indelible line: “He raped us. Had sex with the little ones.” (Christian)

Lasting impression: Christian refusing to stop making his speech

17. Jaws (Steven Spielberg, US, 1976)

Indelible line: “1,100 men went in the water. 316 men came out. Sharks took the rest.” (Quint)

Lasting impression: A wide shot of the open ocean and then the music

18. Bicycle Thieves (Vittorio De Sica, Italy, 1946)

Indelible line: “Why should I kill myself worrying when I’ll end up just as dead?” (Antonio)

Lasting impression: The lone bicycle on an empty street

19. The Sacrifice (Andrei Tarkovsky, USSR, 1986)

Indelible line: “Don’t worry. There’s no such thing as death.” (Alexander)

Lasting impression: The tiny house and then the big house burned to the ground

20. The Graduate (Mike Nichols, US, 1967)

Indelible line: “I can see in the dark, you know. I’ve been here quite a while.” (Mr. Robinson)

Lasting impression: The saddest of happy endings

Kubrick and Weir: The Laudatory Human Condition

Filmmaker Stanley Kubrick has been praised as a great filmmaker and artist, one who probes the shades of humanity in such great films as Lolita, 2001: A Space Odyssey and Barry Lyndon. Kubrick and Weir: The Laudatory Human ConditionBob Weir, not as highly praised, is certainly recognized for “chasing the music” as he says, on his 50-year journey as rhythm guitarist with The Grateful Dead.  Kubrick and Weir: The Laudatory Human ConditionAnd so I was intrigued to watch documentaries on each man this weekend to perhaps gain an insight or two through understanding their trials and tribulations.

It was not to be.Kubrick and Weir: The Laudatory Human ConditionStanley Kubrick: A Life in Pictures (2007) offers brief moments of filmic analysis amidst a tidal wave of laudatory praise, Steven Spielberg gushing, “He was a conceptual illustrator of the human condition”. Kubrick and Weir: The Laudatory Human ConditionAnd so despite a 50-year career, we are left with the trite summation that Mr. Kubrick worked terribly hard and loved his family, little else.

The Other One: The Long Strange Trip of Bob Weir (2013) is worse. While some fellow musicians offer comments on Bob Weir’s work, the documentary is almost solely guided by bland recollections by Weir – “Here’s my Jerry Bobbblehead” – occasionally, boyishly and evasively hinting toward his notorious off-stage reputation. Kubrick and Weir: The Laudatory Human ConditionHis band mates are only briefly interviewed, likewise alluding, saying little else. Kubrick and Weir: The Laudatory Human ConditionIt’s a shame that both of these these documentaries offered so little, not that they should focus on personal scandal, but that they veered so very far from the very same human condition that these men had endeavored to understand and instead settled on empty praise.Kubrick and Weir: The Laudatory Human Condition

“Blue is the Warmest Color”: Just Another Film That Needs an Editor

While Abdellatif Kechiche’s Blue is the Warmest Color received controversial press for its stark portrayal of sexuality, the film’s only real problem is in its self-indulgence. Screenshot (276)Choked with scenes of endless dancing, staring into space and, yes, sex, the film needs an editor; at over an hour too long, the film’s essential moments and images are lost in the ego of the author. Lea Seydoux, Abdelatif Kechiche and Adele Exarchopoulos with their Palme d'OrOf course Kechiche is not alone in his onanism; many an excellent director has fallen victim to believing that everything shot is sacred, including Spike Lee’s Malcolm X, Martin Scorsese’s The Departed, Werner Herzog’s Fitzcarraldo, Francis Ford Coppola’s Apocalypse Now Redux, Lars von Trier’s Nymphomanic, Stanley Kubrick’s The Shining and Michael Cimino’s infamous Heaven’s Gate. heavens gateThis is to say nothing of the glut of Hollywood monstrosities such as Titanic, The Lord of the Rings and all of the superheroes piled atop each other.darkknightIt’s the simpler things that ring true, such as a director listening to his inner voice: “Cut!”

Stephen King’s Plagiarism of Albert Camus

One of the keys to the success of Stephen King’s The Shining is the revelation that the main character, Jack Torrance, is going mad: All work and no play makes Jack a very dull boy.tumblr_lm4fguaftf1qbpsncThe manuscript on which Jack has been working throughout the story contains this same phrase written again over hundreds of pages and is an excellent device to convey his lose of touch with reality.2009shining_chairAnd it this very device that seems to have been plagiarized from Albert Camus’ The Plague in which Grand’s emotional imbalance is realized late in the narrative when Dr. Rieux reads over a manuscript of 50 pages documenting the same phrase again and again:One fine morning in May, a slim young horsewoman might have been seen riding a glossy sorrel mare along the avenues of the Bois, among the flowers…LaPesteAnd while the purpose – and indeed content – is quite different, the device is not. The repeated phrase – a secret held from the reader and all other characters – is only revealed late in the story as a surprise to all. Did King acknowledge his source? Did he give credit to Camus?

Camus Or does he, like so many of the writing workshop gurus, rely on the specious credo that all writers steal from each other. I, for one, am not buying it.