Mea Culpa: My Favorite Films… That I Forgot
Making my list of my top favorite 101 films was fun. Sort of. As you can imagine, the hardest part was whittling down all of my favorite films (a list I update regularly and runs around 300 or so) down to that rather restrictive number. It was hard. And I cheated a lot by including trilogies, series, and even thematic double features (prostitutes anyone?). But I wanted to show the best of my favorites. And I managed to forget some ones that have been incredibly important to me as well as new films I’ve only recently watched but feel more than confident in putting on the list. It’s about half and half here in that respect. I was originally going post the top ten I’d left out, but then I decided not to decide something that definitive and restraining like that. So, ladies and gents, my list of THIRTEEN films I forgot to include on my Top 101 Films:
1. 3 Women (1977)| Directed by Robert Altman
The loose story of 3 Women came to director Robert Altman in a dream. This dreamlike quality is evident in the loose yet controlled lucid style. A very strange story of identity (that bears a little resemblance to another film on this list), Sissy Spaceck plays a young naïf who attaches herself to the talkative nurse she works with played by Shelley Duvall. Those are two of the three women of the title, the third being a mysterious and enigmatic mural painter. Altman’s surreal structure and dream like narrative is gorgeous and hypnotic. Full of mystery, longing emotion, and expert performances from Spececk and Duvall, 3 Women is a masterwork.
2. Across the Universe (2007) | Directed by Julie Taymore
I grew up listening to the Beatles music, but it was not until my freshman year that I went head on into the Beatles work. And although I had seen Across the Universe once or twice prior and enjoyed it, its impact never hit me until then. The film is unabashedly polarizing, both in its innovative use of the Beatles’ music (warning, cover haters) as well as its intoxicating imagery. Taking the Beatles songs and weaving them into a star crossed love story was, regardless of its execution, one of the most ingenious ideas ever. Considering that the Beatles, throughout their expansive, yet short career, wrote some of the greatest love songs ever as well as some of the most subversively politically relevant music, it was only a matter of time until someone used that and appropriated it as a story. Taking place perfectly within the time of the Beatles career (from the early to late 1960s), Julie Taymore takes the characters’ names from songs (Jude, Maxwell, Lucy, etc.), throws some in-jokes in the mix (“Where did she come from?” “She came in through the bathroom window.”), and some truly dizzying images and makes an audacious masterpiece. Some of the best Beatles covers ever are featured in this film. It’s an incredible love story using incredible music, and just enough to cause a ruckus in the film world. You say you want a revolution…
3. Amélie (2001) | Directed by Jean-Pierre Jeunet
Amélie is a quaint, picturesque film about a young woman that likes to mettle in other people’s lives, with varying degrees of success. It’s like a French Emma. But director Jean-Pierre Jeunet uses his camera so elegantly, he creates a quirky, deeply saturated world full of emotion and joviality. Audrey Tatou is absolutely perfect as the meddling main character. She is able to portray the complexity of a woman who likes to live totally vicariously. I don’t think is really a spoiler, but, yes my friends, Amelie is given a chance at love. Were it not for some of the sex and language, the film is beautifully whimsical that it could easily be a modern fairy tale or a children’s book.
4. Antichrist (2009)| Directed by Lars von Trier
I already had three of Lars von Trier’s films on the list, and that was primarily the reason I did not include Antichrist. The viscerally harrowing and terrifyingly abstract psychological thriller was my first introduction into the career and filmography of the director some, including myself, like to call “Lars von Troll”. While Melancholia was made as a result of a post-depression mindset, Antichrist is the film in which he rolls out all of the stops. This is, some have said, his deadly deadpan and sarcastic answer to the world of modern psychology. Exploring gender dynamics and the art of psychosis on film in a perfect way, von Trier nods to Kubrick and Tarkovsky, creating some of the most startling and arresting images ever on the screen. The first half of the film is fairly “normal” (with the occasional interjection of the abstract), Charlotte Gainsbourg plays the depressed patient and Willem Dafoe plays the husband and psychiatrist. Von Trier’s observations about gender dynamics, psychology, emotion, etc. are astute and well articulated. And the in the second half, as the He and She head into the forest called Eden, everything goes crazy and the film goes off the rails. Don’t let the controversial scenes deter you; this film is far more complex and fascinating than its reductive “scissor” ad campaign leads one to believe. With von Trier, there’s no doubt that chaos will reign.
5. Grey Gardens (1976)/Grey Gardens (2009) |Directed by the Maysles, et. Al/Michael Sucsy
Even though Jackie Onasis’ weird relatives, Big and Little Edie Beale, seem, only by description, to be eligible for the next season of Hoarders, which the two have that no Hoarders episode ever could show is gumption and one hell of a life story. A bizarre riches to rags story, the documentary, primarily directed by the Maysles Brothers (the team behind Gimme Shelter), captures a superbly realized cinema verite of how the Beales lived. And how they lived was in squalor. At one point, they were going to be evicted from their previously lavish East Hampton home, but Jackie O came to the rescue and spruced things up a bit. And then it got dirty again. The character that both Big and Little Edie have in them is kind of astonishing. While in the documentary it isn’t made clear how people of such privilege could end up like this, the story doesn’t need to be filled because the audience is so fascinated with the subjects. Everyone who’s ever seen it remembers the very beginning, where feminist philosopher Little Edie gives her “best costume for today” monologue. It’s quite an outstanding look and how Little Edie copes and manages with the life she lives. The decrepit house, the weird relationship Little Edie has with one of the camera guys (beautifully intrusive), Big Edie’s singing and stories of Gould, etc. It’s a fascinating character study. HBO decided in 2009 to fill in some of the blanks and did so marvelously, with Drew Barrymore and Jessica Lange at the ready. Recreating some of the documentary footage (which Cinema Verite would do later for An American Family, but far less successfully) and flashing back and forth between the time the doc was being film and their lives beforehand, the two leads settle in their roles gloriously. Barrymore sounds so much like Little Edie, I yelped. Certainly not better than the original documentary, the HBO film makes a wonderful supplement. Grey Gardens is real life character study at its finest.
6. In the Mood for Love (2000) | Directed by Wong Kar-Wai
I may have mentioned in my little write up for Wong Kar-Wai’s other masterpiece Chungking Express that I’ve learned from Asian cinema that Asians are awesome at wallowing in their own self pity. (I should know, as I am Asian and spend my Friday nights crying into a pint of ice cream watching things like Eternal Sunshine.) While this remains true in Kaw-Wai’s loose sequel to his debut Days of Being Wild, IN the Mood for Love presents a romantic yearning that is so powerful and moving that it every other expression in love seems so trite. In Hong Kong in the 1960s, two married people move into the same apartment complex. Tony Leung and Maggie Cheung play the man and woman, and the two learn of a secret that will bind them forever. The proceeding events have a tender delicacy and portray a beautiful intimacy that is rarely portrayed on the screen so well. Sofia Coppola said that she was inspired by the film when she made Lost in Translation, and the themes from In the Mood for Love are evident. Wong Kar-Wai’s beautiful film is one of the most stunning portrayals of love ever on screen.
7. Mulholland Dr. (2001) | Directed by David Lynch
David Lynch’s weird universe, form Twin Peaks to Eraserhead to Blue Velvet, is a labyrinth of lies, an enigmatic world of deceit, and a poisonous letter to conventionality. Mulholland Dr. is one of his most puzzling and thrilling films, featuring alternate realities, projections of self, concepts of identity and desire, all in the city of desire and dreams. Lynch’s surrealist masterpiece shows us a deadly Hollywood noir, with a woman seeking stardom (Naomi Watts), a woman with amnesia under the guise of Rita Hayworth (Laura Harring), a director who is losing control of his film, and other various strings of plot. Originally conceived as a television plot line, filled with open endings and unfinished arcs, Lynch added material then the pilot was rejected, giving some semblance of an ending. Well, for Lynch, that is. As to the different theories surrounding the meaning of the film, that is left to interpretation. Nevertheless, the labyrinth of surrealism is one of the most exhilarating rides through Hollywood you will ever take.
8. Ratatouille (2007) |Directed by Brad Bird
I saw Ratatouille in theaters when it was released in 2007. Walking out of the theater, my immediate reaction was akin to, “How the heck did they sell this to kids?” Although easier to market than something like Hugo, Ratatouille’s “cooking rat” seemed like a hard sell. Since when do kids care about cooking? They just kind of expect their food to appear magically, either via their mother or through a drive-through window. But Ratatouille’s endearing “anyone can do it as long as your heart is in it” storyline is sweet enough to melt the hearts of viewers, but not so saccharine that cynics will groan and/or vomit. As usual with Pixar, the strength in the film is its storytelling. It is not really a typical way to tell this kind of story, and the devices used are actually fairly unique. The voice acting from Patton Oswalt is full of life, and after the film, you’ll be left hungry for more. (Kudos to Peter O’Toole to giving life to the cunning and articulate “villain”: a critic.)
9. The Dark Knight Trilogy (2005 – 2012) | Directed by Christopher Nolan
Say what you will about the last film, but Christopher Nolan’s Dark Knight Trilogy is a very impressive mainstream foray into the world of dark psychoanalytical character studies, gritty realism, ethics of vigilante justice, and post-9/11 buzz words. Inhabiting a very real world metropolis under the guise of Gotham City, Nolan’s noirish take on the caped crusader presents an interesting thesis to contemporary moviegoers expecting the usual blow-‘em’up action movie: “How does a society react when someone fighting for justice comes to our aid and then leaves? What does that society do in their absence? How much do we need them?” Although interpreted, and logically so, as a very political, almost pro-Patriot Act kind of film, the realistic world that the characters live in make the stories and the characters more relevant than they have ever been. And although the films are very flawed, the ideas they present are at least enough to spark some semblance of discourse. Christian Bale nobly plays billionaire playboy Bruce Wayne, a man with his own demons, ones he fights through the manifestation of a vigilante bat. Nolan and his team started from scratch, reinterpreting the Batman’s origin in Batman Begins. In The Dark Knight, terrorism engulfs the city of Gotham through that of the Joker (a stellar and pretty much legendary Heath Ledger), in the form of total chaos. And when the Batman is blackballed by the public, they seek his return when another ideologically motivated terror thrives in Gotham in Bane (Tom Hardy) in The Dark Knight Rises. Nolan’s fascinating look at society, character, and politics make his Dark Knight Trilogy a unique triumph in modern blockbuster cinema.
10. The Terminal (2003) | Directed by Steven Spielberg
Tom Hanks plays an Eastern European man who lives in the international terminal of an airport. His country, well, doesn’t technically exist anymore because of a military coup. Stunted by there being no common language and fending off a mean Customs Head (the delightfully asshole-ish Stanley Tucci), Viktor Navarski must make the most of everything and nothing. He has no money, but the terminal has a wealth of stores. What does he do? He takes those airport carts that refund a quarter and put them back all together so he has enough to get a small meal. Until Tucci stops him. As he gets “used to” living without a real country, he makes some friends in the form of an Indian custodian, a Spanish food cart delivery man, a police officer, and a very flirty flight attendant whom he falls deeply in love with (Catherine Zeta-Jones). The simplicity of the film is its strength, and while it may be in many ways Spielberg’s trademark sap, the film is so light and breezy that it is hardly a bad thing. The Terminal is sweet and affecting and features one of Tom Hanks’ best performances.
11. Wings of Desire (1987) | Directed by WIm Wenders
My English teacher from sophomore and junior year said that Wings of Desire was his favorite film. I got it for him for Christmas, and then ordered myself a copy. I was expecting… talk of angel and love. Besides that, I had no idea what I was in for. And what I was “in for” was one of the most lyrical, ludic films about what it is to love and what it is to live I have ever seen. Wings of Desire follows an Angel who falls in love with a beautiful, lonely trapeze artist and sacrifices his immortality to be with her. As an Angel, he can hear the thoughts, the wishes, the desires of everyone around him, but he yearns so much to be with the lonely soul and to feel something humans call love. Wim Wenders’ film works both as a symphony for Berlin (it was made shortly prior to the reunification of Germany) as well as a tapestry to love itself. It was loosely remade into City of Angels. Skip that and just desire for love with the original.
12. Little Children (2006) | Directed by Todd Field
Very few adaptations of novels ever include the same narrative structure as that of the source material. For instance, third person omniscient narration has, to my knowledge, never been in a film adaptation. (I could be wrong, correct me if I am.) It may be used in films from time to time, even in the form of novel writing or even screenplay writing, such as in Stranger Than Fiction or Adaptation, but not actually an adaptation of a specific novel. Little Children makes a little change to that. Little Children, directed by directed by Todd Field, based on the book by Tom Perrotta (who gave us Election, which was adapted by Alexander Payne), and with a screenplay by the two of them, Little Children is perhaps the most literary film to come in the last few decades (tied with aforementioned Stranger Than Fiction). It at times seems to be a darker, more nuanced American Beauty-esque film, but that just touches the surface. There is irony there, as the film explores the surface of idealized suburban life, but only slightly. It does it in a masterful way, allowing more time to look at the characters: a mother and faded feminist (Kate Winslet), a “prom King” father (Patrick Wilson), and a man who was recently released on sex offender charges (Oscar nominated Jackie Earle Haley). The various routines the married people have and what the sex offender wants are disrupted by various things: an affair, yearning for love form their respective spouses, and the small Boston neighborhood’s reaction to a sex offender arriving on their streets. All around the little children. Stunning performances accentuate the desperation these people have, and, somewhat regretfully, you may find yourself pitying people who may not deserve it at a first look. And all around the little children.
13. The Complete Metropolis (1927) | Directed by Fritz Lang
I bought the Kino Blu-ray of The Complete Metropolis ages ago, and I deliberately continued putting it off because the prospect of a two and a half hour silent sci-fi drama, a behemoth of inspiration and influence, was daunting. Fritz Lang’s epic is said to have inspired Blade Runner, Star Wars, and nearly every other science fiction film imaginable. But the magnitude of importance of the film is far larger than ghettoizing it to the sci-fi genre. Metropolis may be one of the single most important works of art ever created. Its dialog and situations evoke the current political atmosphere, its imagery is reminiscent not only of German Expressionism, but every other style ever used, and its characters are as complex as any human. The Complete Metropolis is THE film to watch this election year. Where else will you see the legendary quote, “The mediator between the head and the hands must be the heart!” The film went for decades missing nearly a half hour of footage that was cut when American producers butchered it for its US release. The footage was nowhere to be found until a 16mm duplicate negative was found in a warehouse, of all places, in Buenos Aires. The print was in lousy condition, but Kino cropped it fix the aspect ratio and cleaned it up without removing its filmic qualities. The Kino Blu-ray of The Complete Metropolis looks absolutely stunning all around, and the film is powerful, exciting, and dramatic. Its influence in society is undeniable, form the language of film to the semantics of politics. Metropolis is a towering achievement in art.
Watch and See – My Favorite 101 Films: Part 3
Welcome back, to my continuing series of my top 101 films! In case you missed it, here’s part 2!
Welcome back to my continuing series of my favorite 101 films of all time, where you’ll encounter: wood chippers, tanks, “Nazi Julie Andrews”, Beauty and the Beast, something precious, whiskey, “In the Hall of the Mountain King” whistled, Nabokov smiling, something too gay to function, the end of the world, memory problems, a smile, and two tragic heroines, who happen to be hookers.
41. Fargo (1996) Directed by Joel and Ethan Coen
Most of the Coen Brothers’ films, I’ve observed, tend to be neo-noirs disguised under some other sort of other genre clichés. However, their dark classic Fargo is just a straight up noir, studying the lives of criminals, a police officer, a mild mannered guy with a lot of debt, and the small town residents of North Dakota with their funny accents. The Coens described where they grew up as “Siberia with family themed restaurants”, and that description seems to be a good metaphor for the perfect blend of comedy and suspense. The film is dark and cold, but also completely hilarious. Fargo is perfect, dontcha know?
42. GoldenEye (1995) | Directed by Martin Campbell
I have always asserted that the best James Bond films are simply the best espionage films. It works outside of the series and can stand on its own. This is just as true as Martin Campbell’s first Bond effort, GoldenEye, which ushered in Pierce Brosnan as Double O Seven for the first time. Bridging the gap between the hokey escapism of the previous14 films and the gritty realism of the Craig era, GoldenEye works well because aside from a couple key scenes and the fact that, as per usual, Bond recites his name, it doesn’t feel like a Bond film, therefore not weighted by certain expectations. Even if the expectations were there, it would surpass them, and rightly so. GoldenEye was a fantastic way for Bond to enter the ‘90s.
43. In the Loop (2009) | Directed by Armando Iannucci
In the Loop is the Dr. Strangelove for the 21st century. The terrific film delves into the world of British politics and profanely satirizes everything. If it weren’t so gut bustingly funny, it would be deeply depressing to realize how incompetent some of these people are. The screenplay is incredible, its language so vulgar and funny that it shed new light on certain topics. And added some insults to my lexicon. (“Nazi Julie Andrews!”) Based loosely on the BBC show The Thick of It, In the Loop spectacularly mocks the fog of war.
44. Kill Bill (2003/2004) | Directed by Quentin Tarantino
Kill Bill was Tarantino’s pop art collage. Stealing (or borrowing, whatever you prefer) everything under the sun to create a fast paced, frenetic film, it’s a playscape for the senses. The visceral thrills are second to none, as Tarantino shows off how much he knows about film, provides a badass female lead fantastically played by Uma Thurman, and seems to have an incredibly fun time.
45. King Kong (2005) | Directed by Peter Jackson
If there has ever been a contemporary remake that’s been done right, it is this one. Peter Jackson’s gorgeously realized film is a stunner in every way. The level of detail, the characterizations, and the look of the film. The best thing about it is, though, the Beauty, Ann Darrow (a charming Naomi Watts) and the Beast, Kong (Andy Serkis is a genius, did you know that?). The love that Kong feels for Ann is so beautiful and so real that the ending breaks my heart every time. Animated with integrity, Kong’s fall from grace is painful and beautiful all at once. No one brings me to tears more often than the utterance of “It wasn’t the airplanes. It was Beauty killed the Beast.”
46. Kuroneko (1968) | Directed by Kaneto Shindo
This Japanese horror film with a feminist twist features some of the most stunning cinematography in a horror film. Deriving much of the action and movement from traditional Noh Theater, the stage is lit for ghostly shimmers, as a vengeful woman and her mother, who sometimes appear as cats, rip the throats out from samurais. Its plot is fine, but it is undoubtedly a showcase for the presentation, from the beautiful costumes and sets to the dreamlike cinematography. Spectacularly creepy, it’s like dancing with the demons in the pale moonlight.
47. The Lady Vanishes (1938) | Directed by Alfred Hitchcock
This seems to be Hitchcock at his jauntiest. He may have made other light dark comedies, and even one deliberate comedy, but The Lady Vanishes is his frothiest film yet. Some of the techniques that would become Hitch’s trademark are featured in the film, but whatever the sense of foreboding; it is driven away by how amusing and funny it is. Its romance and the “opposites attract” would actually leave a little bit of a legacy, with Carrie Fisher quoting the film in When Harry Met Sally… (“You’re the most contemptible man I’ve ever met!”) Hitch keeps the audience entertained by both the comedy and the mystery, but even noted film historians have started watching the film with the intent to analyze it heavily and given up, lying back, and relaxing their ride on Hitch’s train.
48. Lady Vengeance (2005) | Directed by Park Chan-wook
I always go back and forth between this and Oldboy as to which is better. Both are part of a thematic trilogy from Chan-wook, and on days when the Lady takes the cake, she really takes it. The emotional resonance in this film is extraordinary. A beautiful study of revenge and redemption, Lady Vengeance sticks out for its lush colors (or not, if you watch the excellent Fade to White version, in which scene by scene, the film desaturates) and its very Murder on the Orient Express-like conclusion. The treatment revenge has in this film is, in a way, less harsh than in Oldboy. Out protagonist comes to realize what she’s doing and how revenge itself is changing her far more quickly and halfway through the film, her motivations change slightly. It remains one of the most beautiful thrillers of the last decade.
49. The Lord of the Rings Extended Editions (2001 – 2003) | Directed by Peter Jackson
There is not very much to say about Peter Jackson’s epic trilogy that hasn’t been said before. Though the pacing is at times problematic (how would you deal with the material?), it’s extravagant and amazingly huge in scope. If anyone could ever tackle these tomes and bring them to life, it was Jackson.
50. Lost in Translation (2003) | Directed by Sofia Coppola
Sofia Coppola is an expert at capturing the meandering reality of loneliness. She did it, probably in a flashier way, with The Virgin Diaries, she did it with more focus on the costumes than on the plot in Marie Antoinette, but she explored the topic perfectly in Lost in Translation, which won her an Academy Award for Best Original Screenplay. Two lonely people in a place where there is a significant language barrier meet and… do not sleep together. Instead, they find in each other kindred souls and a kind of intimacy that is unmatched with merely sex. The exploration of strangers in a lonely place offering solace to one another is pitch perfect in every scene. It turns out that existential ennui translates perfectly for the screen.
51. M (1931) | Directed by Fritz Lang
Having seen this film several times, there is no way that I will not think of Lang’s noir-ish crime thriller M when I hear the foreboding notes of “In the Hall of the Mountain King”. Whistled faux-innocently by the ever creepy Peter Lorre is the first sign that nothing good is to come of this. Almost a critique of the police procedural as we know it, the deliberate pacing, sparsely framed shots, and beautiful chiaroscuro all add up to what is an indelible experience. (And, yes, I do consider it a part of German Expressionism).
52. Manhattan* (1979) | Directed by Woody Allen
I’ve gone back and forth between Woody Allen’s Annie Hall and Manhattan for what feels like ages, but I decided the latter would be in my top ten. More the comedic drama than Annie Hall’s dramatic comedy, the bittersweet tale of unrequited love and intellectuals in New York is a masterpiece. The film’s one liners are perfect, but underneath is the pathos and feeling of desire that everyone feels in the film. The Gershwin filled score adds to these tender moments of drama and romance, aiding the tone perfectly. And, of course, the film features some of the best black and white cinematography ever on screen by the Prince of Darkness, Gordon Willis. While some may love New York, I, myself, love Manhattan.
53. The Manchurian Candidate (2004) | Directed by Jonathan Demme
Here’s another remake that was very successful in terms of quality. Though, re-adaptation seems a little more appropriate. Demme re-appropriates the themes of the original film, which circled around Communism, and used them in a contemporary context. Taking place after Desert Storm, the film gears in on various medical testing and the state of terrorism in the real world. It makes for an effective and taut thriller. Live Schreiber and Meryl Streep are incredible in the film.
54. Mean Girls (2004) | Directed by Mark Waters
You may think it odd for me to have this film on my Top 101, but I truly adore it. Tina Fey’s acute study of the teenage girl in high school and the desire for popularity is one of the smartest teen films to ever be made. Endlessly quotable, its astute observations (as I mentioned in my lengthy review) are more than true. Even at the small school I go to, there are things that have happened that have reminded me of Mean Girls. Part of this realism is that the film is based on a nonfiction book, the other part being just good writing. Mean Girls is supported by outstanding performances from its cast, including Lindsay Lohan, Lizzy Caplan, and Rachel McAdams. Yes, I’m going to say it: This movie is so fetch!
55. Melancholia* (2011) | Directed by Lars von Trier
It’s no secret that Lars von Trier is the benevolent sadist of art cinema. His films are rarely easy to watch, always beautiful, and always challenging. With Melancholia, he presents to us an operating staging of the end of the world. Though, the end of the world hardly means anything in comparison to the characters he studies in the film and the lives he analyzes. The fly by planet may be that manifestation of depression for Justine, but it’s Kirsten Dunst’s stand out performance that makes the end of the world so memorable. Charlotte Gainsbourg, too, is outstanding ass Justine’s older sister, and their relationship dynamic slowly disintegrates throughout the film. The cinematography, despite being hand held in nature, still captures beautiful scenes and portraits. The impact Justine has, as her emotions fly out of control, is just as damaging as the collision of Earth and Melancholia. But that’s what great art is: a collision of beautiful ideas, sounds, images, and emotion.
56. Memento (2000) | Directed by Christopher Nolan
Christopher Nolan’s breakthrough art house film is an incredible exploration into memory, denial, and crime. A gloriously fantastic neo-noir with a tight script, amongst the things that make this film extraordinary is the nonlinear narrative. Yes, my friend, linearity goes out the window, as it is played backwards. If I didn’t love this film, I wouldn’t have written my extended essay on it. Guy Pearce plays a damaged man searching for his wife’s killer, but as we go further back into his mind and into the past, the things that are revealed are chilling yet incredibly human. Nolan starts playing his games for the big time in Memento. Stunning in every frame, Memento is one of the greatest film noirs ever made.
57. Midnight in Paris (2011) | Directed by Woody Allen
Woody Allen’s delightful tale of the dangers of nostalgia is a pitch perfect comedy that hits every right note. Owen Wilson brings something new to the Woody archetype, making his struggling screenwriter his own, while the supporting cast is absolutely amazing. From mean girl Rachel McAdams, the pedantic Michael Sheen, and the tons of historical figures that appear as Gil travels back to Paris in the 1920’s (notably Hemingway, the Fitzgeralds, and Dali), Allen is at the top of his game here. Midnight in Paris is a film that both warns one of the dangers of nostalgia, but enjoys it all the same.
58. Modern Times (1936) | Directed by Charlie Chaplin
Charlie Chaplin avoided sound for as long as he could, and nearly a decade after The Jazz Singer had premiered with its revolutionary synchronized soundtrack, Chaplin was still holding tight keeping his Little Tramp’s lips sealed. The film is not completely silent. Modern Times incorporates some sound effects and probably half a dozen lines spoken by minor characters. And while Modern Times is undeniably hysterical, heartwarming, and as good of a showcase of Chaplin’s pantomime abilities as any of his films from a great filmography, Modern Times provides some interesting social commentary about consumerism, labor workers, and the industrialization of America. The film also ushered in the classic jazz standard “Smile”, which would be famously sung by Nat King Cole. With its ambiguous, but happy ending, Chaplin would move forward with technology and social awareness in his films.
59. Moon (2009) | Directed by Duncan Jones
Duncan Jones’ debut feature is a about a man on the moon, who mines, and feels lonely. Yes, the existential crisis of loneliness in space. It sounds rather trite, but with sharp visuals, a gorgeous and atmospheric score by Clint Mansell, and absolutely stunning performance from Sam Rockwell, Moon is a star amongst emotional dramas. Sam Rockwell’s performance of Sam Bell is the “every man”, a man who has been working and mining for the last three years on the moon. When his time on the moon is about to close and he gears up to head back home, he realizes that he has become so attached to solitude, he does not understand how he will cope with the change in environment. It’s a beautiful, subtle, and at times fantastically suspenseful film.
60. Nights of Cabiria/Vivre sa Vie* (1957/1962) | Directed by Federico Fellini/Jean-Luc Godard
The prostitution of society, religion, magic, celebrity, emotion, and money are the subjects of two of the greatest films ever made. I see Fellini’s Nights of Cabiria and Godard’s Vivre sa Vie as companion pieces, both dealing with similar subjects, both dealing with similar tragic protagonists, and both ending in similar ways. In Fellini’s film, Giulietta Messina inhabits the outspoken, down on her luck prostitute Cabiria. She aspires to be something bigger, but men constantly, habitually take advantage of her. In Godard’s film, framed around twelve tableaus, Anna Karina plays Nana, a Parisian girl who aspires to be an actress, but soon is relegated to being a prostitute. Both films take place in beautiful places in the world, and show the decrepit nature beneath the façade. Both films are directed with integrity and mastery of the medium. And both films are heartbreaking and tragic. If you don’t cry, or at least shed a tear, at the end of the films, you are a robot or a sociopath. Containing two of the greatest performances by women in cinematic history, both films, exploring complex characters, are the best the world of cinema has to offer.