Okay – I know that quote never happened, but what did happen is Hollywood’s template that it still uses today: love story, playful characters, happy ending, good always prevails.
American Film Institutes Ranking: #3/100 Awards: Nominated for eight winning three: Picture, Director and Writing/Screenplay. My Rating:
From the first moments in Rick’s cafe, I realized that I was going to really enjoy this one. What Hollywood does so well is pulling the wool over our eyes. The movie’s plot and characters feigned, pushing against the boundaries of reality, but time and time again we find the magic produced so enticing we suspend our thinking minds and tap into our imaginations.
This doozy of a WWII flick combines anything you can consider to be Hollywood and does it at a high level. The dialogue, the characters, the setting, and the plot all swept me up, transporting me to a time that no longer exists (and truthfully never did) for one of the best films of all time.
This movie combines the awe-inspiring nature of the west with mostly inorganic and stale characters leaving me wondering: can setting alone carry a movie?
American Film Institutes Ranking: #96/100 Awards: None My Rating:
I sometimes take a peak at other people’s thoughts on a movie before settling down on my own: was there an angle I missed or a piece of lore that impacts how I view the film? Roger Ebert is consistently someone I go to first because of his acerbic wit and clear writing. His review for “The Searchers” is a study in character analysis as he slices and dices the depth of the two main leads, reading far into the director’s intentions and purpose.
I simply disagree with what he comes up with.
Ebert dives deep into the shallow souls of these scantily-detailed characters, projecting life into them that I just cannot see. Where he finds impactful statements and testaments to the director’s hidden or subliminal messages, I see stage props — exception being the main character. This leaves me feeling that the environment was more dynamic than the story and characters: the West is daunting with staggering depth and isolation, while the characters are more true to the stagnant mountains that surround them.
I don’t know who I am anymore — enjoying a film based on theater and stage.
American Film Institutes Ranking: #100/100 Academy Awards: Nominated for several: best picture, actor, screenplay, supporting actor etc. Won for Best Actor (James Cagney). My Rating:
My dislike for theater runs deep and goes to my early days of college — VCU was home to a vibrant theater community, and early every morning they would flood the dining hall dressed in straight black forgetting that they weren’t on stage. It was kind of like a qualitative study where I got to see what the stress of performance did to one’s life first hand, not to mention the suspense of what Shafer Hall would do to my GI tract.
I set up my netflix cue with a bunch of random movies, so when Yankee Doodle Dandy arrived, I really had no idea what it was about. Once I read that summary on the DVD slip, I started to worry.
Somehow, I came out not only pleased, but ready to recommend this film to anyone who would listen to me Yammer about vaudeville, WWI and this “American as you get” film.
The cinematography, the art direction, and the chopped storyline of thousands of other movies owe their derivation to this original piece.
American Film Institute Ranking: #1/100 Academy Awards: Received nine nominations, but only winning for Best Writing (Original Screenplay). My Rating:
So the best movie of all-time, eh?
A movie with that distinction has rightfully been sliced and diced from a million different angles, and with having such an interesting figure in the middle of it all (Orson Welles) there is plenty of of wood to stoke the fire when discussing this piece of significant Americana.
First and foremost, the movie is very enjoyable. From the get go you realize this isn’t run-of-the-mill, early Hollywood; the movie opens up with an electric use of film angles and art direction, creating amazing intrigue with nothing more than ingenious camera work. This is followed with an inverted story, jumping back and forth between present and past in a way Quinten Tarantino would approve. Then, the fascinating main engine that keeps everything runningL the search for what “Rosebud” means.
What materializes is a move that has a little bit of everything: an intriguing story, well-written characters, a period piece of 1940s America, and a commentary on life, capitalism, power and fulfillment.
The moment you’ve been waiting for finally comes 4/5ths through the movie, but it all seems too late and anti-climatic.
American Film Institutes Ranking: #98/100 Academy Awards: Nominated for several: best picture, actor, screenplay, director, supporting actor. Won for supporting actor (Gene Hackman), Director (Clint Eastwood) and Picture. My Rating:
I’m okay with Westerns. My favorite book of all time happens to be a Western (Lonesome Dove). Older generations who display the red,white and blue at every door and buy cars made only in Detroit view Westerns as a quintessential American representation. The West represents the idyllic egalitarian society with no centralized government and each small community creating their own standards for law and acceptable behavior — no need for big government here!
It all works out for you as long as you are the swashbuckling cowboy and not one of the the characters regelated to the edges such as women, children, seniors, and those not willing to be violent. Unforgiven continues with this deconstruction of the Western narrative, focusing on a protagonist that isn’t glistening with moral righteousness while showing the real toll of vigilante justice. So while Unforgiven is certainly a Western, it tries to butt up against the glorification of the genre.
My problem is that in the process of flipping the script, you lose connection with the characters leaving a resolution that is ultimately unsatisfying.
A front row seat to the underbelly of Mafia crime, the movie about the Corleone family has plenty of malevolent retribution to enjoy.
American Film Institutes Ranking: #3/100 Awards: Nominated for eleven awards with one being revoked and winning Best Picture, Best Actor and Best Adapted Screenplay. My Rating:
This is one of the heavy hitters of film, obvious by how high it is ranked (#3!) but also by its universal acclaim. Unfortunately, I’m not 100% on the bandwagon. Don’t get me wrong. I find this movie very good and enjoyable, but I’m not quite sure I would put it in my top five movies of all time.
There is something intoxicating about seeing the inner workings of the mafia, and Francis Ford Coppola’s movie does a wonderful job of characterization — there are rememberable people, interactions, and changes amongst the cast over the course of the movie. The fact that no one is safe from the violence adds an additional level of intrigue, never knowing who might be the next one to “sleep with the fishes.”
Even with a slightly white-washed script, “To Kill a Mockingbird” can swell the spirit and can recreate the magic from the book.
American Film Institute Ranking: #34/100 Academy Awards: Nominated for eight, including best picture and director, while winning three for Best Actor (Gregory Peck), Best Adapted Screenplay (Horton Foote), and Best Art Direction. My Rating:
First, I think it has to be appreciated the challenge this director and screen writer faced: they had to take one of the most beloved pieces of literature and transmute it onto the silver screen. This was no small task.
Their approach was to put more focus on Atticus Finch than Scout which is a pretty-big deviation from the book. There are both positives and negatives because of this narrative change, and people’s feelings about this movie can usually be tracked back to how they view this slight of hand. Atticus is such a beloved figure of moral inspiration that having him be the center brings his edifying persona to the forefront, allowing fans of the book to get more of a favorite character. The downside is that the story strikes an odd tone, being almost silent on the African American plight.