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.
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.”
American Film Institute Ranking: #17/100 Academy Awards: Nominated for four (Best Actor, Actress, Adapted Screenplay and Director) winning Best Actor for Humphrey Bogart (his only Academy Award). Director: John Houston My Rating:
“How can we put Humphrey Bogart and Katharine Hepburn in close proximity for a couple hours and let them work their magic?”
Enter the adapted screenplay by James Agee (who also wrote a top 100 book of all time “A Death in the Family” which I review here). The African Queen is an interesting movie just from the set up alone: about 90% of the movie involves the two main characters floating down a river in a steam boat with the entire focal point on their relationship. There is some window dressing to get them there, but none of it matters. What is important is that Humphrey and Katharine are stuck together and have to work through their differences. This movie explores the classic motif of mismatched lovers using stereotypical traits that are diametrically opposed (messy vs. clean, prude vs. crude, etc.). Thankfully, we have two power houses of Hollywood that end up pushing this ridiculous script along and somehow make a successful go at it.