Lists (of the ranking variety) are a funny thing. By funny, of course, I mean terminally flawed in the logic of it all. The reality is that there is no list of anything on the planet that can rule out human nature, opinion, and the ability for the average person to think way too highly of his or her personal likes and dislikes. When it comes to anything in the entertainment industry–especially film–these flaws are amplified by… well… eleven. (winkwink)
This was driven home rather forcefully this past weekend as everyone in creation, as well as some of their pets, clicked away at an imdb page of 250 films then, with one definitive click of the mouse, posted the results to the ol’ facebook. What I found interesting (and I am as guilty as anyone in this) pretty much everyone who posted it to their page made a comment regarding how horrible a list it is. When you gauge it against the whole of filmed entertainment or, at least, what we have left to view (the numbers of films completely lost to time and the fragility of the nitrate negative print is staggering–to give you an idea, it is believed that only five percent of the silent films made have survived in a viewable, or even restorable form–the majority have become so many dust piles in the ash bin of history) it is an incredibly flawed list.
So, how does this happen? How does imdb–keeper of all film lists and links to products on Amazon.com–get it so wrong? Well, you only have yourselves to blame. As near as I could tell, it was built upon the user ratings tallied on the behemoth site rather than the actual quality of the films. This is the only explanation for why” The Good, the Bad, and the Ugly”, while an enjoyable film that I like very much and even own, could rate higher on any list outside of one singling out westerns than the masterpiece “City Lights” (a film that, if you have not seen it, you must–hint: it will be listed below as a reminder). Let’s be honest, the implications of said list is that some of our fellow movie fans out there have decided that “Monty Python and the Holy Grail“ (again, a film I love but, let’s be real here folks, number 88?!) is a better film than, say, “A Streetcar Named Desire“ which clocked in more than 100 spots lower. The film that solidified Brando as a star is more than 100 spots lower!
I have for years decried the ability for every Tom, Dick, and Harry (which is also the title of a fun little comedy from the forties) to post user reviews/ratings for anything but could easily ignore them… until now. When you use them to decide the greatest films of all time, we’re gonna have a problem! Needless to say, I have come armed with my own little list of films–some are on the list, others, sadly and shockingly, not–that I will now proceed to force upon you. Whether you agree with the sad little imdb list or not, here are some films that need to be looked at either for the first time or with fresh eyes. I offer this humble list of films I consider to be well worth the time and that, maybe, have been missed by many. They are in no particular order.
“City Lights “(1931)
This film is on the list but is overshadowed by some far lesser fare and should be seen by everyone. The brilliance of this film (beyond the obvious fact that it was released during the period containing Chaplin’s most impressive work) is that although sound had already invaded film, Chaplin’s Tramp remained mute. Even more brilliant is the fact that this silent classic film’s plot relies heavily upon sound to tell its story. The slamming of a limousine’s door tips the blind flower seller off to the size of the kindly gentleman’s (the Tramp) bank account and what follows is a love story for the ages. The film is filled with humor, touches of drama, and is sentimental while never lapsing into schmaltz. One of my favorites and (bonus!) The Criterion Collection has just added it to its list of Chaplin classics that include “The Gold Rush”(1925), “The Great Dictator“ (1940), and “Modern Times“ (1936) on bluray and all with stunning restorations and outstanding extras.
“The Magnificent Ambersons“ (1942)
Orson Welles burst on the scene a year earlier with “Citizen Kane” (1941), a calling card befitting his massive ego as well as his equally massive talent. While it is still considered by many to be one of ten finest films ever made it also made Welles a near pariah in the film industry. Sadly, we will never see the wunderkind director’s vision as the studio gutted the picture while he was out of the country leaving a film that, even though it was hacked to just under ninety minutes (around an hour shorter than Welles’ initial cut), still shows flashes of his brilliance. Little can be said beyond this: What we are left with is a wonderful film that, through its emaciated remains, is spectacularly enlivened by near perfect performances and stellar photography.
“A Midnight Clear “(1992)
For my money, one of the best directors around today is Keith Gordon. He started as an actor then showed his real talent behind the camera with his first film “The Chocolate War” (1989), an honest little story about acceptance, adversity, and growing up in a teen world far more organized than most of us would care to remember. With this, his second film, Gordon brought together a cast (Ethan Hawke, Gary Sinise, Arye Gross, Peter Berg, Frank Whaley, and Kevin Dillon) that, at first glance, would raise one’s eyebrows but a cast that, under his deft direction, morph into a single, unbreakable unit telling a story that is as compelling as any to hit the screen. The real crime is that the DVD release of this is pan and scan (?!?!), so if Mr. Gordon or any of the studio people are reading this (as I’m sure they are), please please please give this the widescreen release it deserves.
Wings of Desire (Der Himmel über Berlin – 1987)
Wim Wenders delivered one of the few films that really gets it right with regard to the reality of the human condition and he had to tell it through the eyes of an angel to do it. This was remade in the U.S. as the deplorable “City of Angels” (1998) but the original should never have to exist under the shadow of that monumental failure. What the latter was missing the original not only had but was built upon: Most of the choices we make in life are based upon how we feel, what we think, or our hope; we must live with the randomness of the world and believe that we will find a better life if we can make choose well. Wenders’ stunning direction and beautiful screenplay would have been for nought were it not for Bruno Ganz’s sensitive performance and Henri Alekan’s exquisite cinematography. Not to be overlooked is Peter Falk who delivers a thoughtful cameo that brings the reality of our lives on this planey into focus.
“A Night at the Opera“ (1935)
Anyone who has never seen a Marx Brothers film, or have only been shown “Duck Soup“ (1933) as part of a political science, history or other such sociology-based course, should check this out. (This is not to say the Duck Soup is not brilliant, just that this is better, in my opinion.) Some of the best Marx Brothers bits and scenes are in this–from the stateroom to the contract to the… you get my drift. While some of these may feel familiar and played out today, understand that this is their genesis. The Marxes’ brilliance shows through the entirety of the film.
Fearless (1993)
Yes Peter Weir has made many brilliant films (“The Truman Show“ 1998, “Dead Poet’s Society“ 1989,”Witness“ 1985, “Picnic at Hanging Rock“ 1975]among them) but it is this Jeff Bridges/Isabella Rossellini drama about a man who survives a plane crash and how he deals with the fact that he walked away from the wreckage while his seat mate didn’t. An amazing film that, like “A Midnight Clear,” has not had a decent release on disc, is still worth watching in its pan and scan state for the moving portrayals by the leads and Weir’s flawless storytelling.
(Note: This choice was a toss-up between this film and Weir’s little seen but remarkable 1986 film “The Mosquito Coast“ which boasts great performances by Harrison Ford, Helen Mirren, Andre Gregory, and an excellent turn by River Phoenix. Check them both out and see how versatile a director can really be.)
“Magnolia“ (1999)
This isn’t a film, it’s a commitment, and a worthy one at that. Paul Thomas Anderson followed his history of the porn industry’s transition from the ‘70s to the ‘80s (“Boogie Nights“ 1997) with this serpentine tale of life in the modern age. It fires on all cylinders with an infallible cast that brings Anderson’s pristine script to life and an Aimee Mann soundtrack upon which it all floats. Not much can be written about this film without giving too much away, so I’ll just say this: Do yourself a favor and carve out an afternoon for an amazing experience (and some of, if not the, best acting you will ever see from Tom Cruise).
There are so many more films I could put on this list but all good things must come to a close. Who knows, maybe some other ridiculous list will hit the interwebs soon and I’ll have another reason to crack out a few more under-appreciated gems for y’all. Until that fateful day occurs, check these out and find some others that will expand your horizons.
About Michael Flood
