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Don't pay too much attention to the order. I find it way too hard to rank my favorite films.
Recommendations and feedback are always welcome. Anyways, here it is: ¸
01. The Godfather (1972; Francis Ford Coppola)
When a film has a reputation like The Godfather does, it's very diffiult to do it justice with words. This is a crime-drama masterpiece, but it's so much more than that. It is, in many ways, a Shakespearean character study and a cinematic landmark in every sense of the term. This is a tense, intriguing examination of family and the treachery that human beings are capable of. Ontop of its outstanding subject matter, The Godfather also has one of the greatests cast ever compiled - Brando, Pacino, Duvall and Caan are all at the top of their game here. Films like this remind us why we go to the movies. Coppola brings an ideally dark aura to the story, employing the use of underexposed footage and painstakingly perfect pace. Pacino's most understated character work is in this film - he portrays Michael in all the tortured complexity that Puzo wrote him.
02. The Godfather Part II (1974; Francis Ford Coppola)
This film is darker and more complex than its predecessor. It is no less masterful. Gordon Willis' contrasting cinematographic methods for the flashbacks and main story work incredibly, and the screenplay provides us with detailed, vivid characters who are acted to perfection. Although we are distanced emotionally from Michael Corleone in this film, Pacino's performance ensures that we are still fascinated with him. Although Pacino is undoubtedly the stand-out, there is an abundance of remarkable supporting performances here, particularly from John Cazale.
03. Naked (1993; Mike Leigh)
Mike Leigh's controversial masterpiece is by turns sardonic, hideous and exhilarating. It is both a scorching social commentary and a character study, but unconventional in both respects. Naked opens on its hero sexually abusing an unknown woman in a dark alley, thereby introducing us to a cold and desperate landscape unlike anything we are likely to have seen. While retaining a sense of irony and humor, it is underlined by an ominous musical score and depictions of brutal sexual violence. All the acting is good, but David Thewlis makes this movie his own. With his portrayal of this picture's anti-hero, he gives us one of the most astonishing modern screen performances. His acting never misses a mark, and it is his character interpretation that keeps viewers engaged, even when we want to turn away. To dismiss Naked because it's hard to watch is an injustice. This is a great film.
04. On the Waterfront (1954; Elia Kazan)
Huge dramatic themes are at the foundation of On the Waterfront - redemption, corruption, the power of morality and the ability to introspect. The subject matter is stripped down to its most accessible, simplistic form. This is a movie full of grit and physical violence that charts the struggle of an everyman living in unforgiving surroundings. Nobody else could have given this character the immortality that Marlon Brando gives it. Brando's performance explodes with visceral power, but it is always exemplified by his subdued naturalism and aptitude. The supporting players are terrific as well - Karl Malden, Lee J. Cobb, Rod Steiger and Eva Marie Saint leave lasting impressions. This is a searing, sometimes brutal crime-drama that still maintains an essence of tenderness and sympathy for the conflicts of its protagonist. Backing the unanimously solid acting is Kazan's fiery direction and an impassioned screenplay by Budd Schulberg. Marlon Brando is my favorite actor, and I am not the first to say I would rank this particular performance among the finest of his commendable acting career.
05. Les Quatre Cents Coups [The 400 Blows] (1959; François Truffaut)
Truffaut's allegedly semi-autobiographical portrait of angst and young rebellion is one of the most accurate I've seen. Its structural originality helps to illustrate all the aspects of a confused, pained boy feebly attempting to make his mark. It is a heart-wrenching, suitably unsentimental and beautifully made film, emphasized by an intelligent lead performer and realized writing. Truffaut directs the film in a compelling manner that sheds the convention of traditional storytelling but maintains a precise and distinct vision. This is a picture full of feeling and truth, a piece of art that says a lot to me.
06. Taxi Driver (1976; Martin Scorsese)
An unparalleled portrait of loneliness, Taxi Driver is one of the finest character studies ever put to film. Martin Scorsese is the perfect director for this piece, because he soaks up the ugliness of the world that the main character (Travis Bickle) inhabits while also constructing a meticulous examination of the man himself. Here is a man who is incessantly exposed to pornography, crime, immorality and beautiful women who torment his insecure mind from a distance. The movie's narrative perspective is tilted in favor of Travis's psychological view, so we can see the sadness of his isolation while also being terrified by the tunnel-vision aggression of his descent. Few actors can wield threatening power while also drawing empathy from their audience. Robert De Niro is one of those actors, and his exploration of Travis Bickle is fully deserving of its spot as one of the iconic American performances. Here is "God's lonely man", a bitter and delusional man lost in the crowds seething through New York. His world is dark and murky, potently underlined by Bernard Herrmann's jazzy score and Michael Chapman's documentary-esque cinematography. The movie inevitably ends in violence, and Travis's killing spree is ferocious in execution. However, the performances and writing are so phenomenal that it is the build-up we remember first and foremost.
07. To Kill a Mockingbird (1962; Robert Mulligan)
A faithful and remarkably moving adaptation, this film ranks among the greatest films of all time. Despite the troubling and disturbing context, director Robert Mulligan still brings a feeling of nostalgia and innocence to this story. Gregory Peck delivers one of the strongest screen performances of all time in this timeless classic about justice and morality. The final courtroom monologue is hugely important, and the passion of its message never even hints at insincerity. This is an important film, but an important film we can enjoy.
08. Citizen Kane (1941; Orson Welles)
Despite all the hugeness of its achievements and story, Citizen Kane is remembered primarily for its emphasis on the meaning of a dying man's last word spoken: "rosebud". It's a reflective, thoughtful portrait of a man who is in many ways like every other, and that is what makes it so incredible. Writer/director Orson Welles paints this film with technical mastery and innovation, but it never overshadows the resonance of its central study: a man named Charles Foster Kane. Kane is played by Welles himself, with astute observations of his flaws and larger-than-life qualities. We watch Kane's evolution, and in some ways, his downfall, from his childhood until his death. His romantic, financial and even political successes become marred by his psychological problems, and we are left with a rich but irreversibly empty man by the conclusion. As far as narrative goes, this is an exciting and inventive piece. Kane's story is told in flashback as several reporters go about interviewing people he knew to try and distinguish the meaning of his dying proclamation. This is a groundbreaking movie as far as cinematography and structure go, but it is the massive scope of one man's life that grabs me every time I watch it.
09. Ultimo Tango a Parigi [Last Tango in Paris] (1972; Bernardo Bertolucci)
Often reduced to an erotic movie for reasons unknown to me, I would go so far as to say Last Tango is anything but erotic. Bertolucci crafts a bleak and profoundly unnerving picture, accentuated by Vittorio Storaro's dimly lit and uniquely characterized camerawork. This is a movie about detached sex between an irreparable middle-aged man and a confused, eccentric young woman. The man is played by Marlon Brando, and I couldn't even begin to express my admiration for his work here. He conveys this character with such insight and honesty that, as an audience, we find ourselves studying him rather than passively watching him. Brando's performance is my personal favorite of all time, a piece of acting that hurls agonizing truth at us in ways that no other actor has ever touched on. Maria Schneider achieves a great thing by holding her own opposite the greatest screen performer in history. Her bizarre and sexually perplexed character is unforgettable. Bertolucci shapes a queasy, dark movie with his out-of-the box composition, unforgiving imagery and examination of impersonal sex.
10. Revolutionary Road (2008; Sam Mendes)
This is a masterpiece that captures all the pain and claustrophobia of a crumbling marriage. The story takes place in America during the 1950s and focuses on a particular couple, but it could be about anyone at any point in time. This is an unadulterated illustration of love gone awry, full of psychological violence and inescapable loneliness. Its results are agonizing and tragic due to sure-handed direction, a just adaptation of the brilliant novel and, maybe most importantly, the performances. This is a film full of emotional breakdowns and cruel, hideous conflicts which provide room for theatrical performances. Leonardo DiCaprio's attention to detail is his keenest skill as an actor. His character exploration is the most distinct in the silent moments. His posture, facial subtleties and mental disintegration are even more vivid than the moments when he comes close to striking his wife in a fit of rage. Kate Winslet, playing his self-destructive wife, holds her own opposite one of the great male screen actors. She charts this woman's spiritual decay with all the instinct and power we have come to expect from the unbridled talent she exudes.
11. 12 Angry Men (1957; Sidney Lumet)
A bold screenplay and rich performances make this innovative film a definite classic. Its strength is in the brilliant characterization and its incorporation into the main theme of the story. Although it certainly articulates a social commentary, its exploration of themes is never at the expense of believable characters. 12 Angry Men boasts some of the most intelligently written dialogue I've seen in a film.
12. Raging Bull (1980; Martin Scorsese)
This deserves a top spot among the greatest films of all time. Martin Scorsese's direction is fiercely precise, and the result is a film that is unique and crushingly powerful. This is a technical marvel in terms of everything from the gorgeously composed photography to the seamless editing, but it is the honest writing and performing that make it more than great. Robert De Niro is a one-man wrecking crew onscreen; he embodies this role with ferocity and passion, bringing about what is one of the greatest performances in cinema history. This is as good as movies get.
13. Apocalypse Now (1979; Francis Ford Coppola)
Dark, horrific and mesmerizing, this is without a doubt Coppola's most ambitious directorial project. Providing us with some of the most gorgeous photography and editing around, the film also investigates the potential evil of the human heart. This is the kind of film whose iconic images and ideas stay with you forever - a poignant, disturbing and intriguing classic. The cast delivers uniformly outstanding performances.
14. Requiem for a Dream (2000; Darren Aronofsky)
This film charts the corrosion of souls, the decaying of relationships and the shattering of delusions as the result of human weakness. This story shows us that there are forces more powerful than love and hope. It is a bleak examination of addiction's triumph over the mind and spirit. As opposed to many works from young filmmakers, it isn't experimental and apprehensive. This is a full-fledged, confident directorial vision carried out with utmost precision. Darren Aronofsky fills the story with a frantic energy, making use of everything from hip-hop montages to repetitive Snorri-cam shots. The whole cast is excellent, particularly Ellen Burstyn.
15. Carnal Knowledge (1971; Mike Nichols)
This movie is quite far ahead of its time in a lot of ways, so I find it difficult to compare it to the other American works of its generation. It is groundbreaking in terms of its sexual depictions, and in its articulation of struggle between genders. It is laced with Oscar-worthy performances, directed with Nichols' trademark grace, and written like a Woody Allen film with grit. Feiffer's script is not overly focused on profound subtext or contemporary examination. Instead, he blatantly depicts two clueless, rather misogynistic men desperately attempting to engage in fulfilling relationships with women. An exciting and absorbing film experience.
16. From Here to Eternity (1953; Fred Zinnemann)
This is a richly detailed film that finds power in the exploration of its characters. By giving basis and depth to the people occupying its story, it gives the subject matter more dramatic weight. Fred Zinnemann's direction is brisk and tightly executed, sweeping the audience into a series of interwoven vignettes. Montgomery Clift's understated performance gives the piece the fundamental accessibility it needs, and the cast surrounding him is equally enjoyable to watch. A landmark war film.
17. Persona (1966; Ingmar Bergman)
Ingmar Bergman conveys the most unspoken elements of the human mind with intimacy and vision, bringing about a vivid cinematic poem that is not easy to forget. As important as this film's subtext and psychoanalytical content is its gorgeous, sometimes disturbing metaphorical imagery. Bergman utilizes every tool he has as a filmmaker, and the result is a piece of art that works simply as an experience, but also as a resonant examination of tortured minds.
18. Rebel Without a Cause (1955; Nicholas Ray)
Nicholas Ray's widescreen photography is gorgeous, providing a striking visual landscape for the themes and characters. As a portrayal of teen angst and the ugly undercurrents of American families, it still has plenty of impact on contemporary audiences. James Dean's iconic character portrait is everything it's made out to be - raw, absorbing and legendary.
19. A Streetcar Named Desire (1951; Elia Kazan)
This is a vibrant character study pulsating with intense performances and sharp dialogue. A Streetcar Named Desire is a landmark film filled with energy and passion, fueled by Elia Kazan's stunning directorial choices. Above all else, it contains one of Marlon Brando's most phenomenal performances. The man re-invented acting with this blunt, honest and explosive character portrayal. He's the main reason for the picture's greatness, but certainly not the only reason.
20. Tetro (2009; Francis Ford Coppola)
This is a transcendent piece of art that verifies the status of a master storyteller. The exquisite marriage of sound and imagery is far from being its only achievement, despite the critical responses. Coppola has been exploring the dynamics and complexities of family relationships throughout the course of his career, and he may have brought perfect closure here. He is a brave artist who disregards the confines of commercial American moviemaking and infuses his masterpiece with something as original as it is exciting. Vincent Gallo delivers an Oscar-worthy, enigmatic piece of acting here that blew me away. The rest of the players are ideally cast as well, with Maribel Verdú holding her own opposite Gallo. This is a haunting, heart-wrenching cinema experience that needs to be seen.
21. Scener ur ett Aktenskap [Scenes from a Marriage] (1973; Ingmar Bergman)
Despite its brutal extremity, this is probably one of the most accurate portrayals of marriage to be committed to film. The painful insight and the layers of subtext in virtually every scene ensure that this is not a movie people will forget. Inventive, powerful and profoundly absorbing, this is a film that challenges its audience to face some hideous truths. The performances and the writing are as high-quality as they come.
22. Manhattan (1979; Woody Allen)
A glorious piece of work rich with character, depth and humor. Enormously intelligent and satisfying, it benefits from beautiful black-and-white cinematography and a remarkable cast of performances. A personal favorite, and arguably one of the greatest original screenplays of the 1970s.
23. The Conversation (1974; Francis Ford Coppola)
Released between the first two installments of the Godfather trilogy, The Conversation has somehow gotten lost in the waves of classic films released in the 1970s. It is truly one of the most well-made movies of the decade, a paranoid character study intertwined with a highly unnerving and tightly paced thriller. Master filmmaker Coppola guides a considerably talented cast in this personal favorite of mine. Thematically and stylistically it is influenced by Antonioni's Blowup (1966), and I think it outdoes its idol. Riveting from beginning to end.
24. The Dreamers (2003; Bernardo Bertolucci)
Bertolucci's blatant, unique film is great because of two primary elements: his strikingly passionate vision and a trio of superb performances. This is an extremely strong, intelligent film in terms of writing. There's something classical and beautifully edgy about this story. On top of being a very involving experience for the audience, it is also a challenging piece of cinema that gives us characters we haven't seen and explores areas rarely explored. Meticulously shot and cast with a sure hand, this is a gorgeous film to look at. This is a spectacularly original, heartbreaking depiction of the power of love and cinema. Everything about The Dreamers oozes with beauty.
25. Viva Zapata! (1952; Elia Kazan)
Director Elia Kazan and actor Marlon Brando were the ideal combination, and this film is a piece of evidence for that fact. Working from a rich screenplay by John Steinbeck that perfectly captures the scope and tragic character arc of Zapata, Elia Kazan gives the picture his own gritty flavor and simplistic visual appeal. Marlon Brando dominates in the lead role, playing a complex and demanding character full of anguished undercurrents. Fast, exciting and brilliantly executed, this is a masterpiece and a definite favorite of mine.
Recommendations and feedback are always welcome. Anyways, here it is: ¸
01. The Godfather (1972; Francis Ford Coppola)
When a film has a reputation like The Godfather does, it's very diffiult to do it justice with words. This is a crime-drama masterpiece, but it's so much more than that. It is, in many ways, a Shakespearean character study and a cinematic landmark in every sense of the term. This is a tense, intriguing examination of family and the treachery that human beings are capable of. Ontop of its outstanding subject matter, The Godfather also has one of the greatests cast ever compiled - Brando, Pacino, Duvall and Caan are all at the top of their game here. Films like this remind us why we go to the movies. Coppola brings an ideally dark aura to the story, employing the use of underexposed footage and painstakingly perfect pace. Pacino's most understated character work is in this film - he portrays Michael in all the tortured complexity that Puzo wrote him.
02. The Godfather Part II (1974; Francis Ford Coppola)
This film is darker and more complex than its predecessor. It is no less masterful. Gordon Willis' contrasting cinematographic methods for the flashbacks and main story work incredibly, and the screenplay provides us with detailed, vivid characters who are acted to perfection. Although we are distanced emotionally from Michael Corleone in this film, Pacino's performance ensures that we are still fascinated with him. Although Pacino is undoubtedly the stand-out, there is an abundance of remarkable supporting performances here, particularly from John Cazale.
03. Naked (1993; Mike Leigh)
Mike Leigh's controversial masterpiece is by turns sardonic, hideous and exhilarating. It is both a scorching social commentary and a character study, but unconventional in both respects. Naked opens on its hero sexually abusing an unknown woman in a dark alley, thereby introducing us to a cold and desperate landscape unlike anything we are likely to have seen. While retaining a sense of irony and humor, it is underlined by an ominous musical score and depictions of brutal sexual violence. All the acting is good, but David Thewlis makes this movie his own. With his portrayal of this picture's anti-hero, he gives us one of the most astonishing modern screen performances. His acting never misses a mark, and it is his character interpretation that keeps viewers engaged, even when we want to turn away. To dismiss Naked because it's hard to watch is an injustice. This is a great film.
04. On the Waterfront (1954; Elia Kazan)
Huge dramatic themes are at the foundation of On the Waterfront - redemption, corruption, the power of morality and the ability to introspect. The subject matter is stripped down to its most accessible, simplistic form. This is a movie full of grit and physical violence that charts the struggle of an everyman living in unforgiving surroundings. Nobody else could have given this character the immortality that Marlon Brando gives it. Brando's performance explodes with visceral power, but it is always exemplified by his subdued naturalism and aptitude. The supporting players are terrific as well - Karl Malden, Lee J. Cobb, Rod Steiger and Eva Marie Saint leave lasting impressions. This is a searing, sometimes brutal crime-drama that still maintains an essence of tenderness and sympathy for the conflicts of its protagonist. Backing the unanimously solid acting is Kazan's fiery direction and an impassioned screenplay by Budd Schulberg. Marlon Brando is my favorite actor, and I am not the first to say I would rank this particular performance among the finest of his commendable acting career.
05. Les Quatre Cents Coups [The 400 Blows] (1959; François Truffaut)
Truffaut's allegedly semi-autobiographical portrait of angst and young rebellion is one of the most accurate I've seen. Its structural originality helps to illustrate all the aspects of a confused, pained boy feebly attempting to make his mark. It is a heart-wrenching, suitably unsentimental and beautifully made film, emphasized by an intelligent lead performer and realized writing. Truffaut directs the film in a compelling manner that sheds the convention of traditional storytelling but maintains a precise and distinct vision. This is a picture full of feeling and truth, a piece of art that says a lot to me.
06. Taxi Driver (1976; Martin Scorsese)
An unparalleled portrait of loneliness, Taxi Driver is one of the finest character studies ever put to film. Martin Scorsese is the perfect director for this piece, because he soaks up the ugliness of the world that the main character (Travis Bickle) inhabits while also constructing a meticulous examination of the man himself. Here is a man who is incessantly exposed to pornography, crime, immorality and beautiful women who torment his insecure mind from a distance. The movie's narrative perspective is tilted in favor of Travis's psychological view, so we can see the sadness of his isolation while also being terrified by the tunnel-vision aggression of his descent. Few actors can wield threatening power while also drawing empathy from their audience. Robert De Niro is one of those actors, and his exploration of Travis Bickle is fully deserving of its spot as one of the iconic American performances. Here is "God's lonely man", a bitter and delusional man lost in the crowds seething through New York. His world is dark and murky, potently underlined by Bernard Herrmann's jazzy score and Michael Chapman's documentary-esque cinematography. The movie inevitably ends in violence, and Travis's killing spree is ferocious in execution. However, the performances and writing are so phenomenal that it is the build-up we remember first and foremost.
07. To Kill a Mockingbird (1962; Robert Mulligan)
A faithful and remarkably moving adaptation, this film ranks among the greatest films of all time. Despite the troubling and disturbing context, director Robert Mulligan still brings a feeling of nostalgia and innocence to this story. Gregory Peck delivers one of the strongest screen performances of all time in this timeless classic about justice and morality. The final courtroom monologue is hugely important, and the passion of its message never even hints at insincerity. This is an important film, but an important film we can enjoy.
08. Citizen Kane (1941; Orson Welles)
Despite all the hugeness of its achievements and story, Citizen Kane is remembered primarily for its emphasis on the meaning of a dying man's last word spoken: "rosebud". It's a reflective, thoughtful portrait of a man who is in many ways like every other, and that is what makes it so incredible. Writer/director Orson Welles paints this film with technical mastery and innovation, but it never overshadows the resonance of its central study: a man named Charles Foster Kane. Kane is played by Welles himself, with astute observations of his flaws and larger-than-life qualities. We watch Kane's evolution, and in some ways, his downfall, from his childhood until his death. His romantic, financial and even political successes become marred by his psychological problems, and we are left with a rich but irreversibly empty man by the conclusion. As far as narrative goes, this is an exciting and inventive piece. Kane's story is told in flashback as several reporters go about interviewing people he knew to try and distinguish the meaning of his dying proclamation. This is a groundbreaking movie as far as cinematography and structure go, but it is the massive scope of one man's life that grabs me every time I watch it.
09. Ultimo Tango a Parigi [Last Tango in Paris] (1972; Bernardo Bertolucci)
Often reduced to an erotic movie for reasons unknown to me, I would go so far as to say Last Tango is anything but erotic. Bertolucci crafts a bleak and profoundly unnerving picture, accentuated by Vittorio Storaro's dimly lit and uniquely characterized camerawork. This is a movie about detached sex between an irreparable middle-aged man and a confused, eccentric young woman. The man is played by Marlon Brando, and I couldn't even begin to express my admiration for his work here. He conveys this character with such insight and honesty that, as an audience, we find ourselves studying him rather than passively watching him. Brando's performance is my personal favorite of all time, a piece of acting that hurls agonizing truth at us in ways that no other actor has ever touched on. Maria Schneider achieves a great thing by holding her own opposite the greatest screen performer in history. Her bizarre and sexually perplexed character is unforgettable. Bertolucci shapes a queasy, dark movie with his out-of-the box composition, unforgiving imagery and examination of impersonal sex.
10. Revolutionary Road (2008; Sam Mendes)
This is a masterpiece that captures all the pain and claustrophobia of a crumbling marriage. The story takes place in America during the 1950s and focuses on a particular couple, but it could be about anyone at any point in time. This is an unadulterated illustration of love gone awry, full of psychological violence and inescapable loneliness. Its results are agonizing and tragic due to sure-handed direction, a just adaptation of the brilliant novel and, maybe most importantly, the performances. This is a film full of emotional breakdowns and cruel, hideous conflicts which provide room for theatrical performances. Leonardo DiCaprio's attention to detail is his keenest skill as an actor. His character exploration is the most distinct in the silent moments. His posture, facial subtleties and mental disintegration are even more vivid than the moments when he comes close to striking his wife in a fit of rage. Kate Winslet, playing his self-destructive wife, holds her own opposite one of the great male screen actors. She charts this woman's spiritual decay with all the instinct and power we have come to expect from the unbridled talent she exudes.
11. 12 Angry Men (1957; Sidney Lumet)
A bold screenplay and rich performances make this innovative film a definite classic. Its strength is in the brilliant characterization and its incorporation into the main theme of the story. Although it certainly articulates a social commentary, its exploration of themes is never at the expense of believable characters. 12 Angry Men boasts some of the most intelligently written dialogue I've seen in a film.
12. Raging Bull (1980; Martin Scorsese)
This deserves a top spot among the greatest films of all time. Martin Scorsese's direction is fiercely precise, and the result is a film that is unique and crushingly powerful. This is a technical marvel in terms of everything from the gorgeously composed photography to the seamless editing, but it is the honest writing and performing that make it more than great. Robert De Niro is a one-man wrecking crew onscreen; he embodies this role with ferocity and passion, bringing about what is one of the greatest performances in cinema history. This is as good as movies get.
13. Apocalypse Now (1979; Francis Ford Coppola)
Dark, horrific and mesmerizing, this is without a doubt Coppola's most ambitious directorial project. Providing us with some of the most gorgeous photography and editing around, the film also investigates the potential evil of the human heart. This is the kind of film whose iconic images and ideas stay with you forever - a poignant, disturbing and intriguing classic. The cast delivers uniformly outstanding performances.
14. Requiem for a Dream (2000; Darren Aronofsky)
This film charts the corrosion of souls, the decaying of relationships and the shattering of delusions as the result of human weakness. This story shows us that there are forces more powerful than love and hope. It is a bleak examination of addiction's triumph over the mind and spirit. As opposed to many works from young filmmakers, it isn't experimental and apprehensive. This is a full-fledged, confident directorial vision carried out with utmost precision. Darren Aronofsky fills the story with a frantic energy, making use of everything from hip-hop montages to repetitive Snorri-cam shots. The whole cast is excellent, particularly Ellen Burstyn.
15. Carnal Knowledge (1971; Mike Nichols)
This movie is quite far ahead of its time in a lot of ways, so I find it difficult to compare it to the other American works of its generation. It is groundbreaking in terms of its sexual depictions, and in its articulation of struggle between genders. It is laced with Oscar-worthy performances, directed with Nichols' trademark grace, and written like a Woody Allen film with grit. Feiffer's script is not overly focused on profound subtext or contemporary examination. Instead, he blatantly depicts two clueless, rather misogynistic men desperately attempting to engage in fulfilling relationships with women. An exciting and absorbing film experience.
16. From Here to Eternity (1953; Fred Zinnemann)
This is a richly detailed film that finds power in the exploration of its characters. By giving basis and depth to the people occupying its story, it gives the subject matter more dramatic weight. Fred Zinnemann's direction is brisk and tightly executed, sweeping the audience into a series of interwoven vignettes. Montgomery Clift's understated performance gives the piece the fundamental accessibility it needs, and the cast surrounding him is equally enjoyable to watch. A landmark war film.
17. Persona (1966; Ingmar Bergman)
Ingmar Bergman conveys the most unspoken elements of the human mind with intimacy and vision, bringing about a vivid cinematic poem that is not easy to forget. As important as this film's subtext and psychoanalytical content is its gorgeous, sometimes disturbing metaphorical imagery. Bergman utilizes every tool he has as a filmmaker, and the result is a piece of art that works simply as an experience, but also as a resonant examination of tortured minds.
18. Rebel Without a Cause (1955; Nicholas Ray)
Nicholas Ray's widescreen photography is gorgeous, providing a striking visual landscape for the themes and characters. As a portrayal of teen angst and the ugly undercurrents of American families, it still has plenty of impact on contemporary audiences. James Dean's iconic character portrait is everything it's made out to be - raw, absorbing and legendary.
19. A Streetcar Named Desire (1951; Elia Kazan)
This is a vibrant character study pulsating with intense performances and sharp dialogue. A Streetcar Named Desire is a landmark film filled with energy and passion, fueled by Elia Kazan's stunning directorial choices. Above all else, it contains one of Marlon Brando's most phenomenal performances. The man re-invented acting with this blunt, honest and explosive character portrayal. He's the main reason for the picture's greatness, but certainly not the only reason.
20. Tetro (2009; Francis Ford Coppola)
This is a transcendent piece of art that verifies the status of a master storyteller. The exquisite marriage of sound and imagery is far from being its only achievement, despite the critical responses. Coppola has been exploring the dynamics and complexities of family relationships throughout the course of his career, and he may have brought perfect closure here. He is a brave artist who disregards the confines of commercial American moviemaking and infuses his masterpiece with something as original as it is exciting. Vincent Gallo delivers an Oscar-worthy, enigmatic piece of acting here that blew me away. The rest of the players are ideally cast as well, with Maribel Verdú holding her own opposite Gallo. This is a haunting, heart-wrenching cinema experience that needs to be seen.
21. Scener ur ett Aktenskap [Scenes from a Marriage] (1973; Ingmar Bergman)
Despite its brutal extremity, this is probably one of the most accurate portrayals of marriage to be committed to film. The painful insight and the layers of subtext in virtually every scene ensure that this is not a movie people will forget. Inventive, powerful and profoundly absorbing, this is a film that challenges its audience to face some hideous truths. The performances and the writing are as high-quality as they come.
22. Manhattan (1979; Woody Allen)
A glorious piece of work rich with character, depth and humor. Enormously intelligent and satisfying, it benefits from beautiful black-and-white cinematography and a remarkable cast of performances. A personal favorite, and arguably one of the greatest original screenplays of the 1970s.
23. The Conversation (1974; Francis Ford Coppola)
Released between the first two installments of the Godfather trilogy, The Conversation has somehow gotten lost in the waves of classic films released in the 1970s. It is truly one of the most well-made movies of the decade, a paranoid character study intertwined with a highly unnerving and tightly paced thriller. Master filmmaker Coppola guides a considerably talented cast in this personal favorite of mine. Thematically and stylistically it is influenced by Antonioni's Blowup (1966), and I think it outdoes its idol. Riveting from beginning to end.
24. The Dreamers (2003; Bernardo Bertolucci)
Bertolucci's blatant, unique film is great because of two primary elements: his strikingly passionate vision and a trio of superb performances. This is an extremely strong, intelligent film in terms of writing. There's something classical and beautifully edgy about this story. On top of being a very involving experience for the audience, it is also a challenging piece of cinema that gives us characters we haven't seen and explores areas rarely explored. Meticulously shot and cast with a sure hand, this is a gorgeous film to look at. This is a spectacularly original, heartbreaking depiction of the power of love and cinema. Everything about The Dreamers oozes with beauty.
25. Viva Zapata! (1952; Elia Kazan)
Director Elia Kazan and actor Marlon Brando were the ideal combination, and this film is a piece of evidence for that fact. Working from a rich screenplay by John Steinbeck that perfectly captures the scope and tragic character arc of Zapata, Elia Kazan gives the picture his own gritty flavor and simplistic visual appeal. Marlon Brando dominates in the lead role, playing a complex and demanding character full of anguished undercurrents. Fast, exciting and brilliantly executed, this is a masterpiece and a definite favorite of mine.
__________________
I was recently in an independent comedy-drama about post-high school indecision. It's called Generation Why.
See the trailer here:
Last edited by michaelcorleone; 11-23-09 at 08:27 PM.
Reason: cleanup
