31st Hall of Fame
 

https://i.ebayimg.com/images/g/lOsAA...lSS/s-l500.jpg

We have finally reached the number of Halloween and we are still going at it strong!

I'm putting a 240 minute restriction on nominations this go around. If you don't have very good vibes of being able to finish don't join. It's understandable if something gets in the way during this an I'm open to extensions to help people finish.

I'll open up nominations now and I will let the nomination process go until Wednesday April 19. After that I'll allow people to still join until Monday April 24th if they so chose.

I'll add graphics here later. Sorry for the blandness but let's get this party started!

We will stick to the more standard rules, whatever the hell those actually :p.

Deadline July 9th

Participants:
Rauldc- Nomination Sent
Siddon- Nomination Sent
Torgo- Nomination Sent
Allaby- Nomination Sent
Phoenix74- Nomination Sent
Cricket- Nomination Sent
Sean- Nomination Sent
Wyldesyde- nomination sent
Citizen Rules- Nomination Sent

Sons of the Desert
1933, Directed by William Seiter
https://www.intofilm.org/intofilm-pr...s-69e4590e.jpg

Sunset Boulevard
1950, Directed by Billy Wilder
https://www.slashfilm.com/img/galler...1648129406.jpg

The Duelists
1977, Directed by Ridley Scott
https://2.bp.blogspot.com/-bsTWkNiCO...uellists+2.jpg

Days of Heaven
1978, Directed by Terrence Malick
https://d21ehp1kf1k9m9.cloudfront.ne...f-heaven-2.jpg

Interiors
1978, Directed by Woody Allen
https://garmentozine.files.wordpress...nteriorsb2.jpg

The Verdict
1982, Directed by Sidney Lumet
https://images.squarespace-cdn.com/c...e=image%2Fjpeg

Herod's Law
1999, Directed by Luis Estrada
https://1.bp.blogspot.com/-9m7dMc787...527s%2BLaw.PNG

Gone Baby Gone
2007, Directed by Ben Affleck
https://www.pluggedin.com/wp-content...e-1024x598.jpg

A Hero
2021, Directed by Asghar Farhadi
https://www.alternateending.com/wp-c...b85-scaled.jpg

Reviews

Cricket LIST SENT
Interiors
Sunset Boulevard
The Duellists
Herod's Law
The Verdict
Days of Heaven
Sons of the Desert
Gone Baby Gone
A Hero

Phoenix74 LIST SENT
Interiors
The Duellists
Gone Baby Gone
Sunset Boulevard
The Verdict
Herod's Law
Days of Heaven
Sons of the Desert
A Hero

Seanc LIST SENT
Sons of the Desert
Herod's Law
The Duellists
Gone Baby Gone
The Verdict
Interiors
Sunset Boulevard
A Hero
Days of Heaven

Citizen Rules LIST SENT
Sons of the Desert
The Duellists
The Verdict
Interiors
Days of Heaven
A Hero
Herod's Law
Gone Baby Gone
Sunset Boulevard

Allaby LIST SENT
Interiors
Gone Baby Gone
Sunset Boulevard
Days of Heaven
The Verdict
Herod's Law
A Hero
The Duellists
Sons of the Desert

Torgo- LIST SENT
Days of Heaven
Herod's Law
Gone Baby Gone
Sons of the Desert
The Verdict
The Duellists
A Hero
Sunset Boulevard
Interiors

Raul LIST SENT
Sunset Boulevard
Interiors
Days of Heaven
The Duellists
Sons of the Desert
A Hero
Gone Baby Gone
The Verdict
Herod's Law

Wyldesyde
The Verdict
Days of Heaven
Herod's Law
Sunset Boulevard
Sons of the Desert
The Duellists
Interiors

Siddon LIST SENT
A Hero
Interiors
Sunset Boulevard
Sons of the Desert
The Verdict
The Duellists
Herod's Law
Days of Heaven
Gone Baby Gone

Deadline: July 14

I'm ready for another one of these. I'll send you my pick later.

Re: 31st Hall of Fame
 

I hope to join, but for the first time ever I'm going to wait until after the reveal, I don't feel like watching some of the more extreme stuff that people have been nominating lately.

I’m in. I promise my pick is going to be wholesome this time.

Re: 31st Hall of Fame
 

I tried to send my nomination, but it said you had exceeded the stored private messages quota and cannot accept further messages.

Re: 31st Hall of Fame
 

I just cleared it. My bad

Re: 31st Hall of Fame
 

3 noms in, 3 different decades, 3 different genres

Cool! :cool:

I think I’ll join back up. It’s been a hot minute since I’ve done this.

Here we go again!

@Citizen Rules - my pick isn't extreme either

Re: 31st Hall of Fame
 

We literally have 5 nominations from 5 different decades. Cool stuff.

I'll keep an eye on this and may sign up depending on what gets nominated and whether I can come up with something I think is HOF worthy.

Going to narrow my choices down soon.

you got it narrowed down yet?


also just five people...never thought we would need to do a double nom for a main hall

Think I'll get in this. Been busy but I have some time off coming up. Just have to pick a nomination.

I'll most likely join. I've been in every main HoF since the 8th.

Narrowed it down to two

Re: 31st Hall of Fame
 

I got Crickets nom. Funny enough it's literally a movie in different decades right now

Six now. If Wylde and Citizen join then 8 would be plenty and we may get a couple late signups.

Re: 31st Hall of Fame
 

I'm a liar. One decade has 2

Re: 31st Hall of Fame
 

Unveil will probably be around 11am Central time on Wednesday! Hopefully get a couple more of you.

I’m in. Nom sent

How about now? :)

I prefer Happy Gilmore to Billy Madison, for what it's worth.

Re: 31st Hall of Fame
 

I got Wyldes nom. It is neither Happy Gilmore nor Billy Madison

I sent in my nom...

Re: 31st Hall of Fame
 

In about two hours I will do the unveil

@cricket
@seanc
@Citizen Rules
@Torgo
@Siddon
@Allaby
@Wyldesyde19
@PHOENIX74

🥳🥳🥳

Re: 31st Hall of Fame
 

Sons of the Desert
1933, Directed by William Seiter
https://www.intofilm.org/intofilm-pr...s-69e4590e.jpg

Sunset Boulevard
1950, Directed by Billy Wilder
https://www.slashfilm.com/img/galler...1648129406.jpg

The Duelists
1977, Directed by Ridley Scott
https://2.bp.blogspot.com/-bsTWkNiCO...uellists+2.jpg

Days of Heaven
1978, Directed by Terrence Malick
https://d21ehp1kf1k9m9.cloudfront.ne...f-heaven-2.jpg

Interiors
1978, Directed by Woody Allen
https://garmentozine.files.wordpress...nteriorsb2.jpg

The Verdict
1982, Directed by Sidney Lumet
https://images.squarespace-cdn.com/c...e=image%2Fjpeg

Herod's Law
1999, Directed by Luis Estrada
https://1.bp.blogspot.com/-9m7dMc787...527s%2BLaw.PNG

Gone Baby Gone
2007, Directed by Ben Affleck
https://www.pluggedin.com/wp-content...e-1024x598.jpg

A Hero
2021, Directed by Asghar Farhadi
https://www.alternateending.com/wp-c...b85-scaled.jpg

Nice group of noms. A Ridley Scott I haven’t seen and a movie I have never heard of, Herod’s Law. Plus an excuse to watch another Laurel and Hardy. Should be fun.

Re: 31st Hall of Fame
 

I'll let everyone guess who nominated what for a bit.

Have not seen A Hero, Herod's Law, or The Duellists, the latter is already on my war watchlist. Out of the other 6, there's 1 I didn't care for the 1st time.

Actually there's another I haven't been a fan of.

I see Herods's Law is from the same director as El Infierno, which made my 2010's ballot.

Re: 31st Hall of Fame
 

I've seen 5 of the 9. 2 that I've really been wanting to rewatch for a long time. Looks like a good set to me!

Sunset Boulevard, Days of Heaven and The Verdict are great, expect Sunset to win. Was planning on watching The Duellists for the War countdown so I'll share my thoughts on it here.

I’ve seen 7 of the 9 nominations.

Haven’t seen The Duellists or Sons of the Desert yet.

I just recently watched both Interiors and A Hero in the past year.

I own The Verdict, Gone Baby Gone, and Days of Heaven.

Sunset Boulevard is probably the front runner

Good, diverse group of nominations. I’ve seen 5 of the 9.

I've been meaning to watch Gone Baby Gone again. Have only seen it once.

Now I see that A Hero was already on my watchlist. Very nice.

Nice set of choices. I've seen 5 out of 9 and I'm happy to see them again. I'm most looking forward to Interiors, which is probably my largest '70s Woody Allen blindspot.

Good choices everyone, this looks like it's going to be a fun HoF...

My guess as to who chose what is:
Sons of the Desert 1933 - Allaby
Sunset Boulevard 1950
The Duelists 1977 - Phoenix
Days of Heaven 1978 -Torgo
Interiors 1978 - Sean
The Verdict 1982 - Siddon
Herod's Law 1999 - Cricket
Gone Baby Gone - Rauldc
A Hero 2021 - Wyldesyde

Which must mean I picked the remaining one, or did I?

My guesses:

Sons of the Desert - Allaby
Sunset Boulevard - Citizen
The Duellists - Sean
Days of Heaven - Cricket
Interiors - Phoenix
Herod's Law - Siddon
Gone Baby Gone - Wyldesyde
A Hero - Rauldc

Sons of the Desert - Allaby
Sunset Boulevard - Citizen
Days of Heaven -Sean
Interiors - Phoenix
The Verdict -Torgo
Herod's Law - Wyldesyde
Gone Baby Gone - Rauldc
A Hero - Cricket

Re: 31st Hall of Fame
 

As usually I haven't seen many of the noms, only 3 of 9. Which is strange because I do watch a movie a day but not the movies you guys watch I guess:D I'll be watching all 9 of them so I have a fresh memory of them when it comes to voting.

Sons of the Desert - I watched it once wasn't that impressed by it

Sunset Blvd -Maybe one of the five greatest films to never win Best Picture so it should do pretty well.

The Duelists - This was my picka film I saw recently that I would give five stars to

Days of Heaven - I saw it once...boring to the point of being annoying

Interiors - It's nice to see a Woody Allen film show up...this is more of a lesser Allen film but I look forward to the revisit.

The Verdict - one of the few films I gave a second chance to and loved it. I think you have to be of a certain age and mindset to enjoy this one. This hall defiantly has a theme.

Gone Baby Gone - this was my favorite film of that year so It'll likely score highly on the rewatch.

A Hero - blind watch
Herod's Law - blind watch

Re: 31st Hall of Fame
 

My prediction is Sunset Boulevard wins. It is such a fabulous Billy Wilder movie. Wilder is great as both a writer and a director. You are going to love this if you haven't seen it before.

Sons of the Desert*
Haven’t seen, has been on my watch list for a decade at least

Sunset Boulevard*
Great film. Wilder is a master!

The Duellists
One of only a handful of Ridley Scott films I have yet to see, so looking forward to this.
*
Days of Heaven*
Saw it once about 15 years ago, liked it, didn’t love it which I can say about most Malick films.

Interiors*
Loved it. Top 5 Allen
*
The Verdict*
Saw this once about 15 years ago I think? Liked it, could definitely use a rewatch
*
Herod's Law*
My pick. Started to dive further into Mexican cinema outside the “Three Amigos” (Innaritu, Cauron and Del Torro) side note, fits nicely into a double bill with Perfect Dictatorship by the same director

Gone Baby Gone*
Really liked this one

A Hero*
Watched this last year and enjoyed it.

Have you seen El Infierno? I loved it but it never occurred to me to check out what else the director has done.

I haven’t yet, but it’s on my watch list! I’ve heard it’s pretty good.

Wow - I've seen a fair few of these, and have them on DVD, which means I can hit the ground running.

Sons of the Desert - I've never seen a full-length Laurel and Hardy film before. This'll be interesting, but I'm not sure if I'll like it or not - I'll go in with an open mind and look over the film carefully so I get every little comedic nuance.

Sunset Boulevard - Amazing, incredible - already the winner in my book. I'm surprised this hasn't won a previous Hall of Fame.

The Duelists - I have the Imprint DVD release of this, and I've been meaning to give it a second watch because I remember nothing from the first. I was probably not concentrating properly - and I look forward to getting to know the film properly.

Days of Heaven - I've been meaning to see this for a long time. I'll get the Criterion edition if there is one, and if it's available.

Interiors - Saw this a long, long time ago - I have it on DVD, and I'm in a much better place movie-watching-wise to appreciate it more than that first viewing.

The Verdict - Funny, I've been thinking about this film recently and how I need to see it again. I don't think I have for over 30 years, and I reckon I'll enjoy it.

Herod's Law - Never heard of this one - the only film I can say that for! The real dark horse.

Gone Baby Gone - This is really, really good. I don't mind watching this again, even if I last saw it only a year or so ago. It's one of those great films I can always enjoy.

A Hero - This film is really good - in fact, really great ;-)

I need a link to A Hero (2021), I can't find it.

I'm going to try and do this for each film that's nominated as I come across them. See how I go anyway, just for fun and to see how each film fared on the awards circuit - it at least takes me beyond the Oscars as a measure of how critically successful a film is.


https://i.postimg.cc/6QhyFgb3/oscar2.png - Oscars

Nom - Best Actress in a Leading Role - Geraldine Page
Nom - Best Actress in a Supporting Role - Maureen Stapleton
Nom - Best Director - Woody Allen
Nom - Best Writing, Screenplay Written Directly for the Screen - Woody Allen
Nom - Best Art Direction-Set Decoration - Mel Bourne & Daniel Robert

https://i.postimg.cc/y6RkHDbt/bafta.jpg - BAFTAs

Nom - Most Promising Newcomer to Leading Film Roles - Mary Beth Hurt
Nom - Best Supporting Actress - Geraldine Page

https://i.postimg.cc/FzxvKXcd/golden-globe.jpg - Golden Globes

Nom - Best Director - Motion Picture - Woody Allen
Nom - Best Actress in a Motion Picture - Drama - Geraldine Page
Nom - Best Actress in a Supporting Role - Motion Picture - Maureen Stapleton
Nom - Best Screenplay - Motion Picture - Woody Allen

https://i.postimg.cc/qqFLyz29/writer-s-guild.jpg - Writer's Guild of America

Nom - Best Drama Written Directly for the Screen - Woody Allen

https://i.postimg.cc/cJDX09rx/sant-jordi.jpg - Sant Jordi Awards

WIN - Best Foreign Film (Mejor Película Extranjera) - Woody Allen

https://i.postimg.cc/GmKjx7PF/fotogramas.jpg - Fotogramas de Plata

WIN - Best Foreign Movie Performer (Mejor intérprete de cine extranjero) - Diane Keaton

https://i.postimg.cc/xC3jXmV1/film-critics-trophy.jpg - National Society of Film Critics Awards

Nom - Best Supporting Actress - Maureen Stapleton
Nom - Best Screenplay - Woody Allen (5th Place)

https://i.postimg.cc/wTyXmx3d/los-an...lm-critics.png - Los Angeles Film Critics Association

WIN - Best Supporting Actress - Maureen Stapleton
Nom - Best Director - Woody Allen
Nom - Best Supporting Actress - Geraldine Page
Nom - Best Screenplay - Woody Allen

https://i.postimg.cc/Yqb31Dz1/kansas...cle-awards.jpg - Kansas City Film Critics Circle Awards

WIN - Best Film
WIN - Best Actress - Geraldine Page
WIN - Best Director - Woody Allen


https://i.postimg.cc/52zXx6y6/new-yo...ics-circle.jpg - New York Film Critics Circle Awards

WIN - Best Supporting Actress - Maureen Stapleton

https://i.postimg.cc/C5WwtsjJ/The-Na...Logo-copy.webp - National Board of Review Awards

WIN - Top Ten Films

https://i.postimg.cc/d01th3t2/jupiter-award.jpg - Jupiter Awards

Nom - Best International Actress - Diane Keaton

Awards Leaderboard

10 - Woody Allen (2 wins)
5 - Maureen Stapleton (2 wins)
5 - Geraldine Page (2 wins)
2 - Diane Keaton (1 win)

A long time ago, when my movie taste was considerably different to what it is now, I bought myself a Woody Allen boxed set with the likes of Bananas, Sleeper and Annie Hall in it - but there was one curious inclusion I'd never heard of - Interiors. My first surprise was that this is a Woody Allen film in which he didn't feature as an actor. It was quite common for films from 1985 or later for Woody to take a back seat acting-wise, but before that he had a starring role in most everything he wrote and directed. This film of his happened to be the only film from this period I didn't know about, and when I watched it the film was so different from what he was making during that era that it blew my mind : I hated it. Decades later I come to Interiors with a new mindset, knowing what it's like and where the inspiration for it came from. My reaction to the film was a complete 180 degree turn-around - Interiors is actually a great film, and it profoundly moved me.

Arthur (E. G. Marshall) begins the film by narrating. His is an idyllic story at first, marrying Eve (Geraldine Page) and having three daughters, Renata (Diane Keaton), Joey (Mary Beth Hurt) and Flyn (Kristin Griffith) - but then he goes on to say "suddenly one day, out of nowhere, an enormous abyss opened up beneath our feet and I was staring into a face I didn't recognize." The narrative begins with Arthur announcing he wants to separate from Eve, and he does this with his daughters present at the table. Eve struggles with this throughout the film, at one stage attempting suicide, and she desperately tries to win Arthur back through their daughters. Renata is a poet, and married to Frederick (Richard Jordan) and living with existential dread. Joey is uncertain about her career path, and is in a relationship with Mike (Sam Waterston) - she appears to be the closest to Eve, but also resents her mother's dependence on her emotional support. Flyn is an actress, and often too far away to regularly socialize with the family unit. When Arthur brings a new woman home, Pearl (Maureen Stapleton), after a trip to Greece, it stirs resentment, fear and emotional turmoil in every other member of the family.

Woody Allen found himself nominated for Best Director and Best Original Screenplay at the 1979 Oscars for Interiors (he'd won a Best Director Oscar and Best Original Screenplay the previous year for Annie Hall.) It's interesting to note that Allen's primary influence for this film was Ingmar Bergman, and that he was pitted against Bergman for Autumn Sonata in the Best Screenplay category. Both men lost out to Nancy Dowd, the great Waldo Salt and Robert C. Jones who had written the screenplay for Coming Home. A tough category, but I might have just voted for Autumn Sonata myself, despite the great quality of Allen's Interiors. Apparently he wasn't completely confident doing straight drama yet, but that's probably because he wanted this to be perfect, and it already stands out from most offerings from '78. He said 'Well, we pulled this one out by the short hairs, didn't we?' to editor Ralph Rosenblum - obviously the editing was a critical stage for this one.

I enjoyed the fact that every character in this tale had a very layered and complex history. They all had things going on. For example, Renata's husband Frederick feels inadequate and diminished, for his writing career isn't going as well as that of his wife. She tries to support him and give him confidence, but this is just seen by him as empty platitudes and unwarranted praise. He needs outside validation, but the critics are rubbishing his work and he feels tortured. Later in the film he tries to drunkenly get something going with Flyn, but she rejects his advances which leads to one horrifying moment when he tries to rape her. She manages to fight him off, and we never see the eventual fallout from such a dark moment in the film. The film can focus so intently on side-characters because of it's small cast - the only other people we see are these characters at a younger age, and only in a brief flashback.

One thing that throws the dark and somber movie into a more interesting light is the introduction of Maureen Stapleton's Pearl. She's not an intellectual - unlike every single other member of the family, and as such is an even greater outsider than she would have been. Her cheery nature is at such odds to the depressed and melancholy Eve, and obviously this is why Arthur left Eve - he couldn't deal with that darker side of life. Stapleton brings a big bright change to the film, as she plays the only character who can arrive on the scene free from the darkness and sorrow growing at the heart of Arthur's daughters. She ended up being nominated for a Best Supporting Actress Oscar, but Maggie Smith won for her role in California Suite. Allen has often said that he wished he'd introduced Pearl earlier, but only because critics thought the first half of the film was too dour. I like it the way it is, and enjoy films that sometimes have very distinct halves.

In the meantime, Geraldine Page occupies the film's very heart. The sadness is coming from her, and although she'd already been that kind of character before her husband had left, his leaving completely destroys her. I felt so sad for Eve, and Allen does such things as have her break down in tears during her birthday celebrations, telling her daughters that she has nothing left to live for. The hope she keeps on displaying, despite the fact that her situation is hopeless, really gets to me. She should be at a stage in her life where she's helping her daughters - but instead her daughters are trying to prop her up and support her. Page is fantastic in this, and she received her third Oscar nomination for Best Actress (won by Jane Fonda for Coming Home) - she would win on her fifth nomination, just a year before her death in 1986, for her role in The Trip to Bountiful. Woody Allen had initially wanted Ingrid Bergman to play the part of Eve, but funnily enough she couldn't because she was too busy appearing in Autumn Sonata.

The film is very well shot by Allen's 70s and 80s regular cinematographer Gordon Willis, and both Mel Bourne and Daniel Robert would be nominated for a Best Art Direction/Set Decoration Oscar (won by Heaven Can Wait) - Page is playing a great interior decorator after all. I love that the film's title is "Interiors" - a very nice play on the word and it's many meanings. There's not much music in it, and no accompanying score - which matches the coldness and somber tone of much that happens in this. It's somewhat ironic that I often come away from these films energized and happy, despite how sad they are - I'm just so glad that I've just watched a really great film that I got a lot out of. Woody Allen was 43-years-old when Interiors came out, and although I'm older than that now, I think being around this age gives a person a much better perspective, and a lot more understanding so they can relate to what happens in this. I can see a lot of really young people being turned off - but I thought it was excellent, and a key moment in Allen's career. If he'd failed at this, he might have stuck to comedy for much longer, but the fact that he "pulled this one out by the short hairs" set him up to produce a body of work nearly unparalleled in U.S. film history. That he could explore so many interiors in such an exacting and empathetic way is something that deserves credit and respect.

Super review Phoenix, everything I wanted to say if I had the patience and ability.

Glad you liked it more this time around. The reason I chose it was the war countdown...No it's not a war film but I just rewatched Stalag 17 and realized that Billy Wilder effortlessly blends dire consequences with life's irrelevant humor that seems to pop up when we at least expect it. Sometimes it does seem life plays strange jokes on us and Wilder taps into that. He might be my favorite director.


Then there's William Holden, who effortlessly plays his role without ever feeling slimey. He makes his decisions as bad as they are seem reasonable. I'd count him as a favorite actor.

I'm also a big fan of Wilder and Holden. Who isn't?

Sons of the Desert

Knew this would be a tough one for me being fairly familiar with Laurel and Hardy humor. I certainly need to see more of their stuff though, so I wasn’t disappointed it showed. It really never worked for me, I think I did manage one chuckle. Straight comedy is tough, because if the laughs aren’t working, there really isn’t anything else to latch onto. Sorry I didn’t enjoy it more, but glad to have seen it.

Re: 31st Hall of Fame
 

It's a busy next couple of days for me. I'll catch up on tagging on Sunday. Looks like people are getting off to a nice start

I'm saving Sons of the Desert for a work night, cuz it's short:D

I watched Interiors (1978) for the first time this evening. Woody Allen is one of my top 10 favourite directors of all time and I have seen more films by him than I have by any other director. I have now seen 43 of his films. I'm not sure why I hadn't gotten around to watching this before. Interiors is Allen's most serious and somber drama and although it is well made, I would rank it in the bottom half of his filmography. The film features a strong ensemble cast and all give fine performances. I can't say I really enjoyed the performances, but they were convincing and effective. I felt the story was somewhat lacking though. There is potential here for it to have more impact and be more compelling. For me, Interiors was only mildly interesting. At times, the film felt a little too slow and a bit dull. It felt longer than what it was. There were some strong, dramatic moments though. I did also like the look of the film. I'm glad it was nominated so that I finally got around to watching it.

https://i.postimg.cc/CMkFWSh0/cannes.png - Cannes Film Festival

WIN - Best First Work - Ridley Scott
Nom - Palme d'Or - Ridley Scott

https://i.postimg.cc/y6RkHDbt/bafta.jpg - BAFTAs

Nom - Best Cinematography - Frank Tidy
Nom - Best Costume Design - Tom Rand

https://i.postimg.cc/jSzdPT1v/britis...ographers.webp - British Society of Cinematographers Awards

Nom - Best Cinematography - Frank Tidy

https://i.postimg.cc/RZRh29Th/david-di.jpg - David di Donatello Awards

WIN - Best Foreign Director - Ridley Scott

By the latter half of the 1970s Stanley Kubrick had set a new standard for period films with his Barry Lyndon, and in stepped television commercial maestro Ridley Scott, taking inspiration from him on a budget considerable more constrained to make The Duellists - an impressively rich and good-looking film steeped in it's historical setting - the Napoleonic wars. It traces the irrevocable course of blind hatred and dutybound honor which leads two officers into a series of deadly duels over a period of 16 years - two very different characters played by up-and-comers Keith Carradine and Harvey Keitel. The 'strapped-for-cash' invention makes this look like a film that had a bigger budget than it did, and features some beautiful cinematography, set decoration, production design and costuming - not to mention a captivating, period-rich score. It was greatly overshadowed by Scott's masterpiece and box-office hit Alien, but deserves to be noted as a great first-up effort from the filmmaker.

In Strasbourg, during the year 1800, Gabriel Feraud (Keitel) badly wounds the mayor's nephew in a duel over a matter of honor, and Lieutenant Armand d'Hubert (Carradine) is sent to inform him that he's under house arrest. In a classic case of "blaming the messenger", Feraud becomes enraged, and in the ensuing argument challenges d'Hubert himself to a duel with sabers. D'Hubert wounds Feraud in the arm, but before he can deliver a more telling blow Feraud's lover jumps on him and scratches his face. The two meet again in Augsburg, 1801, and this time Feraud deeply pierces d'Hubert's chest, after which he's unable to go on. Once recovered (and after practicing a great deal) the two go at it again, and this time it's a long, drawn out affair as they fight each other to a bloody, exhausted standstill - neither killing the other. In Lubeck, 1806, Feraud happens upon d'Hubert again and insists they duel on horseback to honor the cavalry - this time d'Hubert slashes Feraud's scalp, and as the flowing blood makes it impossible to see, he must withdraw. They meet in Russia, 1812, but they must fight together, instead of each other, in difficult circumstances. It won't be until 1816, after d'Hubert marries, that the final duel between them draws a curtain over their years-long feud.

My favourite part, other than the sterling cinematography and score? The way Carradine's d'Hubert reacts every time he finds out he's been spotted by Feraud or one of his men. Ever been hurriedly leaving a party before someone you dread sees you, only to be noticed as you're seconds from the door? He's a man caught by his own sense of what's right, and can't back down - not only for fear of being labeled a coward, but by reason of his own self esteem. As a high ranking Hussar, there is a strict code of honor to adhere to. Feraud, by contrast, is like a stubborn dog who'll never let go of a bone. By a certain stage in proceedings, both parties have pretty much forgotten what exactly caused their initial disagreement (d'Hubert still isn't sure when he ponders the matter immediately after the first duel.) Feraud just won't let it go however, and he's a man who will carry a grudge to the grave (no matter how quickly the grudge is made, nor what little circumstance causes it.) The fact that his initial duel with d'Hubert happens to be the second deadly duel he's involved with on the same day, pertains to how easily offended he his, and the fact that he carries this on for over 15 years tells you everything you need to know about his tenacity.

Ridley Scott brought cinematographer Frank Tidy with him onto this production, being familiar with the way he worked with him on television commercials. He does a very impressive job on his first feature film here - and you'd never guess it was his first movie. Scott wanted the visuals to reflect the still-life paintings and artwork of the period, much like Kubrick had done with Barry Lyndon. The next-to-last shot of the film is one of those remarkable shots you take away with you, as Feraud stands Napoleon-like and the sun at first peeks over the verdent, green scenery, and then unleashes it's bright majesty over the landscape. Pure luck that this beauty unveiled itself at that exact moment. There's a lot of great real-life French architecture, along with French and Scottish landscapes, to provide a solid background for many beautifully vivid moments. Interesting to note that Ridley Scott "operated" the camera while making this film, which basically means that Tidy would have set the shots up, and fixed the lighting, but Scott would have been the one looking through the viewfinder while shots were being filmed, operating the camera. This was apparently very unusual in European filmmaking at the time. The Duellists looks fantastic, and delivers on the visual front.

Howard Blake, the man who combined with Queen to give Flash Gordon a sonic accompaniment which absolutely, unequivocally rocks, is the man Ridley trusted to provide a very romantic yet simple theme which swells from time to time, and very varied, effective music throughout. One of my favourite aspect to the film was what Blake did with the music during the duel on horseback - which becomes almost horror-like and as crushingly daunting as you can get, matching the sudden and unexpected panic d'Hubert goes through. The repeating theme music, first heard during the opening credits, has stuck with me as well, and probably will for some time to come. Blake varies things a lot though, and there are many cues and differing approaches to what he's providing for the film - powerful, on edge, exultant or easy-going. Much of it gives the feel of belonging to the classical, early 19th Century setting of the film - probably what you'd expect for a period film of this nature. I enjoyed it very much.

Romance is provided for d'Hubert in this film - although we see Feraud's lovers, it's d'Hubert's story we follow for the most part. Keith Carradine's partner at the time, Cristina Raines, ended up playing d'Hubert's eventual wife, Adele. She had appeared in Nashville with Carradine a few years previously. Diana Quick plays d'Hubert's previous mistress, and we also get the pleasure of seeing Albert Finney and Edward Fox in the movie - both of whom manage to do a lot with their small roles. (It's said Finney was paid for his appearance with a case of champagne.) Overall a great cast, with actors I enjoy watching. Initially, Scott wanted Oliver Reed and Michael York for the two leads - but I prefer the two leads we ended up getting instead of them, and I think Reed and York would have dated the film, while Keitel and Carradine have a feeling of exuberant youth and vigour. Keitel looks like the kind of guy who'd harbour that kind of grudge and resentment - so he does a great job of embodying his role.

The only other aspect to The Duellists which is interesting is the true life story that Joseph Conrad's short story (which was expanded upon by screenwriter Gerald Vaughan-Hughes, and then expanded even further when novelized by Gordon Williams) is based on. Pierre Dupont de l'Étang and François Fournier-Sarlovèze were two officers in France's Grande Armée who ended up fighting at least 30 duels against each other. Much like in the film, the initial disagreement was over the delivery of a message, and the final duel ended up settling the dispute in very much the same way the film represents it did. The two historical figures are real, but I can't say for certain whether every other detail of their story is 100% factual. Makes for a good film - Ridley Scott initially wanted to make a film about Gunpowder Plot of 17th Century England, but I think it was a much better option to make this if his budget was going to be as constrained as it was - under a million dollars.

The Duellists is as solid as solid can get, and looks and sounds like a film tens times it's budget. I really liked the performers, the cinematography and the score. Gerald Vaughan-Hughes wrote a first-rate screenplay, and despite constant rain, Ridley Scott and his smallish crew chugged along in a professional fashion and made what is shaping up to be a cult favourite amongst film fans, and fans of Scott's oeuvre. I'd never heard of it until accidentally coming across it one day, surprised by it's very existence - all the more so after finding out it had the credentials and quality to bely it's lack of exposure. Last (but certainly not least) of all, to William Hobbs - the fight director and Swordmaster behind the brilliant and very realistic swordfights that make this movie - well done sir. I'm glad this film didn't buy into anything silly, but instead decided to take this in as real a direction as it could. Every little nuance is paid attention to, and every moment of mortal danger heightens the tension and thrills the senses. In the early 19th Century, a duel to the death marked the most important few seconds of a man's life, and perhaps the last few seconds of his life.

Not going to read that^^^was thinking of watching it today.

Herrod’s Law: This is the kind of comedy I dig. Not a belly laugher, just a very humorous tone throughout. All the humor being drawn through the characters and absurd situations. Really well written social satire. Glad to have seen it because the movie and director were not on my radar at all.

The Duellists: Probably the hall movie I was most looking forward to because it is a Ridley Scott movie I haven’t seen. Cricket said the pacing was good, but I found it feeling a bit chopped up at times. I enjoy a good period piece, and luxuriating in the era. That’s really my only negative thought, because the story is fun and told well. The movie looks amazing. I really love the setting and landscapes. I also settled into Keitel’s character, but why directors were casting him into roles where his accent stands out so much is beyond me. Overall I really enjoyed this. Cool choice.

I wouldn’t go so far as to call The Duellists ‘staggeringly beautiful’ like the movie poster says but it certainly has its beautiful moments. Especially that final shot of Harvey Keitel on top of the hill. I must say his character reminded me a bit of Yosemite Sam :D. The story is engaging the whole time. The sets, wardrobe and locations looked very authentic and worked very well to create an 1800s atmosphere. Was on my watchlist for a long time so I'm glad I finally watched it. Good film/nomination.

Off to a good start with Interiors and The Duellists - that Leonard Maltin quote had me interested enough to go and read the full review :

The Duellists - "Competent screen version of Joseph Conrad's The Duel concerns long-running feud between French officers Carradine and Keitel during the Napoleonic wars. Supporting players are more convincing than two leads; film is among most staggeringly beautiful of it's time. Scott's first feature." (He gave the film 3/4)

Here's what he said for Interiors : "Allen's first screen drama as writer-director is an Ingmar Bergmanesque study of a family full of unhappy, frustrated men and women; this drama of anguished lives is not for all tastes, but extremely well done." (He gave it 3.5/4)

Re: 31st Hall of Fame
 

Strong start guys! 10 tagged reviews in the first post already!

Days of Heaven -

This remains one of the most beautiful movies I've ever seen. With its iconic cinematography of the Alberta countryside, Ennio Morricone's score as well as the recurring use of music from Saint-Saëns' The Carnival of the Animals, the movie succeeds at making you believe that this stretch of Texas farmland is heaven on Earth and makes you feel like you're not watching a movie, but instead a moving Andrew Wyeth painting. Besides the obvious in our impulsive, dueling romantic leads, I like the various ways the movie reminds us that this paradise will soon be gone, whether it's the farmer's house - which looms over everything like a vengeful god that could take these vagabonds' lucky breaks away on a whim - or what Linda and her friend's locust-catching errand foreshadows. Speaking of, I forgot how amazing and horrifying the locust invasion sequence is. The best compliment I think I can give it is that I don't want to know how Malick and company pulled it off because I'd prefer to maintain the illusion. As for Linda - and R.I.P. to Linda Manz, who we sadly lost too early - making her the narrator and our guide could be this movie's secret weapon due to how well her innocence and good nature contrasts with this world’s cruelty and absurdity. I still have issues with how the movie is edited: while I approve of the use of fadeouts for how they make the scenes resemble half-recalled memories, they sometimes end abruptly or before it seems like they're supposed to end, which often takes me out of the moment. This is not enough of an issue to change my mind about this being one of the best movies I've ever seen, though, and it also deserves credit for being one of cinema's great "paradise lost" stories.

Re: 31st Hall of Fame
 

Sunset Boulevard

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This was my second watch and it had been a heck of a long time so I was glad to see it nominated. Like usual, Billy Wilder knocks it out of the park. I love the way the story is told, with the William Holden narration and the flashback scenes. Gloria Swanson is really good in this but the overall star for me is William Holden. The movie really ramps up in that last third of the film. It's just a film that gathers attention so well. I loved the angle of Joe and Betty getting thrown in there and Norma getting really jealous of it. While it's not my favorite Wilder film, it's damn close and it still may be his most effective. That end scene is quite grabbing and chilling too. It's one hell of a film.

Gone Baby Gone: Dennis Lehane crime dramas are like catnip for me. It had been quite a while since I watched this so, despite remembering the ending, it actually felt pretty fresh. I had forgotten how abrupt the middle feels as it takes a turn into a different movie. Despite liking the first half quite a bit more I really like the second half too. My favorite part of the movie is Casey’s character interacting with all the locals. The characters portrayed are obviously the worst version of themselves, but I still think it comes across as authentic. Really amazing casting in this, which I am sure owes a lot to Affleck and his love for Boston and those communities.

I knew this had to be a Rauldc pick as soon as it popped up in the noms. It was great to have a reason to rewatch. This is a tough lineup of movies, but this should place pretty high for me.

MAJOR SPOILERS ARE GIVEN AWAY IN THIS REVIEW

I've slowly warmed up to Gone Baby Gone over the years, and I've slowly understood more about it's connections to Boston, along with a plotline that I wanted to follow in a precise manner - if I don't get every little step, I'm often frustrated and not satisfied. Obviously the moral dilemma, which starts to take shape when character Patrick Kenzie (Casey Affleck) murders a paedophile execution style, but which really hits hard at the film's conclusion, is something I took away from the film the first time I saw it. That ending arrives like a thunderclap, and is something that makes the film unforgettable. It was the ending that made me enthusiastic about returning to the film, and I've seen it on numerous occasions now - I have film critics and audiences to thank for giving this film much acclaim in late '07 - over 15 years ago. Is the right thing to do always the best course of action? What if doing the right thing causes more harm than good? It's an interesting question.

Patrick Kenzie and Angie Gennaro (Michelle Monaghan) are small-time private investigators, chasing down people with debts and finding missing persons in Boston, where they live. When four-year-old Amanda McCready (Madeline O'Brien), daughter of drug abuser and all-round bad mother Helene (Amy Ryan) goes missing, they're contacted by Amanda's Aunt Bea (Amy Madigan) and Uncle Lionel (Titus Welliver) who want them help augment the effort of the police in searching for the girl. They consult with Captain Jack Doyle (Morgan Freeman), along with Detective Sergeant Remy Bressant (Ed Harris) and Detective Nick Poole (John Ashton) who give them very little information to go on. It's through Patrick's contacts that he learns that Helene would associate with drug runner Ray, and this shakes the truth from the mother - she and Ray had stolen a large amount of money from crime kingpin "Cheese" (Edi Gathegi) shortly before her daughter disappeared. Ray is found beaten to death, and when an exchange is organised with the cops, a shootout occurs, Cheese is killed, and Amanda is seemingly drowned. It's only when Patrick learns that the police lied to him that he takes stock, and finds that nothing seems to add up...

I can't talk about the movie without letting massive spoilers roam free - so be warned, nothing will be left unsaid from here on out. Amanda's Uncle, Lionel had contacted Remy Bressant when Helene and Ray had stolen Cheese's money - he was hoping this would be the impetus for them to snatch Amanda and get her to a more proper and caring home. She ended up with Captain Doyle, who had stepped down from his duties after the controversies pursuant to the exchange-gone-wrong. The whole exchange had been a fraud, a show to put an end to Patrick and Angie's search. When Patrick finds Amanda at Doyle's place, the ex-Captain pleads for the investigator to let it go - Amanda's in a happy place now, and being looked after properly. If Patrick turns him in, Amanda will be sent back to a neglectful mother, and she'll be damaged as a result. But Patrick decides that it would be wrong to go back on his promise to Helene, and that no child-snatching can be justified by any means. When he visits little Amanda at her mother's house later, he finds a daughter that's once again being neglected, and in an impactful final exchange, learns that Amanda's mother had been getting the name of Amanda's favourite doll wrong the whole time - in other words, she paid no attention to her little girl. Regret starts to creep onto Patrick's face.

Why did Patrick make the decision he did? Well, he'd found a probable suspect in another child-snatching case, and when the house was raided he aided the police. Nick is hit in the neck by a bullet fired from the people inside the house, and Patrick goes in - heading upstairs to where he hopes to find the little boy. What he finds is a paedophile pleading that an "accident" had happened, a bloodied small pair of underpants, and a dead little kid. He vomits, and then, unable to control himself, shoots the sex offender in the head killing him. From that moment on, despite being congratulated by the police and not charged, he feels a nagging sense that he's done something very wrong. It eats away at him - there's no justification for killing a person in cold blood - even if that person is a monster. It's the fact he's dealing with the fallout that he makes the decision he does at the end - he does the "right" thing despite the circumstance. He's afraid that if he turns a blind eye to Amanda's abduction, he'll forever feel that nagging sense of guilt. So, despite the fact that Angie leaves him and Amanda is now in a bad situation, he turns Doyle in.

What would you do? What would I have done? It's not an easy question. Our sense of right and wrong can be influenced in exactly the same way Patrick's was - by a recent experience. Had we done the wrong thing, and been effected by a guilty conscience? Had we just done something right, and had a situation blow up in our face? Patrick regrets his decision at the end of Gone Baby Gone. Had he given Helene the benefit of the doubt? Had he overestimated how changed she'd be after losing her daughter? I always felt he was trying to salvage the mess by babysitting Amanda - that from now on in his life, he'd be little Amanda's special guardian. He'd be too afraid of meeting her later in life, damaged and addicted to drugs, and realise this was his fault. He was also afraid of being accosted by Amanda's mother later in life, with angry cries of "You knew, and you did nothing!" It's with these thoughts that we leave Gone Baby Gone. We think about situations where right and wrong are hopelessly tangled up, and even our moral compass is swinging about in a confused way. Life can be messy like that.

Director Ben Affleck got much praise for his directorial debut here, and picked up a few awards for his effort. He'd prove it wasn't just a one-off by making Argo in 2012, but the reaction to Live By Night in 2016 was more mixed - it was okay and ultimately forgettable. I enjoyed Air, which came out this year, 2023, and The Town in 2010 was solid. Despite that little nagging "nepotism" tag, Casey Affleck was okay - and I actually like this actor more than his brother. The big accolades came for Amy Ryan as white trash, neglectful mother Helene - she won over 20 varied acting awards, and was nominated for an Oscar. I thought she was great, but without knowing how feted her performance was I'd never have tagged it as above and beyond the ensemble in Gone Baby Gone - which I thought was a team effort. I think it was a huge shame that Affleck didn't give Michelle Monaghan more to do in this - she kind of follows Casey around, and has little impetus beyond that and making him feel guilty at the end. She really needed a couple of key scenes where her character was really important.

The score from Harry Gregson-Williams is subtle and understated - I like the fact that he allowed his work to take a back seat and not announce itself, but supplement certain moments. The cinematography was handled by a big name in the industry - John Toll, director of photography on The Thin Red Line and an Oscar winner for doing Braveheart and Legends of the Fall. What can I say - he handles the assignment well, as you'd very well expect him too. Production Designer Sharon Seymour has become a Ben Affleck regular, and editor William Goldenberg would go on to win an Oscar for his work on Affleck's Argo. Gone Baby Gone wasn't Ben Affleck being an actor overstretching himself - he knew exactly who he needed and seems to have found a natural fit as filmmaker. He knew the people who fit this project, and even Casey seems to suit the role he was given as much as Bobbie Kennedy suited being Attorney General despite being JFK's brother. Donna Morong and Carolyn Pickman won a Casting Society of America award for their work on this film.

Gone Baby Gone is a Boston film - Affleck's hometown, and most of the extras along with minor casting roles went to local Bostonians, at times being casted off the street as the production was rolling. You can tell that it's delving into a very specific time and place - a culture within a culture, and one that tells a very personal story as well as being an adaptation of a novel. The whole film starts with intimate little shots from the city streets, getting us to orientate ourselves to this Boston story. Of course, it's also a human story - a universal one. It translates, and it even had to be delayed in more than one country due to kidnapping cases that would have made it's release unseemly. There's nothing as heart-stopping as a kid being taken - or a small child lost somewhere needing help. In every city around the world, from time to time, parents who are frantically trying to find their child capture the attention of an entire city, or country. The power behind those moments are what bring us all together in that same fraught state of mind for most of Gone Baby Gone's running time - before the ending leaves us with that moral dilemma, and the story then stays with us long after the film has ended.

Not going to read that yet since I don't remember what happens.

Great review Phoenix

I rewatched Gone Baby Gone today. I had seen it once before and liked it, but was even more impressed with it this time. Directed by Ben Affleck, the film stars Casey Affleck and Michelle Monaghan as Boston detectives hired to search for a missing girl. However, the case and the truth end up being more complicated than initially suspected.

This is a very well directed film. Ben Affleck handles the materiel quite well. He blends the right amount of suspense, thrills, and mystery in an effective and smart way. The film is thought provoking and raises some interesting and worthwhile questions. I appreciated that the film doesn't give easy answers,leaving enough ambiguity and letting the audience decide how they feel about the characters and their actions. I never felt that the film was lecturing or preaching at me, which is appreciated and worked well. Gone Baby Gone is hard hitting, emotionally powerful and feels satisfying, while still leaving the viewer thinking about it.

The performances here are quite good. This is a really strong ensemble and for me there are no weak performances. Casey Affleck would be my pick for best performance in the film, although Amy Ryan is excellent too. Morgan Freeman and Ed Harris are effective in their roles too. Gone Baby Gone is a very well made and compelling film and a worthy nomination.

The Verdict:

My second time watching The Verdict. On paper it should be a favorite. Moody courtroom drama penned by Mammet, directed by Lumet. It never gets to that level for me. I think it is missing those couple of memorable powerhouse scenes that I am drawn to. I think it’s pretty great though. Not surprisingly, I had forgotten most of the plot beats, so it felt fresh to me. I think Newman carries the film with ease. I really love that ending. Glad this one was nominated as well. Sometimes Halls are the only reason I get to rewatches.

Me too

Re: 31st Hall of Fame
 

Me three.



I've seen The Verdict but don't remember it, however my wife said I liked the movie.:)

Herod's Law -

This is a pretty good political satire that with its dark comedy and bursts of violence could be described as Coen lite. First and foremost, how bold of writer/director Luis Estrada to make it about an actual political party! It's no wonder the PRI delayed the movie’s release because unless you're someone like our "hero," Vargas, you don't exactly walk away with a favorable opinion of it. Since I don’t have much familiarity with Mexican politics, I also appreciate that the movie does a good job of being accessible to outsiders. Making the pathetic town to which Vargas is assigned a microcosm of main street Mexico helps (as does the character of Pek for being such a worthy guide to it, I might add). From the brothel to the priest who requires payment for...pretty much everything, the movie familiarized me with Mexico's political situation quickly and thankfully without being too pandering. Regardless, it provides a worthwhile study of how corruption can take root in any constituency. The performances deserve credit in this regard, especially Alcázar's as Vargas - the look on his face when the brothel owner holds money in his face will be hard to forget - as does cult director Alex Cox as the sleazy American interloper.

Despite liking quite a few things about the movie, it has issues that affected my enjoyment. I like memorable visuals in my movies, and this one's ordinary style left me starved for them. There were times when I thought it would work better as a play. Furthermore, I can't complain about the acting, but the characters are too archetypal, personality-deprived and short on depth. Estrada and company should have taken cues from The Ruling Class - which this one reminds me of - because it also has characters who personify institutions, but I remember what they're like first and what they represent second. I'm still glad I watched this, especially since I can count the number of Mexican movies I've seen on one hand. If anything, it makes me wish there were more worthy modern political satires about my country's political parties.

Re: 31st Hall of Fame
 

Interiors

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The first Woody Allen movie in which Woody Allen doesn't make an appearance, which worked for me when I saw The Purple Rose of Cairo. It's a pretty good cast here, yet not much is really asked of many of them, and as a result, there's really no sensational performances for me. The story is ok and the look of the film is just satisfactory to me. I feel like the film would have been better suited to have more comedic angles. I found it interesting that Allen tried to emulate a Bergman type feel with this movie. He even tried to cast Ingrid Bergman here, but he couldn't swing it. Anyways it's an ok movie but I wouldn't put it high up on the Allen films I've seen so far.

Hmph, I figured not many HoF'ers have seen The Verdict since only a few regulars have it logged on Letterboxd. Oh well, I'm glad you're happy to rewatch it, and it's probably good for your mental health that you're not as obsessed about logging everything you've watched as I am! I also chose it since 1982 is an oddly underrepresented year in the general HoFs.

I should note I am way behind on logging all of my films on letterboxd that I’ve watched. Every now and then I’ll sit down and add more that I have written (which is still a lot), plus what I have been watching this year. *

I doubt that anyone's is 100% up to date. Heck, I don't remember the names of a lot of the movies I've seen.

Re: 31st Hall of Fame
 

Days of Heaven

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A movie that certain deserves consideration for the best cinematography ever in my opinion. The film defines beauty in film and the shots are so well done throughout the entire movie. I really came to appreciate the films story this go around. The love triangle aspect keeps me interested throughout. I really like the acting from the main 4 in the film and the choice of narration works here for me. I would throw this down as an easy top 10 70s movie for me and it seems like it stands the test of time. The score is really well done too. Not much of any flaws here for me really.

Interiors:

I think maybe I started this being in the mood for more playful Allen. I have seen this before so I knew it wasn’t that, but it felt too self serious on this rewatch to me. The dialogue is still great. The performances are all really good and this is probably the best looking Allen. The aesthetic is where you can really see him going for a Bergman feel, and it works. Another good movie, but this Hall is packed. Going to be tough to get to the top of the hill for Woody in my opinion.

Re: 31st Hall of Fame
 

I always mean to participate in these things, then I always forget, haha. I may consider writing reviews (in my review thread) of a handful of these, merely because I haven't watched any / most of them.

You're always welcomed to discuss any of the movies in the HoF, you don't have to be a member for that. I'm certainly happy to talk about any of the films I've seen, so far it's only two of them:
Sons of the Desert
The Duellists

It's as relevant today as it ever was. A strange mixture of reality and fable which cut so close to actuality that Gloria Swanson and Erich von Stroheim were almost playing themselves - albeit horrifically twisted versions in this Hollywood horror story. Cecil B. DeMille, Buster Keaton, Hedda Hopper and others did play themselves. To this very day, there are those in the industry that sell themselves out for the chance to play a lucrative part in the Hollywood dream, and there are still actresses who become enchanted with fame - only to be discarded when their youthful looks and vigour fade, soon replaced by a never-ending supply of sweet young beauties. What I love most about this film though, is how it makes me feel two completely contradictory emotions - I sadly pity and want to soothe the deluded and desperate Norma Desmond, and at the same time I angrily despise her psychological need for continued fame and youth, and her delusional belief that she's still living the years she left behind so long ago.

Struggling screenwriter Joe Gillis (William Holden) - a wry cynic who is narrating his own story from beyond the grave - is fleeing the men attempting to repossess his much needed car when he happens to find himself down the driveway of an old, decrepit mansion. A butler, Max Von Mayerling (Erich von Stroheim) eagerly invites him in, and he meets Norma Desmond (Gloria Swanson) who has mistaken him for the man summoned to assist in the burial of her pet chimpanzee. Gillis soon recognizes her as a long-forgotten star of silent movies, and sees Desmond's fervent desire to reinvigorate her career as kind of ridiculous - but she has money and is in need of a writer. He agrees to work on her screenplay, and the two become entangled. The faded star lavishes him with gifts and money - anything he wants, but Gillis finds himself confronted with someone obviously not on great terms with reality. When the fact that she's no longer a great star starts to break her, he starts to slip away to co-write with young writer Betty Schaefer (Nancy Olson) - when suicide attempts, pleading and demanding no longer work, Desmond lashes out in anger, after which she crosses over completely into her fantasy world.

There has been so much said about Sunset Boulevard that it would just feel repetitive to grind out all the same old facts. All that's left to really say is what it means to me personally - Billy Wilder is a filmmaker whose films I either absolutely love (Double Indemnity, Witness For the Prosecution) or find particularly overrated (Some Like it Hot, The Seven Year Itch). It seems that it's his humour which I don't connect with, whereas every other part of what he does I find particularly attractive - but I have to concede that there is a peculiarly dark strain of comedy which exits in this film all the same. All of the sardonic comments from Gillis, and all of the times Norma Desmond says or does something which illustrates just how out of touch she is with reality - there's not one that doesn't hit in a very precise and perfect manner. There are also funny metaphorical moments, such as when Desmond is brushed by the microphone boom, and she angrily shoves it aside. The first time I watched this film, I was taken aback by the fact that there is not one thing wrong with it - every moment succeeds in doing what it was exactly intended to do. It has the unmistakable stamp of "masterpiece" to it.

John F. Seitz was the cinematographer who once again worked his noir magic on this film, and as he had with Wilder films such as Five Graves to Cairo, Double Indemnity and The Lost Weekend he'd be nominated for an Oscar for his work. He'd never win, despite being nominated 7 times (4 of those being Billy Wilder films.) Wilder and Seitz would usually disturb every speck of dust on the set before filming indoor segments of the film, creating a tomb-like, old and creepy atmosphere for Desmond's home. Also interesting is the pool shot at the beginning, where the audiences sees the body of Gillis from deep down inside the swimming pool he's floating in. The camera was actually looking down into a mirror, bringing us the view we get. Also, of course, there are shadowy shots - I particularly like our first obstructed view of the delusional, housebound star, not only behind prison-like shaded bars, but wearing sunglasses - secreted so far into that lair of hers that she hardly seems to exist. Right from the very first shot, there's invention here that feels fresh despite being nearly 75 years old. Sunset Boulevard is a visually fun film, and one that's very astute in guiding the viewer in an unambiguous, exact manner.

Sunset Boulevard's score is a revelation. Once you start to consciously hear the tango, and then pick out the moments where a saxophone lets out strains of bebop, you also gain a conscious understanding of what composer Franz Waxman is doing with this famous film score. Obviously Gillis is the hip younger writer, the jazz as opposed to the tango which Norma Desmond has her young prey dancing to. It's a wonderful combination you can hear, which often combines into crashing waves of intensity and insanity. Waxman's score would be ranked at #16 on the American Film Institute's list of the best 25 film scores of all time. He'd also win an Oscar and Golden Globe for it. Older film scores often feel a little too overbearing for my tastes, but I feel like this one is really cool in the way it underscores not only the emotion of the moment, but the clash of characters and their psychological substance. It's a clever score, and also a very powerful and well-written one - but perhaps more importantly, it's unsettling.

Gloria Swanson's Norma Desmond dominates the movie, as she very well should - I just feel so sorry for her when she's feeling the despair that she does. Remember, it was Hollywood that twisted her psyche - a place that never thinks twice about discarding what it doesn't need anymore. Swanson looks so lost and forlorn, and her voice is pitiful - she does such a wonderful job. William Holden is also very, very good - he's no hero, and actually uses this woman because she has money. He might have moments when he feels pity, but he's also responsible for giving her false hope to start with. Gillis is talented, but appears to have been broken down into a cynical jackal by the same Hollywood that has ruined Norma Desmond - the scripts of his that have met with success were mangled, and he's just crossed the threshold where he intends to write whatever rubbish producers or Desmond demand he write. Youthful idealist Betty Schaefer (Olsen giving us an out of place recognizable person amongst the grotesque monsters) is guiding this man back to the light, if it's not too late. All four actors were nominated for Oscars in their four different categories - and all four would lose.

Every scene in Sunset Boulevard feels like it would be the best scene in any other film - it never steps down, spins it's wheels, or loses it's tempo. It's a fascinating indictment of the Hollywood system, and the way it promotes an image above and beyond substance and responsibility. Hollywood favours the way something sounds over depth, and repetition over new ideas. It has little regard for the trail of broken dreams and lost innocence which it leaves in it's wake. It rewards cynicism, and punishes intelligence. It rewards youth, and abhors age and physical imperfection. Some of this is understandable, considering that Hollywood is business orientated, and depends on the vague judgement of the population of the world at large - but that doesn't make it any more palatable or easy to accept. Older actresses and actors who have had plastic surgery and no longer look quite right bother me - they have the operations to look younger, but instead they look different. Their wrinkles might be gone - but the square features, pulled-tight eyelids and exaggerated features undo any "improvements" that might be made.

Most haunting are the eyes of Max (Erich von Stroheim ) as he watches the hypnotic Swanson glide down the stairs - the sadness. She was once a person who was loved for who she was - separate from the image which was created, and the legend. It's the sadness of grief, and Max is the one person who'll do anything to protect and shield what's left of Norma Desmond. That mixture of absolute sadness and wry amusement is such a strange combination, and no other film combines the two like Sunset Boulevard does. It stands as a testament to a generation of silent film stars that were suddenly forgotten when sound was introduced, and to every star that lost the approval of the public and industry. Stardom must be the most intoxicating substance on Earth, and it has destroyed plenty of lives - just as Hollywood has turned many a great artist into a cynical hack. Ironically, Billy Wilder made the necessary transitions to avoid becoming a hack, and was a rare talent that managed to avoid the many traps and pitfalls of the industry. This is one of his greatest films, and one of the greatest films ever made.

Gone Baby Gone -

Mysteries and crime thrillers are comfort food to me, and this is some seriously tasty comfort food. There's comfort alone in all the familiar faces in the cast like Ed Harris, Amy Ryan and Michelle Monaghan - each of whom is as good as they always are - as well as in the crew with the likes of John Toll, who is one of my favorite cinematographers. They provide a sensation that the movie is directing itself, but I can't fault Ben Affleck for involving so many veterans because if I wanted to direct and I had the means, I'd do the same thing since they could probably teach me a thing or two. I also approve of Affleck's decisions to fill the rest of the cast with locals and to film in actual locations, which makes this seem like a true Boston movie. As for the scenes that make this a thriller, they're backed by the touchiest themes imaginable - and hit much harder now that I'm a father, I might add - but Affleck manages to handle them tastefully, but without kid gloves, which is a nice surprise since venturing into bad taste with such material is an oft-committed rookie mistake. What makes this a great movie instead of just a good one, though, is what it does with the huge dilemma Patrick is forced to resolve. Does he make the right decision? I don't know, but the movie makes it a rock worth having in your shoe, if you will. Again, this is very tasty comfort food, and forgive me for using another food metaphor, but it's not quite five-star cuisine (no pun intended). It remains a particularly assured theatrical directorial debut, and while there are exceptions such as the excellent Mare of Easttown miniseries from a couple years ago, it makes me lament that too much material like this is left to the Liam Neesons and Dick Wolfs (or is it Dick Wolves?) of the entertainment world these days.

Oh, and how odd it is to hear Mark Margolis' actual voice! I've become too used to him speaking in foreign accents and bell dings.

I rewatched Sunset Boulevard on dvd today (I really should upgrade and buy the blu ray). Masterfully directed by the legendary Billy Wilder, this is undoubtedly one of the all time great films. Previously, I had it on my list of favourite films at #118, but after rewatching I am moving it up to #89! The performances are fantastic. Gloria Swanson is iconic and terrific, in an unforgettable performance. William Holden is excellent and the two are perfect together. The screenplay is one of the all time greats, sharp, smart and memorable. Sunset Boulevard is as close to flawless as you can get and is a genuinely entertaining film that packs a punch. This has to be the early frontrunner to win the hall and it would be a deserving winner. Sunset Boulevard is an absolute masterpiece.

Sunset Blvd:

This is my third or fourth time watching Sunset Blvd. Really does feel as perfect as a movie can get. Looks awesome, every character feels fully realised. Awesome dialogue, and simple straightforward storytelling.

Hit me as a ghost story this time, which is not the way I think of it but probably has been described that way. Especially through the first hour, it’s very haunting and other wordly. To the point where you wouldn’t be surprised if everything was in his head. I love the critical look at celebrity. I think the best movies about movies make us feel like we probably aren’t doing actors and actresses any favors in life by making them bigger than.

Goria Swanson took some getting used to in this movie, I think Cricket mentioned that. It really has become a favorite performance of mine though. Nothing but good stuff here. If Sunset Blvd doesn’t win it will be a shock.

Starting up The Verdict. Will have a review sometime tonight.

Re: 31st Hall of Fame
 

26 of our 81 reviews are done. 7 of 9 members have gotten started and there's a bunch of you over the halfway point! Keep it up!

Re: 31st Hall of Fame
 

I should have another one watched shortly.