Best Picture Hall of Fame

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Silence of the Lambs
one of the best serial killer movies ever...but was it a "best picture".

Silence of the Lambs is the story of a student sent on a mission by the head of the behavioral unit of the FBI to interview Hannibal Lecter. The movie lifts and blends several serial killers to portray Lecter and Buffalo Bill. So how does this typical serial killer film end up as a Best Picture?

Well for one the world is fully realized. Demme fetishes the universe Hannibal, Jodie, and Bill. Everything in this movie feels real and lived in, which is I feel a bit of a lost art. I also love how the camera movement plays like it's our own eyes. But really the person who I feel is the MVP of the cast is Scott Glenn who plays Jack Crawford. We've had four Jack Crawfords in the Hannibal series and then tend to be the weak link in each interation. Glenn gives Crawford a certain degree of pathos, he's the ying to Lecter's yang to Starling and upon my 10th viewing of this film I keep seeing more and more of the mirroring of the two characters.

Now the big questions.

Did the film deserve best Picture - I think so, this was one of three years where a film managed to win the big five (Actor, Actress, Writing, Directing, Picture) and I think it's important to justify Lambs winning all five. Not to say this was a bad year for film, Backdraft, Terminator 2, JFK, Fisher King, Beauty and the Beast, and Boyz in the Hood are all classics and belong in the Best Picture class.






Here's another rewatch for me, One Flew Over the Cuckoo's Nest.

This is now the third time I've watched this film, and it will be the last time I watch this one. Not to say the movie doesn't hold up but so much of the film is about the build for McMurphy and Ratched that it's a bit of a choir to slug through.

What was interesting for me watching the story unfold was the questions I had to ask. Did it make sense for McMurphy a criminal to be locked up with men who choose to be institutionalized? Was McMurphy crazy or was he "faking it", which seemed to be the central plot from the doctors perspective. Is Nurse Ratched a villain or a woman over her head, and would a nurse really lead a therapy group. I suppose I should read the book and see if it covers those areas.

As for the film, it's great. One of the things 70's films did that say A Beautiful Mind or many modern films do is it cast ugly people. Nobody in this movie looks or acts like a movie star, unfortunately most of the character actors are well known now but it really works in the film.

One of the things I picked on viewing it this time was the foreboding scenes. When the patients come back from the boat they stole you get that shot of all the normal people waiting. Or how McMurphy and Ratched come into the facility the same way both dealing with very minimal security. You can see the problems that will eventually lead to Billy's death. McMurphy doesn't really think to far ahead and the patients don't really have the supervisor they should have.

I still love the film, it just might not be my number 1




Women will be your undoing, Pépé



Forrest Gump

When it first came out, EVERY BODY talked about it and that sort of got me NOT to go see it. And as years went by I've often thought about watching it and never ever followed through.
Well, now I got to see it.
And I enjoyed it. And who's to say, perhaps after seeing it again it may be one I truly love.

For today, I enjoyed it. And that isn't a low remark either. There's a lot of things in this movie that is easily endearing and while it easily borders on the corny, it does seem to curt it without going over the edge as it were.

Some of the CGI cuts to famous people aren't very good which sadly takes away from the film; there is still a lot of things that make it more than worthwhile and a fun watch.
Of course, Hanks is at the top of those reasons and his portrayal of Forrest in all his simplistic charm and naive persona.
At it's heart this is about that blind faith in life and what it has to offer and how we should simply reach out for it. Along with that, is the cautionary tales with Jenny's story at the top of the list. The two of these seemed to mirror one another and gave the movie a well earned, balanced effect. And in the end, that really made a difference in the overall film.

Did it deserve the win? I may have went with Shawshank Redemption, but still, congrats to its win.



I don't actually wear pants.
Here's my Top 10 Best Pictures:
All Quiet on the Western Front
No Country for Old Men
All the King's Men
Lawrence of Arabia
The Sting
Rebecca
Hurt Locker
In the Heat of the Night
Spotlight
You Can't Take It with You
__________________
Thanks again, Mr Portridge.



Here's my Top 10 Best Pictures:
All Quiet on the Western Front
No Country for Old Men
All the King's Men
Lawrence of Arabia
The Sting
Rebecca
Hurt Locker
In the Heat of the Night
Spotlight
You Can't Take It with You
Okay.

None of those were nominated.



Oh. I don't know the rules. It's kind of confusing. Or I read it wrong.
You're too late to join in this Hall of Fame, but the way HOFs work is that everyone who signs up nominates one film and PMs their nomination to the host. Then the host will post a list of all of the nominations and a deadline for watching/voting. Then all of the participants watch all of the nominated movies and discuss them, then send a ranked list of the nominations in order of favorite to least favorite. Then the host tallies up all the points and announces the final rankings once all the ballots come in.

All the King's Men was actually nominated in this, I overlooked it, so if you want to read what the participants thought of it you can find write ups on it in this thread.



Women will be your undoing, Pépé



All The King's Men

Finally got around to seeing this blind grab of mine and, all in all, a pretty good movie. Hard to say if it deserved it's win, but one I'm glad I finally got to see.

I think Crawford was pretty ideal playing the boisterous Willie Stark who was a literary figure mirroring the Louisiana Governor Huey Long.
He was the highlight and the drive of the entire film and the story line. A Hick from the Sticks who fights his way into the seats of the corrupted men running things so that he can be the man in charge.
While his early campaign speaks differently, I never really saw him as the honest man that the reporter mistakes him for and clamors about. Which, in the end, is a pretty strong example of politics and the showmanship of winning and the lengths to holding on to that win. As well as delving into the mud of said politics.
I can also see the (sadly) the similarities that still continue to this day about being FOR the people and how it's more of a device than a belief.

I also enjoyed seeing the foolishness of those who believed and what became of them and of how the old ring of corruption were working for him to let us know: the king fish changes but the waters remain muddied. Though the blind faith of the mob was a bit disturbing to say the least.
I think the only person who got a better turn was the character Sugar. Who, in the beginning was someone to be insulted and teased by the ones running things and then, with Stark, he got a front seat in watching everyone drop to a knee and subjugate themselves to Stark.
Couldn't even count the times the camera showed him laughing or grinning with vengeful glee.

While some of the acting was a little over the top, it's still a great film and does a helluva job hinting into subject matter that was considered a no-no by the censors.



Thursday Next's Avatar
I never could get the hang of Thursdays.
The Godfather



It really was a case of leaving the best for last. The movie takes this shlocky sort of soap opera gangster novel (which, as has been mentioned, spends far too much time talking about Sonny Corelone’s dick) and turns it into something with style and class.

I’m not particularly enamoured of Marlon Brando’s mumbling as Don Vito, but I think Al Pacino gives a really good performance as Michael, the way his initial embarassment about his family gives way to acceptance and assuming a certain arrogance as he slips into the role of Godfather himself. I was particularly struck this time by the way that he changes after he assumes responsibility for guarding his father and gets hit in the face by the police officer, then with a bruised and swollen face he even starts to talk a bit like his father.

I do think repeat viewings help with the appreciation as it can be hard to wrap your head round who is who and why exactly they are shooting each other; also I spotted more details this time. The set pieces are memorable - the restaurant shooting, the bomb in Sicily. I think it looks absolutely fantastic, in lighting, composition, production design, everything. The music is superb. The period detail is excellent.

Did it deserve to win best picture? It should be an easy yes. It’s probably won of the best best picture winners there has been. Almost a shame this and Cabaret were out in the same year. Of the two, Cabaret is my favourite, but there’s no doubt The Godfather is a very very good film (although Part II is better...)



I was particularly struck this time by the way that he changes after he assumes responsibility for guarding his father and gets hit in the face by the police officer, then with a bruised and swollen face he even starts to talk a bit like his father.
I love when he realizes his hand is steady when he lights the cigarette for the trembling Fabrizio.



Women will be your undoing, Pépé
I’m not particularly enamoured of Marlon Brando’s mumbling as Don Vito, but I think Al Pacino gives a really good performance as Michael, the way his initial embarassment about his family gives way to acceptance and assuming a certain arrogance as he slips into the role of Godfather himself. I was particularly struck this time by the way that he changes after he assumes responsibility for guarding his father and gets hit in the face by the police officer, then with a bruised and swollen face he even starts to talk a bit like his father.
I think I've always taken that for granted, but it is an excellent example of Michael becoming and stepping into the role of his father.

I love when he realizes his hand is steady when he lights the cigarette for the trembling Fabrizio.
That IS a great little defining moment for him. When it kind of clicks for him on easy(natural) it can be to step into that world.



Women will be your undoing, Pépé



Rocky

Let's get the winning addressed first: Did it deserve it? Hard to say, there was some serious movies that year. . . Network, Taxi Driver, All The President's Men and Bound For Glory (which I never heard of) but it does seem that Rocky was the underdog that made it to the big times.

Which is pretty apropos, or perhaps simply ironic since this is EXACTLY what Rocky is all about. The nobody who gets a shot at the title.
And Stallone really gives us an authentic underdog with his character, Rocky. Awkward, not too bright, but with a heart and a lot of soul, he's pretty easy to get behind and we get to see him in the rough neighborhoods of Philly just eking by and trying to get a shy woman, Adrian, to go out with him.

While the synopsis is, at this time, pretty ordinary and done beyond death, it's the authenticity to Rocky and those in his life that brings it to the forefront of such stories and clears it from the hokey nonsense that seem to be the norm for such films.

One minor note I always enjoyed, and this is being a Detroiter, is that seeing Diana Lewis interviewing Rocky in the meat freezer. Lewis was a Detroit news reporter that rose to anchor on our local ABC News. And it was a fun little kick to see her again.

Seeing this again, which I haven't seen since the early eighties, is like going back to the well to see the beginning of the Rocky World with the famous steps, which, if I remember is the first time they used a hand held camera with special harness that kept it from jostling around as it tracked him up the stairs. For some reason, back then, it was something that stuck with me seeing it on a Behind the Scenes thing on TV back when it came out.

This is a great little origins story and the beginning of a franchise that, like Rocky, seemed to go WAAAAY past the expectations of merely 3 rounds.



I love when he realizes his hand is steady when he lights the cigarette for the trembling Fabrizio.


Best scene. It cuts out before Michael realises he's the chosen one and it turns out he's not at all.

I thought about all of The Godfather films when i was sick one day because of this thread and i pretty much wrote an essay on "who opened the drapes" in Part II. Not posting it coz it's embarrassing and no one cares but it definitely made me realize how much The Godfather (Film Series) means to me.



Women will be your undoing, Pépé
I'd be curious to read that, camo.
Always enjoy those nuances that catch your eye and the underlying significance of them and those moments that simply stick out for you, just because.
PM me if ya like. I'd be honored.



I'd be curious to read that, camo.
Always enjoy those nuances that catch your eye and the underlying significance of them and those moments that simply stick out for you, just because.
PM me if ya like. I'd be honored.
I wrote this when i was sick so there's probably errors and there's definitely droning on about nonsense. There's spoilers for all three Godfathers so don't read if you haven't seen them all:

WARNING: "Godfather" spoilers below
The drapes question has been debated to death, there's no confirmed answer unless it was mentioned in one of those later GF novels i dunno haven't read those. The three main suspects are Fredo, Al Neri and Rocco. Personally i rule out Fredo right away. Fredo didn't want to harm Michael he loved him, he just felt he had been passed over being the older brother and he felt Michael wasn't giving him anything to do, and that he was always treated like the idiot of the family. So he tried to get into business with Roth to get something for himself, Roth obviously used him correctly deducing that he was dumb and an easy way to get to Michael. There's only two ways it could have been Fredo either he was planning on having Michael killed and all the later stuff he says was lies to try and save himself which would change the whole film, but it's clearly not that because after the attempt we hear Fredo say to Johnny Ola on the phone "you guys lied to me". Obviously they had told him Michael would not be harmed and naive Fredo believed them. The other possibility is that Fredo was so dumb that he left the drapes open without figuring out what it was for. That is a possibility it's consistent with Fredo's character although it turns him from dumb and naive into practically braindead because how could you not know what's that for and what could they possibly tell him that would be a plausible lie? I hate that possibility which plays into me ruling Fredo out but the main thing is i think the film more or less tells you who it is just never completely confirming it.

So it's either Rocco or Al Neri, i believe it's the former. Both had the opportunity but there's three main things that i think points to Rocco. After the hit Michael orders Rocco to keep the assassins alive, he then talks to Tom Hagen who brings up the possibility of either Rocco or Al being involved, Michael then says one thing he learned from his dad was to try and think like the people around him, he also mentions that the men who works for him are first and foremost businessmen which i think is clearly saying he believes either of them would think of Michael's assassination as a business decision so it could be either. The thing that he says about his dad in my opinion is referring to Part 1 when Vito tells him whoever comes to you to set up the peace meeting with the other bosses is the one who has betrayed you, that's obviously Tessio and we know it was Tessio he admits it to Tom before he is taken away. Interestingly Tessio says it was just business and of course one of Michaels most famous lines from the first one is "it's strictly business", showing these guys are thinking the same about each others potential murders. Well i think the test Michael was setting there was whether the assassins were brought to them alive or not, if they were then they'd get it all out of them, if it was Rocco he'd not want to bring them alive and obviously they were killed; i think Michael figured it was Rocco then when they were killed. He failed the test. A problem with that is of course that he keeps Rocco alive, there's a few explanations for that. One is Michael wasn't in the best place immediately following this, he could have figured that killing Rocco could result in his men defecting to Roth. He also might have thought Rocco would stay in contact with Roth so he'd keep tabs on Rocco without letting on he knows and could possibly get to Roth that way. That explanation works particularly well with how long Rocco is kept alive afterwards as of course he would wait until the heat died down before trying to contact them. Then there's Roth's assassination. It's a suicide mission and Rocco is a Captain, you'd figure he'd pay some nobody to do it but instead he sends one of his best men, perfect machiavelian move because Roth would die and so would Rocco in a way that would absolve Michael of blame for it as he didn't kill him. If anything it could make those who were loyal to Rocco more loyal to Michael as they saw Rocco make the ultimate sacrifice for him. Now the problem with that is of course why on earth would Rocco go on a suicide mission. My explanation for that is that when Michael mentioned it to him he figured out Michael knew and he basically had no choice. His other options are flee, kill Michael or become an informant. With the latter he saw what happened to Pentangelli and he obviously knows that Michael has anticapted Rocco attempting all of those, so if he doesn't go through with it Michaels men are ready to kill Rocco and/or his family. Killing Roth and dying himself is the best option because his family at least will be okay and it allows him to go out as some sort of mafia hero rather than a traitor.

That's why i think Rocco, i think it is the most logical and all of the pieces seem to fit, the things that aren't fully explained have plausible explanations. Although there's some that believe it was Al Neri and that theory is kind of awesome. The Neri did it one is actually my favourite of the three, but i go with Rocco because you need to do more gymnastics to make it work and Neri needs to luck into it all while it's all more straightforward to Rocco. The thing is it's never explicitly confirmed that Rocco ordered the assassins to be killed, IMO he did but it's definitely not 100%. So it's possible that either Al had his men kill the assassins or Rocco's men were secretly working for Al and they killed them for him. Al couldn't have possibly seen everything that would happen if this failed but i'm sure he'd be ready to clean up if it failed and everything fell in line. In this sense it makes Al the true successor to Vito in an odd and awesome way. The thing is Michael never truly lives up to Vito's machiavelian abilities, Part 1 is all Vito it was a gift left from him the Tessio/Clemenza thing, in Part II he's nearly killed and while in Part 1 it's confirmed everything Vito said turned out right it's not confirmed if Michael got it right with Rocco. So him failing and having an innocent man killed while making the true perpetrator one of his top men is very consistent with him not being Vito. Al either lucked into all this or he was truly machiavelian in the form of Vito having covered all bases in this situation. If it's pulled off Roth will reward him by i'm guessing putting him in charge of New York, if it fails Rocco gets the blame and one of his top rivals is taken out. The latter happens whether Al was involved or not and he becomes Michaels top man running Vegas for him at one point, pretty much becoming Roth which is the best possible situation making Al seem like some sort of genius which is awesome since he just kind of stands around or assassinates people in the films. There's more problems with this than Rocco though. For one Al is Michaels Luca Brasi, those two are the most loyal characters in the series, obviously the appeal of the theory is that Michael never inspired a Luca Brasi because he was no Vito but that doesn't actually make sense. In Part III Al is still a hitman and bodyguard to Michael he then becomes loyal to Vincent and at the end despite his age he commits the final murders Michael orders in the Vatican. Michael is on his way out in Part III then when he's brought in he is severely weakened, Al's planning of Zaza's murder was the turning point in getting Michael and Vincent back into power. If he was so dead set on gaining his own power and wasn't really loyal to Michael, why would he not take the opportunity to elimate the weakened Michael and unprepared Vincent and take over himself? I don't think that squares with the power hungry Al painted in this situation. The other option that's nowhere near as good is he made a mistake and he regretted it, when he got away with it he completely devoted himself to Michael. The problem with that (and the first one too actually) is why strike then? Michael is in just as good of a position as Roth at this point, why go with a guy you don't know well like Roth who is known for being devious and could easily renege on any promises he's offering over Michael who closely trusts you and will always have you around as one of if not his top guy? The better plan would be to wait until Michael had reached all his goals while building up your own base then take Michael out and take over. Thing is Al's intelligence is never really confirmed, he doesn't talk that much we know he was good at killing but so was Luca Brasi and he clearly wasn't smart. Some of these hinge on Al either being smart or not so smart and that's not known so that holds it all back. The other problem with this is why would Rocco go on the suicide mission if it wasn't him? If he had figured out Michael suspected him i can't see why he wouldn't protest, and if he hadn't figured that out surely he would have questioned Michael sending him to die. There's two possible explanations for that either he figured out Michael suspected him and while he didn't he thought there was no point in protesting and going through with it was his best option for the reasons i explained in the Rocco did it post, or he was just blindly loyal to Michael but that's not really part of his character that's more Al. Actually another one could be he's felt bad about the assassins being killed by his men and he figures he should make up for it with this, but that's not great either. So yeah as much as i like the idea of the Al one it's a lot more convoluted and betrays known character traits than Rocco doing it.



Women will be your undoing, Pépé
WARNING: "yep," spoilers below
Been a long time since seeing II and STILL haven't seen III but I always felt it was Rocco as well. For the same reasons and when Michael sends him on the suicide mission it seems to clinch the knowledge that Michael figured it out and he's giving Rocco a noble death instead of a punk @ss one.