Speed Round

#82 – Sunrise (1927) 

Sunrise is a silent film that was released at the end of the silent era when artistic film technique had reached its peak. It won the first and only Oscar for “Unique and Artistic Production” and that’s a good description of the movie. The story, which seems like it should be unbearably sappy – a woman from the city tempts a farmer away from his wife, he tries to murder the wife, but they rediscover their love for each other – is rendered in such surprisingly interesting visuals that it all works somehow. The story doesn’t say much in itself, except for early 20 th century ideals about how virtuous women should be meek and forgiving, sexual women are dangerous and conniving, and men will do anything for either type of woman (and that women fit into those types). But the movie uses its visuals as more than then-modern showcases of special effects and camerawork. The techniques fit to tell a simple and pure story of love and marriage and it all fits together. The ending is also genuinely powerful.

#81 – Spartacus (1960) – Stanley Kubrick

Spartacus raises a loyal army of slaves and leads a rebellion against the Roman Empire, solely on the strength of his integrity and his cleft chin. The two together – the good character and the rigid masculinity – combine in Spartacus to form a noble manliness. A real man, as shown by Spartacus and the dedicated army he inspired, is equal parts hard and soft, and knows when to use each.

Spartacus is one of the great characters of film, and Spartacus is the best epic I have ever seen.

#80 – The Apartment

If Spartacus was the right amount of hard and soft, “Buddy Boy” C.C. Baxter is only soft. He allows himself to get taken advantage of by men more powerful than he is, lending out the key to his apartment so his superiors can use it for illicit rendezvous with women who aren’t their wives. He is walked all over, over and over, until one day finally… Well, I’m not sure the day really comes.

#79 – The Wild Bunch

“If they move, kill ‘em,” William Holden tells his gang at the beginning, but the instruction seems to apply throughout the whole movie. Because a lot of people move. The “Wild Bunch Ending” became a screenwriting term, referring to the chaotic bloodbath that seems destined to come where lawlessness lives. Peckinpaw shows the senselessness and inevitability of violence, shot with disorienting cuts and zooms and a soundtrack of gunshots and the screams of the dying. Trains and cars are starting to arrive in the west and it signals the death of a way of life that was rough and pointless. Death to death and more death.

#78 – Modern Times (1936)

When the worker is literally a cog in a machine, the worker has no rights. Charlie Chaplin was accused of being a communist and a socialist (and eventually condemned for it?). Whatever he was, he had sympathy for the workers, the people at the bottom of the food chain, the scraps at the bottom of the barrel, the bottom rung of the ladder. His character gets swept up into union protests and labour rights disputes, he works on an assembly line, and ends up in jail for reasons unclear. The system seems to grind and grind: as long as there is production it doesn’t matter how it’s produced, or even what it is producing. Modern Times is a satire and a cutting critique, as it gently points out and calls out the absurdity of the modern state and its systems, and it does it without saying a word.

#84 - Easy Rider (1969) - Dennis Hopper

When Easy Rider was released in 1969, its slogan said, “A man went looking for America. And couldn’t find it anywhere.” and the movie is that serious. It tells the story – if it can be called a story – of two bikers travelling across the US. They run into some Mexican farmers, pick up a hitchhiker, spend time at a hippie commune, end up in jail, make a friend in jail, find some prostitutes, and take drugs. It’s all 1960s counterculture. The plot and details are all sparse and vague, and yet dense and complicated.

The bikers, played by Dennis Hopper and Peter Fonda, are clearly anti-establishment. And yet they’re not hippies (though sometimes they are far out, man) and they make money selling drugs to businessmen and they want to retire in Florida. But they don’t have jobs or family or friends and they go where the wind and the road takes them, sleeping in the woods when motels reject them. And they are rejected often because they are different. They’re a symbol of freedom but freedom doesn’t always go so well. It’s an interesting contradiction – it’s both pro-rebellion and nihilistic and cynical about the fruits of such rebellion.

The scenery is beautiful, the performances are wonderful, and the drug trip scene is genuinely disturbing. It’s a difficult to movie to grasp, but that makes it interesting. The contradictions it presents feel true to life where things are never black and white. And the message may be a window into how the counterculture movement viewed itself. By the late 60s the free-spirited idealism had faded to a jaded and fatalistic cynicism. Easy Rider is in the middle of this shift. Freedom only lasts so long, it says. It burns bright, but it burns out. You can stick it to The Man, but sooner or later The Man will stick it right back.

#89-85

#89 - The Sixth Sense (1999) - M. Night Shyamalan

I once watched this in a tent in a crawlspace - and a young Mischa Barton showed up with vomit dripping out of her mouth. That didn’t happen, but it was scary when it happened in the movie.

The Sixth Sense has some genuinely scary parts, but it isn’t a horror movie. It pioneered a new breed of psychological thriller. It’s a thriller at a slow pace, with its creeping, steady sense of dread, in place of the more typical in-your-face scares or over-the-top terror. This genre has persisted to this day, and it has proven difficult to market. Big scares sell tickets, and so these scary but slow-paced psychological thrillers are billed as typical horror movies, and it leads to misunderstanding and disappointment. Movies like The Others, Shyamalan’s The Village, and this year’s The Witch all suffered from this misleading marketing. They aren’t good horror movies, but they were great at what they are (yes, even The Village).

I don’t think The Sixth Sense suffered from this misleading advertising when it was released. But it was such a unique movie that marketers and movie-goers still aren’t sure what to do with the genre it spawned.

#88 - Bringing up Baby (1938) - Howard Hawks

This was hard to sit through. Almost two hours of 1930s screwball comedy requires a concerted effort in positive viewing. I think of positive viewing as making an effort while watching. Most watching is passive (though still engaged) and it’s usually obvious why things are good or bad, exciting or boring, and so on - you don’t have to think about it. But watching Katharine Hepburn and Cary Grant flail around, bonking each other on the head, crashing into things, and chasing after a leopard with a case of mistaken identity, required a lot of effort to appreciate why 1930s audiences would enjoy such things. I realize screwball comedy is a genre and that it still exists and that it can be funny, and that Bringing up Baby was a pioneer. But the whole thing was so irritating. I think that was part of the point - watching rich people be annoying was novel and entertaining. But maybe our society offers more ways to be irritated than 1930s society did. We don’t watch movies to be irritated - we watch them to escape irritation.

#87 - 12 Angry Men (1957) - Sidney Lumet

12 Angry Men is a celebration of logic, reason, and rationality, as it portrays an idealized version of American criminal justice - the criminal justice system that, in recent years, has been seen as anything but logical, reasoned, and rational. As that ideal, the movie remains timely, despite being made in 1957. Over the course of their deliberations, the jurors gradually reveal their personalities and prejudices - some more overtly than others. And logic and reason gradually start to overcome those prejudices. It’s very unrealistic, but it’s the ideal that matters, and it’s an ideal worth depicting and striving towards.

The movie is excellent by itself as well. The action takes place only in the jury room and only through the power of conversation. As the details of the case are slowly revealed through careful deliberation, the movie manages to be thrilling and exciting, despite the case playing out only in the viewer’s imagination. All the characters and performances are also excellent.

For this last viewing we watched it on a hot summer’s night with a storm brewing, and our storm lined up perfectly with the movie’s. That added some pizazz.

#86 - Platoon (1986) - Oliver Stone

The message of Platoon was already heavy-handed even before Charlie Sheen’s voiceover at the end spells it out in explicit detail. War is hell - especially the Vietnam one - and we’re often fighting against the enemy inside ourselves. The explanation wasn’t needed, as the film shows image after image of the horrors of war - both the physical violence and the psychological damage that goes along with it. But even if it is heavy-handed, that message is still important, and it’s delivered here vividly and realistically - down in the muddy jungles and up close with the morally ambiguous killing and brutality - and without any style. It’s the stripped bare, grimy, uncomfortable truth of it all. Two characters represent the good and evil inside all of us - the good and evil that struggle against each other. The movie shows this struggle festering in the muck of war, overcoming some one way and some the other. It’s all horrible and very powerful.

Platoon is one of the better war movies I’ve seen, and it’s one of the few to make it onto this list.

#85 - A Night at the Opera (1935) - Sam Wood

A Night at the Opera is more 1930s screwball and slapstick comedy. This time it’s the Marx brothers and their schtick. The movie is little more than a showcase of the brothers’ musical and comedic talents, with a plot built around the jokes and gags instead of the other way around. Those talents, though, are real and there are some impressive scenes and some actually funny gags. The gags usually have little to do with what’s supposed to be going on - and what’s going on usually isn’t clear - but they’re lighthearted and absurd and everyone seems to be having a good time. But it does get to be annoying. There’s a lot of head-bonking, chasing, and practical joking - the kind of thing a goofy uncle would do: sometimes it’s fun, but sometimes you wish he would just go away. There’s also a plot involving a love story, all dealt with through opera singing that begs to be skipped over.

Overall, though, the legitimately funny parts and the sense of enjoyment make up for most of the irritation and cheesiness.

Lightning Round - #92-90

# 92 - Goodfellas (1990) - Martin Scorsese

“As far back as I remember, I always wanted to be a gangster,” Ray Liotta’s Henry Hill tells us in a voiceover at the beginning of Goodfellas. This comes a few seconds after we watch him and his fellow gangsters finish off a brutal murder, and in that context he’s hard to believe – who grows up hoping to do something like that? But in this case Henry doesn’t actually do any of the stabbing or shooting himself, he’s just the driver. And the look on his face is one, not so much of disgust or surprise, but of slight uneasiness and subtle discomfort, like he’s seen such things before but doesn’t enjoy it or revel in it like his associates seem to. That subtlety is the heart of the movie, as it follows Hill’s rise through the ranks of the “family” of gangsters while exploring the hallow grandiosity of their lifestyle and world.

The voiceover leads to the early years of Hill’s life when he was dreaming of the gangster life. And from his teenage perspective it’s easy to see why. It’s all money and power and freedom. As Hill ages and moves up the organization, he is no less awestruck by the money and power and freedom he wields himself. This freedom and power leads to plenty of unpunished violence and crime, with the cool looks of the wiseguys always assuring themselves that everything is under control. Hill enacts most of his “business” at the side of Tommy DeVito (Joe Pesci) and James Conway (Robert De Niro). Both are loose cannons – Conway more menacingly so, and DeVito more obviously as he murders in petty fits of rage.

Eventually, the gangsters arrogantly try to control the uncontrollable and things start to fall apart. And it is the look on Hill’s face at the beginning that is most telling. He’s as wrapped up in the violence and crime as anyone else, but he seems to recognize the truth of it all. He knows DeVito is a lunatic and that Conway is ultimately incapable and that plans are going to fall apart and that they’re not immune from law and punishment. But he won’t admit it, as he desperately and pathetically tries to keep the dream alive long after it is dead, as he can’t stand being an “average nobody.”

Goodfellas is an excellent, honest, and realistic portrait of the fast, but ultimately hollow and short, lives of gangsters, and is well-deserving of its place in the pantheon of gangster movies.  

#91 - Sophie’s Choice (1982) - Alan J. Pakula

Sophie’s Choice follows an aspiring writer named Stingo (Peter MacNicol) to New York, where he rents a room in the same building as Polish refugee Sophie (Meryl Streep). He quickly becomes friends with her and her abusive and erratic boyfriend Nathan (Kevin Kline). They gallivant around and dress and act like characters from The Great Gatsby while poor Stingo is the third wheel but wishes he was the second. Nathan acts stranger and stranger and Sophie seems to have something to get off her chest. Meryl Streep is amazing as Sophie and she plays her desperate longing and private torment with a powerful subtlety, and does it in multiple languages. I think it’s so well-established that Streep is the world’s best actress that we get tired of it and look for someone else. But no one else could do what she does in Sophie’s Choice.

The movie is two and a half hours long, and it’s a long two and a half hours. At its heart Sophie’s Choice is a Holocaust movie, but it only spends a fraction of its time on the holocaust. The rest is spent on the three friends, their weird dynamic, and Nathan’s psychosis. And that might be an interesting movie in itself. But the Holocaust sections are so good and so powerful that the trio of friends get tiresome and almost irrelevant.

The choice in Sophie’s Choice is gut-wrenching and awful. It’s horrible to watch, but also important. The scene manages to distill the terror and sickening evil of the Holocaust down to one individual parent’s unimaginable nightmare. It brings the sometimes unfathomable scale of the Holocaust down to a single relatable horror, making it possible to begin to appreciate the awfulness of the whole thing. In doing so it achieves what all entertainment dealing with the Holocaust should achieve and does it without being exploitative.

#90 - Swing Time (1936) - George Stevens

Swing Time is a romantic comedy musical, but it’s mostly a dance movie. Fred Astaire and Ginger Rogers dance their way through the rom-com conventions their 1930s movies helped establish – the zany coincidences, misunderstandings, and mistaken identities – and do it with such skill and chemistry that is fun to watch. Movies like Swing Time are what make this project worthwhile. It’s not a movie I would have chosen to watch otherwise – I don’t usually watch musicals, romantic comedies, or dance movies. But I really enjoyed it.

And I don’t know much about dance, but I can tell when someone is really good at something. And Fred Astaire and Ginger Rogers are great dancers, and they seem to know it and to dance as though celebrating how great they are and how well they do it together. But it’s confidence and not arrogance and their enjoyment is contagious. The two also have amazing chemistry that comes from working together on many different films. They bring a classiness and charm that transcends all the cheesiness and leaves them just plain likeable.

The plot is as goofy as most in the genre. Astaire forgets to go to his wedding and has to go to New York to prove to his jilted fiancée that he can make $25,000 in order to deserve a second chance. But while in New York he accidentally becomes half of a famous dance partnership with Rogers. Sparks fly and it’s obvious where things are headed. But it’s all good fun. All the actors seem to know it’s ridiculous but have a great time anyway.

#93 - The French Connection (1971) - William Friedkin

The French Connection is a movie of contrasts. The opening scenes jump between Marseilles, France and New York City, highlighting the luxurious French coast and the dingy, deserted, urban wastelands of 1970s New York. A hit is carried out in France in the opening scene as the man behind it strolls his ocean-side estate, casually fishes, and drinks wine with his beautiful young wife. And in New York, two white cops patrol a black bar, rough up its patrons, chase one of them to an abandoned industrial park and rough him up some more as one of them tells his partner, “never trust a nigger.” The beauty and elegance of the life of the criminal is contrasted with the gritty and grimy world of the New York cops. This contrast strays from the traditional buddy-cop genre and sets us up to root for the bigoted and sleazy cops in their world of dirt who are trying to bring down the elegant and outwardly-respectable criminals.

The cops are Jimmy “Popeye” Doyle (Gene Hackman) and Buddy Russo (Roy Scheider). They are narcotics detectives stuck with a dry spell of drug activity, looking for leads and something to do. And without either, they follow one of Popeye’s notorious hunches – notorious, we later learn, because one of them led to the death of a cop, though we don’t learn why or how, but Popeye will fight anyone who brings it up. That’s our hero. The chief relents and allows the pair to follow and wiretap a suspicious-looking fella who wines and dines with high society by night and slums it with his wig-wearing wife at their small-time grocery store by day. After a few cold days and nights of stalking, the hunch pays off as the two overhear their target Sal Boca (Tony Lo Bianco) arrange to meet up with a Frenchman for some kind of drug deal.

The rest of the movie is Popeye and Buddy putting the pieces together. The contrasts continue. We learn more of the details of the plan as the Frenchman and his associates plot it out at their rendezvous on a seaside castle in France, while the cops stand outside and wander around freezing in New York, among petty drug dealers and users, litter, and burning garbage cans. The French plan is sophisticated – it involves a famous French actor importing a car (stashed with heroin) to use for a documentary in New York, various levels of the mob, a chemist, a grocery store cover-up, and international coordination. The cops, on the other hand, rely on a hunch and a lucky break from a questionable wiretap. At one point the Frenchman makes it to New York and Popeye tails him. In one scene the Frenchman is eating at a fancy restaurant. It is shot so that he is in the foreground, in the warm light of the restaurant, enjoying his multi-course meal, while through the window and across the street, Popeye leans against a wall, warming his hands on a paper cup of coffee and eating a greasy piece of pizza. The life of the criminal and the life of the cop.

The action picks up from there as the Frenchman is fully aware of being followed and cleverly evades Popeye in the subway in one of the best scenes of the film. The Frenchmen then turn the tables and try to take out Popeye with a sniper. This leads to another one of the best scenes and probably the most well-known scene from the movie. Popeye chases the sniper to the subway (or elevated train). The sniper gets on and Popeye has to confiscate a car to chase down the train. The scene is spectacular and still genuinely thrilling. The only soundtrack during the chase is the screech of tires, the roar of the engine, and chaotic horn honking. And even here there is stark contrast, as the scene cuts between the sniper calmly making his way through the train to take the driver hostage, while below Popeye crashes the car a couple times, honking and cursing like a madman, while narrowly avoiding traffic and pedestrians. Apparently it was shot with real traffic and real pedestrians and at one point the car has to avoid hitting a real woman pushing a carriage with a real baby inside. The realness is what makes it thrilling.

The entire movie is filled with this sense of realness – it feels like a realistic depiction of police work. Though Popeye is a loose cannon, he’s not a rogue cop. He’s not likeable and he’s not much of a hero, but he’s not a villain or an anti-hero either. This ambiguity feels true-to-life as things are rarely black and white. His methods are questionable and sometimes morally ambiguous, but he gets the job done. The movie is based on the true story of one of the biggest drug busts in history, and was adapted from a book detailing the real-life details. The French Connection preserves this authentic approach as the ending manages to be clear and cinematically satisfying, while preserving the ambiguity, and troubling aspects of real-life police work and the legal system. And it shows that no matter how posh, polished, and elegant the criminals, they can’t be caught without the cops getting their hands dirty.

#94 - Pulp Fiction (1994) - Quentin Tarantino

The title of Pulp Fiction refers to the type of stories written in old-fashioned novels and magazines printed on cheap paper (wood pulp paper) best known for their lurid, sensational, and exploitative subject matter. With titles such as Dime Detective, Startling Stories, Weird Tales, Thrilling Wonder Stories, and Spicy Detective, the stories dealt with the darker, seedier side of society, and usually involved crime, criminals, and violence. Pulp Fiction deals with the dark and seedy side of society, involves crime, criminals, and violence, and is often Startling, Weird, Thrilling, and even a little Spicy. It pays homage to the pulp tradition and revels in its messiness, rolling around in the muck like a pig – but a loveable pig enjoying the muck for the muck’s sake.

And there is plenty of muck. Hitmen, gangsters, drug dealers, petty criminals, and rapists; overdoses, torture, robberies, murders, back stabbings, and actual stabbings; sex, foul language, racism, and bloody, bloody violence. But it is done in a tongue-in-cheek, ironic way that makes all the filth fun and often very funny. Some of it is over-the-top, as it incorporates a comic, wacky style of violence common in pulpy superhero stories and animation. But it also includes the serious violence of gangster movies and crime stories. The movie plays with the smut and grime using the full bag of tricks it inherited from the variety of pulp genres. It’s funny but it’s not a comedy. It’s dark but it’s not a noir. It transcends genres as it incorporates and pays tribute to the variety in the pulp tradition, and it has generated tributes and copycats as one of the most influential films of the 1990s.

One of the things Pulp Fiction is best known for its narrative structure. The movie tells three interconnected stories deliberately out of order, giving pieces of each story here in there, just a little at a time, cycling back around and adding a little more until it all comes together. The first story involves a hitman (John Travolta) escorting his boss’s wife (Uma Thurman) out for a night out at a 1950s-style restaurant when she accidentally overdoses on his potent stash of heroin. His frantic efforts to revive her with the help of his drug dealer are darkly funny. The next story follows the efforts of two hitmen (Travolta again, and Samuel L. Jackson, who is the highlight of an excellent cast) stuck with a bloodied car when one of them accidentally shoots an associate in the face while they’re driving in broad daylight. A cleanup man is dispatched to Quentin Tarantino’s house and they frantically clean up the car and the hitmen and leave before Mrs. Tarantino gets home from her graveyard shift at the hospital. It’s absurd and darkly funny again. And the last story involves a boxer (Bruce Willis) hired by the gangster boss (Marsellus Wallace, played by Ving Rhames) to throw a fight. He double-crosses Wallace, bets on himself, and tries to flee the country. But a watch handed down through generations (explained in a flashback by an incredible Christopher Walken cameo) that he left at his apartment brings him face to face with Wallace. The two of them eventually end up in a dungeon of sadomasochistic redneck rapists.

Everything is episodic and chronologically out of order. We are left in the dark for a long time about why the movie starts with couple of lunatic robbers, Honey Bunny and Pumpkin, planning a coffee shop robbery, or how dead characters show up alive later, or why the hitmen show up in beach clothes after a hit. But Tarantino leaves no strings loose and everything fits together in very satisfying ways.

It’s all a little gross, but the movie knows it’s gross and it’s having fun. And this fun is made obvious through the film’s use of language. The Oscar-winning script is known for its dialogue. At his best Tarantino can create nerve-wracking tension and suspense entirely on the strength of his characters’ conversations (one of my favorite examples, from Inglorious Basterds). And in Pulp Fiction Tarantino is at his best. He’s able to create that tension through mundane conversations about ordinary life that ordinary people would have. Putting those ordinary conversations in unusual situations heightens the awareness of the unusual situation and puts us on edge. As the hitmen drive to a building, get their guns, ride the elevator, and walk down the hall, they discuss the differences between the US and Europe (the well-known “Royale with cheese” – Paris’s take on the Quarter Pounder) and whether a foot massage is on the same romantic spectrum as certain other sex acts. The conversations are funny, but they’re the kind most people have with friends over lunch or while hanging out. You don’t expect such talk on the way to a hit. It continues even when they reach their target and the tension rises with Jackson’s voice as talk of burgers leads to a Biblical call-to-arms, pre-hit speech.

The dialogue is brilliant throughout the movie, as it powers and provides the electricity behind it. It’s like a new kind of action movie, with no need for high-octane stunts and explosions, as all the action is done in the language. Such language makes the characters and situations vibrant and memorable. It’s a big reason it became a cult classic and the favorite of fanboys around the world.

Like the tradition that gave rise to it, Pulp Fiction revels in the seedy and the profane. What passes for uplifting or moral is covered in a layer of dirt: redemption, resurrection, forgiveness, and honor happen among hitmen, addicts, gangsters, and murderers. But it all fits, and in fitting it all together, Pulp Fiction pays tribute to the pulp tradition, stacking up all its elements and splattering them all over the place. 

#95 - The Last Picture Show (1971) - Peter Bogdanovich

The Last Picture Show takes place in a small town and begins and ends with talk of high school football, just as life begins and ends with talk of high school football in small towns across North America. The town in the movie is a fictional one called Anarene, Texas, but it could be any real-life, wind-blown, dusty town anywhere. It is dry and still drying up, shrivelling up and drying out its inhabitants. New ones grow but they dry out too, usually towards the end of high school, and some stay dry their whole lives, while a few escape to get swallowed in the big city or killed in a war. The movie was released in 1971 but takes place in 1951 when kids got married or went to college or chose one of a few jobs or joined the army. Stay or go, but in a small town even leaving isn’t leaving – when everyone knows everyone they know where they’re going and it’s like not leaving at all.

The movie follows the adventures and misadventures of friends Sonny (Timothy Bottoms) and Duane (a young Jeff Bridges) as they navigate their last year of high school and the pitfalls of graduation. There isn’t much to do in Anarene except hang out at the pool hall, go to movies, and chase the only eligible girl Jacy (Cybill Shepherd). Boredom seems to suck out ambition and harsh realities of life blow through the town like tumbleweeds, while the boys graduate and move on to nothing at all.

This nothingness is the reward for most high school graduations, when the system spits out graduates and leaves them to their own devices, but it seems to be exaggerated in small towns when there was little to do in the first place. The boys do what teenage boys do with too much time on their hands: they get into mischief, take impromptu road trips, get drunk, and try to have sex with girls – or with older women if girls aren’t available. Sonny has an affair with is coach’s wife, a sympathetic character whose life was dried up years ago. Duane is in love with Jacy who is more concerned with trying to have sex (for the first time) with boys – or with older men if boys aren’t available. She’s naïve but her good looks make her powerful and she wields that power like a sword too big to hold, tipping this way and that. Sonny takes his turn with her when she gets bored. She seems like a way out, like her beauty could take them both far and away, but word travels quickly and their foray is rooted out and snapped off.

The moral center of the town is Sam the Lion (Ben Johnson), who owns the diner, the pool hall, and the movie theatre. Sonny’s family situation is never clear, but it is clear that it isn’t good, and Sam is a father figure to Sonny and almost everyone else in town. He’s wise, kind, and thoughtful and seems to know the secret to life. At one point he takes Sonny and another boy out to a pond to fish, even though there’s nothing in the pond but turtles and he doesn’t like to touch or eat fish anyway. Instead of fish, he casts for memories, ruminating on the past, when he used to take a girl there, skinny dipping, riding horses, and being in love. These memories seem to be his secret to keeping alive in the dying town. But as we watch Sonny and Duane fumbling around trying and failing to make such life-sustaining memories, we have little hope for their prospects. And even Sam’s memories only power him for so long as they seem to burn up in an emptying gas tank. Sam the Lion may be successful in Anarene, but he’s still in Anarene.

The movie is shot in black and white as if to emphasize the drabness of the town and life in it. There seems to be no buildings more than a storey high and the whole town looks hunched and huddled against the cold and heat and wind, or like it’s embarrassed to stand up straight and be something more. The soundtrack is made up of radios and jukeboxes actually playing in the scenes – characters change stations and put in money and make selections in the diner. It is all old country music, mostly Hank Williams, twanging about love when love is in the air and loss when sadness and disappointment resurface. The music is another constant in the town where little changes.

Some things do eventually change in town but they’re not for the better – the title gives one of these changes away. It’s not a hopeful movie, but it’s not pessimistic or depressing either. It’s realistic and beautiful in its sadness. Sometimes life loses its colour, not everyone succeeds, and boredom overcomes. And in small towns AM radios continue to narrate life while disappointing high school football teams and the dating lives of teenagers fill the gossip void until the team turns over the next year or someone gets married or dies. 

#96 - Do the Right Thing (1989) - Spike Lee

A Spike Lee Joint

Do the Right Thing takes place on one long, hot day in one neighborhood in Brooklyn. The day is hotter than usual but it’s otherwise a normal day – people come and go, living their normal lives, doing what they always do. And for the most part, like most people, they don’t do much. They walk around with friends, they take showers, they sit and watch other people, they listen to music, they talk about sports, and they eat pizza. This routine, day-to-day state of things involves some racial tension, but it’s mostly under the surface; it pokes out here and there, but it’s mostly balanced in a state of precarious equilibrium and covered by a blanket of ordinariness. This normalness is the heart of the movie: Do the Right Thing is about the mundanity of racism. In the movie it escalates on an otherwise normal day, as it does in life, and in both cases it’s hard to make sense of.

The pizza place, Sal’s pizzeria, is the centre of the movie, and in many ways, the neighborhood. Sal, an Italian-American (played by Danny Aiello), has been feeding the mostly black neighborhood for generations. He runs the place with his two sons, one of whom is openly racist while the other is timid and accepting. Their delivery boy is Mookie (played by Spike Lee himself), a likeable guy and the place’s outlet into the community. The rest of the neighborhood is filled with interesting characters: there’s Da Mayor, a jolly drunk who knows everybody; Radio Raheem carries a boom box everywhere and only listens to Public Enemy; Mother Sister is a kind of witchy neighborhood matriarch; Buggin’ Out is a wannabe activist, more in line with Malcom X than Martin Luther King Jr; there’s a group of old guys on lawn chairs gossiping and complaining and reminiscing; and a local DJ watching over everything. Everyone is full of life and the neighborhood is vibrant. But a tension is cooking like Sal’s pizzas and everything on the hot street.

The tension eventually boils over. It has something to do with Sal’s “Wall of Fame” that features only Italian-American celebrities. But that doesn’t quite explain it. Radio Raheem also refuses to turn his music down while he’s at Sal’s, and that causes problems. But that’s not exactly what set off the violence either. There are reasons that aren’t reasons, explanations that don’t quite explain, and frustrating and confusing contradictions. The less likable characters do unlikeable things, but they’re sympathetic. And the likeable characters do unlikeable things with little explanation. There are no villains and no heroes. The reasons for the chaos are chaotic themselves. And in the chaos the movie doesn’t try to explain or suggest reasons why racism exists. Though it’s not filled with love, the movie isn’t filled with hate either. it just shows racism in its ordinary setting – in an ordinary neighborhood on an ordinary day – where it lurks just under the surface, ready to emerge for whatever reason, or for no reason at all.

The movie highlights this complicated and beguiling nature of racism that makes it so profoundly painful. And though it knows there is no satisfying explanation for it, it seeks understanding through its complex and dynamic characters. They are all real people and it would be difficult not to feel sympathy for each of them by the end of the movie. Even with the most overtly racist character there is a sense that his attitude has more to do with the negative feelings he has for himself than any feelings he has for anyone else. It’s one of the jobs of a movie to put the viewer in other people’s shoes and Do the Right Thing does this better than any movie I’ve seen. We may not like their reasons for doing what they do – or even understand the reasons – but we feel with them and for them even in the worst moments.

Just as it offers no explanation for racism, the movie also offers no suggestion for how to deal with it. When it was released in 1989 there was some worry it would inspire race riots like the one in the movie. I don’t think that ever happened and the fear was misplaced for a few reasons. When the dust settles at the end, it’s clear the violence accomplished nothing. The movie also ends with quotes from both Martin Luther King Jr. and Malcolm X. The quotes highlight the approaches of both leaders but neither is highlighted over the other. The point isn’t so much about how to deal with the problem, but the fact that it needs to be dealt with.

Do the Right Thing is an excellent movie. It is entertaining, funny, and sad, and full of very human and rich performances. Even without its complicated message it would be well worth watching. But the message is what makes it important (and the film remains important without becoming self-important, which is a difficult balance to achieve). And it would be cliché to say that a movie that involves racially-motivated riots, bigotry, suspicion, fear, and violence is timely and pertinent now as it was in 1989. But that cliché is the point of the movie. Racism is there. It’s not always visible, there are many reasons for it but those reasons are hard to comprehend, it makes no sense even while almost making sense, and there are no easy answers for it. Everyone is responsible or no one is. But it lives on, under the surface or above it, quietly bubbling behind our backs or blowing up in our faces. 

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#97 - Blade Runner (1982) - Ridley Scott

Blade Runner tells the story of a young Harrison Ford wandering around in the rain at night in a future Tokyo-L.A. mashup looking for robot people and trying to get rid of them. Young Harrison plays Rick Deckard, a Blade Runner (which blades are being run is never made clear), tasked with hunting down four Replicants who wreaked havoc somewhere up in space but are now back in town running amok (though the type of havoc and amok are also unclear). This is all explained in text at the beginning of the movie and when it disappears so do the stakes it should establish: the problem is vague and far away and so is any urgency. We don’t know what they did or what they’re doing and can’t we just leave them alone?

The Replicants are androids, robots that look like humans and seem like humans. The only way to identify one is to administer a test using the Voight-Kampff analyzer that detects physical changes as the subject is put through a series of questions designed to elicit an emotional response. The escaped Replicants, however, are more advanced and may have developed emotions. This is why they were given four-year lifespans. But like any conscious emotional beings, the Replicants would like to live longer than four years and the clock is ticking.

Blade Runner is famous for its production design. Flying cars, skyscraper-sized video advertisements, searchlights, neon neon neon everywhere, bleak, black, dark corporations spewing out fire, artificial animals. There’s a sunset in one scene, but the sun stays set and the rain falls. The world is rendered in detail and is a contrast to the opening scrawl; the world explains itself and there is little need for further exposition or explanation to understand the nightmare world of the future, teetering as it is on the precipice of a kind of corporate hell. The movie isn’t a case of style over substance, but style as substance. The film uses the world itself to ask its interesting questions. If it is unclear why the Replicants are being hunted, it is enough that the world says they are to be hunted. The world of Blade Runner is the kind of place where Replicants can’t be.

The vagueness of the Replicant’s crimes creates a lack of urgency as we watch Deckard deal with each of them. But that vagueness is also the main point of the movie. In the opening scene one of the Replicants kills a man who’s doing the Voight-Kampff test on him. The Replicant doesn’t seem like a pleasant guy, but he doesn’t seem evil either. He kills not in cold blood, but in self-defence, or at least self-preservation, and that urge to live and delay mortality is a uniquely human trait (humans being the only species aware of its mortality). The lines are blurred between human and non-human and the movie is really about where that line is. And if that question – what does it mean to be human – seems clichéd, at least Blade Runner asks it in interesting ways. In a world where life can be created, who gets to determine what is genuine and what is not?  

Blade Runner is a neo-noir detective story. Deckard has a job to do and has to find a way to do it. It’s a big one, we’re told at the beginning. And yet he seems to succeed easily, wandering from clue to clue and bumping into Replicants on the street, finding them at work and at home, looking at photos and knowing exactly where they are and killing them off the first chance he gets. Even recruiting him out of retirement is a breeze. He doesn’t do that kind of thing anymore, but then, what the hell, he’s doing it again anyway. Without knowing his motivation, each kill is anticlimactic. Part of that is necessary as we’re left to wonder whether a Replicant making an honest living as a performer really needs to be shot down in her underwear in a crowded street. But Deckard broods through the rain from job to job with animalistic efficiency and no tension. I won’t spoil the ending (I don’t go for the line of thinking that says that since a movie came out in 1982 spoilers are fair game – if you haven’t seen it you haven’t seen it) but it uses Deckard’s mechanical performance to interesting effect. It just isn’t that fun to watch in the meantime.

That isn’t to say it’s not worth watching. Blade Runner is a sci-fi pioneer and a cult classic. Its visuals hold up – its 1980s vision of a grim future on the verge of dystopia is darkly beautiful. And its predictions for the year 2019 are interesting both for what they get right and wrong. But what keeps people coming back (besides it being re-released so many times - I watched the “Final Cut”, which is the last of the movie’s 4 or 5 different versions) is its soft touch amidst its dark and hardened world. The subtlety is the highlight. But it cuts two ways, making the movie both very interesting in the questions it asks and a little boring in the time it takes to ask them.

#98 - Yankee Doodle Dandy (1942) - Michael Curtiz

Yankee Doodle Dandy takes us back to a time when there were movies called Yankee Doodle Dandy. It’s hard to imagine that title being released in the last few decades. These days the story of entertainer, playwright, composer, lyricist, actor, singer, dancer, and producer George M. Cohan would likely be called The and any one of those words. We’re serious about our titles these days – there are no more Dandies or Doodles or the gee-wiz, backslapping attitude that goes along with them. The difference in titles reflects the difference in times. The movie was filmed only a few years after the time period it depicts and both the filmmaking and the subject-matter reflect a bygone era of cheerful patriotism and innocent hope for the American dream.

The movie begins with Cohan being summoned to the White House, afraid he might be in trouble for the way he was impersonating the president in his current show. He walks there in the rain, knocks on the door, and heads up to oval office, easy as pie. He then sits down with the back of FDR’s head – who isn’t upset but is happy to see him – and begins reciting his life story. It’s a fairly absurd way to frame the biopic, but the implausibility has a good-spirited innocence to it that echoes throughout the movie. It’s the age when visitors spoke to one security guard on their way to meet the president.

Cohan was born on stage. Not quite, but his parents and sister were performers and the family formed a touring show when the kids were very young. The film traces the group’s rise and progress across the still fresh-faced United States. Such a career path took plenty of dedication and perseverance from the parents, but it was the young George who had the most confidence, energy, and charisma, and it was only a matter of time before that fire would be channeled.

Most of the movie follows Cohan’s rise to fame – his pursuit of the American dream, pursued as it was on the back of feel-good patriotism and good-natured American pride. Cohan musicals with names like The Governor’s Son, Running for Office, You’re a Grand Old Flag, George Washington Jr., The Yankee Prince, and The American Idea stoked the flames of national pride and made Cohan a Broadway star. This was the age before patriotism and nationalism had a bad name. Whatever gave them their bad name – whether it was the World Wars, the Cold War, the Vietnam or Korean Wars, or the War on Terrorism – American patriotism has a different flavor now than it did then. Cohan’s America was bright-eyed and positive, and both his songs and the time period that gave rise to them reflect a more modest kind of patriotism – a pride in the country, but also a sturdy appreciation for all it provides. History has shown the ugly side of patriotism and it’s now left in an awkward position. Yankee Doodle Dandy shows a simpler time – a time when a man could tap-dance his way to the White House.

James Cagney plays Cohan with up-beat earnestness and cheerful self-confidence. He’s a charismatic rascal, full of gumption and energy. But he’s so likeable you just want to put him in a headlock and give him a noogie. Cagney’s apparently accurate way of half-singing half-speaking all Cohan’s songs seems like it should be irritating but actually makes him more endearing. And being a movie about the Song-and-Dance Man, Yankee Doodle Dandy has plenty of songs and dances. The songs are hokey but catchy and memorable. Most of the movie is a highlight reel of Cagney productions; the film is not so much a musical by choice but by accident. Some of the performances are longer than they need to be, but their production value is high and can be entertaining the way they would be on stage. It’s like Broadway on the screen.

Yankee Doodle Dandy is a positive movie about an era of hopeful positivity. It shows that with enough American spirit anyone can achieve the American dream. With hard work, perseverance, and old-fashioned family values, the son of Irish immigrants can become one of the biggest stars in the country. But all the flag-waving and parading that goes along with this message can become a little too much. The movie’s structure is also conventional and only surprising for its straightforwardness – it takes no turns and may actually be too positive. Cohan seems to have had few bad days and made few missteps, except for that time his father spanked him as a child. Maybe the real Cohan’s life was that smooth – if he had all the zest and energy that Cagney gives him it is possible. But despite its flaws and cheesiness, Yankee Doodle Dandy’s positivity remains contagious and genuinely uplifting and fun.

As President Roosevelt reminds Cohan, a man can give his life for his country in many different ways. And so as Cohan sings, send the word that the Yanks are coming, and it’s Yankee Doodle do or die. 

#99 - Toy Story (1995) - John Lasseter

 

Original concept art, from Time's story from the movie's 20th anniversary.

I have a special guest for this post. We watched Toy Story as a family and he wanted to help me do my work on it. So, presenting the boy himself: Harrison the 4-year-old. I interviewed him and typed his answers exactly as he gave them.

Why do you like Toy Story?

Because ... umm … umm ... cus it’s … cus I like shows … and movies.

What was your favorite part?

The very end. The end of it.

Why?

Because they, Buzz Lightyear was flying … with that rocket. That rocket dangerous thing.

Who do you like better, Buzz or Woody and why?

Buzz because he can fly.

What did you think of the animation?

What’s animation?

The way it looks

I like the colours. Every single colour.

What else do you like about Toy Story?

That’s about all.

You can’t think of anything else you like about it?

It was scary.

What was scary about it?

The part that the dog was chasing them.

But they got away right?

Yeah. Dad! Can we do that again tonight? Watch a movie and set up a blanket and have popcorn and watch a movie? Please please please please dad … again tonight?

Tell me some more things about Toy Story. What do you think of Woody?

Umm good.

What about him though?

His hat. Cus it has that stuff all around it… that edgy stuff, that stuff, you know?

What’s better Toy Story or Curious George and why?

George. Cus George has black hair and black body.

No he doesn’t!

Yeah he does. He does.

It’s brown.

No. Black. Black, dad. Oh there’s where my dinosaur went! I was looking for this dinosaur for all day!! Roar!! My dinosaur cave!! Roar!! [Harrison trails off talking to and for the dinosaur].

So there you have it. He really did like the dog chase scene – he pulled himself into a ball and clenched his teeth and his whole body until the danger passed. And what more can be said about Woody’s hat?

Harry has seen the movie a few times and I’ve seen it a few more. I don’t remember the first time I saw it. I would have been about 10 years old and I probably assumed it was another Disney movie like all my favorites. It was the first of Pixar’s films and the first full-length computer animated movie ever released, which was a big deal but not to me or any other kid. And apparently not to the reviewers and awards voters. We all loved it not because of its animation style, but in spite of it.

It may have pioneered a way of making movies, but it isn’t difficult to appreciate the way some pioneers are. Sometimes looking back on the firsts of their kind can be underwhelming – their techniques and innovations have been developed and refined, and the original looks crude by comparison. But it doesn’t take much effort to love Toy Story. It’s a warm, inventive comedy full of witty jokes, and clever in ways many animated movies were not. And so it’s the same for a 10-year-old seeing it for the first time, a 30-year-old seeing it for the 100^th time, and a 4-year-old who just ‘likes shows and movies’. By exploring issues that anyone can relate to – friendship, our place in the world, wanting to be loved – Toy Story transcends generations and escapes the difficulty of being appreciated as a trend-setter. It may have created a new form of story-telling, but the story it tells is what we remember.

Toy Story pioneered not just a film-making technique but a new kind of movie. Pixar movies have become a genre by themselves and we now expect to be moved and warmed and touched by any movie the company puts out. Toy Story started that. And like most pioneers, Toy Story’s innovations have been surpassed by other advancements and developments. The animation it pioneered has come a long way and its style looks crude by today’s standards. The toys still look good – they chose to do a movie about toys largely because the animation of the time made everything look plastic. But they managed to turn plastic into living, emotional, and unforgettable characters. The animation in today’s movies may have surpassed the animation in Toy Story, but modern movies are still trying to live up to the high standard of story-telling set by Buzz, Woody, and the gang.

And even if some of the animation’s age is showing, like Harrison, we can always appreciate the colours. Every single one.

#100 - Ben-Hur (1959) - William Wyler

I didn’t know Jesus was in this movie (which is something I don’t think I’ve ever said before) – and here we are with Ben-Hur and the opening scene is Luke chapter 2 and the subtitle of the film is “a Tale of the Christ.” The movie begins ‘when all the world was to be taxed’, with Caesar Augustus and everyone returning home for a census, with a pregnant woman on a donkey headed for Bethlehem, with a guy named John dunking people in the wilderness, and with other details familiar to anyone who attended Sunday school. But all that quickly fades into the background as we’re introduced to Mr. Ben-Hur himself.

Judah Ben-Hur (Charlton Heston) is a Jewish prince who used to be in charge before the Romans showed up. The new boss in town turns out to be Judah’s childhood friend Messala (Stephen Boyd and his cleft chin). As the two catch up it quickly becomes clear that they do not see eye-to-eye about the destiny of the Jewish people, and the jovial backslapping turns into aggressive stare-downs and a rivalry is born. Messala quickly gets the upper hand thanks to some lucky timing, a parade, a passing governor, a rooftop lookout, and a loose tile. He frames the falling tile as an assassination attempt and Judah and his mother and sister are locked up and out of the way. The rest of the movie follows Judah’s life as a slave and his efforts to return home, exact his revenge, and see about his family. But it’s at its most interesting when dealing in these coincidences and chances of timing.

For much of the movie, Jesus remains a background figure, a whisper in the winds of Judean gossip, something special that might be happening. And the characters cross paths with him and his message in subtle and powerful ways. A stranger gives Judah some water when he needs it most. A man confuses Judah for a preacher he’s been looking for. This man introduces Judah to his friend in the chariot racing business. The chariot race involves Messala. All these connections may seem far-fetched, but the subtlety works as a gentle Christian (or Jewish) message that there’s a plan out there and someone behind it. But towards the end of the movie this subtlety is lost and replaced with heavy-handedness.

When leprosy shows up you know where things are headed – if you’re going to get healed by Jesus leprosy is the disease to get.  The climax is never in doubt. And there are some obvious and clichéd speeches about the futility of revenge, turning the other cheek, selflessness, and forgiveness and quotations of Bible verses and it gets to be too much. The movie turns from a gentle Sunday school teacher into a bossy nun. With a subtitle like that it has every right to, but the soft touch was much more effective.

At its roots Ben-Hur is Christian movie. But it spends the majority of its 3 hours and 40 minutes as an epic about one man and his quest through the Middle East, through slavery, in ships, on mountains, in chariots, up the ranks of Roman society, and back home. It is long and tedious. But there are some highlights, the most notable being the famous chariot race scene.

It is one of the most well-known action sequences in movie history. And the fact that it remains genuinely thrilling more than 50 years later is a testament to its effectiveness and is illustrative of some of the problems in today’s CGI-driven action landscape. Mark Harris, formerly of Grantland (may it rest in peace) wrote about this issue by comparing the newest Avengers movie and Mad Max Fury Road. Watching a supervillain rip out a chunk of a city and float it into the air while computer-animated robots do battle with stunt doubles is too cut off from reality. There are no real stakes involved and it’s hard to be invested when you know the problem can be solved with a few keystrokes by a CGI artist. Fury Road, on the other hand, was incredibly effective for its now-famous (and Oscar awarded) use of ‘practical effects’. This means that in Fury Road when cars flip and crash and burn, there were actually real cars somewhere in real space that flipped and crashed and burned. They drove in the desert and people were really on and in them, and the CGI was used to enhance things that were really there and filmed by a camera. The whole thing feels alive and seems to have real consequences attached.

The chariot race in Ben-Hur, of course, was shot using real people, real chariots, real horses, and a real crowd. And all this realness produces a sense of real danger (the urban legend that a stuntman died on camera doesn’t hurt either). You feel the strain on the racers’ bodies, you see the tension in their eyes. They sweat. Some fall out and are crushed. Some are dragged by the reins when their chariots crumble. You really don’t want that scumbag Messala to win and you wouldn’t mind if something bad were to happen to him along the way. You’re invested in it. It is a stark contrast, not just to modern computer-generated action, but to another scene in the movie. At one point Judah finds himself as an oarsman on a war ship. A battle breaks out and it is filmed in the 1950s version of CGI. The whole thing is shot – very obviously – using miniatures. The tiny boats – supposedly filled with hundreds of rowers – bump into each other over and over from the same camera angle and nothing about it is real. You know they could just be picked up and put out of each other’s way and the whole thing could be avoided. The chariot race feels real because, even though it’s still part of a movie, in the most important way it is real.

Ben-Hur is a spectacle in scope and scale – huge in every way. But with that size comes weight and its huge ambitions ultimately weigh it down. It navigates its message with precision and subtlety for much of its run-time, but eventually succumbs to heavy-handedness and uneven melodrama. For all its virtues – and there are quite a few – such a behemoth can only remain nimble for so long.


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Introduction

The first movie rental store I remember was called Crazy Mikes. It died before the rest of the movie rental places and its insides were converted into a Chinese buffet. In its lifetime it thrived as a different kind of buffet, where guests satisfied their appetites with translucent plastic containers they found behind the empty cardboard cases of movies they wanted to see. The containers were then exchanged on the way out for actual copies of the movies. And if there was no plastic container, there was no movie and you moved along. Luck and timing were part of it and it was all an experience.

There were many different movie rental places in town. There was Video View that turned into a lingerie bar, Monarch Video that also turned into a Chinese food place, Blockbuster that turned into a mattress store, the ill-fated Just DVD that attempted to capitalize on the emergence of the new format and whose building was torn down after the business’s quick death, and Video Update that turned into Movie Gallery, which turned into a children’s store. That children’s store is a block from my parent’s house, and the building’s previous life was a big part of mine.

The death of the movie rental store was another blow toward the demise of entertainment on physical objects, of the sharing of objects among strangers, where something in your house now could have been in someone else’s a few days ago and in someone else’s a few days before that (though libraries are still hanging on). But to me the death of the movie store was also the death of a major social aspect of my youth. A walk to the movie store was an event, a pastime for my group of friends and an initiation into it, complete with rituals, traditions, and inside jokes (one involved one of us finding a copy of The Missing, a movie we all hated, and stone-facedly suggesting we rent it, every time we went there). It was an event that happened without planning. The walk over carried with it magic powers, as the ritual was a sort of silent trumpet call to assemble in an age before cell phones, somehow summoning all the friends and friends of friends to my parents’ basement.

My youth passed in that basement and I turn to it in moments of self-reflection. At some point in most people’s lives they cast their eyes to the past in order to understand themselves in the present. It’s the most obvious way to understand why we are the way we are. And in many ways I am who I am because of movies. I had the friends I had, we told the jokes we told, we spent the time we spent, and made the memories we made, often because of movie nights in my parents’ basement. There were other things, of course, but movies were a major catalyst for some of the best experiences of my life.

The basement gradually vacated, as most parents’ basements do at some point, and other life events and milestones came and went. But a love of movies has been a constant during life’s changing seasons. And movies gradually began to do more for me than provide for an escape or entertainment, though those remain important aspects. At some point I began to take movies more seriously. This process probably began in the basement but continued over time. I began to appreciate movies as an art form, and like any movie lover, my tastes and discernment developed.

Like the ritual movie nights in the basement, movies themselves went without saying, an unspoken presence and a default way to spend time. And it took looking to the past to even realize how much I love them. Most people love movies, and I’m not claiming to love them more than anyone else, but realizing the central role they played in my development provided the urge to look at them more closely, to take them more seriously, and to appreciate them more fully.

A love of movies has united a new group of friends in this stage of my life. We jokingly refer to ourselves as the Talking About Movies Club, and when we talk about movies, arguments arise. Incredulous shouts of, “You haven’t seen that?!” are frequent. There are movies – great movies, notable movies, movies everyone has seen – that, for whatever reason, pass some of us by. Everyone has a list of movies they should have seen but haven’t. And there are certain movies that serious lovers of movies need to see. This project is my attempt at filling in my “You haven’t seen that?!” gaps.

I have seen a lot of good movies, a lot of bad ones, and a few great ones. There is something to be said for each category – even the bad ones. But it is the great ones that inspire, challenge, test, provoke, disturb, move, and uplift in the most significant ways. These are the foundations of movie appreciation, and it is my goal to build my foundation more securely. And so I started this quest.

In 1998, the American Film Institute (AFI) published the first edition of AFI’s 100 Years … 100 Movies list of the greatest American films of all time. And in 2007 they released a 10-year anniversary updated list. My goal is to watch all of them and write something about each.

Why the AFI list, as opposed to other top 100 lists? Mostly because it contains titles I’m familiar with but haven’t seen – movies that play an important role in the entertainment culture that surrounds me. Other lists may be more authoritative (Roger Ebert called the Sight & Sound list “by far the most respected of the countless polls of great movies—the only one most serious movie people take seriously"), but contain many foreign films I have never heard of. I’m sure they are wonderful, but my purpose in this project is to fill in gaps – the movies I should have seen by now but haven’t. There will be time for foreign films later (or maybe during). Other lists, like on IMDB or Rotten Tomatoes, may be good, but either reflect what is popular (as opposed to what is great, as on IMDB’s list) or have ratings issues (on RT, if 50/50 critics think a movie is ok, it will get a 100% rating – not a strong indicator of greatness).

Here is the list:

1. "Citizen Kane," 1941.

2. "The Godfather," 1972.

3. "Casablanca," 1942.

4. "Raging Bull," 1980.

5. "Singin’ in the Rain," 1952.

6. "Gone With the Wind," 1939.

7. "Lawrence of Arabia," 1962.

8. "Schindler’s List," 1993.

9. "Vertigo," 1958.

10. "The Wizard of Oz," 1939.

11. "City Lights," 1931.

12. "The Searchers," 1956.

13. "Star Wars," 1977.

14. "Psycho," 1960.

15. "2001: A Space Odyssey," 1968.

16. "Sunset Blvd.", 1950.

17. "The Graduate," 1967.

18. "The General," 1927.

19. "On the Waterfront," 1954.

20. "It’s a Wonderful Life," 1946.

21. "Chinatown," 1974.

22. "Some Like It Hot," 1959.

23. "The Grapes of Wrath," 1940.

24. "E.T. the Extra-Terrestrial," 1982.

25. "To Kill a Mockingbird," 1962.

26. "Mr. Smith Goes to Washington," 1939.

27. "High Noon," 1952.

28. "All About Eve," 1950.

29. "Double Indemnity," 1944.

30. "Apocalypse Now," 1979.

31. "The Maltese Falcon," 1941.

32. "The Godfather Part II," 1974.

33. "One Flew Over the Cuckoo’s Nest," 1975.

34. "Snow White and the Seven Dwarfs," 1937.

35. "Annie Hall," 1977.

36. "The Bridge on the River Kwai," 1957.

37. "The Best Years of Our Lives," 1946.

38. "The Treasure of the Sierra Madre," 1948.

39. "Dr. Strangelove," 1964.

40. "The Sound of Music," 1965.

41. "King Kong," 1933.

42. "Bonnie and Clyde," 1967.

43. "Midnight Cowboy," 1969.

44. "The Philadelphia Story," 1940.

45. "Shane," 1953.

46. "It Happened One Night," 1934.

47. "A Streetcar Named Desire," 1951.

48. "Rear Window," 1954.

49. "Intolerance," 1916.

50. "The Lord of the Rings: The Fellowship of the Ring," 2001.

51. "West Side Story," 1961.

52. "Taxi Driver," 1976.

53. "The Deer Hunter," 1978.

54. "M*A*S*H," 1970.

55. "North by Northwest," 1959.

56. "Jaws," 1975.

57. "Rocky," 1976.

58. "The Gold Rush," 1925.

59. "Nashville," 1975.

60. "Duck Soup," 1933.

61. "Sullivan’s Travels," 1941.

62. "American Graffiti," 1973.

63. "Cabaret," 1972.

64. "Network," 1976.

65. "The African Queen," 1951.

66. "Raiders of the Lost Ark," 1981.

67. "Who’s Afraid of Virginia Woolf?", 1966.

68. "Unforgiven," 1992.

69. "Tootsie," 1982.

70. "A Clockwork Orange," 1971.

71. "Saving Private Ryan," 1998.

72. "The Shawshank Redemption," 1994.

73. "Butch Cassidy and the Sundance Kid," 1969.

74. "The Silence of the Lambs," 1991.

75. "In the Heat of the Night," 1967.

76. "Forrest Gump," 1994.

77. "All the President’s Men," 1976.

78. "Modern Times," 1936.

79. "The Wild Bunch," 1969.

80. "The Apartment, 1960.

81. "Spartacus," 1960.

82. "Sunrise," 1927.

83. "Titanic," 1997.

84. "Easy Rider," 1969.

85. "A Night at the Opera," 1935.

86. "Platoon," 1986.

87. "12 Angry Men," 1957.

88. "Bringing Up Baby," 1938.

89. "The Sixth Sense," 1999.

90. "Swing Time," 1936.

91. "Sophie’s Choice," 1982.

92. "Goodfellas," 1990.

93. "The French Connection," 1971.

94. "Pulp Fiction," 1994.

95. "The Last Picture Show," 1971.

96. "Do the Right Thing," 1989.

97. "Blade Runner," 1982.

98. "Yankee Doodle Dandy," 1942.

99. "Toy Story," 1995.

100. "Ben-Hur," 1959.

I have seen some, but not nearly as many I feel I should have by now.

In the early days of our relationship Ashley used to criticize me for being too critical. We bonded over a love of good movies, and either I’ve rubbed off on her or we’ve seen enough good movies together, but I’ve noticed a critical eye develop in her to rival my own. And so I’ve been able to rope her into this quest.

We’re going in reverse order, and so first up is the 3 hour and 42 minute behemoth Ben-Hur.