1001 Movies You Must Read Before You Die

Hello everyone! I'm new to the group and was wondering: Has anyone here attempted a reading challenge based on the 1001 Movies You Must See Before You Die List?

If this is already a thread, I'm really sorry for reposting.
If not, I'd be happy to make a list of all the films on the list that are based on books, comics and short stories. I think it could be fun to watch the films and read the books to compare.

Interesting link, which I've passed on to my grown son (he's the movie buff in the family).

I'm not much for watching movies anymore, I prefer to read. I did see the new "True Grit" recently and really enjoyed it.

Hey fuzzi, I thought I would search a more less controversial topic and comment (if you know what I mean); this is an interesting challenge. Hey AvocadoPenguin.

I went through the first 100 or so movies on this list and noticed many (actually probably 10-20%) that I have watched, but of course not read the corresponding book. It appears that they have them listed by oldest to newest movie.

To me a new movie is a movie from the 90's, which probably gives you an idea on my movie watching. I will comment that as a Christian I do limit myself on what I watch just because many newer movies have so much bad in them (which is too bad, because there are a lot of good movies that have come out recently that I would like to watch but probably won't because of the above reasons).

That being said, I do like older movies (especially from the 40s-60s) and noticed many on this list that I have watched. I actually collect books (with the corresponding movie title), which to me is an interesting collection.

I will list some that I have watched in my next post.

Again, nice topic, AvocadoPenguin.

The oldest movie on the list that I recongnize having watched is "All Quiet on the Western Front." While it comes from a seemingly pacifist perspective, it has some great war footage (especially for a movie from 1930). Great movie that makes you think about the evil of war, even while war is sometimes needed. Certainly a 5-star (out of five) movie to me. I think I was suppose to read this when I was in high school, but apparently (shame on me) I didn't because I don't remember reading it.

Dracula was another movie (that I actually watched rather recently) that I thought was a good movie. Apart from the evil involved (with Dracula himself), this movie had great special effects for a horror movie from the early 30s. I would rate this movie probably a 4.5-5-star. I actually did read this book before in the Great Illustrated Classic series (if you guys are familiar with that). It is a children's series of classics with white covers.

I would also place Frankenstein in the same category as Dracula. I also read this book from the same mentioned series of books.

And of course, King Kong, a enduring classic (the original- never have seen the more recent rendition). Great special effects for its time period. Would probably rate it a 4 or 5-star. Never read the book.

And the last one I will mention for tonight is "Triumph of the Will." If I remember correctly, this is a silent "propaganda" film of the Nazi movement. While I have never been intrigued with silent films, this one was pretty good (when you understand the time period and the evil that was this movement). I am not sure if there is a corresponding book- I would guess not, but who knows.

Is this what every one else was going to do with this thread (or am I going way over board)?

jntjesussaves I think the way you're using the thread is a great idea and it's really interesting to read through your thoughts on the films and books. I definitely recommend All Quiet on the Western Front if you get a chance to read it- it's the best book I've read in a while.

I'm working on a list of all the adaptations on the list with LT links to the books. Hopefully that should be up soon. :)

I like how John used the thread, and have decided to 'copycat' him.

The first movie that I recall watching in its entirety is the original "King Kong" of 1933. I have not watched either of the remakes (I think there are two) and have no interest in doing so. Somethings are better left alone. I've not read the book.

I watched "It Happened One Night" with Clark Gable, but it was a long time ago. I do recall fond memories of it, however. Again, I've not read the book, if there is one.

"Captain Blood" is a fun movie, Erroll Flynn as the dashing young doctor turned pirate. I believe the young lady in his life was played by Olivia DeHaviland. Or maybe that was his costar in "The Adventures of Robin Hood", which I also have enjoyed. I've read the book about Robin Hood by Howard Pyle and another one, The Outlaws of Sherwood by Robin McKinley.

As a young teenager, I saw a couple of the Marx Brothers comedies, "A Night at the Opera", "A Day at the Races" and I think "The Big Store". Some of the scenes made me laugh out loud. I'm not sure if there are corresponding books or stories.

"My Man Godfrey" is crazy and a hoot to watch. I own it on DVD. Is it a book as well?

Who hasn't seen "The Wizard of Oz" and "Gone With the Wind"? If not, shame on you! I've read both of those books, and would highly recommend reading them over watching the movies, even though I enjoyed the movies. There's a whole series of "Oz" books that are worth a try.

"His Girl Friday" and "The Philadelphia Story" are more crazy comedies that are worth watching. The latter movie was remade into a musical, "High Society" which is a guilty pleasure of mine. Again, I'm not sure if there is a corresponding book for either of these.

I've watched and read "The Grapes of Wrath". I liked the movie better.

Watched and enjoyed "Citizen Kane", unsure about a book.

I watched "The Maltese Falcon" once, and read the story, once. Neither one impressed me, much.

I believe I have watched "Sergeant York", but am not totally sure. If there is a book associated with it, I've not read it.

I love the book How Green Was My Valley, the 1941 movie, and the television adaption of about 25 years ago. Highly recommended!

Get out the hankies for "Casablanca", a must watch. Book? Don't know.

I've seen "Yankee Doodle Dandy", but don't recall much, nor a book.

"To Have and Have Not" is one of those movies that is, imo, SO much better than the book. I have read the book, but would rather watch the movie. BTW, they are TOTALLY different.

I love the movie "Laura" and would gladly read any book about that story!

I saw the John Garfield version of "The Postman Always Rings Twice", but have not read any book of that story.

I have read and watched "The Big Sleep". I like the movie a bit better, but the book really gets into much more detail about the mystery. Either or both are good!

Read the book of Great Expectations, not seen the movie.

Seen "It's a Wonderful Life", not read a book.

That gets me up to about 1950.

Wait a minute, where's "Miracle on 34th Street"? That should be in this list...

5: Thank you for your comments. I do plan on reading it, unfortunately, there are so many books that fit into that category.

6: There are several movies that you mentioned that I will comment on- there are many classics from this time period. Unlike many, I almost have to make myself watch a movie, however, I love to read. I believe I would usually read the book than watch the corresponding movie, but I guess that is the reason why I like LT- I love (in a generic sense, of course) books and the written word.

My husband and I have been following the list for some time and we have watched about 1/4 of the movies. There are some really cool films in there that I never would have chosen on my own. I can't say I will ever get to them all but it is definitely filing in some large gaps.

9: Welcome to the thread, bucketyell. You are far ahead of me- I would say that I have watched maybe 100 or so of the almost 1200.

To continue:

The next movie that I have seen falls at 91- The 39 Steps. This was a very good Hitchcock thriller from the early thirties. As with most of Hitchcock's films- this was a great mystery. I would rate it probably a 4.5 (out of five).

Fuzzi you mentioned The Adventures of Robin Hood with Errol Flynn; you are correct, this movie also starred Olivia DeHaviland as Robin Hood's fair lady. I actually watched this movie about a month ago. I have been slowly going through my movies in alphabetical order and this one was among those I watched recently. Great movie; Flynn and DeHaviland played their roles very well. I would rate this movie as probably a 4.5 star (out of 5). Of course we know that this movie was based on the great classic by Howard Pyle; unfortunately, I haven't read it but I am sure I will at some point.

Angels with Dirty Faces was a good movie; probably a 4.5 star. If I remember correctly, James Cagney played the role of a priest who was trying to keep the youth in his area out of trouble, but Humphrey Bogart played a gangster who was influencing these young men in the wrong direction. In the movie, they were former buddies (who had went down different paths). I believe one of the most memorable scenes in the movie was toward the end when Bogart was on trial for murder. He was about to be sentenced to the death penalty; Cagney asks him to show remorse and fear (even though he had none) as to possibly cause these youth to go in a different path. Bogart hesitates and doesn't want to show something that he doesn't feel; in the end, he goes along with Bogart's request. It was his last effort to do something good, rather than leave the world without remorse.

Stagecoach was one of John Wayne's early westerns; while I wasn't crazy about his earlier stuff, this particular movie was very good (probably a 4.5 star). In my opinion, John Wayne wasn't a great actor, but he had a certain mantra about him that alluded him no matter what movie he played in (especially his mid-movies). I have watched probably around 10 movies with John Wayne in them and would rate most all of them a 4-5 star. This particular one was one of those early greats.

I will give two more since they are next to each other. The first was, Mr. Smith Goes to Washington; there weren't many movies (if any) that Jimmy Stewart starred in that I didn't like. He was just a great actor; he is certainly one of my top three favorite actors of all-time. As with most of his movies- I would rate this one a five.

The next and last for today is, like you fuzzi, The Wizard of Oz. I agree, this is an all-time classic. I would rate it a five. I have, unfortunately never read the book by L. Frank Baum (along with the other books in the Oz series). I will certainly read them in the future.

Until next time.

This is a very interesting topic; I have seen quite a lot of the films on the "1001" list, and, as some others are doing, I'll share some of my thoughts on them. In some cases I have read the book the movie is based on and will have some comments on them as well.

Like some of you I'm going to have to break this into a lot of posts. Tonight I'll start with the silent films.

The earliest films on the list that I've seen are two of the D.W. Griffith films. The Birth of a Nation is both famous and infamous. Famous, as the first epic feature film and the origin of so much of the basic language of cinema. Infamous, for its repulsive depiction and distortion of history. I never have read The Clansman, the novel that is the source for the film, and never will.

Broken Blossoms is noteworthy as the first film to portray an interracial romance onscreen, although, as it was made in 1919, the Asian character who falls in love with Lillian Gish is played by a Caucasian actor, Richard Barthlemess.

Next, I've seen a whole batch of Buster Keaton films from the list: Our Hospitality, Sherlock, Jr., Seven Chances, The General, and Steamboat Bill, Jr. I'd recommend any of these wholeheartedly, but I'd single out The General, Keaton's masterpiece, and Sherlock, Jr., maybe his most innovative film and the first major "breaking of the fourth wall" that I know of. None of these are book adaptations as far as I know, but The General is loosely based on a famous Civil War episode called The Great Locomotive Chase. Stealing the General by Russell Bonds is a good non-fiction book on that escapade.

While Keaton is my favorite of the great trio of silent comics, I also find time to enjoy the others. From the list, I've seen Chaplin's The Gold Rush, a very fine example of his work, and Harold Lloyd's The Kid Brother, a good introduction to his style of film. Again, both are films I'd recommend.

The last two silents from the list that I've seen are F. W. Murnau's Sunrise, which was another very important film for Murnau's innovative camera usage, and Douglas Fairbanks' The Thief of Bagdad, possibly the best of his series of silent swashbucklers and a good introduction to one of the most charismatic film stars of all time.

One P.S.--in Angels with Dirty Faces, it's actually Pat O'Brien who plays the priest (O'Brien almost always played a priest, a cop, or a doctor), who tries to get Cagney to feign cowardice when he's taken to the chair. Humphrey Bogart had a supporting role; he wasn't a lead player yet. I'll come back to this one when I get to the sound films.

Once again, great topic.

Next installment:

The Lavender Hill Mob (1951): I know I've seen this one, but have no recollection of it. If there's a book, I haven't read it.

The African Queen (1951): Loved the movie, but disliked the book by CS Forester. Usually it's the other way around. Bogart and Hepburn are good, the story is fun too.

An American in Paris (1951): only seen parts of the movie, love watching Gene Kelly dance, but Gershwin's music doesn't grip me. Book? Unknown.

The Quiet Man (1952): Great movie, fantastic casting and acting. I've not read the book, but I'm pretty sure I could find it. One more for the TBR list...

Singin' in the Rain (1952): One of my all time favorite musicals: while Gene Kelly and Debbie Reynolds are a joy to watch, Donald O'Connor is the best part of the movie. (http://www.youtube.com/watch?v=FW02c5UNGl0) Book? Unknown.

High Noon (1952): Good movie, not read the book.

Shane (1953): Very good movie, not read the book but I will (on the TBR list).

Bad Day at Black Rock (1955): Superb! If there's a book, I'll read it! The one armed man against the bad guys, wonderfully underplayed by Spencer Tracy.

High Society (1956): mentioned in a previous post, fun musical!

The Ten Commandments (1956): seen it several times, doesn't follow the book very closely...very "Hollywood-ized".

The Bridge on the River Kwai (1957): Worth a watch, I wasn't impressed with it. Have not read and am not too interested in reading the book.

Some Like It Hot (1959): Forget Marilyn Monroe, Jack Lemmon is the star of this movie! I'd read the book, if there is one, not sure.

Ben-Hur (1959): one of my all time favorites, and yes, I have read the book (it's quite a tome!). I like to watch this movie at least once a year, either at Christmas or Easter, or just whenever the mood strikes me. They just don't make movies like this anymore...

And now I'm up to 1960...

Okay, on to the sound era. I've seen so many of the films on the "1001" list that I'm going to have to take this just a few years at a time. To begin, 1930-34.

-I'll start with a group of three films: Little Caesar, The Public Enemy, and Scarface, the classic gangster films. Little Caesar was adapted from a novel by W. R. Burnett, which I have not read; of the three it seems to hold up the least well today. The Public Enemy was based on a never published novel titled Beer and Blood; it has the famous scene where James Cagney smashes a grapefruit into Mae Clarke's face. Scarface was adapted from a novel by Armitage Trail; it's my favorite of the three and the first film on the "1001" list directed by my favorite director of all, Howard Hawks.

-Next, another group of three: 42nd Street, Footlight Parade, and Gold Diggers of 1933. These are all Busby Berkeley musicals: he didn't direct them, but he choreographed the big musical numbers and put his stamp on them far more than the directors of record. They're all backstage musicals with very thin plots, but some of the musical numbers are memorable: "Shanghai Lil" from Footlight Parade, and "Remember My Forgotten Man" from Gold Diggers of 1933. 42nd Street is adapted from a novel by Bradford Ropes, Gold Diggers from a play by Avery Hopwood, and Footlight Parade from a short story.

-Fritz Lang's M: this is still a very creepy film to watch today. Peter Lorre stars as the first great cinematic serial killer.

-Love Me Tonight is another classic musical, adapted from a stage play. It tells the unlikely but irresistible tale of a tailor (Maurice Chevalier) who falls in love with a princess (Jeanette MacDonald).

-Trouble in Paradise is an early Ernst Lubitsch film,adapted from another stage play, about two thieves who fall in love while trying to con a wealthy woman. A good example of the famous "Lubitsch touch."

-Duck Soup, one of my favorites of all time and the Marx Brothers famous film. Just under 70 minutes of absolute hilarity.

-It's A Gift is from another of the great comics, W. C. Fields; it's a good example of the bracing, almost sour quality of his comedy

-L'Atalante is the masterpiece of a tragically short-lived French director named Jean Vigo. Like Murnau's Sunrise, it's a simple story told with amazing visual style.

-It Happened One Night was one of the first great screwball comedies. It's adapted from a short story by Samuel Hopkins Adams and collected a whole shelf-full of Oscars--Best Picture, Best Director for Frank Capra, and Best Actor and Actress for Clark Gable and Claudette Colbert.

-Finally, the first film on the "1001" list that I've both seen and read the book it was based on, The Thin Man. Dashiell Hammett's novel is decent, but not really a classic. The film, however, is a classic, thanks not so much to the source novel as the incredible onscreen chemistry of William Powell and Myrna Loy (plus an assist from Asta the Terrier). Powell and Loy as Nick and Nora Charles are the template for hundreds, if not thousands, of bantering, but happily married couples on film and TV down the decades.

Psycho (1960): Saw the movie, good, don't want to watch it again. Do not want to read the book...

Spartacus (1960): Saw this movie years ago, not particularly interested in seeing it again or reading the story.

The Hustler (1961): Excellent movie, would be interested in reading the book.

West Side Story (1961): Like some of the music, not keen on the entire movie. It's based upon Romeo and Juliet, which I have read.

Lawrence of Arabia (1962): never could sit through this entire movie, not interested in trying to read the book.

To Kill a Mockingbird (1962): EXCELLENT movie, excellent book. Both are a MUST see/read.

The Man Who Shot Liberty Valance (1962): Not a typical "Western" despite John Wayne playing one of the main characters. I would be interested in reading a book that this movie was based upon.

The Birds (1963): seen most of it, am not interested in seeing it again or reading a book.

Hud (1963): seen parts of this movie, not interested in reading a book about it

Goldfinger (1964): watched, not impressed, but I have heard that Ian Fleming's novels are much better than the movies.

My Fair Lady (1964): original broadway musical was so much better. Have read Pygmallion (need to put that on my 'read' list!)

A Hard Day's Night (1964): silly and fun, doubt there is a book.

The Sound of Music (1965): fun movie, good singing, and have read the book (another one I forgot for my 'read' list!)

Cool Hand Luke (1967): liked the movie, would read a book about it.

Bonnie and Clyde (1967): didn't care for the movie, probably wouldn't care for a book.

The Jungle Book (1967): HORRIBLE Disney 'adaption' of the original classic by Rudyard Kipling. Only good thing is Phil Harris's singing (Baloo). Read the book instead (it's in my top 5 books).

Planet of the Apes (1968): entertaining, book was so much different! (another to be added to my 'read' list)

2001: A Space Odyssey (1968): interesting but the movie lost me near the end. Have read the book (see notes above)

Butch Cassidy and the Sundance Kid (1969): seen the movie, might read a book about it.

Midnight Cowboy (1969): seen parts of the movie, no interest in the book.

Easy Rider (1969): ditto Midnight Cowboy...not interested.

12/14: Welcome, Jestak!

You seem very authoritative in your reviews. You seem to have a lot of knowledge and insight on this subject.

12: I stand corrected, Jestak. You are right- you might find some blunders at times if I don't remember things the same as when I originally watched the movie. I enjoy watching movies, but I would rather read the books- plus, I almost have to make myself watch movies at times. I am sure, by the sound of it, that doesn't happen to you.

12: I stand corrected, Jestak. You are right- you might find some blunders at times if I don't remember things the same as when I originally watched the movie. I enjoy watching movies, but I would rather read the books- plus, I almost have to make myself watch movies at times. I am sure, by the sound of it, that doesn't happen to you.

Unfortunately I can't respond to any of your movies so far, because I haven't seen any of them. I can't wait for your reviews on movies I have watched.

fuzzi,

I think I will comment on others comments and do my movie/book reviews in time.

I recently watched The African Queen; I agree both Hepburn and Bogart did exceptional jobs in their roles. I guess the only thing I wish we could have seen more of was Hepburn, who was a missionary, if I remember right- as a missionary, off in a foreign land, she seemed to place too much trust in Bogart (and not enough in God). However, we are dealing with a Hollywood movie. I haven't read Forrester's novel based on this story. (4-star)

The Quiet Man: John Wayne, played the starring role if I remember correctly. I agree, great movie (which I probably would say about most of Wayne's later movies). It seems you like westerns a lot. (4.5-5-star)

High Noon: Great movie; and as you have stated about the last few, I also haven't read a corresponding book (nor do I know if there is one). (5-star)

Bad Day at Black Rock; I have actually watched this several times. If I watch a movie more than once, I apparently really like it. Great movie. (5-star)

I agree with your assessment of The Ten Commandments. It has been a long while since I watched this so I would not want to rate it right now. That starred Charlton Heston, if I remember correctly.

I believe I have seen pieces of Ben Hur, so I will not give any comments about it.

There are several among these that I have seen.

You don't seem to like horror movies. I, of course use that term loosely, especially in referring to movies from the 60s-70s.

Psycho: I actually liked that movie, probably rate it a 4-4.5 star); I actually think this was actually a movie to book, rather than a book to movie (like so many others).

I believe I have seen The Hustler; I believe that starred Paul Newman as the pool hustler, correct? I am not sure on this one so I will not comment.

Lawrence of Arabia: Have the movie and book, but never read or watched either.

To Kill a Mockingbird: When the mention of a movie causes you to want to see it, I would probably say it is a good movie. I have partially read the book (I actually started reading it to my son several years ago and never finished it). I also remember reading it in 9th or 10th grade; as with many of my required reading from those years- I must shamefully admit that I didn't read a lot of them. I have seen the movie several times and would also say that it is great. (5-star). Gregory Peck, along with Jimmy Stewart are two of my favorite actors.

The Man Who Shot Liberty Valance: Great cast and great acting by two great actors- John Wayne and Jimmy Stewart. Stewart could succeed in practically any role. This is one of the best westerns of all-time in my opinion. Certainly I would rate it a 5-star.

The Birds: I enjoy Alfred Hitchcock movies. This was a good movie; I would rate it slightly above Psycho. Probably a 4.5- star. It is amazing how far special effects have come over the last 40 years.

Cool Hand Luke: Another movie with Paul Newman I believe. Great movie; I can't remember how much vulgarity it contained. There is a book: I have it, but again I believe it may have been a movie to book. (4.5-5 star)

Bonnie and Clyde: Outside of the violence and criminal aspect, I thought it was a well acted movie. (4.5 star), from what I remember.

The Jungle Book: With three kids, I must say I have seen very few Disney movies. I have never read the book, but as with many others- I would like to because it is a classic.

2001: A Space Odyssey: I must say, fuzzi, I was lost with this movie from the beginning. I guess I got bored quickly watching it. Maybe I ought to try watching it again and give it another chance. We know there is a corrresponding book- never read. Is the book better than the movie, fuzzi?

Butch Cassidy and the Sundance Kid: Robert Redford, I believe? Good movie from what I remember. This the reason why I like to rate movies- at least it makes me aware that I have watched them before.

>17 jntjesussaves: Yep, watching movies is my number 2 leisure activity (after reading, of course, that's why I'm here).

Time to move my list forward a few years, here's 1935-37. I have some real favorites here, films which I try to watch at least once a year.

Mutiny on the Bounty: I watched that so long ago that I only have sketchy memories; I'll probably get back to it again sometime in the future. Never read the Nordhoff/Hall book it's based on.

Captain Blood: One of the great pirate movies and swashbucklers. The first pairing of Errol Flynn and Olivia de Havilland as romantic leads (of about 8 or 9, I think). A bit sluggish at times but one of the best of its kind. Never read the novel by Rafael Sabatani.

A Night at the Opera: The Marx Brothers' first film after they moved to MGM, and their last real classic, with some of their best comic routines, like the stateroom scene and the big finale where the boys make glorious hash of Verdi's Il Trovatore.

The 39 Steps: This is probably Hitchcock's first real classic, and one of his great "chase" films, where a wrongly-accused man spends most of the movie fleeing both the villains and the authorities. It also features Madeleine Carroll as the first of Hitch's classic blonde heroines and a great cameo by Wylie Watson as "Mr. Memory." Never read the book.

Top Hat and Swing Time: Probably the two best films featuring the pairing of Fred Astaire and Ginger Rogers. These are worth watching strictly for Fred and Ginger's amazing song and dance numbers; the plots, even more than most musicals, are wafer-thin (especially Top Hat, where the entire plot pretty much depends on no one in the film ever introducing themself to other people by name!)

Modern Times: one of Chaplin's greatest, and the final outing for his beloved Little Tramp character. Also the first one where he talks onscreen, or at least sings (in gibberish that sort of sounds Italian).

My Man Godfrey: another of the great screwball comedies. William Powell (in his best film when not paired with Myrna Loy) and Carole Lombard, two of the best comic performers ever, are both at their best here, supported by some great character actors.

Mr. Deeds Goes to Town: One of Frank Capra's best-loved films, part morality play, part romantic comedy. Gary Cooper is ideal as the leading man, and Jean Arthur is terrific opposite him.

Sabotage: Hitchcock again. This is not one of his classics, but even second-rank Hitchcock is often worth watching. It was adapted from The Secret Agent by Joseph Conrad; the title was changed because Hitch had just recently made another film titled "The Secret Agent."

Grand Illusion: one of the finest films from the great French director Jean Renoir, and a film that influenced Hollywood classics from Casablanca to The Great Escape. The story is about French POW's during World War I. It's full of "big themes," such as the decline of the European aristocracies, and the struggle of decent men to retain their humanity during an incredibly inhumane war.It's also worth watching to see some of the greatest European actors of that generation: Jean Gabin, Marcel Dalio, Pierre Fresnay and Erich von Stroheim.

Snow White and the Seven Dwarfs: I imagine that few people need any introduction to this one. The first great animated feature, and still one of the best.

The Awful Truth: yet another of the screwball comedy classics, from the specific subgenre called the "comedy of remarriage." Cary Grant and Irene Dunne are the married couple who each decide the other has been unfaithful. No sooner have they sought a divorce, then they both have second thoughts--it takes the rest of the movie for them to admit they still love each other. As a special bonus, Asta (from the Thin Man films) shows up, playing Cary and Irene's dog, "Mr. Smith."

Pepe Le Moko: This one is both a great crime film and a great romance, as it tells of the impossible romance between a wanted gangster and an innocent tourist, with an ending to break the hardest of hearts.

Okay, I have to stop for tonight; I'll continue tomorrow.

(19) What's interesting, John, is having seen a movie before I was born again, and then watching it afterwards, I often notice things what I never saw before, like your observation about Rose in The African Queen. If I recall it correctly, her brother coerced her into becoming a missionary, so her heart wasn't totally in it.

You should watch Ben Hur...I rate it close to "The Greatest Story Ever Told", which I believe should have been on the list. Those are both movies that I have loved for a long time.

(20) No, I do not like horror movies, for the most part. "Psycho" was good, and I also watched "Psycho 2", but while I consider them to be well made/acted, etc., I do not want to see them again. I feel the same way about "Halloween".

You're correct about "The Hustler". There was a remake I saw, "The Color of Money" which starred Tom Cruise and Paul Newman, and I do recall enjoying it.

You need to read To Kill a Mockingbird: the movie was very well done, but you should read the book for comparison.

I do like Westerns, but I prefer the more traditional versus the so-called "spaghetti" types (like "The Good, The Bad and the Ugly").

I don't recall any filthy language in "Cool Hand Luke", but there probably was some. There was one shot of a prisoner's bare buttocks as he was put in the sweat box (that impressed me as a youth!) but overall, I have favorable impressions of the movie. Paul Newman, as usual, was very very good.

You MUST read The Jungle Books!!!! Be sure to get the unabridged versions.

I don't recall much about "2001", as I read it many years ago. I don't have a desire to read it again, take that for what it is worth.

Robert Redford AND Paul Newman in "Butch Cassidy and the Sundance Kid", yes. They would team up again in "The Sting", which is one of my all time favorite movies. Oh, and I read the book that came out after the movie, too. The movie was better.

(21) Jestak, when you do decide to rewatch "Mutiny on the Bounty", I think the original 1935 (?) is the one to watch. I saw the Mel Gibson remake, which just didn't do it for me (although I really like most of Mel Gibson movies).

I do enjoy seeing the dancing scenes from the old Astaire/Rogers movies, but don't recall sitting through any of them all the way to the end. There was one I seem to recall, where they were dancing on the wings of bi-planes, but that might not have been an Astaire/Rogers movie. I have the "That's Entertainment" movies at home and like seeing the dancing.

I've never seen a Charlie Chaplin movie, shame on me.

Pepe Le Moko is the movie where he says something like "Come to the casba with me"? I seem to recall that quote.

More, more!

>24 fuzzi:

Yes, the 1935 original version of Mutiny on the Bounty was the one I was referring to, and which I will probably re-watch some day.

The "come with me to the Casbah" line is possibly from the Hollywood remake of Pepe le Moko, which was titled Algiers. The film on the "1001" list is the French original.

21: I really enjoy reading your reviews and seeing the passion behind them, Jestak. I love reading about things (hobbies) that people enjoy, because there is so much "love" for what they do; I can see that as you describe these movies. Of all the movies you mentioned, I can only say I have seen The Thirty-Nine Steps and I believe Sabotage (both of the Hitchcock movies). I agree, I thought The Thirty-Nine Steps was very good and like you I like most if not all of Hitchcock's fims.

22: Amen, I agree, fuzzi. There are certain movies that I watched pre-salvation days and I would have no desire to watch now just because of the negativity and vulgarity contained within them. There are some that I wish I could watch, but I have a hard time justifying it with the Holy Spirit. That being said, sometimes I apparently don't pay as close attention as I watch movies as I probably should. I see the in-depth reviews from Jestak and I wonder, did I really watch what I thought I watched? I don't remember all that (or I didn't see all that). I just think Jestak has a very deep passion for movies and film. I like that passion.

23: That is the idea I received. I haven't watched the "newer" versions of Psycho (II, III). I enjoyed the first one, but I believe I tried to watch the second one and from what I remember it left a lot to be desired (at least in comparison to the original Psycho), which is probably true of most sequels.

As for To Kill a Mockingbird, as I stated I started and read around 50 pages maybe; but I will read that book in its entirety at some point (maybe soon). I am sure it is a great book as you have said.

I'm with you on the westerns; I tend to like the older westerns (classics, I call them) rather than some of the more 70s-80s westerns. But the 50s-60s was probably the decades of great westerns; there were certainly a lot of classic television westerns (Gunsmoke, Bonanza, The Rifleman, etc.). I do like some of the Eastwood westerns, but you usually know what you are going to get from Clint Eastwood. Someone like John Wayne probably had a wider range of ability from the western genre (than Eastwood).

I do plan at some point to read at least The Jungle Book. I try (and usually fail) to be well-versed in the classics.

I also agree both Redford and Newman are very good actors; I must say I can't recall any movies that I thought they acted badly. I don't know if this movie is mentioned, probably not; maybe Jestak can comment if he is familiar with it; I watched a movie probably 15 or more years ago titled, "Three Days of the Condor." It was based on a novel I believe was entitled, "Six Days of the Condor." Why the name change I am not sure. It was about a government worker who searched books for damaging material towards the US; one day while he was out getting lunch a group of bandits overthrow their office and shoot everybody inside (except, of course, Robert Redford- I don't remember his film name); he now can't trust anyone and yet he has to report what has happened to higher authorities (even while he has no idea who to trust). I think this is the jest of the movie- Jestak you can correct me if you have viewed this movie with any details. It was a very interesting movie and interesting theme.

To all:

Maybe when we have reviewed the movies on this list (to our heart's content), we can mention movies not mentioned among these that we believe should be among these. I think that would be interesting. Happy reviewing.

>28 jntjesussaves: Your recollections of Three Days of the Condor are pretty accurate; I like that one pretty well. Max von Sydow is terrific as the ultra-pragmatic assassin.

I got as far as 1937 last night; here's 1938-39:

The Adventures of Robin Hood: The definitive swashbuckler and the definitive Errol Flynn film, with all the ingredients: Flynn at his charismatic best, Olivia de Havilland radiant as the leading lady, Basil Rathbone to die on Flynn's sword in the final reel, Michael Curtiz providing underrated direction, and a rousing Korngold score.

Angels With Dirty Faces: I already touched on this one upthread; besides Cagney's great, ambiguous final scene, which was already mentioned, I love a few other parts of this one--1) the terrific camaraderie between Cagney and Pat O'Brien, great friends in real life, 2) the basketball game with Cagney as the no-nonsense ref, and 3) O'Brien's valediction that closes the film; "Let's say a prayer for a boy who couldn't run as fast as I could." Oh, yes, Michael Curtiz directed this one, too.

Bringing Up Baby: Yet another of the great screwball comedies--maybe the screwiest. Cary Grant worked for the first time with Howard Hawks, one of the directors who got the best out of him (along with Hitchcock). And if you've only seen Katharine Hepburn in her prim, starchy roles (like The African Queen), you simply have to see her ditzy heroine. Plus there's Baby the leopard, and a cameo from Asta once again, as "George," a dog with a taste for intercostal clavicles.

And now to 1939, an incredible year for movies. Of course, you have to start talking about that year by discussing two of the most legendary movies ever:

Gone With the Wind: The giant blockbuster of all time. But, not really a favorite of mine. It shares flaws with Margaret Mitchell's source novel: they're both overly long, even bloated, and they both share the same, flawed perspective on history, one that's harder to stomach these days. Viven Leigh's performance as Scarlett O'Hara, however, was one for the ages.

The Wizard of Oz: Maybe the most beloved movie of all time. Another truly amazing performance, Judy Garland as Dorothy, plus Margaret Hamilton's deliciously evil Wicked Witch, and some of the most glorious use of Technicolor ever. I read a bunch of the "Oz" books as a child, but this is one case where the film is definitely a greater accomplishment than the book.

Next, my two personal favorites from 1939:

Stagecoach: one of the classic Westerns, with a classic action sequence (the chase across the salt flats) and some fascinating character interactions played by a superb ensemble cast--John Ford could always deliver when it came to this sort of thing. John Wayne got a major career boost from this one--it didn't make him a big star right away, but it got him out of Poverty Row B-Westerns and into major studio films. John Carradine and especially Thomas Mitchell are very good.

Only Angels Have Wings; Howard Hawks directing Cary Grant again, in the film that showed that Grant could be more than just a comic actor. Thomas Mitchell, once again, is there in solid support (his final scene is a tear-jerker), Jean Arthur is a very good Hawks heroine, and Hawks, my favorite director, delivers a superb blend of drama, humor and humanity.

And that's not all:

Ninotchka: "Garbo laughs!" was the tagline for this one. If you've ever wondered why there once was such a mystique surrounding Garbo, you need only watch this film, which is also another demonstration of the artistry of Ernst Lubitsch.

Babes in Arms: One of the musicals Busby Berkeley made after he moved from Warner's to MGM; generally they featured Mickey Rooney and Judy Garland. I didn't think this one was really that great: I personally found Rooney's performance grating. Garland, however, is enchanting. It's nice to see her in movies made at a time when the twin clouds of substance abuse and mental health issues had yet to darken her life.

Gunga Din: Loosely based on the Kipling poem, this is what I like to call an Imperial British adventure film, and it's definitely a product of its times: the title character, an Indian bhisti, or water-bearer for a British regiment, is played by Jewish actor Sam Jaffe (and he's actually only a supporting character). The film does have good action sequences, and great camaraderie among the three leads, Cary Grant, Victor McLaglen and Douglas Fairbanks, Jr.

The Rules of the Game: this is another of Jean Renoir's classics--it's a great film without a doubt, but hard to describe. I'm not alone in this; Roger Ebert has written that he's seen this one innumerable times, but never seen all of it. I do know that I'll be watching it again sometime.

Back tomorrow to start on the 1940s.

(28), (30) "Three Days of the Condor" was a very good movie, as far as I can recall. It's probably been more like 20 years since I saw it.

My (grown) son is a passionate movie fan, but has mentioned lately that the new stuff coming out just isn't very good. Ha! He's jaded at 28...

On Westerns:

Shame on me, I've never seen "Stagecoach". I'll have to make a note of that.

Like books, my requirements for movies is "a story", and the Westerns that I like have just that, imo.

Some of my favorite Westerns:

"The Outlaw Josey Wales"
"Tombstone" (the Kurt Russell, Val Kilmer one)
"Silverado"
"El Dorado"
"The Man Who Shot Liberty Valance"
"Conagher"
"The Cowboys"
"True Grit" (the new one is better than the John Wayne one, but I liked John Wayne's performance)
"The Searchers" (a must see if only once)
"Big Jake"
"Bad Day at Black Rock"
"Shane"
"Lonesome Dove" (a must see if only once)
"Pale Rider"

I also was talked into watching the remake of "310 to Yuma", and while there were some violent and disturbing scenes, I have an overall good impression of the movie. It's nothing like the short story, in fact, I like what they did in order to 'pad' the movie.

And now, for something somewhat different, a guilty pleasure:

"Blazing Saddles"

Yes, it's silly, and sometimes profane, but I have fond memories of it, and have a copy for occasional viewings, when I'm in the mood.

Again, you show your film knowledge in your reviews and God has blessed you with a great memory and great recall. I only wish He had blessed me in this area, but He has blessed me in so many other ways I have nothing to complain about. Great reviews- you could have been a professional (I don't guess you ever were, were you? A professional movie (film) reviewer?) You would have been a good one.

31: So you've seen it too, fuzzi. It was a great movie from what I remember and very intriguing. I agree with your son, that for the most part (in my opinion), the older movies (probably pre-80s) are better (much better) than the newer movies. I believe the actors then really took pride in their craft much more so than most do today. I believe today, most will take what they can get to make as much money as possible. Others can comment if they agree with this assessment or not.

You ought to watch Stagecoach; I agree with Jestak's assessment, only he said it much better than I could. Very good movie.

Without a doubt, I also very much liked "The Man Who Shot Liberty Valance," "The Cowboys," "The Searchers," and "Bad Day at Black Rock." I believe I also saw several of the others you mentioned, but they didn't have the same effect on me as those mentioned above.

>32 fuzzi:: I have also seen several of the Westerns you mention and, as some of them are on the 1001 List, I'll be commenting on them as I go forward

Now to begin the 1940s:

His Girl Friday: based on the play "The Front Page" by Ben Hecht and Charles MacArthur, which was filmed, I believe, four separate times. For this version of the story--about a newspaper editor who tries to keep his star reporter from retiring to get married--Howard Hawks had the inspired notion to make the reporter, Hildy Johnson (Rosalind Russell), a woman, and the ex-wife of her former editor Walter Burns (Cary Grant). Along with the terrific performances of Grant, Russell, and their supporting cast (racing through the dialogue at breakneck speed at times), the extra tension Hawks introduced to the story makes this the classic adaptation.

Fantasia and Pinocchio: I saw both of these as a young child, and had the former on VHS for a while, but haven't seen either for several years. Both certainly deserve their classic status.

The Philadelphia Story: Another comedy of remarriage, although it doesn't look that way at the start. This was the film that rescued Katharine Hepburn's film career, after she'd been labeled "box office poison" in the late 1930s. Not the most side-splitting comedy ever, but with great dialogue and 3-dimensional characters.

The Grapes of Wrath: Adapted from John Steinbeck's novel. I haven't read the book but I understand that John Ford's film is considerably more optimistic than his source material. Henry Fonda is a superb Tom Joad, and several supporting players--John Carradine, John Qualen, Charley Grapewin, and Oscar winner Jane Darwell--give excellent performances.

Dance, Girl, Dance: Director Dorothy Arzner was, for many years, the only woman member of the Director's Guild of America. This film, often considered her best, is a likable tale of two dancers, played by Maureen O'Hara and Lucille Ball.

The Bank Dick: Probably W.C. Fields' best film; the plot is inconsequential, but the comedy routines are a riot. The best way to get to know Fields' unique brand of comedy.

The Lady Eve, Sullivan's Travels, and The Palm Beach Story: I put these together as they were all directed and written by Preston Sturges. After several years as a screenwriter and script doctor, Sturges was given a change to direct, and from about 1940-44, he could practically do no wrong. These three are probably his best films, all comedies, but each a little bit different. The Lady Eve is simply one of the greatest romances ever, with Henry Fonda as the herpetologist who wins the heart of con artist Barbara Stanwyck (and vice versa). Sullivan's Travels is more of a social comedy and commentary on the film industry, with Joel McCrea as high-minded director who learns that his light comic films have genuine social value. And The Palm Beach Story, my personal favorite, is a comedy of remarriage--with McCrea opposite Claudette Colbert--full of delightfully zany characters and a zinger of an ending.

The Maltese Falcon: Considered the first classic film noir, adapted from Dashiell Hammett's novel (which I don't believe I've read). A breakthrough for John Huston (his first chance to direct) and Humphrey Bogart (his first "good guy" role). A good one, but maybe not quite as classic as its reputation suggests. Mary Astor is too melodramatic, and Bogart still seems to be developing his new screen persona. But you geta trio of great supporting performers: the first teaming of Sidney Greenstreet and Peter Lorre (what a pair they were), plus Elisha Cook, Jr., as the psychotic gunsel Wilmer.

Sergeant York: That rarity, a biopic that is actually a satisfactory movie. Gary Cooper starred as Alvin York, the greatest US hero of World War I; he is very sincere and believable. Howard Hawks (there's that guy again) was at the controls, and keeps things from getting overly sentimental.

High Sierra: Here was where Bogart began to make his transition from his typical 1930s roles--ruthless gangsters--to his typical 1940s roles--cynical in a trenchcoat, who proves to have a heart of gold. Here, he's a ruthless gangster with a heart of gold :) By modern standards, this crime film is very short on action, but it's quite good when the focus is on Bogart and Ida Lupino.

To Be or Not to Be: Another classic from Ernst Lubitsch. It's hard to watch this one without shedding a tear for Carole Lombard. It was her last film, and she died before it was released (in a plane crash, returning to California after appearing at a war bond rally). She was one of the greatest comic actresses ever.

Yankee Doodle Dandy: Here's another biopic, about showman/composer George M. Cohan. The story is pedestrian and there's almost no real dramatic tension, but James Cagney, as Cohan, carries the film by sheer charisma (he won Best Actor)

And finally, my favorite film of all time:

Casablanca: Another candidate for best-loved film ever (it has my vote). Adapted from a near-forgotten stage play called "Everybody Comes to Rick's," it's practically perfect--in the screenplay, in the casting (Bogart, Ingrid Bergman, Greenstreet and Lorre, Paul Henreid, and the man who steals every scene he's in, Claude Rains), in the direction (Michael Curtiz), etc. I never get tired of this one.

This brings me to 1942.

The whole list lost any respect from me because it included "The Hangover"

Sad but true.

Continuing with the 1940s, I'm now to 1943:

The Life and Death of Colonel Blimp: A great film from the "Archers" partnership of Michael Powell and Emeric Pressburger, it combines some of the sweep of an epic with a compelling personal story. Col. Blimp was an English cartoon character, a caricature, really, who Powell and Pressburger converted into the very human Clive Candy (Roger Livesey). We follow him over some forty years, meet the three women who were most important to him (all played by Deborah Kerr), and watch him try to deal with love and friendship, and with a world that's changing in a way he finds hard to understand.

The Ox-Bow Incident: I watched this one long ago, and also read the novel by Walter Van Tilburg Clark. It's a famous anti-lynching story; as I remember it the film is a little too heavy-handed in its messaging.

Shadow of a Doubt: Hitchcock again--this is the film the director sometimes claimed was his favorite among his own films. Great lead performances from Joseph Cotten as "Uncle Charlie," the man keeping a dark secret from his family, and from Teresa Wright as his adoring niece, who is the only one to suspect the truth about him. I loved how the film used Franz Lehar's "Merry Widow" waltz as the basis for the score, turning that archetype of Viennese charm into something that truly sounded sinister.

Ossessione: This was an Italian adaptation, by the great Luchino Visconti, of James Cain's novel The Postman Always Rings Twice. It's pretty good although I'm not sure I'd take it over the John Garfield/Lana Turner version. I haven't read the book.

To Have and Have Not: I haven't read the Hemingway novel, but director Howard Hawks used only the title; instead his film reworks some of the story elements from Casablanca. The screenplay, by the way, was co-written by none other than William Faulkner. It's famous for a pair of romances--between cynical fishing boat captain Harry (Humphrey Bogart) and young vagabond Marie (Lauren Bacall in her debut), and between Bogart and Bacall in real life, one of the most famous Hollywood romances. A very good movie overall.

Laura: One of the classics of film noir, with a plot twist far too juicy to even think of giving it away. This one had a great cast--Dana Andrews as the detective who could get under anyone's skin, Clifton Webb's clever but self-centered columnist, Vincent Price, tall, handsome, and very, very stupid, the always-excellent Judith Anderson, and the beautiful Gene Tierney, seen in flashbacks as Laura herself.

Gaslight: Another famous 1940s thriller. I haven't watched it for several years, but my impression at the time was that it wasn't bad, but it was overrated. Angela Lansbury, making her debut, was very good, as I recall.

Double Indemnity: I have read this James M. Cain novel; both it and the film are very good. Fred MacMurray and Barbara Stanwyck are good as the lovers who concoct an ill-fated insurance scam/murder plot, but Edward G. Robinson steals the film as insurance investigator Barton Keyes.

Murder, My Sweet: This was a reasonably faithful adaptation of Farewell, My Lovely, one of Raymond Chandler's Philip Marlowe novels. Dick Powell isn't the most famous screen Marlowe, but he may be truest to Chandler's conception of the character. Claire Trevor overacts a bit as the femme fatale, but Anne Shirley as the "nice girl" is very good, and Mike Mazurki is perfectly cast as Moose Malloy.

Spellbound: This is another example of second-rank Hitchcock--in fact, I'm surprised to see it in the "1001" list ahead of other, better films from the director. I watched it several years ago and was not blown away; unlike many other Hitchcock films this one has never found its way into my DVD collection.

Detour: Every film noir fan eventually gets to know this film. Not only is it a brilliant example of many of the classic elements of noir, it's a textbook case of making a memorable film on a very modest budget. Director Edgar Ulmer reportedly filmed it in a mere six days.

I Know Where I'm Going: I'll end this post as I began it, with a film from the "Archers." This great romance is my favorite film from the Powell/Pressburger team, and one of the best pure romances I've ever seen. Roger Livesey shines in the one romantic leading role he played in a career of over 40 years, and Scotland always makes a terrific setting for romance. This is a must-see for anyone who isn't a complete sourpuss.

Jestak, I'm enjoying your reviews. :)

37: Wecome, gilroy! I must agree, while I have no familiarity with "The Hangover," there are some movies on this list that I would disagree with and others that I would add, but that's what makes a list like this intriguing. Many of these movies, most would agree that they are classics and many others, most would probably agree that they are not, but I guess according to the author- this is how he/she viewed them (no pun intended).

39: "Jestak, I'm enjoying your reviews. :)"

Me too, fuzzi. He certainly has a knack (and a superb memory) for this task.

>39 fuzzi:, 41 I'm glad you're both enjoying my posts. I should say that I'm not relying entirely on memory; I've been posting movie reviews in a "what was the last movie you watched" thread at another forum for several years and am drawing on those as well as, inevitably, IMDB.

I got extra busy this past week and haven't had time to continue with this thread before today. Last time I got as far as films from 1945.

1946 was a great year for movies so I have a lot of titles to post on:

The Postman Always Rings Twice: As I noted before, I haven't read the Cain novel. Although I haven't seen this film version in a while, I recall it as being superior to the Italian adaptation. I doubt if Lana Turner was ever more seductive on screen than in this one.

My Darling Clementine: John Ford's retelling of the famous Gunfight at the OK Corral is both the best film ever about that little bit of history, and one of the least true to history. Henry Fonda was a great Wyatt Earp, Walter Brennan a superb villain, and the little-known Cathy Downs had the one big moment of her career as the titular Clementine. One of Ford's very best films, and my personal favorite Ford Western.

The Stranger: Orson Welles' most conventional film, about a Nazi-hunter trying to expose a university professor with a dark past. I liked it pretty well although it's not as unique as other Welles films.

Beauty and the Beast: This is Jean Cocteau's retelling of the classic fairy tale. There's no Disneyfication here, just moment after moment of pure magic.

The Big Sleep: Bogart, Bacall and Hawks reunited for this adaptation of Raymond Chandler's novel (which is very good). This one is a delightful, almost comic film noir, featuring terrific interplay between Bogart and Bacall, a plot so serpentine even Chandler couldn't explain some elements, as well as a rogues gallery of supporting characters and cameos--I have to give special mention to Dorothy Malone's scene-stealing bookstore clerk.

The Killers: The opening moments of this one are a very faithful adaptation of an Ernest Hemingway short story, with two hired killers coming to a small town to murder "the Swede" (Burt Lancaster in a terrific debut). The film then builds on that foundation by having an insurance investigator try to uncover the dark secrets in the murdered man's past. One of the definitive film noir classics.

A Matter of Life and Death (also known as Stairway to Heaven): Another beautiful and humane film from the Powell/Pressburger "Archers" partnership. With a heart-rending opening--a doomed RAF bomber pilot spends what he thinks are the last minutes of his life talking to an American radio operator--and a "tears of joy" ending as Roger Livesey's character reminds us, "On Earth, nothing is stronger than Love."

Notorious: Hitchcock is back again with one of his best. One of his espionage plots, with characters trying to gain control of a MacGuffin, takes a back seat to the sizzling love triangle of Cary Grant, Ingrid Bergman, and Claude Rains. Grant is terrific as probably the most hard-edged character in his long career.

It's a Wonderful Life: Another candidate for "best loved film ever." What I'm most struck by is how truly nightmarish the middle segment of this "holiday classic" is, as George Bailey (James Stewart) is given a vision of an alternate reality where he had never been born. Stewart's performance also gives a foretaste of the excellent work he'd do in the 1950s for Anthony Mann and for Hitchcock.

Gilda: This was probably Rita Hayworth's most famous role. The plot is patchy, Glenn Ford's voiceover is a little annoying and highly unnecessary, and the "Hollywood ending" is hard to swallow. But the emotional interactions of the three main characters, and their love-hate triangle, are memorable.

And I'll tack on one film from 1947, a great one.

Out of the Past: This is probably the quintessential film noir, with all the elements that make classic noir great present, and done very well. Robert Mitchum was the ideal film noir protagonist, a man doomed because he can't overcome the forces that life arrays against him. Opposite him is Jane Greer, terrific as possibly the most deadly femme fatale ever. After watching this you'll wonder why Greer didn't become a major star (the answer, as I understand, is that Howard Hughes sabotaged her career when she refused to end her marriage and become his mistress). This was adapted from the novel Build My Gallows High by Geoffrey Homes, aka Daniel Mainwaring, which is very good.

And now to move forward to 1950.

Force of Evil: Another of the classics of film noir. John Garfield gave maybe his best performance as attorney Joe Morse, trapped between the demands of his partnership with a mobster and fraternal duty to his older brother Leo. Other than a somewhat preachy and unconvincing coda this one is excellent from start to finish.

Red River: Howard Hawks directed his first Western, a classic, and the film that really made John Wayne an A-list star. His performance as Tom Dunson, the uncompromising leader of the first cattle drive from Texas, showed other directors that he had genuine talent as an actor (John Ford's reported comment after seeing this: "I never knew the big SOB could act"). Based on a short story by Borden Chase

Rope: Another case of a lesser Hitchcock film that is still of interest. Loosely based on the famous Leopold/Loeb murders, it's best known as the one Hitch shot in a series of very long shots that were edited to make the film appear to be a single take from start to finish.

The Lady from Shanghai: Orson Welles again ventured into the world of film noir. This one is famous for the final shootout in an amusement park funhouse, and for Rita Hayworth's excellent femme fatale. However, Welles did not make a convincing protagonist; he didn't do the world-weary fatalist anywhere as well as the likes of Lancaster or Mitchum

The Treasure of the Sierra Madre: One of the peaks in John Huston's long and uneven directing career. Humphrey Bogart was terrific as the paranoid gold miner Fred C. Dobbs, a terrific exploration of the dark side of his screen personality. Walter Huston, the director's father, won Best Supporting Actor as a talkative old prospector, and Alfonso Bedoya had a memorable cameo as the bandit Gold Hat. Based on a novel by the mysterious B. Traven.

Kind Hearts and Coronets: This is one of the famous Ealing Studio comedies made after World War II, a very black comedy, but an enjoyable one. Dennis Price played the protagonist, a poor young man who learns that he is in line for a dukedom--if only eight inconvenient relatives will oblige him by dying. However, the real star is Alec Guinness, who in a tour de force played all eight of those relations. Roy Horniman wrote the source novel.

Gun Crazy: We're back to film noir here, with one of the classic tales of love that proves fatal. Bart and Laurie (John Dall and Peggy Cummins) are a carnival trick-shooting act who fall in love and turn to crime. Director Joseph Lewis produced a first-class film on a modest budget; this is sometimes considered the best B-movie ever made.

Adam's Rib: This is one of the most famous pairings of Spencer Tracy and Katherine Hepburn--superficially a courtroom drama, it's really more of a comedy of remarriage. Tracy and Hepburn are husband-and-wife attorneys who take opposite sides in a case; each one seems determined to win at any cost. My favorite parts were the final sequences, where Tracy and Hepburn try to repair their almost-broken marriage.

White Heat: In another "exploration of the dark side" by a famous leading man, James Cagney excelled as the psychopathic gangster Cody Jarrett. Margaret Wycherly is also terrific as one of the creepier screen mothers of all time.

The Third Man: In adapting the novel by Graham Greene, Carol Reed, a competent director, became a truly great one for one movie, producing one of the darkest and most effective thrillers of all time. This was another film where practically everything went right, from Greene's adaptation of his own novel, to the outstanding cast, highlighted by Orson Welles as Harry Lime, to the score, largely played on the zither (!) by Anton Karas. This one is absolutely not to be missed.

On the Town: This was adapted from a stage musical. The story--three Navy sailors have 24 hours of leave in New York--is typically lightweight for a musical--but the film has a wonderful, gripping energy. Gene Kelly and Frank Sinatra were the big stars, but they are upstaged, at least partly, by the wonderful Ann Miller, a human tornado in tap shoes. Her "Prehistoric Man" number is one of the great movie musical sequences ever.

Orpheus: Another wonderfully imaginative, visually stunning film from Jean Cocteau. It's an updating of the Orpheus/Eurydice legend to the 20th century, and it's very nearly as good as Cocteau's Beauty and the Beast, already mentioned upthread.

The Asphalt Jungle: John Huston was in form again with a film that's the ancestor to all heist and caper films. Like all Hollywood heists before the 1970s, in this one the perps are not allowed to get away with their crime; nevertheless, they are by far the most interesting characters, especially Sam Jaffe as the mastermind and Sterling Hayden as the "blunt instrument."

Rashomon: One of Akira Kurosawa's most famous films, it's famous for presenting the same events repeatedly, from different and conflicting points of view. A rare film that manages to be both compelling entertainment and a discourse on big ideas.

Winchester '73: This was the first in a series of Westerns that Anthony Mann directed in the early 1950s, all starring James Stewart and usually scripted by Borden Chase. Stewart generally played characters who were haunted by dark, violent pasts, and who were capable of crossing the brink of madness. Here he's Lin McAdam, obsessed with avenging the murder of his father--a crime committed by his brother. An outstanding beginning to an excellent series of films.

Rio Grande: Another fine Western, this was the final film (and the only one on the 1001 list) from John Ford's "cavalry trilogy." This was the first screen pairing of John Wayne and Maureen O'Hara, and the action segments take a backseat to the relationship between their characters. Wayne is the commander of a cavalry outpost, dealing with some relentless Apaches. She's his estranged wife, who's come west to bring their son (who has enlisted as a cavalry private) home with her. Ben Johnson has one of his earliest major roles as another newly-enlisted trooper. All of the "cavalry trilogy" films were adapted loosely from stories by James Warner Bellah

In A Lonely Place: Once again, Humphrey Bogart explored his dark side. His portrayal of Dixon Steele, a writer with a violent temper who is wrongly suspected of murder, is even darker and more complex than his Fred C. Dobbs. A must-see film for all fans of Bogart.

I'll close with a pair of films that 1) have some similarities in theme and story, and 2) I haven't seen for a while.

All About Eve: The story here is pretty well known--an aspiring stage actress worms her way into the confidence of a major star, then proceeds to slowly usurp the older woman's stardom. Highlighted by great performances from Bette Davis, Anne Baxter, Celeste Holm and especially George Sanders.

Sunset Blvd: This one can be summed up as "film noir takes on the film industry." Gloria Swanson was one of the great femme fatales, playing the aging silent film star Norma Desmond. William Holden is her sap, and Cecil B. DeMille has a cameo as himself.

Just as an aside, it's kind of amazing that neither Bette Davis nor Gloria Swanson won Best Actress for 1950--Judy Holliday did for Born Yesterday. Although that film didn't make the 1001 list, it's also worth checking out.

Thanks for all those reviews!

"The Big Sleep" remains one of my most favorite movies. The book makes a little more sense, and I don't mean that in a bad way.

Back once more, to get partway into the 1950s.

Strangers on a Train: Raymond Chandler helped write the screenplay, adapted from the novel by Patricia Highsmith. This is another of Hitchcock's classics, with some very memorable scenes and one of the most frightening screen villains ever in Robert Walker's performance as Bruno Antony.

The Lavender Hill Mob: My favorite among the famous Ealing Studio comedies, with Alec Guinness leading the least likely heist mob of all time, trying, as movie heist crews always do, to pull off the perfect crime. Blink, and you'll miss the cameo by the young Audrey Hepburn.

The African Queen: It's been some time since I've seen this one, but I have pretty good memories of it. Both Katharine Hepburn and Humphrey Bogart, individually, have done films I like more, but they made a memorable pair in this one. Once again some big names are attached to the screenplay, as James Agee collaborated on the script that was based on the novel by C. S. Forester.

Diary of a Country Priest: French director Robert Bresson made very individual, intellectual films, often built around the themes of moral and spiritual regeneration. This one, about the life of a young priest on his first assignment in a small country village, is a good example of his style.

An American in Paris: You'd expect a film with a title like this to have a score full of Gershwin tunes, and it does. One of Gene Kelly's best musicals (surpassed only by a certain movie he made one year later; you also get to see an enchanting debut by young Leslie Caron.

The Quiet Man: Another of my favorite John Ford films, a sort of Valentine in green from the director to his home country. There's a great romance with John Wayne and Maureen O'Hara, the famous slugfest between Wayne and Victor McLaglen, and the director's brother, Francis Ford, in one of his great cameos as the old man who rises from his deathbed to see the fight.

Angel Face: A rather melodramatic film noir with a strong cast, this one is somewhat in the same vein as The Postman Always Rings Twice. Robert Mitchum, as the ambulance driver who is dispatched to a wealthy woman's house and falls for her stepdaughter, is predictably very good, while Jean Simmons, playing against type as a femme fatale, is equally effective.

Singin' in the Rain: And here it is, probably the best-loved, and simply the best, Hollywood musical ever. Gene Kelly and Debbie Reynolds are delightful, and Donald O'Connor nearly steals the film from both of them at times, as in "Make 'em Laugh."

High Noon: This one is unforgettable for Gary Cooper's intense performance as Will Kane, the lawman who, on the day of his wedding and retirement, must face a gang of killers--alone. Based on a short story by John W. Cunningham, and featuring the memorable theme song composed by Dmitri Tiomkin.

Roman Holiday: This is the film that made Audrey Hepburn a star, and it's a must see for all romantics. Hepburn is terrific as the runaway princess who wants some relief from her tedious royal lifestyle.

The Wages of Fear: An outstanding suspense film, from the great French director Henri-Georges Clouzot, adapted from a novel by Georges Arnaud. Four men must drive two trucks filled with nitro over about 300 miles of treacherous mountain roads to put out a fire. Meanwhile, viewers bite their fingernails back to their elbows for about two hours of unrelenting tension.

The Naked Spur: This was the best of the series of Westerns that Anthony Mann made with James Stewart (which began with Winchester '73, mentioned upthread). Stewart is incredible as bounty hunter Howie Kemp, a man so bitter about his past that he seems afraid to show any humanity. Opposite him as his quarry is Robert Ryan as Ben Vandergroat, one of Ryan's best beguiling sociopath performances (and there were none better than him). With excellent action and fascinating character interactions this one ranks as one of the greatest Westerns ever.

Pickup on South Street: A very good film noir with an espionage plot mixed in, this was one of director Sam Fuller's greatest films. Richard Widmark, often typecast as a psycho villain at this time, switched to become an effective hero (albeit a morally gray one), while Thelma Ritter is terrific in a supporting role that got her an Oscar nomination.

Gentlemen Prefer Blondes: Howard Hawks could direct almost any kind of film; here he made a successful musical. Neither Marilyn Monroe nor Jane Russell were the greatest of actresses, but they are a very effective pair as the showgirls who take ship for France--one a bit of a gold-digger, the other just looking for good honest love, but both devoted to each other.

The Big Heat: This is one of several "city under siege" thrillers from the 1950s telling of a city under the grip of a crimelord, and of a dauntless cop who battles him. Glenn Ford (as the cop) is a rather stolid lead, but Lee Marvin, Gloria Grahame and Jocelyn Brando (sister of Marlon) are all memorable.

M. Hulot's Holiday: A unique and unorthodox French comedy, directed by Jacques Tati, who also starred as the titular M. Hulot. Hulot is a well-meaning man, but with an incredible ability to disrupt the lives of those around him. In this, the first of several films featuring the Hulot character, he takes a seaside vacation, and both calamity and hilarity ensue.

Shane: This Western is often rated the best ever; I think it's a good movie, but overrated. Two problems: 1) Alan Ladd is miscast as the title character, and 2) director George Stevens seems to have been trying a little too hard to make The Definitive Western, instead of just a good one--over and over, he lingers, and lingers some more, on scenes, and the pace drags as a result. But Van Heflin is very good as the rugged homesteader Joe Starrett, and Brandon De Wildeis very good as his hero-worshipping son, plus you have a pair of supporting players who seemed incapable of giving bad performances in Elisha Cook, Jr., and Ben Johnson. I read the source novel, by Jack Schaefer, many years ago--it's pretty good.

Beat the Devil: I think this was the first film to qualify as a genre parody--at least the first major one. Director John Huston targeted adventure/intrigue films like those often directed by--among others--John Huston; appropriately, Humphrey Bogart played the lead. The satire is very subtle, as the cast play things very straight; cast members to watch for include Jennifer Jones, Gina Lollabrigida, Peter Lorre, Robert Morley (doing a credible Sidney Greenstreet impersonation) and Bernard Lee. My favorite moment: the principals are captured by a menacing Arab chieftain, and Bogart saves the day by persuading the captor that he can arrange for an introduction to Rita Hayworth. The source for this is a novel written by Claud Cockburn under a pen name, and Truman Capote worked on the screenplay.

Okay, time to stop. I'm up to 1953.

Nice job, Jestak!

Okay, my turn:

Five Easy Pieces (1970): Have only seen clips of this one

Patton (1970): Watched this one, years ago, have impressions of it being very, very long. I would be willing to give it a second chance, now that I'm "all grown". ;)

M*A*S*H (1970): Guilty pleasure, watch it when I see it is on TV.

A Clockwork Orange (1971): Seen parts of this one, not interested in seeing any more parts!

Willy Wonka and the Chocolate Factory (1971): Horrible, read the book!

Harold and Maude (1971): Really enjoyed this when I saw it in the 1970s. Might still enjoy it, might not. I also enjoyed the book, which is worth a read.

The French Connection (1971): 4 out of 4 stars, a real winner of a movie.

Dirty Harry (1971): Excellent movie, I will watch it again.

High Plains Drifter (1972): Watched it once, abhorred it, won't watch it again.

The Godfather (1972): Excellent movie, will watch it again.

The Sting (1973): Probably one of my all-time favorite movies, Paul Newman is superb, Redford isn't bad, and the entire cast does a great job.

American Graffiti (1973): It's okay, sort of boring, seeing everyone ride around in their cars for the entire movie.

Papillon (1973): Seen it, good movie.

Enter the Dragon (1973): Ditto. There's a wonderful parody of this classic Bruce Lee movie within "Kentucky Fried Movie" (a guilty favorite of mine)

Sleeper (1973): Has humorous moments, but I'm not a Woody Allen fan, so it's not a rewatch for me.

Serpico (1973): Very good movie, book is better.

The Exorcist (1973): Stupid movie, waste of time and popcorn.

Fantastic Planet (1973): I think I've seen this one, but I don't remember it. Nuff said.

More to come...

45: I have a question Jestak, out of curiosity. How many of the near 1200 movies on this particular list would you say that you have viewed? You seem to have watched many movies in your time.

A few comments (about a few of the movies you mention here):

The African Queen: I thought this was a good movie; Hepburn and Bogart both did good in their roles. I would probably rate it a 4 out of 5 stars.

The Quiet Man: As usual, another great film from The Duke; as you stated (and from what I remember), Maureen O'Hara had a wonderful part in this movie- she is probably one of my favorite actresses. I don't believe the actresses (or actors, for that mater), are as devoted and committed to their trade as those of yesteryear. Five out of five stars, for sure.

High Noon: Agreed, great movie and Cooper does a splendid job in his role. I can't add anything to what you have eloquently written. 5 out of five stars.

Beat the Devil: I am sure I have watched this, but I will not comment on it because I am not recalling much of it.

Keep it going, Jestak- I am enjoying your reviews.

46: Fuzzi, I will ask you the same question I asked Jestak- how many of these movies on this list have you seen?

M*A*S*H: I watched the television series rarely, and liked it okay; but, I don't believe I have ever watched the movie.

A Clockwork Orange: I have never watched it, but have heard bad things about it (even while it is suppose to be a movie classic); I know the movie is based on the book by Anthony Burgess, I believe.

Willy Wonka and the Chocalate Factory: I believe I have only watched part of this so I will hold off on any comments.

High Plains Drifter: I remember watching it, and while these types of movies do not measure up to movies like "The Gunfight at the O.K. Corral" and "High Noon," I did like them and would probably give this particular Eastwood flick a 4-4.5 stars out of five.

The Godfather: Surprisingly (I guess), I have never watched this movie in its entirety.

The Exorcist: In those long line of horror movies that I haven't watched due most to their graphic violence, the evil portrayed, and vulgarity. Maybe I will watch this at some point, but maybe not.

While Jestak has lengthy and informed reviews; I enjoy your quick and to the point reviews, fuzzi. Someone would quickly be aware of your likes and dislikes in movie fare.

Back again, I'll try to cover 1954-56 this time.

On the Waterfront: It's been quite a long time since I watched this; my memory is that it's good. Brando finally won his Best Actor Oscar; Leonard Bernstein, normally not thought of as a film composer, did the score.

Les Diaboliques: Henri-Georges Clouzot serves up a psychological thriller worthy of Hitchcock. A school headmaster seems to have driven his wife and mistress--not the most natural allies--to plot together to murder him. But that's only the first layer of a deliciously twisty plot.

Rear Window: Speaking of Hitchcock--this isn't my very favorite of his films, nor is it his greatest artistic achievement, but I'd rate it highly in both areas. James Stewart as the wheelchair-bound photographer is very good, and Grace Kelly was never better as his fashion-model girlfriend. The complex relations between these two almost, but not quite, manage to push the mystery plot into the background.

Next, three films from Japan:

Seven Samurai (directed by Akira Kurosawa), Sansho the Bailiff (Kenji Mizoguchi), and The Burmese Harp (Kon Ichikawa). Seven Samurai needs little introduction--it's the other of Kurosawa's best-known films along with Rashomon, and a great, compelling epic. Among film critic/scholar types, Mizoguchi is held in even higher esteem than Kurosawa. Sansho the Bailiff is the only one of his films I've ever seen (many are not on DVD); it's a very moving account of people's capacity for both cruelty and mercy. Ichikawa is not quite on the same level as a director as the other two, but he worked in Japanese film for over 60 years and did a lot of quality films. The Burmese Harp is a humane look at the experience of Japanese soldiers after the end World War II.

Silver Lode: This small scale Western was apparently meant as an anti-McCarthyism parable. Director Allen Dwan (another solid craftsman with a very long career) and cinematographer John Alton help lift this above the routine, aided by a solid cast.

Bad Day at Black Rock: This was probably the best film John Sturges ever directed, and the cast is absolutely to die for. Among them, Spencer Tracy, Ernest Borgnine, Lee Marvin, Dean Jagger and Walter Brennan had eight acting Oscars to their collective credit. That doesn't even include the never-honored-but-deserved it Robert Ryan, playing another of his charming sociopaths, a man capable of holding an entire town (a small one, to be sure) in a grip of fear. Adapted from a story by Howard Breslin.

The Ladykillers: The last of the famous Ealing comedies, and a very good one. Alec Guinness is leading a heist crew again; his gang includes Peter Sellers and Herbert Lom (some delightful irony in that bit of casting). But the movie is stolen by Katie Johnson as the elderly Mrs. Wilberforce, the gang's landlady, a woman with an incredible ability to disrupt the plans and lives of those around her.

Bob le flambeur: This was the breakthrough film for my favorite French director, Jean-Pierre Melville. The compulsive gambler of the title hits a bad streak, and to make up his losses, he comes up with the idea of robbing the local casino. Melville is known for films with intricate heist schemes, which seldom if ever work as the criminals hope they will. A very good film by a very good director.

Kiss Me Deadly: Adapted from the novel by Mickey Spillane, which I have not read. Spillane's Mike Hammer character (Ralph Meeker in the film) is the ultimate hard-boiled private eye, and this film might be described as "film noir on steroids," as it takes the standard private eye characteristics of callousness, cynicism, and greed to such lengths that it borders on parody.

The Man from Laramie: The last of the Anthony Mann/James Stewart Westerns. In this one, Stewart's character, the ostensible protagonist, seems to take a back seat much of the time to the darkly passionate relationship between aging rancher Donald Crisp, his psychotic son Alex Nicol, and his adopted son and ranch foreman Arthur Kennedy. Not the best in the series but quite good.

Rebel Without a Cause: This is one of the prototype, indeed one of the definitive teenager movies. When Jim Stark (James Dean) starts at a new high school, he soon meets a troubled outcast and a nice girl, and before the film is over there will be heartbreak, tragedy and a little bit of healing. If you want to understand why James Dean (who died a few weeks before this film was released) still has a mystique around him, watch this movie.

The Phenix City Story: Another of the "city under siege" films that I mentioned in my last post. Unlike other films of the type, this one is a dramatization of actual events in the city of the title (a small town in Alabama). Journeyman director Phil Karlson often brought a raw, rugged energy to his films, and does so here.

The Night of the Hunter: This was the only film ever directed by actor Charles Laughton. A failure when released, it's now recognized as a classic. Robert Mitchum gave the greatest performance of his career, probing the darkest side of his screen persona as the terrifying "Preacher" Harry Powell, famous for the "Love" and "Hate" tattoos on his fingers. Adapted from a novel by Davis Grubb, with a screenplay by James Agee.

Forbidden Planet: In the 1950s, it was almost unheard of for a science fiction film to be an A-picture; this is the best-known exception. The plot is a loose adaptation of Shakespeare's "The Tempest." Leslie Nielsen is the spaceship commander who lands on a planet where a vanished civilization once controlled awesome powers--if you're only familiar with Nielsen's more recent, post-Airplane career, it will be quite a switch to see him as a romantic leading man.

The Searchers: John Ford's greatest film, and the greatest performance John Wayne ever gave. It was a travesty that Wayne was not even nominated for Best Actor for his performance as the hard, lonely Ethan Edwards, likewise that Ford was passed over for a Best Director nomination. Adapted from a novel by Alan Le May.

A Man Escaped: Another film from Robert Bresson, this one is based on the true story of a French Resistance activist who escaped a Nazi prison. Although much of the film is concerned with seemingly mundane activities, there's a very high level of suspense throughout and Bresson created a masterpiece of tight, economical narrative.

Written on the Wind and All That Heaven Allows: I take these two together. They were both directed by Douglas Sirk, who had a reputation for melodrama presented as high art, and for lacing his pictures with biting social commentary. He's not for all tastes; of these two I liked Written on the Wind better for a great, Oscar-winning performance from Dorothy Malone.

The Man Who Knew Too Much: Another Hitchcock to end this post. This was the only time Hitch ever remade one of his films; I've never seen the original 1934 version, but this remake was pretty good. It has one of the director's greatest set-pieces in the attempted assassination at Albert Hall, and it's the one where Doris Day sings "Que Sera, Sera."

>47 jntjesussaves:: Without doing an exact count, I'd guess that I've seen in the neighborhood of a third of the films on the list or maybe a little more. With just under 1100 films on the list, that would make a total of around 350-400.

50: That is interesting; do you have it as a goal to try and watch all of them? Also, after you get done with giving your reviews on the listed movies, I would appreciate it if you would share with us some of your other favorites that are not on the list.

Fuzzi, I would offer you the same opportunity- share with us some other movies that you have liked that are not listed among these on this list. Thanks.

>I don't have an explicit goal to watch every single film on the list; there are quite a few that I do hope to watch (several of which are in my Netflix queue), but many others that I have much less interest in, sometimes because I'm not terribly into the particular genre (weepy melodramas, most horror films). Also, there are some films on the list that simply aren't available at this time.

I will add a post or two at the end with some favorites that aren't on the list.

I doubt that I have seen even a quarter of the movies on that list. The only Hitchcock movies I have seen are the original Psycho, parts of The Birds, and Family Plot. I know he's supposed to be really good, but it's just not something that interests me.

A few weeks ago my son (who has Netflix) found a darling little movie for me to rewatch, after about 30 years: "Hopscotch" with Walter Matthau, Ned Beatty, Herbert Lom, Glenda Jackson, and a very young looking Sam Waterston. I don't recall that it did well at the theatre, but it should have, it was a delight then and now. It held up well, I really enjoyed it, again. :)

Young Frankenstein (1974): Seen it, loved it, still love it, will watch it again (I own a copy). Timeless and funny, best of Mel Brooks as far as I am concerned.

Chinatown (1974): Seen it years ago, didn't care for it but I was a teenager, will reserve final judgment until I see it again.

Blazing Saddles (1974): Seen it, loved it, still love it, will watch it again (I own a copy), DESPITE that it is rather coarse and vulgar at times. Mel Brooks second best movie, imho.

The Godfather Part II (1974): Good movie, must watch at least once. A worthy continuation of the first, although much darker.

Dog Day Afternoon (1975): Never saw it, might someday.

One Flew over the Cuckoo's Nest (1975): Watched it once, very good movie, great acting, no interest in seeing it a second time.

The Rocky Horror Picture Show (1975): DON'T, DON'T, DON'T try to watch this movie unless you are in a movie theatre at midnight with a bunch of fans. It's stupid, purile, and despite trying to watch it more than once, I never can get past Tim Curry in drag, singing some song about being a transvestite from Transylvania...

The Wall (1975): Don't like Pink Floyd, not interested.

Monty Python and the Holy Grail (1975): Okay, this is probably my most favorite movie of all time, and I can quote long stretches of it, verbatim. Shame on me, but I still love it. And I have it on DVD...tsk, tsk, tsk.

Nashville (1975): I should watch this one, never have.

Jaws (1975): Watched once, well made stupid movie.

Carrie (1976): Stupid, and yes, I've seen it. No thanks. I should have walked away once Carrie's classmates started throwing tampons at her...

The Outlaw Josey Wales (1976): Maybe my second favorite movie of all time? Eastwood is terrific, as is the supporting cast, and should be seen at least once, or more, if you can get past Sondra Locke's banality. Own it, rewatch it often.

Rocky (1976): I think I saw this one, once.

Taxi Driver (1976): Not seen, I know I should.

Network (1976): Not seen, I know I should.

Star Wars (1977): Loved the original version, hate what Lucas has done in the 'director cut'.

Close Encounters of the Third Kind (1977): Enjoyed it tremendously as a teen, not sure I want to see it again, and I can't say why without adding a spoiler...

Saturday Night Fever (1977): Like Close Encounters...I liked this tremendously as a teen, not sure if it holds up.

The Deer Hunter (1978): I could not get through this movie, too weird (or maybe that was Full Medal Jacket?)

Grease (1978): STUPID, STUPID, STUPID...

Up in Smoke (1978): Guilty pleasure, have seen it several times, but I think I have finally outgrown it.

Halloween (1978): Excellent, saw it once, never again!

Alien (1979): Suspense, edge of your seat movie, seen a couple of times, but still prefer the sequel, Aliens.

Life of Brian (1979): Loved it when it came out, watched it several times, but can't watch it anymore, as it gets too close to mocking Jesus Christ, and I can't bear to see that.

Apocalypse Now (1979): Excellent movie, rewatched many times, will rewatch again. The ending is weird, though...

The Jerk (1979): Saw it once, enjoyed it, probably will not watch it again.

The Muppet Movie (1979): Love it! The best of the muppet movies.

Mad Max (1979): Have watched it several times, but the violence bothers me now. Mel Gibson is gorgeous. Nuff said.

Next, 1980....

>53 fuzzi: Ah, Hopscotch--I really like that movie, too. Brian Garfield co-wrote the script, adapted from one of his novels. Walter Matthau was really good, and I liked the little in-jokes, like having characters named Follett, Ludlum and Westlake.

Oh, I missed those 'in-jokes'! I'll watch for them next time.

Walter Matthau also did a "little" movie with Elaine May, called "A New Leaf", which was so wonderfully understated that I really enjoyed it. Have you seen that one?

>56 fuzzi: I haven't seen "A New Leaf," I'll have to check it out.

Another cute inside joke in "Hopscotch"--watch for the scene where the seaplane pilot who flies Walter Matthau to Bermuda tells him "you remind me of my father," and then look up the actress who plays the pilot. :)

I'm grading finals the next few days but will be back to add some more film comments at the end of the week.

57: If you don't mind sharing the information, Jestak, what grade do you teach and what subject? Thanks.

One of the agents in "Hopscotch" was played by Matthau's real life son. In one scene the character is taking photographs of Matthau meeting with a Russian agent. When the Russian agent mentions that they are being photographed, Matthau's character says "Oh, that's so-and-so, he's an idiot. He probably doesn't have any film in the camera" (paraphrase.

Very, very funny move.

>58 jntjesussaves:: I don't mind sharing, as it's in my profile :) I'm a community college economics teacher (and my grades are now in so I can resume posting!).

>59 fuzzi: Yep, David Matthau played Leonard Ross in Hopscotch, and the seaplane pilot I mentioned above was played by Lucy Saroyan, Matthau's stepdaughter and the daughter of author William Saroyan.

Okay, some more movies--I'm now up to 1957. I'll start with a trio of foreign language films.

Wild Strawberries: I'm pretty sure this was the first Ingmar Bergman film I ever saw, and I haven't watched it for at least a decade. I remember it chiefly as my first time seeing a pair of Bergman's favorite actresses, Ingrid Thulin and Bibi Andersson.

The Nights of Cabiria: This was one of Federico Fellini's four films to win the Oscar for Best Foreign Language Film. Fellini finds a amazing amount of territory to explore in one of the oldest of film cliches, the prostitute with a heart of gold. Cabiria (Giulietta Masina, Fellini's wife) never stops looking for love as she plies her trade. This one is beautiful, humane and heartbreaking.

Throne of Blood: This is another Kurosawa film, an adaptation of Shakespeare's "Macbeth," set in feudal Japan, with Toshiro Mifune in the Macbeth role. It's very good.

Gunfight at the OK Corral: Another film based on the famous gunfight of the title. I've never really considered this one a classic; it's rather plodding and pedestrian until the big gunfight, which is well-staged. I've often thought it would have been a better movie if the two stars had swapped roles with each other: Kirk Douglas would have been a natural fit for the upright, even rigidly righteous Wyatt Earp of the script, while Burt Lancaster's well-established ability to play a charming rogue would have suited Doc Hollliday very well.

The Bridge on the River Kwai: It's been a long time since I watched this big World War II epic. The clash of wills between the British and Japanese colonels (Alec Guinness and Sessue Hayakawa) is memorable, and the Colonel Bogey March will stay in your head forever.

Paths of Glory: An early Stanley Kubrick film and one of his best. Kirk Douglas was very good as the French colonel who tries to defend three of his men against charges of "cowardice" after their regiment is ordered to make a suicidal attack.

Sweet Smell of Success: A great one. Burt Lancaster gives one of his best performances as ruthless journalist J. J. Hunsecker and Tony Curtis matches him (pardon the pun) as the sycophantic Sidney Falco. It's astonishing that this film did not get a single Oscar nomination.

Touch of Evil: This was one of the last films from the "classic" era of film noir. Orson Welles excels both as director and as the corrupt police captain Hank Quinlan. Charlton Heston and Janet Leigh are the other leads, but the other performances that stick in your mind are from veterans Joseph Calleia and Marlene Dietrich.

Vertigo: One of Hitchcock's greatest films; also one of his heavier ones, probing a man's capacity for obsession, delusion and self-destruction. This is the one where James Stewart's character suffers from--wait for it--vertigo. Kim Novak is also very good as the object of Stewart's obsession.

Mon Oncle: Jacques Tati returns to direct and star as his great comic creation, Monsieur Hulot. Once again, the well-meaning Hulot brings disruption and chaos wherever he goes--in this film, primarily to the home of his sister and brother-in-law.

North By Northwest: Hitchcock again. While not as great a work of art as Vertigo or Psycho, it's one of the best examples of near-perfect execution in making a film to please the audience. Aside from possibly The 39 Steps, this is my favorite Hitchcock film to watch and enjoy. It has two justly famous action sequences, the crop-dusting scene and the final chase across Mount Rushmore.

Some Like it Hot: I think this was Billy Wilder's best film ever. Tony Curtis and Jack Lemmon are the two musicians who disguise themselves as women to hide from the Chicago mob; Marilyn Monroe is the lead singer who both of them fall for.

Anatomy of a Murder: A good, if overlong, courtroom drama that doesn't shrink from showing some of the seamy side of the legal profession. James Stewart is the small-town attorney who defends an Army officer charged with murder, and there's a very good supporting cast.

Ride Lonesome: The best in a series of low-budget, unpretentious Westerns that director Budd Boetticher made with veteran actor Randolph Scott. In this film, as in several in the series, Scott plays a man out to right some grievous wrong. He gets good support in this one from Pernell Roberts (best known for TV's "Bonanza"), and from a young James Coburn.

Breathless: A truly historic film: director Jean-Luc Godard and star Jean-Paul Belmondo put themselves permanently on the world cinema map with this one. A simple story, but Godard's technique and style were tremendously influential. One of the films to kick off the so-called French New Wave.

Pickpocket: Another of Robert Bresson's classic films. This one is, at least in spirit and theme, a loose adaptation of Dostoevsky's Crime and Punishment, but stripped down to its bare essentials: the story of a criminal and his eventual moral regeneration and redemption. It's also a masterpiece of economical storytelling, running a mere 75 minutes but never seeming rushed or underdeveloped.

Rio Bravo: One of John Wayne's best films, and Howard Hawks' last truly great one as a director. Sometimes people say that Wayne was just "playing himself" in this one, but what they're picking up on is how the role of John T. Chance was a template for almost every Western role Wayne played in the 17 remaining years of his career. Anyway, he's good, so are Walter Brennan and Angie Dickinson, but the real star turn comes from Dean Martin as the alcoholic deputy trying to regain his self-respect.

Okay, enough for today.

Back with some more. First one from 1959 that I forgot to include yesterday, then on to the 1960s.

The Hole: The final film by a French director named Jacques Becker is a prison escape film. A good one to watch as long as you remember that there are always things that can go wrong with a prison escape.

Shoot the Piano Player: This was an early film from Francois Truffaut, along with Godard one of the giants of the French New Wave. It's adapted from a novel by David Goodis and was clearly influenced by American film noir, although there are some rich comic moments, too.

L'Avventura: The title of this one translates as "The Adventure," which is an ironic touch on director Michelangelo Antonioni's part, as it's been called "a film where nothing happens." Definitely not for all tastes, it's a case of film as social commentary, directed at the Italian upper classes.

Psycho: One of Hitchcock's best and greatest films, adapted from a novel by Robert Bloch. Janet Leigh takes the most famous shower in film history, while Hitchcock plays games with the viewer's expectations, even more than he normally does.

Peeping Tom: Probably Michael Powell's greatest film, this one is even more disturbing to the viewer than Psycho. The protagonist is a psychotic murderer, but Powell invites the viewer to sympathize with him and share in his voyeurism. Not one I want to add to my personal collection, but I'm glad I watched it once.

The Apartment: A biting social comedy from Billy Wilder. Maybe not quite the Best Picture of 1960, but I did enjoy the performances of Jack Lemmon and Shirley MacLaine.

Spartacus: One of the great epic films of all time, with some substance to go with the spectacle. Kirk Douglas gives kind of a one-note performance, but it's a note suited to his character. The great performances come from Laurence Olivier, Charles Laughton and Peter Ustinov. I've never read the novel by Howard Fast.

Jules et Jim: Another classic from Francois Truffaut, possible his best film. It's a love-triangle tale, telling of the happiness and unhappiness which love brings, which takes its title from the two men in the triangle. The central figure, however, is Catherine, played by the wonderful Jeanne Moreau.

To Kill a Mockingbird: I haven't watched this one for years, but I recall it as a very effective adaptation of the novel by Harper Lee. Robert Duvall had his first major film role as Boo Radley.

The Manchurian Candidate: One of the great political thrillers. Great performances from Laurence Harvey as the brainwashed war hero, Khigh Dheigh as the Chinese brainwashing expert, and especially Angela Lansbury as one of the creepiest film mothers ever. Adapted from a novel by Richard Condon. I really need to watch this one again sometime soon.

The Man Who Shot Liberty Valance: Although it's not my favorite John Ford film, it's a pretty good one. Both John Wayne and James Stewart are really too old for their roles, but they do play off each other pretty well. Lee Marvin was a memorable villain. Adapted from a short story by Dorothy M. Johnson.

Contempt: Here's that fellow Jean-Luc Godard again; in this one he gave us a peek behind the scenes of filmmaking, with director Fritz Lang playing himself; it's also the tale of a marriage falling apart suddenly and a commentary on personal and artistic integrity.

The Great Escape: Another prison escape story, based on a real life escape from a World War 2 POW camp in Germany that was recounted in a book by Paul Brickhill. I've always found that the best parts of this one are the earlier segments, where the POW's plan and execute their intricate escape plan. The post-escape segements are much more routine, except when they involve Steve McQueen riding a motorcycle, of course.

The Leopard: A great, even epic, Italian film, about an aging nobleman trying to deal with a changing world where the new, commercial classes are taking over. As Prince Fabrizio, Burt Lancaster had a tremendous physical presence; the scene near the end where he dances with his daughter-in-law to be (a radiant Claudia Cardinale) is one of the most powerful I have ever seen.

Goldfinger: No matter how you feel about the James Bond films, they have definitely been influential, none more than this one. At least half of the 20 or so Bond films since 1964 have tried to replicate this one to some degree or another, as have innumerable other action-adventure films. The novels by Ian Fleming have a different flavor than the films; in this case, the film improves on Fleming's novel by tightening up some of the plot elements.

Marnie: One of Hitchcock's lesser films. There are some powerful scenes, and good performances from lead actors Tippi Hedren and Sean Connery, but the main characters simply aren't likable enough to really involve the viewer. Even flawed Hitchcock is generally worth a look, though.

Dr. Strangelove: In adapting a novel by Peter George, Stanley Kubrick turned it from a straight thriller to a classic black comedy, probably his greatest film. It still packs a wallop today, with Peter Sellers in his Oscar-nominated triple role, Sterling Hayden as a deadly serious but barking-mad general, and Slim Pickens doing his "ride 'em cowboy" number on a nuclear warhead.

I never warmed up to "Dr. Strangelove", but I might try watching it again, someday.

Okay, 1980 and on....

Atlantic City (1980): I have not seen this, but intend to, someday, due to the excellent reviews I've heard from everyone who has seen it.

The Shining (1980): Horrible, campy movie. I watched it because my husband wanted me to.

The Empire Strikes Back (1980): Good sequel to Star Wars, lots of fun and excitement.

The Big Red One (1980): I have seen this, but don't recall much, and have no interest in revisiting it...so I guess it was just "okay".

Airplane! (1980): Guilty pleasure, and the best of the Zucker brothers' movies, imho. It gets incredibly silly at times, and there's some risque stuff in there, but tame by today's standards. I'd watch it again, too.

Raging Bull (1980): Another move I intend to watch, someday.

Raiders of the Lost Ark (1981): Fun, but I've watched it so many times, I think I've had enough.

Das Boot (1981): Saw this one in the original German with subtitles, excellent movie, and I would watch it again (but then again, I'm partial to submarine movies).

Addendum: Not on this list is one of my all time favorites, well, two of my all time favorites:

"Run Silent, Run Deep" with Clark Gable and Burt Lancaster.

"Sink the Bismarck!" starring Kenneth Moore and Dana Wynter. It takes place mostly in the war room, and according to Wikipedia, is based upon Last Nine Days of the Bismarck by CS Forester

An American Werewolf in London (1981): Saw parts of it at the urging of my dh. Not again.

Fast Times at Ridgemont High (1981): I liked this movie, and still do, probably because it is very similar to what I experienced in high school. Some of the scenes had to be written by someone who remembered what it was like.

E.T. The Extra-Terestrial (1982): Once, never again!

The Thing (1982): Saw parts of it, again, for my dh. Ick.

Poltergeist (1982): Ditto, except I sat through this entire movie. Double Ick.

Blade Runner (1982): I saw this once, in the movie theatre, and rather liked it. I have not read the book it was based upon Do Androids Dream of Electric Sheep?. I recall Rutger Hauer turning in a superb performance, but as it's been over 30 years since I saw it, I can't say if I still would think so...

Addendum: I also enjoyed Rutger Hauer in "Ladyhawke", didn't see it mentioned here.

Return of the Jedi (1983): Probably my favorite of the Star Wars trilogy, but not much more over Return of the Jedi.

The Right Stuff (1983): I think I've seen this, but am not sure.

Amadeus (1984): Seen it a couple of times, not in a long time, though.

The Terminator (1984): Guilty pleasure. Again, not seen it in a while, but might watch it again.

Beverly Hills Cop (1984): Seen several times, but not as interested anymore due to language. Eddie Murphy can be funny without all the cussing.

Ghostbusters (1984): Seen several times. I don't think I'll watch it again...

The Breakfast Club (1985): I really like this John Hughes comedy, as I also enjoy "Sixteen Candles". Not Oscar winning material, but entertaining.

Back to the Future (1985): Seen several times, not interested anymore...

Brazil (1985): I saw this once, and it gripped me to the end, and then dropped me. I don't like it, I don't ever want to see it again. Too weird, and the ending stinks.

The Color Purple (1985): Watched it once. I think it needs to be composted.

The Fly (1986): Again, my dh asked me to watch it with him, and I did. Nuff said.

Aliens (1986): I love this movie, and as many times as I have seen it, it still has me on the edge of the seat. Don't bother watching the next movie, as it's garbage.

Ferris Bueller's Day Off (1986): Watched once, was funny.

Platoon (1986): Watched once, thought it was good. No interest in watching it again.

Top Gun (1986): I like the arial scenes, but that's about all. Oh, and I like the music, too.

Good Morning, Vietnam (1987): Could not watch all of it.

The Princess Bride (1987): Ditto.

Bull Durham (1988): Got through it. Stupid. Dumb.

A Fish Called Wanda (1988): I love this movie, despite it's brief forays into really 'adult' content. Kevin Kline is wonderful and is worth the admission price (or rental price) alone!

The Naked Gun (1988): Watched it, enjoyed it, might watch it again.

Big (1988): Watched it once, not interested in a repeat.

Die Hard (1988): Watched this many times, and liked it despite the language and blood, and some of the stunts that were not believable. I would probably watch it again, at some point. I like the cat and mouse game between Bruce Willis and Alan Rickman.

Who Framed Roger Rabbit (1988): Watched with my kids. "Diiippp!"

Rain Man (1988): Watched it, was good, not interested in rewatching it.

Batman (1989): I suffered through this at the request of my best friend at the time. Oh, the pain...

When Harry Met Sally... (1989): Once, that was more than enough.

Glory (1989): This was a pretty good movie, might watch it again. I especially like the scene around the campfire the night before the big battle:

http://www.youtube.com/watch?v=ghOECZiycEk

Okay, where is "The Gods Must Be Crazy"???? I loved that movie, and would highly recommend it. It's a very very silly and funny production.

The 1990s will be next. Carry on, gentlemen...

>62 fuzzi:--I like submarine movies too. Das Boot I will be writing about when I get to the 1980s. I haven't seen Run Silent, Run Deep, but I will probably get to it someday; I almost always enjoy Burt Lancaster's films. I watched Sink the Bismarck some time back and found it pretty good; there was a nice "documentary" feel to it. A footnote to that one: in the film, the captain of HMS Prince of Wales is played by an actor named Esmond Knight, who actually served aboard that very ship during the engagement with the Bismarck.

Another good submarine film--actually, submarine vs. destroyer--is The Enemy Below. It starred Robert Mitchum as a US Navy destroyer captain, and Curd Jurgens (best known to US audiences as a villain from one of the Bond films) as the U-boat skipper.

Okay, now to wrap up the 1960s.

The Battle of Algiers: This is a very realistic portrayal of the Algerian War of 1954-62. Director Gillo Pontecorvo, and naturally sympathetic to the Algerian FLN, but he depicts the events of the war even-handedly, and shows the ruthlessness of both the FLN and the French colonial government.

The Sound of Music: I think I overdosed on this one when I was young; I have a hard time watching it these days as I find it simply too schmaltzy and sugary. While there is some lovely music, it's not really Rogers & Hammerstein's greatest musical. I do like Christopher Plummer's performance as Captain von Trapp. This is also one of the very few times that Marni Nixon got to appear onscreen; Nixon's main role in movie history was to provide the singing voice for actresses in movie musicals, e.g., Natalie Wood in West Side Story, Deborah Kerr in The King and I, and Audrey Hepburn in My Fair Lady.

Alphaville and Pierrot le fou: These go together as they are both directed by Jean-Luc Godard. Alphaville is sort of a sci-fi thriller, while Pierrot takes the "lovers on the run" plot and repackages it as an intellectual art film. Both films benefit from the ever-bewitching presence of Anna Karina, Godard's long-time leading lady and sometime spouse. Of the two, Pierrot is the one I'm more likely to watch again.

The Good, The Bad, and The Ugly: This was the last and biggest in the Sergio Leone/Clint Eastwood "Man With No Name" trilogy of spaghetti westerns. Leone's savage, amoral vision of the American West is very different from the norm of Hollywood Westerns and may not be to all tastes. The "Man With No Name" trilogy has been very influential, culturally speaking, and the role made Eastwood a star; this final film, however, is stolen by Eli Wallach, as Tuco ("the Ugly").

In The Heat of the Night: While this may not truly be the Best Picture of 1967, it is a pretty good film (although the mystery plot and its solution are very muddled). More Oscar-worthy is Rod Steiger's performance (which won him Best Actor) as the small-town police chief in Mississippi, forced to work with a black detective from Philadelphia (Sidney Poitier) to solve a murder.

Hombre: Anytime you see that a film has been adapted from a novel by Elmore Leonard, it is a good sign. The plot is a sort of revisionist version of Stagecoach; Paul Newman is the title character, a man raised by Apaches who must defend a stagecoach load of passengers from a gang of robbers led by Richard Boone.

Cool Hand Luke: Paul Newman had quite a year in 1967; he's the title character here, a chain gang inmate somewhere in the South, a classic 1960s anti-hero who refuses to be broken by a brutal prison regime. Strother Martin gets to intone the famous words "What we have here is...failure to communicate."

Point Blank: Adapted from a novel by Donald Westlake, the plot sounds very simple--Walker (Lee Marvin) is a robber who was left for dead by his double crossing partner. Surviving, he sets out for revenge and to regain the money taken from him. The movie, however, is filled with ambiguities and non-linear storytelling; it's a very good contemporary noir.

Bonnie and Clyde: Another good one from 1967, it's the classic "outlaw lovers on the run" film, based, with some accuracy, on the real-life deeds of Clyde Barrow and Bonnie Parker (Warren Beatty and Faye Dunaway in the film). This was also one of the two films from the late 1960s which are credited with really ratcheting up the allowable level of violence in American films.

The Jungle Book: While I remember this one as quite entertaining, I am not particularly fond of the Disneyfication of the classic stories and characters created by Rudyard Kipling.

Once Upon a Time in the West: Sergio Leone's most ambitious Western is also his best. Henry Fonda, cast against type as a ruthless villain, is brilliant, and Charles Bronson may have had his best role ever as the man known only as Harmonica.

2001: A Space Odyssey: I haven't seen this one for a very long time--maybe not since they showed it on campus when I was in college. A very important film that showed that audiences would watch a serious sci-fi film, and a pioneering one in design and special effects, but it's lacking in genuine humanity. HAL the computer is a more interesting character than any of his human counterparts.

The Conformist: This a good political drama/thriller. Jean-Louis Tritignant is the "conformist" of the title; since he lives in Italy in the 1930s, conforming means becoming a Fascist and carrying out orders. Dominique Sanda, another of those European actresses who I find endlessly bewitching, has a significant supporting role.

Le Boucher: Director Claude Chabrol has long been know as the "French Hitchcock" for his psychological thrillers. This is a tale of a murderer--the "butcher" of the title--but more than that, its about the relation between a man and a woman, one of them the killer, and about how the other deals with learning that fact.

The Wild Bunch: One of the greatest Westerns of all, this is the other film which upped the ante in terms of acceptable violence in films. There are two big, violent gun battles, one which opens the film, an even bigger one at the climax. In between, however, the viewer gets to know some fascinating characters and enjoy some great performances: William Holden as Pike Bishop, the old-school outlaw trying to adapt to a new century, Warren Oates and Ben Johnson as the hedonistic Gorch brothers, Bo Hopkins in a memorable cameo as "Crazy Lee," and best of all, Robert Ryan as Deke Thornton, Pike's one-time partner who has been dragooned into hunting him down.

As a final note, Sam Peckinpah, who made The Wild Bunch, directed another classic Western earlier in the 1960s titled Ride The High Country. When I get to posting my "favorite films not on the 1001 list," that's one I'll be posting about.

60: Thank you for the information, and I guess it left my mind (because after you mentioned that it was on your profile page- I kind of remembered reading it before).

Sometimes I feel like I have very little to add when you have reviewed a movie. Not that I always agree with every detail of your reviews, when I read them it makes me wonder if I didn't miss something. Great job, Jestak.

I have seen four of these movies: Gunfight at the O.K. Corral, Vertigo, North by Northwest, and Anatomy of Murder. As you can probably tell, I also like Alfred Hitchcock- he directed some great films. And you can also probably tell that I like Jimmy Stewart- he had many memorable roles in His movies. I would rate all of these movies in the 4.5-5 star range.

61: I have only seen four of these movies, also. Psycho, To Kill a Mockingbird, The Man Who Shot Liberty Valance, and Marnie. There is that pattern again- Hitchcock and Stewart. I would probably rank Psycho and Marnie in the 4-4.5 range; To Kill a Mockingbird and The Man Who Shot Liberty Valance as 5-star. Of course, another one of my favorite male actors- Gregory Peck- played in To Kill a Mockingbird. Great movies.

62: Unfortunately for me, it is during the 1980s that I believe movie goers saw a rise in immoral content and vulgar language, of which both were rather limited before. Many of these movies I would watch or would like to watch again, if it were not for these items mentioned.

Several years ago my 10-year old son (now) asked me to watch the entire series with him and I did so (pure love, ha ha). I couldn't watch them in the entirety (due to school, time constraints, etc.) at any one time, but we did get through all six films (watching the newest one at the theater). I must admit that I liked them and they had some great special effects for their time period. I will most likely watch them again, my son has actually asked me many times to watch them again. I will one day surprise him and say, yes. I would rate the older three (4, 5, 6) all at 5-star and the newer three (1, 2, and 3) at 4.5-5 star.

Airplane: I must say I love this type of humor (ditto, on The Naked Gun and Hot Shots!), but unfortunately in this movie at least- it uses God's name in vain and I have a very hard time justifying movies that do this. Great comedic scenes, however.

Fast Times at Ridgemont High: Another very funny movie that I watched pre-salvation (and I am sure, as most movies from the 80s had, much vulgarity). Along with a few other movies on this list, I will probably try watching these movies again to see if my inclinations are correct.

E.T.: Good movie, but again more vulgarity than I like. Ditto with Poltergeist.

Beverly Hills Cop: I agree with you fuzzi, Eddie Murphy (as with most truly funny comedians), could be funny without the vulgarity and immoral-laden fare. I remember the same with 48 Hours.

Back to the Future: Good movie, but same as above from what I remember.

The Fly: I have never actually seen this version (1986), but I have seen the original version and I remember it to be pretty good. Maybe a 4-star.

Good Morning, Vietnam!: Remember watching it and from what I can remember it was apparently pretty good.

Glory: Great movie from what I remember; I believe Morgan Freeman starred in this one- he is probably in my top-five actors of all-time.

I have often commented to whoever cares, I wish I could watch every movie without the negative and vulgar stuff contained in them- because there are certainly a lot of movies I would like to see (that I probably never will) due to the content. And the saddest part is- all movies would have been just as good (and I would say, better), without the negative content. I realize my standard is different than most. I think this is the reason why the older movies (pre-1970s) seem to be much better to me.

I love this thread! I'm a huge movie fan and I love your comments on each film.

> 67 The Fly: I have never actually seen this version (1986), but I have seen the original version and I remember it to be pretty good. Maybe a 4-star.

Given your tastes, jntjesussaves, I'd strongly recommend avoiding the 1986 version. It's an extraordinary movie, but (deliberately) very dark and disturbing, with much in it that I believe you'd find distasteful. The same is true of the 1982 remake of The Thing; it's a superb film, but . . .

On a broader note, your pinpointing of 1970 or so as a watershed is spot on -- the old Motion Picture Production Code (which limited the content of movies, and matched your tastes very closely) was abolished in favor of the MPAA rating system in 1968. You and I would, I think, disagree about whether or not that was a good thing, but . . . Hollywood movies made before 1968 are (with a handful of famous exceptions like Bonnie and Clyde or The Pawnbroker from 1967) virtually guaranteed to be free of the content you prefer to avoid.

69: Thank you for that information, ABVR. I wasn't sure of the intricate details (I was mainly going by a sense that things started to change at that time). Thank you for verifying that I wasn't completely "off my rocker."

"You and I would, I think, disagree about whether or not that was a good thing"

That may be true, but that is what is great about our wonderful country- we may disagree, but we can all have our say. I might time to time mention my beliefs about movies and how they relate to my faith (but, I don't intend to sound preachy).

Thank you for your comments, ABVR.

Thanks for this list I find it interesting that I have seen way more of the movies from before 1960 than I have the recent ones and I have watched even more from 1930 to 1950 there is only a few in that time period I haven't seen and thanks to this list I will remedy that!
My favorite movies are from the 30's and 40's and when asked who my favorite actor is I always say Cary Grant and favorite actress Bette Davis noone in this day and age even comes close to either of them!And when asked my favorite movie it is Rebecca .
Seems like the only movies I watch that are current productions are ones that were from a book!

(PS I am in my mid forties)

Okay, time to start on the 1970s.

M*A*S*H--Adapted from the novel by Richard Hooker, Robert Altman's first big success is a much blacker comedy than the TV series. But beneath the surface cynicism, I find more than a little humanity. The football game at the climax is a wild, wonderful frenzy.

The Garden of the Finzi-Continis: A very good film about an Italian Jewish family who try insulate themselves from the horrors of Fascist Italy. Dominique Sanda gives another of those performances that I find enchanting and bewitching.

Willy Wonka and the Chocolate Factory: It has been a very, very long time since I've seen this one. I recall it as a reasonably faithful adaptation of the novel by Roald Dahl, showcasing the comic talents of Gene Wilder.

McCabe & Mrs. Miller: Here we come to another great film from Robert Altman, a revisionist Western that covers some of the same ground that Clint Eastwood explored in Unforgiven. This is not as easy a film to watch as a classic John Ford Western, but there is a lot to watch for--great lead performances from Warren Beatty and Julie Christie, Vilmos Zsigmond's cinematography, Leonard Cohen's score, and much more.

Walkabout: This was the directing debut of Nicolas Roeg, and gave a boost to a pair of significant acting careers. Jenny Agutter plays the Australian teen who is stranded, with her young brother, in the middle of the Outback. The aboriginal who comes to their aid is played by David Gulpilil, who has gone on to a very fine career in Australian cinema.

Klute: Donald Sutherland plays the title character, a PI, but the movie is really about call girl Bree Daniels, played by Jane Fonda in a very good performance. When Klute goes to New York to track down a missing businessman, he finds himself drawn into Bree's problems and her life.

Get Carter: The 1970s were a decade of great crime films; this is one of Britain's leading contributions. Michael Caine is terrific as the hard man of the title, out to learn who was behind his brother's death, and to make them pay.

The French Connection: Another superb crime film. 1971 was a terrific year for movies, and this really shouldn't have won Best Picture, but it is a very good police procedural. The movie is far easier to follow than the book by Robin Moore, and Gene Hackman and Roy Scheider are strong lead actors.

Dirty Harry: As I was saying, great crime films. Harry Callahan became the second defining role in Clint Eastwood's career (along with the Man With No Name), as well as one of the archetypes for maverick movie cops.

The Last Picture Show: The first big success for Peter Bogdanovich. While most of the directors of the "easy riders, raging bulls" generation were innovating, Bodganovich always has his eye on the past, and on the films of directors like John Ford and Howard Hawks. But while many of Ford's greatest pictures were focused on people building communities (especially his Westerns), in this film Bogdanovich is focused on a community that's disintegrating. This another film with a lot to appreciate, but two things above all: 1) Robert Surtees' suberb, black-and-white cinematography, and 2) Ben Johnson's Oscar-winning performance as Sam the Lion. Adapted from a novel by Larry McMurtry

Aguirre, the Wrath of God: German director Werner Herzog is known for films with protagonists who are at least on the brink of madness; this is one of the films that earned him that reputation. Some of Herzog's collaborators would have accused the director of being as mad as his characters; there have been rumors for years that Herzog threatened to shoot Klaus Kinski, his leading actor, on the set of this film.

Cries and Whispers: This is said to be Ingmar Bergman's favorite among all his films. He made it with three of his favorite actresses: Harriet Andersson, Ingrid Thulin and Liv Ullman. They play sisters--one (Andersson) is dying of cancer, while the other two have come to be with her in her last days. This isn't one to watch for everyday enjoyment, but it is great art. Bergman has a genius for portraying the inner pain felt by his characters, and Sven Nykvist deservedly won an Oscar for cinematography.

Frenzy: Alfred Hitchcock's next-to-last film is not up to his best, but quite interesting. Jon Finch plays one of the most unsympathetic Hitchcock protagonists ever, a suspect in a series of murders.

And to close, a modern classic.

The Godfather: This is proof that a film can be a commercial success and an artistic one at the same time. Francis Ford Coppola deserves to take bows for this for the rest of his life. The adaptation of the novel by Mario Puzo is practically perfect; sizable segments of the story are jettisoned, but pretty much every scene that's essential is in the film. The cast is ideal from the biggest roles to the small ones. I love this one and watch it at least once a year.

71: Welcome, susieharp.

(63) I have yet to see "The Enemy Below", and I know I should.

My son has an account with Netflix, I think I'll ask him to order it for me. :) Thanks for the reminder!

#72 Willy Wonka and the Chocolate Factory

While I hadn't read the book, I heard that they sweetened (no pun intended) the ending of the 1970s movie because the book was so dark. I thought that I heard the new one with Johnny Depp stuck closer to the original text.

Welcome AVBR and susieharp. Please jump right in and join us!

I think I left off at 1989, so here's my movies from 1990:

Goodfellas (1990): Okay, I have to admit, despite the language and the violence, I was really drawn into this movie. The story is fascinating, and the acting is extraordinary, especially Joe Pesci. I'm not sure I could watch it again due to the strong language (I close my eyes at the violence, ha!) but I would strongly recommend it for viewing by anyone who is not bothered by cussing.

Dances with Wolves (1990): Watched it, can't watch it again. There are some good moments, especially with the Indians, but there is a bit of propaganda that is so heavily handed, it hurts me to see it.

Pretty Woman (1990): Watched it several times, enjoyed it. Don't think I want to see it again, though.

Thelma & Louise (1991): Watched some of it, could not get interested enough to watch all the way through.

Terminator 2: Judgment Day (1991): Excellent special effects, pretty good story.

The Silence of the Lambs (1991): This one is fantastic, and very deep. Anthony Hopkins is superb, and Jodie Foster and Scott Glenn (remember Silverado?) are good as well. I've read the book, and the prequel (Red Dragon), and considered it to be excellent fare.

JFK (1991): Watched a little, boring, boring, boring...

Unforgiven (1992): Excellent movie, but a one time watch for me...too intense.

Candy Man (1992): Yes, I saw this (again, at my dh's request...) and I had nightmares afterwards. Very scarey movie...can you imagine how you'd feel if you didn't recall killing anyone but everyone and all the evidence pointed to you as a killer? Brr.

Groundhog Day (1993): Watched it. Watched it. Watched it. ;) Not a bad film, just not really good, worth a viewing.

Jurassic Park (1993): Impressive on the big screen.

Forrest Gump (1994): Good epic movie, well written, well acted. Worth a watch.

Clerks (1994): My son adores this film, but I've never seen it.

Four Weddings and a Funeral (1994): I've seen this movie, and it's entertaining, but the character played by Andie McDowell leaves me disgusted.

The Lion King (1994): Good Disney movie, good soundtrack.

Pulp Fiction (1994): I have tried, at other people's insistence, to watch this movie. I just can't...I only get so far and I have to turn it off.

Babe (1995): Wonderful! Great! A must see for young and old!

Toy Story (1995): Ditto!

Braveheart (1995): Epic, well done, but a one time watch for me.

Clueless (1995): Confession: I really like this movie. I'll watch it again.

Fargo (1996): Watched beginning, not worth watching imho.

Independence Day (1996): Watched parts, not interested in seeing it all.

Scream (1996): Seen parts of it, not my type of movie.

L.A. Confidential (1997): I think I've seen this movie, not sure.

Titanic (1997): My teenaged children loved this movie, I could not watch it.

There's Something About Mary (1998) I watched this (dh wanted me to) but only got to the 'mousse' scene and left the room. Ick.

The Matrix (1999): Loved this the first time I watched it, and enjoyed parts of it on a couple subsequent views, not interested in it anymore.

Believe it or not, I'm sure I watched more movies than indicated above, but as this list does not include all movies of these years, it's quite possible I've seen some that I've not commented on.

Here are a few more not listed that I have enjoyed:

The Pink Panther (1963): Peter Sellers is great, and David Niven is good. Of the sequels, I would recommend The Pink Panther Strikes Again (1976) as the best of the bunch, but The Return of the Pink Panther (1975) and The Revenge of the Pink Panther (1978) are also good.

Meatballs (1979) with Bill Murray. It's advertised as a teenager sex comedy, but it's not. It's mainly about summer camp and kids, with a few slightly naughty situations. I don't recall any cussing (well, one, but it's not really 'bad'). I actually own a copy of this, and would watch it again.

The Blue Brothers (1980): I still enjoy this movie, as stupid as it is.

My Bodyguard (1980) with Chris Makepeace (also of Meatballs). Nice story, well told, good characters.

Eye of the Needle (1981) is a well made and acted WWII story of intrigue, starring Donald Sutherland. Worth a watch.

Star Trek II: The Wrath of Khan (1982): I love this movie, especially the climax...

An Officer and A Gentleman (1982): If you can overlook some profanity and sexual situations, it's actually a good movie with intriguing characters and a deepness that is not apparent at first. Worth a watch, really.

The Karate Kid (1984): Nice movie about a misfit teen and how he is mentored by a kindly Okinawan neighbor.

Witness (1985): Not watched it in years, but I recall really liking it and I would watch it again.

Murphy's Romance (1985): Divorced woman trying to make it on her own, sets her sights on an older widower played by James Garner, but her ex-husband shows up and tries to get his wife back. Humorous, funny and sweet.

Star Trek IV: The Voyage Home (1986): A more tongue-in-cheek movie with the original Star Trek cast, and a fairly good story. It's fun, especially seeing the crew wandering around in San Francisco of the 1980s, trying to not be conspicuous!

Star Trek: First Contact (1986): From the Next Generation group: another movie I enjoyed very much. James Cromwell (remember Babe?) is fun to watch, too. Give it a try.

Short Circuit (1986): Not a great movie, but entertaining. The actor Fisher Stevens is wonderful to watch.

Peggy Sue Got Married (1986): Not a 'chick flick' per se, but an interesting "what if I could go back and do it over?" story. The acting is believable, and I really enjoy the characters, whether or not I like what they do. Watch it at least once.

The Last Action Hero (1993) with Arnold Schwarzenegger. Believe it or not, this is a good movie, and should not have done so poorly at the box office.

More to come...

(75) gilroy, I saw the movie not long after I'd read the book, and hated the movie for how it changed things.

Read the book, recycle the movie.... ;)

#77

Gene Wilder version or Johnny Depp version?

I've not seen the Johnny Depp version, but am basing my feelings on the Gene Wilder version (not his fault!).

I'm enjoying everyone's contributions to this discussion. Welcome to all who have joined in in the past few days.

On with the 1970s

The Sting: It's rather astonishing to me that this amiable, well-crafted, but rather lightweight caper film/period piece won the Oscar for Best Picture in 1973. It's not bad, but not really memorable. I'll confess that I've never really been a big fan of Robert Redford. I do like Paul Newman, but he's done better work than this film. Robert Shaw as their mark is quite good, though.

Badlands: It's been quite a while since I watched this one. Director Terrence Malick has a huge reputation that seems to be based entirely on this film and Days of Heaven. It was a breakthrough film for both Martin Sheen and Sissy Spacek.

Mean Streets: Martin Scorcese's first major film is a little thin in plot, but rich when it comes to characters and atmosphere. Robert DeNiro's performance as the self-destructive Johnny Boy started his very long and productive partnership with Scorcese, and the City of Los Angeles does a nice job in the role of the City of New York. :)

The Long Goodbye: After a revisionist Western, Robert Altman turned to making a revisionist private eye film, using The Long Goodbye by Raymond Chandler as a source. Altman essentially takes Chandler's Marlowe (Elliott Gould in the film), a 1940s man, and drops him into the 1970s. The result is quirky but effective. Ah-nult has a brief but unmistakable cameo.

Day for Night: This is one of Francois Truffaut's best films, and probably a must see for anyone who wants to learn about moviemaking. It's a "mockumentary" about the making of a movie called "Meet Pamela." Truffaut himself plays the film's director, trying to get his movie made amidst severe trials. Helping him is Nathalie Baye in her first big role as a production assistant with a genius for improvising solutions to on-set difficulties.

Don't Look Now: This was Nicolas Roeg's follow up to Walkabout. It's a subtle but njightmarish psychological thriller with an absolutely chilling conclusion.

Serpico: One of several films by Sidney Lumet which have focused on corruption in law enforcement and city governments, it was based on the real-life story of NYPD cop Frank Serpico (Al Pacino in the film). I found it well-made and compelling, a contrast with my experience with the source book by Peter Maas, which I got bogged down in.

The Conversation: Some film buffs consider this film Coppola's best, superior to the Godfather films. I don't think quite that highly of it but it's an excellent movie. Gene Hackman is exceptional as the surveillance expert Harry Caul, a technical whiz lacking in social skills who disintegrates into paranoia by the end of the movie.

Blazing Saddles: While The Producers may be Mel Brooks' best film, this one is probably his best-known. The parody Western to top all others, it is loaded with great comic moments. A few favorites of mine: Sheriff Bart (Cleavon Little) holding himself hostage when he arrives in Rock Ridge, just about anything Gene Wilder does as the Waco Kid, and, my favorite of all, "You'd do it for Randolph Scott!"

The Godfather, Part II: Can anyone believe that there once was a time when sequels, at least of big, prestigious movies, were absolutely unheard of. I find it just slightly less excellent than the first Godfather film, and another worthy Best Picture winner.

Bring Me the Head of Alfredo Garcia: This is a Sam Peckinpah film, so there will be violence before things are done. But there are also some poetic, beautiful moments, especially between protagonist Bennie (Warren Oates) and his girlfriend Elita (Isela Vega). My mixed feelings about this film seem an uncommon reaction; most people seem to either love it or hate it passionately.

Monty Python and the Holy Grail: The other endlessly quotable, wildly zany comedy from the 1970s. From the coconut shells, to the Knights Who Say "Ni," to the arnacho-syndicalist peasants, to the Holy Hand Grenade of Antioch, this one will leave you laughing till your sides split.

Picnic at Hanging Rock: The film that put Peter Weir on the map as a director, it's visually beautiful but mysterious--I've seen it described as "too inscrutable for its own good." The story of a group of schoolgirls who disappear, along with a teacher, on a Valentine's Day picnic at Hanging Rock (in Australia), it is worth seeing, inscrutability and all. Adapted from a novel by Joan Lindsay

Nashville: Robert Altman's greatest movie, and the first of the "hyperlink" movies--films with large casts of characters and multiple plotlines that intersect with each other along the way. It's a penetrating and somewhat satirical look at America in the 1970s, and at the world of country music. In the huge cast, several performers stand out: Ronee Blakeley, Keith Carradine, Geraldine Chaplin, Henry Gibson, and Lily Tomlin. Also, keep your eye on a young man with a violin case.

Jaws: If you just look at this movie for itself, what you have is a very well-done horror film/thriller, packed with suspense, with a great score, and with one truly memorable performance in Robert Shaw's Captain Ahab-like fisherman. It was adapted, of course, from the bestselling novel by Peter Benchley. But you can't separate Jaws from its historical impact--it, along with another film two years later, ushered in the era of the Summer Blockbuster. For a terrific account of how the film business was transformed in that era, read the book Blockbuster by Tom Shone.

As a P.S., when I did the late 1960s the other day, I left out The Producers, Mel Brooks' debut as a director. Zero Mostel and Gene Wilder are wonderfully funny as a Broadway producer and his accountant who hit on a seemingly foolproof scheme for making a fortune: Since "the IRS isn't interested in flops," they will raise money to produce the worst musical ever written, "Springtime for Hitler," and when it flops, they'll be off to Rio with the money. Does it all work according to plan? You'll have to watch it yourself and see.

Jestak you are killing me. You are reminding me of all the movies I want to watch or watch again! I love Peter Weir. His last film (The Way Back) wasn't my cup of tea but he's made some great movies. Also, isn't it sad that Francois Truffaut died so young? He was such a master!

>81 drmarymccormack:--When I'm writing my posts, I'm also reminding myself of all the movies I want to watch again. :)

Time to finish up the 1970s.

The Killing of a Chinese Bookie: This is one of the best-regarded films from indie film pioneer and legend John Cassavetes. Ben Gazzara gives a strong lead performance as the gambler who owes more than is prudent to the mob: they offer to clear his debts if he will off a competitor, the "Chinese bookie" of the title. A good one; don't expect Cassavetes to adhere to standard crime film conventions, though.

The Outlaw Josey Wales: I think this is Clint Eastwood's best film both as an actor and a director. There's some great action but also compelling drama. Beside's Eastwood's own performance, I especially enjoyed the Native American actors--Will Sampson, Geraldine Kearns, and especially Chief Dan George as the garrulous Cherokee, Lone Watie.

All The President's Men: Although I lived through Watergate, until a couple of years ago I had never watched this one. I assume that everyone knows it's based on the book by Bob Woodward and Carl Bernstein. Robert Redford and Dustin Hoffman made a pretty good pair of intrepid reporters; notable supporting performers included Stephen Collins as Hugh Sloan and Hal Holbrook as Deep Throat.

Rocky: I actually can't remember if I've watched this one straight through; I think I have but quite a long time ago. A classic underdog sports movie, to be sure. The Best Picture of 1976? Not quite so sure about that, because of--

Taxi Driver: While not necessarily a film to watch for entertainment, this is a very intense drama. Robert DeNiro gives an incredible performance as Travis Bickle, the quintessential alienated sociopath, and the young Jodie Foster is equally memorable as a 12-year-old prostitute.

Star Wars: I can still remember how this one dazzled me when I first saw it, nearly 35 years ago. Today, a little of the dazzle has faded, and I can see the film's weaknesses, and recognize how they can be most concisely tied to the credit "written and directed by George Lucas." It remains a popcorn movie par excellence, with fast pace (credit Lucas's wife Marcia, who won an Oscar for editing), along with dazzling action sequences and spfx. This, of course, was the second of the two films that inaugurated the Summer Blockbuster Era in the movie industry.

Close Encounters of the Third Kind: I saw this one a few times back in 1977, too. It also holds up pretty well today. Speaking of Francois Truffaut, he made one of his rare acting appearances in ths film and was pretty good.

Annie Hall: Woody Allen's first classic still has a lot to say about love and relationships. I think this one is going on the "to be watched again soon" list so I can enjoy it once more--Diane Keaton's Oscar-winning performance, spiders the size of Buicks, etc.

The Deer Hunter: One of the biggest, most epic films made about the American experience in Vietnam. For me, the most effective scenes are not the infamous Russian roulette games or the other Vietnam sequences, but the ones "back home" in Pennsylvania, where the film explores the impact of Vietnam on American communities and families.

Alien: It's been over 30 years since the freighter Nostromo answered a fateful distress beacon, but this one can still scare and shock the living daylights out of you. While the subsequent films in this series thrived on high-octane action, in this one the suspense is quieter and more below-the-surface. John Hurt had the most famous case of indigestion in film history, Sigourney Weaver had a career-making role as the tenacious survivor Ripley, and Ian Holm was marvelous, as he always is.

Being There: I definitely have seen this one, but it's been so long that I don't have terribly clear memories.

Life of Brian: While not as funny as Holy Grail, this third feature from the Monty Python troupe had some terrifically funny moments. Graham Chapman was the non-messiah Brian Cohen, while John Cleese played a couple of incredibly funny characters.

The Muppet Movie: The Muppets provide plenty of entertainment in their first feature film. I've always felt, though, that the film relies a little too much on cameos from a horde of guest stars; some of the later Muppet films, where they venture into genre parodies and adaptations of the classics, are more effective.

Manhattan: Another film that I haven't watched for a very long time--it's currently in my Netflix queue, so I will be remedying that situation in the reasonably near future. What I recall most from my long-ago viewing is being impressed by Mariel Hemingway's performance, and her ability to hold her own, at 17 years old, with the likes of Woody Allen, Diane Keaton, etc.

Mad Max: This film and its sequel remind me strongly of Sergio Leone's "Man With No Name" trilogy. George Miller's dystopian vision of a future marked by societal breakdown and massive energy shortages has the same stark tone as Leone's portrayal of the American West. Like Clint Eastwood in the Leone films, Mel Gibson rode the starring role of "Mad" Max Rockatansky to stardom.

I enjoy reading your reviews, Jestak. Keep 'em coming!

Great reviews I am one of those few people that is Not a fan of Woody Allen just never got into his movies at all.

You mention Life of Brian my mother took me to that in the theater when I was about 11 and it was the first nude frontal male I ever saw my mother couldn't get her hands over my eyes fast enough!So that movie always makes me giggle like a little girl!

(84) I'm not much for Woody Allen, either, susiesharp. I did enjoy Bananas but that was a long time ago.

Next decade:

O Brother, Where Art Thou? (2000): I saw this within the last year, and was intrigued. It's a very strange but entertaining movie, with some really weird stuff in it. The music is wonderful, if you like bluegrass.

The Lord of the Rings: The Fellowship of the Ring (2001): This and the sequels were well done, but strayed from the books by JRR Tolkien enough to make me less than enthusiastic about rewatching. They are gorgeous, though.

The Lord of the Rings: The Two Towers (2002): See above review.

The Lord of the Rings: The Return Of The King (2003): See above review.

The Passion Of The Christ (2004): A very intense and violent movie. I saw it in the theatre, and watched it all the way through. It's good, but I do not want to see it again.

Million Dollar Baby (2004): Very good movie about boxing, and don't believe what people tell you about it. Go see it.

Little Miss Sunshine (2006): An absolute HOOT of a movie, very funny, well acted and likeable. You have to see this.

The Queen (2006): Well acted, well written, well....well everything about this movie about the aftermath of the death of Diana, princess of Wales is done well.

United 93 (2006): Probably one of the best movies I have seen in the last decade. It's no Hollywood production with subplots and love interests, but a gritty and realistic (instead of actors, they used actual people who were there in the control towers on 9/11) portrayal of 9/11. It's not depressing, but fascinating and left me thoughtful. A MUST SEE.

True Grit (2010): I just watched this last year, and I really liked it...and especially more than the original with John Wayne and Robert Duvall.

Some not mentioned that come to mind:

Sling Blade (1996) is the story of a man who is released from a mental hospital where he was incarcerated for the murder of his mother and her friend, back when he was a boy. Billy Bob Thornton is the character, I don't see the actor standing there, his work is so good. There's a small part played by the late John Ritter which is very good as well.

The Apostle (1997): Is there any movie in which Robert Duvall is not superb? Here he plays a charismatic preacher who, in a moment of anger, commits a crime and runs from the law. But he cannot stay away from preaching nor run away from God, so he winds up trying to start his life anew, opening a church and preaching about God to people in a small town. This movie does not either condemn or praise people such as the main character, but shows their humanity underneath their calling. I need a copy of this movie...

Best in Show (2000): imdb.com describes this as a quirky comedy, and it is that. Different people with their dogs come together at a dog show. The people are more neurotic than the poor dogs, and I found it extremely funny.

Secondhand Lions (2003): Michael Caine and Robert Duvall play eccentric relatives of a young boy, who is foisted upon them by his less than maternally oriented mother. What ensues is funny and touching as well. This is not a slapstick comedy, but a story that has humorous as well as serious elements in it.

An Unfinished Life (2005): This movie stars Robert Redford, Morgan Freeman and of all people, J Lo (Jennifer Lopez) in a drama about relationships that isn't tedious or boring. Ms. Lopez is the estranged daughter-in-law who is in need of assistance, and shows up at Robert Redford's ranch. Her husband, Redford's son, was killed and since then Redford has had nothing to do with his daughter in law or his granddaughter. Morgan Freeman is wonderful, as always, in his role as Redford's partner and friend. I'd like to see this one again.

310 To Yuma (2007) with Russell Crowe and Christian Bale. This is a dark and violent movie, not based much upon the short story by Elmore Leonard, but I was riveted to the screen for the length of the film, minus a couple times when I covered my eyes to the violence. The acting is very good, but Russell Crowe is superb in his role.

Gran Torino (2008): Clint Eastwood plays a bigoted and bitter man, living in a neighborhood where the demographics are changing from a white middle class area to one filled with immigrants from different countries. We see him adapt, some, to his surroundings, and come to care about his new neighbors. Very good, rent, watch!

>84 susiesharp: & 85:

Woody Allen isn't really everyday viewing for me, either, truth be told. I have to be in the right kind of mood.

As for Robert Duvall, I quite agree--I enjoy virtually everything of his.

And Best in Show is incredibly funny. Fred Willard as the sportscaster covering the dog show is a riot. When I get to the point of making my "not on the list" favorites posts, I'll be mentioning another of the Christopher Guest/Eugene Levy mockumentaries, A Mighty Wind, which does for folk music what Best in Show does for dog shows.

And now, on to the 1980s

Ordinary People: Another film I haven't watched for a very long time; I only recall fragments. I remember being impressed with the performances by Timothy Hutton and Judd Hirsch.

Atlantic City: A great contemporary noir about the power of dreams in people's lives. It also is the intersection of two great acting careers: Burt Lancaster in his last great leading role (and earning his fourth Best Actor nomination), and Susan Sarandon in her first Best Actress-nominated role.

The Empire Strikes Back: Thanks to a good script from Lawrence Kasdan and solid direction from Irvin Kershner, we get the best of all the Star Wars films, with by far the most compelling and believable character interactions in the series.

The Big Red One: This is one of the best World War II films I've ever seen. It's more or less a private's-eye view of the war, eschewing grand strategy for the struggles of ordinary soldiers. Director Sam Fuller based the film on his own experiences as a member of the US Army's 1st Infantry Divsion (aka "The Big Red One").

Airplane!: The best of the various zany genre parodies from the "ZAZ" team of Jim Abrahams and Jerry and David Zucker. They took the story, and a substantial amount of the dialogue, from a forgotten 1950s film called "Zero Hour" and converted it to a laugh-a-minute masterpiece. Peter Graves and Kareem Abdul-Jabbar are at the controls of distressed Flight 209, Lloyd Bridges and Robert Stack are in the control tower, Julie Hagerty is the stewardess, Leslie Nielsen is a doctor who doesn't like to be called Shirley, Ethel Merman is Lt. Hurwitz, and Robert Hays may be the only man on board who can land the plane.

Raging Bull: Another of Martin Scorcese's many amazing films. Robert DeNiro won Best Actor for portraying boxer Jake LaMotta and the film won a second Oscar for editing--the fight scenes are amazing--but it should have won more.

Raiders of the Lost Ark: Probably the greatest popcorn movie of all time, with thrill-a-minute pacing, a classic action hero in Indiana Jones, a scrappy heroine, deliciously decadent bad guys, and more. I never get tired of this one.

Das Boot: Another great World War 2 film, and probably the greatest submarine war film ever. Adapted from a novel by Lothar-Gunther Bucheim that is a fictionalized version of his actual experience as a journalist who accompanied a U-boat patrol in 1941 (the book is pretty good, by the way). The film is a highly realistic, unromantic depiction of combat, and director Wolfgang Peterson sustains a high level of tension throughout, even in the 3 hours-plus director's cut.

Gallipoli: Another war movie, this one about World War I. Another very good film from Peter Weir, and a major step in Mel Gibson's rise to stardom. If you are familiar with the Gallipoli campaign, you know not to expect a triumphant ending to this one.

Chariots of Fire: This one has slipped in my estimation over the years. I find the story of a pair of British Olympic athletes to be just a little too bland and packaged. Ian Holm as the trainer of one of the runners is excellent, however.

Body Heat: Lawrence Kasdan's directing debut was a very good contemporary noir in the James M. Cain vein. Kathleen Turner was a terrific femme fatale and William Hurt equally good as a classic film noir sap.

E.T.: What is there to say but that this is yet another, very worthy contender for the title of best-loved film ever made.

Blade Runner: This is both one of the best noirs and best sci-fi films ever. The story, adapted from the novel by Philip K. Dick, is compelling in itself, but there's more to the movie. Just as significant is director Ridley Scott's dystopian vision of the future Los Angeles. The cast, headlined by Harrison Ford and Rutger Hauer, is excellent. Be sure to watch either the "director's" or "final" cuts, without the voice-over narration by Ford or the unconvincing Hollywood ending.

Tootsie, Diner and Gandhi: A final trio of films that I haven't seen for quite a while. I have positive memories of Dustin Hoffman's performance in Tootsie, and of an excellent ensemble cast in Diner (of the three, the one I'm most likely to watch again). Gandhi I recall as an overlong hagiography, neither of which characteristics makes it a candidate for repeat viewing.

Back with some more.

Return of the Jedi: The last and the least of the original Star Wars trilogy, although I do think it's better than any of the prequel trilogy. The one thing about it I can praise without reservations is Ian McDiarmid's performance as the Emperor.

The Big Chill: Another one about which I have very faded memories. I wasn't blown away when I saw it but that was over 25 years ago; I might give it another look one of these days, but it isn't a high priority.

The Fourth Man: One of the last films Paul Verhoeven made prior to coming to Hollywood. It's a sort of Hitchcockian thriller, but as it's a Verhoeven film, you can expect plenty of eroticism and violence, and a complete lack of subtlety.

Scarface: Speaking of a lack of subtlety, Brian De Palma's remake of the Howard Hawks classic (transplanted to Miami from Chicago) is definitely not subtle. Both the director and his star, Al Pacino, go quite a ways over the top at times. It's still pretty good--Steven Bauer has the best role of his career, Robert Loggia is as solid as always, and Michelle Pfeiffer is good in her first major role.

The Terminator: It's hard to recall a time when Ah-nult wasn't a big star (or former star turned politician), or when James Cameron wasn't associated with massive budgets. But this film, shot on a relatively modest $6 million budget (compare that with over $30 million for Return of the Jedi one year before) is probably still the biggest contribution either man made to film. There's an incredible level of tension right from the get-go, some impressive action sequences, and Ah-nult has tremendous presence despite his lack of dialogue.

Paris, Texas: A classic from German director Wim Wenders during his sojourn in Hollywood. It's a slow, beautiful, character-driven film, with Harry Dean Stanton a terrific lead.

This is Spinal Tap: A movie I definitely want to see again; one of, if not the first mockumentaries, at least in American cinema (Truffaut, as noted above, got there first).

Beverly Hills Cop: The film where Eddie Murphy made the jump from successful comic to major film star. As a crime film, it's pretty routine; whether you like it will depend largely on how you react to Murphy's shtick.

Ghost Busters: For this light, delightful comedy, the main forces from Stripes--director Ivan Reitman and stars Bill Murray and Harold Ramis--were joined by some reinforcements, primarily Dan Aykroyd and Sigourney Weaver. This one is hilarious at times, with a climax that's far too good to give away.

The Natural: I like baseball, but this one has never really blown me away. The film version of a novel by Bernard Malamud, it makes some significant changes to the story, adding a Hollywood ending. I do really enjoy two things from this film: Wilford Brimley's excellent performance as the manager, and especially Randy Newman's unforgettable score.

The Breakfast Club: I was just a few years too old to really connect to John Hughes' films about teens; I was getting ready for grad school when this one came out. It has some enjoyable moments, but Hughes' real classic is still to come.

Out of Africa: Another film I haven't seen since the 1980s; I don't really remember being blown away by it at the time.

The Purple Rose of Cairo: Another good one from Woody Allen; to his usual tale of bittersweet romance he adds a fantasy element and a meditation on the difference between movies and real life. Jeff Daniels was very good in the dual role of the movie character who "breaks the fourth wall" to romance Mia Farrow's lonely housewife, and of the "real life" actor who plays the character.

Back to the Future: Robert Zemeckis is an underrated director, I think--he's made a lot of films that are extremely enjoyable to watch, this being one. For all the razzle-dazzle of the time travel plot, the genuine camaraderie between Michael J. Fox and Christopher Lloyd is what makes this film, and its sequels, truly wonderful.

Brazil: Although not officially an adaptation of 1984, Terry Gilliam's film clearly owes a lot to Orwell's classic, as well as to Franz Kafka. It isn't for everyday viewing, but there is a terrific cast, with Robert DeNiro stealing his scenes as the maverick "heating engineer," and of course Ian Holm always makes any movie better.

Prizzi's Honor: A final peak in John Huston's uneven career. What I didn't appreciate, when I first saw this one some 25 years ago, was the subtle, dark comedy in Huston's take on a Godfather-style film. Another film with a great cast, with Jack Nicholson and Kathleen Turner as the ill-matched lovers, William Hickey as the aging Don, and topping everyone, Oscar winner Anjelica Huston as Maerose Prizzi (Trivia item: John Huston is surely the only director in history to direct both his father and his daughter to acting Oscars). Richard Condon wrote the source novel

Manhunter: Adapted by Michael Mann from Red Dragon by Thomas Harris; the combination of Mann and crime nearly always makes for good results. The cast isn't quite as star-studded as other Harris adaptations, but Brian Cox is very good in his few scenes as Hannibal Lecter, and William Peterson is outstanding as the FBI profiler who once caught Lecter, Will Graham.

Blue Velvet: This is David Lynch's look at the dark underside of small town America. Many of the characters are of types common to film noir--Kyle MacLachlan's naive protagonist, Isabella Rosselini's femme fatale, Laura Dern's nice girl--but Lynch does some original things with them (or to them).

Hannah and Her Sisters: While this may not be Woody Allen's greatest or most innovative film, I think it may be the most accessible of his important films. A great cast helps, with a pair of Oscar winners in Michael Caine and Dianne Wiest, plus Mia Farrow, Barbara Hershey, Max von Sydow, and more.

Aliens: While Ridley Scott's Alien was built on slow-burn tension and flawed but fascinating characters, James Cameron's sequel gives us supercharged action. Sigourney Weaver is incredible, earning a Best Actress nomination, the only one ever for a sci-fi/horror film.

Ferris Bueller's Day Off: Okay, this one is John Hughes' genuine classic, or at least semi-classic. While the story is thin, two things stand out: 1) Matthew Broderick's winning performance as the ultimate high school hustler, and 2) Hughes' effective use of the Chicago cityscape. Plus, Ben Stein's cameo strikes a chord with all economics instructors.

Down by Law: Director Jim Jarmusch has a huge reputation in indie film circles. I found this black comedy, one of his most-praised films, interesting, but a little uninvolving.

Top Gun: This is the sort of film that has helped define the Summer Blockbuster Era that I mentioned a few posts back. The aerial action scenes in this one are dazzling, even after 25 years. Aside from that element, this one is very pedestrian. By contrast with a film like Back to the Future, it's hard to really care about any of the characters (Anthony Edwards as Goose being a partial exception), or about what is happening to them.

This brings me through 1986.

And now to wrap up the 1980s:

Wings of Desire: Wim Wenders other classic, this is one of those slow, dreamy, atmospheric European films that you don't necessarily watch every day, but which are worth seeing at least once. Bruno Ganz is Damiel, the angel who starts to want to feel things the way humans do, Solveig Dommartin is the trapeze artist who Damiel becomes fascinated with, and Peter Falk (as himself) is the only one, other than young children, who can sense the presence of angels.

The Princess Bride: I'm every bit as impressed with this as I was when it came out nearly 25 years ago. Director Rob Reiner and writer William Goldman found a perfect balance between sincerity and satire, while mixing some superb humor in with good action scenes (especially the fencing duels). The cast is outstanding: daring hero Cary Elwes, radiant princess Robin Wright, lovable rogues Mandy Patinkin and Andre the Giant, villainous Chris Sarandon and Christopher Guest, Wallace Shawn, who keeps using the word "inconceivable," plus memorable cameos from Peter Cook ("Mawwidge"), Billy Crystal as Miracle Max and Carol Kane as his wife.

The Untouchables: An overdone, loud, unsubtle crime thriller. Kevin Costner is a dour, uninspiring Eliot Ness, while Robert DeNiro seems to be channeling Al Pacino as a hammy Al Capone. Sean Connery and Andy Garcia keep this one somewhat interesting, but I'd never put this one on a "must see" list.

Fatal Attraction: Nor this one, a very cynical thriller that tried to lure audiences by sheer shock value and trashiness.

The Thin Blue Line: Now we're back to genuinely memorable movies that are worth watching. Errol Morris is a well-known documentarian; with this film, he accomplished something truly good. His documentary made a convincing case that Randall Adams, convicted of murdering a Texas police officer, was innocent. As a result of the film, and the publicity it attracted, Adams won a habeas corpus hearing and was freed after over a decade in prison. Bravo, Mr. Morris.

Cinema Paradiso: Another beautiful European film, a bit long, but with several powerful scenes. I really need to watch this one again sometime soon.

A Fish Called Wanda: This enchanting, fun film blends the comic caper films that the Ealing Studio made (like The Lavender Hill Mob or The Ladykillers, mentioned upthread) with American screwball comedies. With some of the premier comic talents of our time, such as John Cleese (who co-wrote the script) and Kevin Kline, this one is funny but also has a heart.

Die Hard: One of the archetypes of what some critics call the Big Loud Action Film, the normal Hollywood action product of the last 30-odd years. What lifts this one to at least near-classic status are, first, the exceptional quality of the action sequences, and second, the strong cast, especially Bruce Willis as relentless cop John McClane and Alan Rickman as the oily villain. This was Willis's breakout role; of the major action stars of his generation (e.g., Ah-nult, Stallone, Gibson, etc.), he is my favorite.

Who Framed Roger Rabbit: Another film I find endlessly entertaining. For once a promising premise--that humans and cartoon characters or "Toons" live and work alongside each other--was followed through with capable execution. Robert Zemeckis can take another bow for this one, as can several of those involved: Bob Hoskins, Christopher Lloyd, Charles Fleischer, and Kathleen Turner, in particular. Besides the core story and characters, I especially love the scene where Donald Duck and Daffy Duck share the stage in a comedy act--it's not to be missed.

Batman: In its day, this film was considered a fairly dark, noirish film portrayal of Batman; in the wake of the Christopher Nolan films I'm not sure if that evaluation would hold up. Jack Nicholson's hammy Joker certainly is outdone by the more recent portrayal by Heath Ledger.

Drugstore Cowboy: This bleak and biting story about a small band of heavy-duty drug users was Gus Van Sant's first feature. It's a well-made film, and there are excellent performances from Matt Dillon, Kelly Lynch and a young Heather Graham. I'm glad I watched it once, but it was such a downer that I never want to watch it again.

Do The Right Thing: Spike Lee's powerful look at race relations in America is a must-see film. On a hot summer day in Bedford-Stuyvesant (neighborhood in Brooklyn), temperatures and tempers both slowly rise to a boil.

Say Anything: Here's a happy choice to end this post with. It's one of the best romances ever filmed; probably the best teen romance. John Cusack and Ione Skye are terrific as the high school seniors who try to make their odd-couple relationship work (she's the class valedictorian, he's aimless and a bit of a slacker). Lily Taylor also makes a strong impression as Cusack's wannabe folkie friend.

As a P.S., I missed one movie from the late 1960s, as at the link that AvacadoPenguin posted upthread, it's listed under the title "The Godson." I know it by the French title, Le Samourai. Anyway, it's the best film by my favorite French director, Jean-Pierre Melville. Alain Delon is the title character, a hit man who the film follows in his last week or so of life. Many subsequent filmmakers, like Walter Hill and John Woo, have been enormously influenced by this one.

Keep'em coming Jestak, I'm enjoying your reviews.

And now to start the 1990s.

Goodfellas: While this may not be Martin Scorcese's greatest film, it's probably his most accessible, with a streak of humor throughout that you won't find in a film like Taxi Driver. It's based on the book Wiseguy by Nicholas Pileggi, which tells the real-life story of mid-level mobster Henry Hill (Ray Liotta in the film). While a lot of the accolades for the cast of this one seem to go to Robert DeNiro and Joe Pesci, it's really Liotta, along with Lorraine Bracco as Karen Hill, who hold it together with terrific performances.

Total Recall: With a different star than Ah-nult, and a non-Paul Verhoeven director, one capable of subtlety, this might have been a fascinating film, one that captured some of the spirit of the story by Philip K. Dick. As it is, it's just another Big Loud Action Movie.

Boyz n the Hood: John Singleton's debut feature is a powerful drama laced with social commentary, comparable to Do The Right Thing but maybe not quite as good. Laurence Fishburne is excellent as Jason "Furious" Styles, a man trying to help his son navigate a world filled with violence.

Delicatessen: This is a really offbeat but good and inventive black comedy, the debut film of French director Jean-Pierre Jeunet. Louison (Dominique Pinon) becomes the handyman at an apartment building run by Clapet (Jean-Claude Drefuss). It seems the perfect billet, especially as Clapet has an attractive daughter, but that's before he begins to suspect where Clapet gets the meat for his deli.

Terminator 2: Judgment Day: While much bigger and more expensive than the original, James Cameron's sequel is not really better. It's a pretty good action film of the adrenaline pump variety, but I still prefer the leaner, more noirish original.

The Silence of the Lambs: Adapted from the novel by Thomas Harris, of course. Both book and movie are not for the squeamish. For those up to it, Jodie Foster and Anthony Hopkins give Oscar-winning performances that are worth seeing at least once.

The Double Life of Veronique: A beautiful and mysterious film from the late Krzystof Kieslowski. Irene Jacob stars in a dual role as two women, born the same day: Veronika is Polish, Veronique is French. Aside from the same name and birthday, the two women are both talented singers and have many other parallels in their lives--to say more than that would be telling. Very good.

The Player: With this biting comic commentary on contemporary Hollywood, Robert Altman returned to top form after over a decade of less-than-classic work. While there's a frame story centered on producer Griffin Mill (Tim Robbins), the real point of the film is the mostly-warts portrayal of film industry.

Reservoir Dogs: As most people know this was Quentin Tarantino's first film, a violent story about the aftermath of a robbery gone wrong. A bit lacking in finish, the whole of this one is not quite classic. But many of the parts, like the performances of Michael Madsen, Harvey Keitel and the late Lawrence Tierney, are worth a look.

Unforgiven: Clint Eastwood wanted to make the definitive revisionist Western here, and he came pretty close. For most of the film he ruthlessly deconstructs the legend of the Western gunfighter--a legend he had helped to create--although he subverts that deconstruction a little at the end of the film. As well as directing, Eastwood headlines a great cast, with Gene Hackman and Morgan Freeman as co-leads, as well as Frances Fisher, Jaimz Woolvett, Saul Rubinek and Richard Harris.

The Crying Game: Known for one of the most famous plot twists in film history--one I would not dream of giving away--this one is also a very well-made film with strong performances from Forest Whitaker, Stephen Rea and Jaye Davidson.

Groundhog Day: A very good romantic comedy, one of the best modern examples, which steers away from many of the cliches of the genre. Bill Murray is the self-absorbed, grouchy weatherman who gets stuck in a time loop, endlessly repeating February 2 while everyone around him is unaware of the repetition. Andie MacDowell, as sweet as Murray is sour, is ultimately the object of his affections.

Short Cuts: Robert Altman, the master of the hyperlink movie, came very close to matching his classic "Nashville" with this one, adapted from several stories by Raymond Carver. The large cast is mostly excellent, with standouts including Madeleine Stowe and Julianne Moore, playing sisters, Tim Robbins as Stowe's unfaithful husband, and Lori Singer's talented but unhappy cellist.

Jurassic Park: A lot of the quasi-scientific babble from the novel by Michael Crichton has been excised from the film version. We're left with a film where the CG characters--dinosaurs, if you've never seen it--overshadow the humans (although Jeff Goldblum's character has enough personality to make an impression).

Blue and Red: These two are the bookend films in the "Three Colors" trilogy from Krzystof Kieslowski--the middle film in the trilogy, "White," is also worth watching. In Blue, Kieslowski shows an almost Bergman-like ability to bring the inner pain of his characters to life, primarily that of Julie (Juliette Binoche), who loses her husband and daughter in a car wreck as the film opens, and then must put her life back together. Red, the last and best of the trilogy, a beautiful tale of friendship and love that stars Irene Jacob. Zbignew Preisner contributes memorable scores for the entire trilogy.

Forrest Gump: Here's Robert Zemeckis again with another extremely enjoyable film. Tom Hanks is outstanding as the title character, a man with a low IQ but a giant heart. Winston Groom wrote the source novel.

Four Weddings and a Funeral: The earliest of a string of generally good British romantic comedies, all of which involve Hugh Grant in a sizable role and Richard Curtis on the production end (he wrote the script for this one). While it's not quite on the level of Say Anything or Groundhog Day, I liked it pretty well.

Natural Born Killers: I watched this one once about 8-10 years ago and am not particularly interested in sitting through it again. Oliver Stone clearly wants to send a message with this one--the trouble is, he seems to know only one way to do that, and that's to shout at the top of his lungs. I do recall that Woody Harrelson and Juliette Lewis made good leads.

The Last Seduction: This modestly-budgeted film is one of the very best contemporary noirs I've ever seen. John Dahl, who directed, had a knack for updating the conventions of film noir, and Linda Fiorentino is quite possibly the most seductive, deadly femme fatale ever. Any fan of film noir must see this one.

Pulp Fiction: Quentin Tarantino's signature film is probably a must-see for true film buffs in this day and age simply because of its influence on the last two decades of movie-making. Tarantino is generally not much of a storyteller, but he gives us films visual style, cultural commentary in the form of throwaway dialogue, and memorable performances. Highlighting this one are Samuel L. Jackson, John Travolta, Uma Thurman and Bruce Willis, plus a memorable cameo from Harvey Keitel.

Heavenly Creatures: This visually inventive film put several people on the world cinema map--it gave a young director named Peter Jackson a positive reputation, and introduced us to a pair of very talented actresses. Kate Winslet, of course, needs no introduction, but her costar, Melanie Lynskey, has also had a very fine career.

Moving on, now up to 1995.

Casino: Another Scorcese film adapted from a book by Nicholas Pileggi. Scorcese has always done well with crime and gangsters through the years, and this one is no exception; however, it's a bit overlong and some scenes seem like inferior rehashes of some of his earlier work. Robert DeNiro and Joe Pesci are quite good.

Braveheart: As someone of Scottish ancestry, I was delighted to see a film about William Wallace. This one is epic in scale and has some great battle scenes. As a representation of the history and historical figures involved, however, it might almost be a work of fiction.

Heat: One of Michael Mann's best films, it's famous for the "cup of coffee" scene where Pacino and DeNiro shared the screen for the first time. Man got one of his to-die-for supporting casts for this one--Val Kilmer, Tom Sizemore, Ashley Judd, Wes Studi, even a young Natalie Portman--and develops a rich array of supporting characters and subplots, while never letting the main story drag. The main bank heist that is the film's climax is one of the great set-pieces of the 1990s.

Seven: A very dark thriller, this one may not be to all tastes. David Fincher spares neither the viewer nor his characters in exploring the dark underside of human nature.

The Usual Suspects: This crime thriller takes the cake when it comes to serpentine plotting. My advice when watching this is don't try to figure it all out the first time through. Just enjoy the great performances from the likes of Gabriel Byrne, Benicio Del Toro, Chazz Palmentieri and above all Kevin Spacey, and ponder one of the great mysteries of modern times: "Who is Keyser Soze?"

Fargo: This was the first Coen Brothers film I ever watched, and a good choice it was. The plot is fairly standard but, as usual with the Coens, there are some rich characterizations--Oscar winner Frances McDormand's wise police chief, William H. Macy's overmatched-by-life businessman, Steve Buscemi's nervous, garrulous kidnapper--and a great score from Carter Burwell.

Independence Day: Yet another film in the Big Loud Action Movie field, like most such depending largely on big action sequences and spfx for its appeal. This was a pretty good one, but not one I really look forward to viewing repeatedly.

Lone Star: John Sayles' best feature, this has become a favorite of mine. The narrative core is a murder mystery, but this is a Sayles film, so there's a lot more involved--a town and its people trying to come to grips with their history, collectively and individuals, while at the emotional heart of the film, a pair of onetime high school sweethearts try to rekindle their lost love. There are great performances from Chris Cooper, Elizabeth Pena, Clifton James and Kris Kristofferson, and a wonderful cameo by Frances McDormand that I see as sort of adding an exclamation point to her Oscar-winning turn in Fargo.

Scream: I've never really gone for horror movies, but this one is an exception, filled with an attractive, self-referential current of black humor. On top of the witty script, we get to see Drew Barrymore, superbly terrified in the opening scene, Jamie Kennedy is there to explain the rules to us, and best of all, there's Neve Campbell as Sidney Prescott, the Final Girl to outlast all Final Girls.

L.A. Confidential: One of the best films of the 1990s, this is a terrific adaptation of the novel by James Ellroy. While the complex plot of the novel is simplified, the spirit of the book is kept vibrantly alive in the film. Guy Pearce and Russell Crowe had breakthrough performances, Kim Basinger won an Oscar, James Cromwell should have, Kevin Spacey lived up to his reputation, and the supporting cast is fantastic.

The Sweet Hereafter: Director Atom Egoyan turns out incredibly intense drama in this adaptation of an novel by Russell Banks , telling how a small Canadian town deals with the aftermath of a horrific schoolbus accident. Two performances stand out: Ian Holm is predictably excellent as the somewhat amoral attorney who tries to stir the town into pursuing a class action lawsuit, while the young Sarah Polley is equally good as the wheelchair-bound survivor of the accident, who comes to act as the town's conscience.

Open Your Eyes: This dark, mysterious film is usually classified as a thriller, but it's far more than that. It blends and transcends genres, and makes the viewer think. It's really hard to describe this one; you just have to watch it and form your own conclusions.

Saving Private Ryan: Another on the list of films I really should try to watch again. Definitely one of the best World War II films of all time.

Lock, Stock and Two Smoking Barrels: This was Guy Ritchie's feature film debut. It's an incredibly complex, energetic and entertaining caper film, with a very high body count; before he turned to updating Sherlock Holmes, this sort of thing was Ritchie's trademark. This film introduced Jason Statham and ex-footballer Vinnie Jones to film audiences all over the world.

Run, Lola, Run: For once, a much-hyped film lives up to its acclaim. Tom Tykwer takes a simple premise--Lola has 20 minutes to get 100,000 marks to her boyfriend, or he's a dead man--and turns it into a dazzling visual kaleidoscope. Franka Potente makes a very strong impression in her first big role.

Three Kings: An uneven but good war/caper film. A small band of US military men try to get their hands on an Iraqi gold horde in the days after Operation Desert Storm, but get caught up in the ever-volatile politics of the Middle East. While it gets pretty chaotic at times, there are some powerful scenes and a great performance from Mark Wahlberg.

Drawing closer to the present :)

Nine Queens: This was one of only two features directed by the late Argentine director Fabian Bielinsky prior to his death. It's a twisty caper film about a pair of con artists (Ricardo Darin and Gaston Pauls) who are trying to pass some phony stamps off to a collector. I generally like a good caper film and this is one of the best I've ever seen.

Gladiator: If you consider this film as an example of a type that Hollywood used to make a lot of--big epics set in Imperial or Republican Rome--it's a good movie, anchored by strong lead performances from Russell Crowe and Joaquin Phoenix. If you judge it by Ridley Scott's stated intention--to make a truly realistic film about Roman history--the kind thing to say would be that it doesn't really succeed.

Amores Perros: In his first feature, director Alejandor Gonzalez Inarritu presents a compelling slice of life in his hometown of Mexico City. It's a hyperlink movie telling three intersecting stories--as their point of intersection is a horrific traffic accident, the stories aren't all racing to happy endings. A very good one; Gonzalez Inarritu has gone on to success in Hollywood with 21 Grams and Babel.

Crouching Tiger, Hidden Dragon: My favorite of Ang Lee's films, at least so far, is a great romantic adventure story, set in an 18th Century China so exotic it might be another world. It's the story of a young woman who wants to choose her own destiny, of master warriors, a treacherous thief, and a wonderous sword. There are great performances from Zhang Ziyi, Chow Yun-Fat and Michelle Yeoh. Not to be missed.

Memento: Christopher Nolan emerged as a major director with this tale of a man (Guy Pearce) trying to avenge the murder of his wife. Simple, no? Actually, not, as the protagonist suffers from a rare form of amnesia, and must rely on tattoos on his body, Polaroids he leaves notes to himself on, etc., as a substitute for the memories he is unable to form. Pearce is an exceptional lead and Joe Pantoliano and Carrie-Anne Moss are good in support.

O Brother Where Art Thou: One of my favorite Coen Brothers films, this is a very loose updating of Homer's "Odyssey," as loquacious convict and con man Ulysses Everett McGill (George Clooney, great) escapes a chain gang with two friends and tries to get home to his wife. Aside from being based on Homer, there's a substantial nod to Preston Sturges and, I'd say, a large portion of the spirit of Mark Twain in this one. A score packed with old-time country and bluegrass tunes doesn't hurt one bit.

Y Tu Mama Tambien: Here's another wonderful movie from Mexico. It's a complex, layered story--part coming-of-age drama, part romance, part tearjerker and part social commentary. Gael Garcia Bernal and Diego Luna are the teens who persuade unhappily married Maribel Verdu to accompany them to a wonderous, remote beach. Along the way, everyone, including the audience, will hopefully learn something.

The Lord of the Rings: I'm going to consider the trilogy as a whole. I read J. R. R. Tolkien's trilogy for the first time when I was about 12 years old, then waited over 25 years for them to be turned into film (not counting the never-completed animated feature from Ralph Bakshi). Peter Jackson, I am happy to say, did as good a job as I could reasonably have expected of bringing this great story to life. Naturally, the plot has been compressed in places, and some of the story elements have been simplified, but the spirit of Tolkien is definitely there when I watch the films.

Lantana: This is a very good Australian movie that reminds me a little of John Sayles' Lone Star, discussed in my previous post. It starts out appearing to be a murder mystery--the first shot is of a woman's dead body and one of the first characters we meet is a detective. But it's really more of a drama about human relationships.

City of God: In this movie, Fernando Meirelles does for Rio de Janeiro what Amores Perros did for Mexico City. It's a striking chronicle of life in a poor violent neighborhood of Rio, one of the so-called favelas. Many of the cast were non-professionals, recruited from the favelas where the movie was filmed; an exception was Alice Braga, who has gone on to a fairly successful career.

Rabbit-Proof Fence: Another great Australian film and a very compelling drama. It's based on a book by Doris Pilkington Garimara, the daughter of one of the characters portrayed in the film. Garimara's mother, called Molly in the film (Everlyn Sampi), was the leader of a trio of Aboriginal girls who escaped a government camp to return to their home community. David Gulpilil, who I mentioned above for his debut in Walkabout, gives a strong performance as does the young Everlyn Sampi as the very determined Molly.

Kill Bill, Vol. 1: More than usual with Tarantino, this is a display of style, not substance or storytelling. Uma Thurman is "the Bride," a character who seems inspired in part by Truffaut's film The Bride Wore Black. She's out on a "roaring rampage of revenge," against the people who killed her fiance and left her for dead. The best way to sum up this one: don't make it your first Tarantino film. If you've liked some of his other films, you'll probably like this one. And if you haven't, you won't.

Oldboy: Here's another film about a protagonist out for revenge, this one from South Korean director Park Chan-wook. Oh Dae-su spends 15 years in a mysterious prison, and when he's suddenly freed, he wants to find out who put him there and get vengeance. But there may be some significant surprises along the way (along with the inevitable high level of violence).

Good-Bye Lenin!: This is a funny and touching social comedy from Germany. In the fall of 1989, an East German woman has a heart attack and is in a coma which causes her to miss a few somewhat significant events, like the fall of the Berlin Wall and the end of Communism. When she regains consciousness, her doctors tell her son Alexander (Daniel Bruhl, a rising star in European cinema), that any serious shock could kill her. Taking them literally, Alexander and his relatives go to great lengths to convince his mother that she is still living in the East Germany she knew before her heart attack.

The Lord of the Rings: I'm going to consider the trilogy as a whole. I read J. R. R. Tolkien's trilogy for the first time when I was about 12 years old, then waited over 25 years for them to be turned into film (not counting the never-completed animated feature from Ralph Bakshi). Peter Jackson, I am happy to say, did as good a job as I could reasonably have expected of bringing this great story to life. Naturally, the plot has been compressed in places, and some of the story elements have been simplified, but the spirit of Tolkien is definitely there when I watch the films.

Well written, and I have to agree about the spirit of Tolkien.

I guess I should have added the Ralph Bakshi version, too. I remember seeing that in the movie theatre.

Ever see "Wizards"? I think it was also a Ralph Bakshi movie, although I didn't care for it much.

>94 fuzzi: Until recently I had not watched the Bakshi LoTR film since long before Peter Jackson's trilogy came out. I had remembered it as being fairly good, but when I watched it about a year ago I was surprised at how unimpressive it seemed. Doubtless that is in part because animation techniques have come a long way since 1978; also, the ending of the film is very abrupt and really leaves a lot hanging (I read somewhere that Bakshi simply ran out of money and had to stop where he was).

I've never seen Wizards, but my good friend IMDb confirms that it is a Ralph Bakshi film.

One of my all time favorite movies is It Happened One Night. I don't know if you're aware of it but many classics are available for free on http://www.archive.org/search.php?query=collection%3Amoviesandfilms&sort=-pu...

I'm spending a lot of time writing noir and semi-hard boiled detective fiction. I use the films from the early thirties to the early fifties for mood inspiration. Modern settings and modern problems and plots come easily when the mood is right. And I think the dialog is more clever than modern movies. They had to entertain your mind rather than blow crap up in 70 millimeter.

Many of the "poverty row" films, the "B" movies, offer great stories if you're willing to overlook a bit of ham. PRC (Producers Releasing Corp) was one of the bigger broke studios.

I prefer the black and white movies partially because of production values. It took real artists to make you forget you were not seeing things in color without it becoming surreal.

I see that you may be a Frank Capra kind of fan and suggest you look at the old Bulldog Drumond series with a light comedy undertone to them. You'll also find several of the movies you mentioned in your post.

Cheers,
JH Gordon
Joe Detective
Smashwords.com

96: "And I think the dialog is more clever than modern movies. They had to entertain your mind rather than blow crap up in 70 millimeter."

I agree, JHGordon.

I agree, too. I love the dialogue in older movies.

Of course, if there are bombs exploding all over, there's not much you can say that will be heard...

Now to wrap up the list.

Fahrenheit 9/11: While I opposed the Iraq war and have a fairly high level of agreement with many of Michael Moore's political positions, I thought this documentary was marred by a number of inaccurate or exaggerated charges as well as the director's heavy-handed approach.

Collateral: Michael Mann was on his game for this one, and when he's on, there are few better directors working. The real surprise for me in this one was Tom Cruise, who has never impressed me as an actor--he totally abandons his typical screen personality to totally embrace the ruthless professionalism of Vincent, the hitman who hires cabbie Jamie Foxx (also very good) to take him to five locations in one evening (with a hit scheduled at each).

Sideways: Alexander Payne displays an almost Woody Allen-like feel for relationships and romance in this one, and gets some terrific performances from Paul Giamatti, Thomas Haden Church and Virginia Madsen.

Cache: This is a subtle, psychological thriller, in a style that recalls Claude Chabrol at his best. Daniel Auteuil and the ever-watchable Juliette Binoche star as a couple who learn that their home is under some kind of surveillance.

The Constant Gardener: Fernando Meirelles (who made City of God, see above) directed his first, and so far only, Hollywood production, a terrific adaptation of a novel by John Le Carre. As it's a Le Carre adaptation, people should know better than to expect a Hollywood ending. Rachel Weisz richly deserved her Best Supporting Actress win for her role here.

Little Miss Sunshine: When I first saw this nearly six years ago, I told people "keep your eye on Abigail Breslin." And I was right, as she is definitely fulfilling the promise she showed in this very good dark comedy.

The Departed: The film that finally won Best Picture and Best Director honors for Martin Scorsese; although it's not his best film it's very good. Since it's from Scorsese and it's about cops and gangsters, you don't need me to tell you that it's very violent as well as very intense. Mark Wahlberg, also Oscar-nominated, stands out among a very strong cast. Wahlberg seems to me to be the Robert Ryan of our time--a very good character actor, often in dark, intense roles, who never seems to be successful in conventional leading man roles.

The Lives of Others: This very complex drama about life in Communist East Germany deservedly won the Best Foreign Language Film Oscar. When the Stasi (secret police) investigate a playwright and his actress companion, many intersecting lives are impacted--needless to say, the impacts are seldom happy, given the setting.

The Prestige: An effective film from Christopher Nolan, although as he does more work it is clearer to me that this is not his best film. Michael Caine seems to becoming an almost permanent feature in Nolan's films; he plays the voice of reason here, just as he does in the Batman films.

No Country for Old Men: While not the most enjoyable of the Coen Brothers' films, this may be their best and was a worthy Best Picture honoree. The stellar cast deserved every one of the raves that they've gotten. Javier Bardem won an Oscar of his own for portraying one of the scariest screen psychos ever. However, for me, the truly memorable acting is from Kelly Macdonald, with not a trace of her Glasgow origins detectable in a West Texas accent that is as note-perfect as the rest of her performance. Adapted from the novel by Cormac McCarthy.

The Bourne Ultimatum: While I wouldn't necessarily put any of the films in the Bourne trilogy on a "classic" list, they are all well-crafted thrillers and they certainly seem to be having an influence on other action films of the past few years. Matt Damon, not the likeliest of action stars, proved a very effective lead in all three films, and he was regularly surrounded with strong supporting casts.

The Dark Knight: With this film, even more than Batman Begins, Christopher Nolan can lay claim to having made the definitive comic book-to-film adaptation. Heath Ledger's Oscar may have partly been a sentimental vote, but he definitely was very good in his final film role; eschewing the over-the-top acting that's the norm for comic book adaptations, he gives us a subtle, calculating Joker.

Let the Right One In: This is a dark and disturbing film--no surprise, as it's about vampires, of the non-sparkly variety. Adapted from a novel by John Ajvide Lindqvist, this one is carried by the two young lead performers, Kare Hedebrandt and Lina Leandersson.

Inception: Here's Christopher Nolan with another film on the list. This one is definitely an intense, very well-executed sci-fi thriller. Where it lies on the spectrum between superior genre film and genuine classic is for individual viewers to decide. Nolan is getting into Michael Mann's league when it comes to attracting superior supporting casts; in this one I really enjoyed Joseph Gordon-Levitt and Tom Hardy.

Our very nice group here has been invaded by a not very nice commercial spammer. Here is the relevant page on how to deal with spammers. Specifically, we need to 1) flag the above spam posts as such, and 2) flag this user's profile page.

Thanks to whoever got his profile reported. I've put him on block so I don't have to flag or see his spam.

Now what?

As I said some time back, now that I've finished going through the "1001" list, I'm going to make a couple of posts on films that are favorites of mine but aren't on the list. So here's a start:

The Silent Era

My favorite silent film star of all, Buster Keaton, is very well represented on the list already, and four of the Keaton titles on the list are my top four favorites among his films: The General, Sherlock Jr., Our Hospitality and Steamboat Bill, Jr. However, my second favorite silent star, Douglas Fairbanks, could do with some more mention:

The Three Musketeers and The Iron Mask: Along with The Thief of Bagdad, these two adaptations of Alexandre Dumas are my favorite Fairbanks swashbucklers. Not only do they both have action sequences that still hold up well today, both of them capture the intrigue element that is central to the Dumas novels, and which most Dumas adaptations don't really retain (except for a pair of films I'll get to when I reach the 1970s).

Robin Hood: Although the pace of this one lags a little, it also holds up pretty well today. Trivia note: in this film, Little John is played by Alan Hale; Hale reprised the same role 16 years later opposite Errol Flynn in The Adventures of Robin Hood.

I'd also add one more to the list--Safety Last: This one is probably my favorite of Harold Lloyd's comedies, with the sequence where Harold must substitute for a "human fly" and scale a tall building being one of the greatest moments in film comedy.

The 1930s

Animal Crackers and Horse Feathers: I love the Marx Brothers, and these two are favorites of mine, although neither is as good as Duck Soup. Animal Crackers is a little uneven and looks like a filmed stage play a lot of the time, but it's the one where Groucho sings "Hurray for Captain Spalding" and Chico and Harpo cheat at bridge. In Horse Feathers, the Brothers take on higher education, and higher education takes a beating. The football game at the climax is one of the best segments the Marxes ever did.

Libeled Lady: This one isn't as well known as other screwball comedy classics but it's terrifically funny and entertaining. There's a wild love quadrangle of Spencer Tracy, Jean Harlow, William Powell and Myrna Loy. Maybe the funniest sequence is the one where Powell, a novice fisherman, has the greatest feat of beginner's luck in angling history.

William Powell had quite a year in 1936--besides Libeled Lady, he starred in My Man Godfrey (maybe his best performance ever and his best film without Myrna Loy), The Great Ziegfeld (which won Best Picture, although it isn't as highly regarded today) and After the Thin Man, the second in the durable Nick & Nora Charles series with Loy, which is nearly as good as the first.

The Prisoner of Zenda: I love a good swashbuckler and this adaptation of the novel by Anthony Hope is one of the best, and probably the most romantic of all. Ronald Colman is very good in the dual lead role, Madeleine Carroll is a radiant love interest and in support are a young David Niven and C. Aubrey Smith at his C. Aubrey Smithiest (i.e., crotchety old Brit with an industrial strength stiff upper lip). Nearly stealing the entire movie from all of them is Douglas Fairbanks, Jr. as Rupert of Hentzau; this was the one time in the younger Fairbanks' career where he displayed the charisma of his more famous father.

The Lady Vanishes: One of Hitchcock's best films, an espionage adventure directed with the lightest of touches. There's also more movie-stealing in this one--Basil Radford and Naunton Wayne, as the cricket fanatics Charters and Caldicott, were so popular with viewers that they were brought back in several other films of the early 1940s (I think there was also a book series about them, eventually).

The Four Feathers: Adapted from a novel by A. E. W. Mason, this is another of those Imperial British adventures. John Clements was a solid lead as the reluctant soldier who must prove his courage, and the battle scenes and Technicolor cinematography are spectacular.

The 1940s

The Sea Hawk: Along with The Adventures of Robin Hood, this was Errol Flynn's greatest film. There's not much here of the novel by Rafael Sabatani except the title. What there is, is a superb lead performance from Flynn as a character based on Sir Francis Drake, a radiant heroine in Brenda Marshall, one of Erich Wolfgang Korngold's most glorious scores, and some great action sequences both on land and sea.

Foreign Correspondent: Another of my favorite Hitchcock films, and very entertaining. Joel McCrea is the naive American reporter sent to Europe on the eve of World War II; while there he finds intrigue and romance.

The Shop Around the Corner: This wonderful romance has been enormously influential down the years--if you've seen "You've Got Mail," it's a digital-age remake of this movie. Ernst Lubitsch's feel for romance was on target in this one, and James Stewart and Margaret Sullavan as the lead couple are terrific.

Ball of Fire: Another classic of screwball comedy from my favorite director, Howard Hawks. The odd couple of Barbara Stanwyck (as a nightclub singer) and Gary Cooper (as a linguistics professor working on an encylopedia) had terrific chemistry.

The Glass Key: This has always been my favorite of the film pairings of Alan Ladd and Veronica Lake. It's adapted from a novel by Dashiell Hammett; the book is pretty good but the screenplay is only adequate. Ladd and Lake, however, had a unique, slow-burn chemistry onscreen that was very effective--they burn up the screen whenever they're together, and this one is worth seeing for them alone.

The Naked City: Jules Dassin's police procedural is uneven, but it has some things going for it that keep bringing me back for another look: 1) Barry Fitzgerald's solid performance as the lead detective on a homicide case, 2) The gritty, realistic feel to the police work depicted, and 3) William Daniels' striking location cinematography, which won him an Oscar.

She Wore a Yellow Ribbon: My favorite of the "cavalry trilogy" directed by John Ford. John Wayne gave one of his finest performances as the aging cavalry captain, Nathan Brittles, who has one final mission before retirement; Ben Johnson had his first significant role in this one, the start of a terrific if underrated career.

The 1950s

Night and the City: One of the classics of film noir was filmed in London by Jules Dassin, after he was run out of Hollywood by the McCarthy-era witch hunts. Richard Widmark had one of his greatest roles as the small-time hustler trying to make it big as a wrestling promoter. The final sequence, with him being hunted by enemies through the streets of London, is incredibly gripping.

The Crimson Pirate: Burt Lancaster could swashbuckle as well as Fairbanks or Flynn, and this is his most enjoyable venture into the genre. Much of the fun in this one comes from the acrobatics that Lancaster engages in, joined by Nick Cravat, Lancaster's lifelong friend--the two were partners in a circus acrobat act before Lancaster started acting.

Rififi: After his stay in London, Jules Dassin settled in Paris, where he made this terrific crime film. Much like John Huston's The Asphalt Jungle or Melville's Bob le Flambleur, this one centers on an aging hood who wants to pull one final, big heist. The heist sequence itself, filmed without music or dialogue, is a highlight of this one.

The Killing: This early Stanley Kubrick film is another heist film and a classic of film noir. Sterling Hayden excels as the would-be master planner in this one; what's striking is how virtually every major character in the film suffers from the hubris of trying to be something they aren't. Kubrick paces this one very tightly and delivers a superbly-executed film on a modest budget.

The Court Jester: A comic swashbuckler starring Danny Kaye may not sound like a likely candidate for a memorable film, but this one has many enjoyable moments, and one truly inspired segment, the famous "vessel with the pestle" scene.

Edited to add one film I accidentally left out earlier.

>147 fuzzi: As I understand, the site administration keeps track of members who are flagged as spammers, and takes what action they feel is appropriate.

Keep it coming, Jestak!

There are a lot of movies out there...

Now for some more.

The 1960s

The Magnificent Seven: John Sturges remade Seven Samurai into a Westerns, with gunfighters taking the place of samurai. While not as classic as the original it holds up very well. Yul Brynner had one of the best roles of his career, and several big names got their first serious exposure in this one--Steve McQueen, Charles Bronson, James Coburn and Robert Vaughn. Elmer Bernstein's score is classic, too.

Ride the High Country: Sam Peckinpah's second feature is one of the true classic Westerns, smaller in scale than his equally classic The Wild Bunch but just as good. Joel McCrea and Randolph Scott, two veterans of the Western, star as the aging gunfighters struggling to adapt, each in his own way, to the 20th century.

High and Low: This is an adaptation by Akira Kurosawa of a novel by Ed McBain, wherein Kurosawa proves as adept at crime films as he was at samurai films. It starts slowly but if you stick with it, it gradually takes ahold of you, and by the final half hour you won't be able to take your eyes off the screen.

A Shot in the Dark: The second of the durable series featuring Peter Sellers as the inept Inspector Jacques Clouseau is the best of the series. Unlike the first in the series, this one puts all of the focus on Clouseau. It's the film which introduces the Inspector's two long-running foils, Chief Inspector Dreyfuss (Herbert Lom) and Clouseau's manservant Cato (Burt Kwouk). The best moments in the series generally involve Sellers playing ever so effectively off of Lom or Kwouk.

The Train: This World War II thriller is sometimes referred to as the last great action film in black-and-white. Burt Lancaster stars as a French railroad manager, trying to preserve a trainload of priceless paintings which an imperious German colonel (Paul Scofield) wants to move to Germany in late 1944. Maurice Jarre contributed a very good score and the great French actor Michel Simon has a couple of great moments as an aging but brave engineer.

Zulu: Like all the best war films, this one gives plenty of attention to the human element. It's a reasonably accurate depiction of a fabled episode in the Anglo-Zulu War of 1879, the defense of Rorke's Drift by a small British detachment against roughly 40 times their number of Zulus. Michael Caine had his first big role in this one, and John Barry contributed an epic score. There's a good section on the history behind this film in the book The Washing of the Spears, by Donald Morris, which I recently read.

Bullitt: This film was probably the high point in Steve McQueen's career; the role of maverick cop Frank Bullitt perfectly suited the actor's laconic, antiheroic style and displayed his unique brand of charisma better than anything he ever did. The car chase in this one, with McQueen in his iconic Mustang, is a classic.

The 1970s

The Last of Sheila: The basic premise for this offbeat but likable mystery is not new--put a bunch of people together in some confined situation (here, on a cruise on a luxury yacht), then have one of them show up dead one morning. However, the script, by the unlikely combination of Anthony Perkins and Stephen Sondheim, is clever, and there are nice performances from James Coburn, James Mason and Dyan Cannon.

The Three Musketeers and The Four Musketeers: This two-film adaptation of the Dumas novel by Richard Lester is, I think, the best translation of Dumas to film ever. Even more than the Fairbanks films I mentioned earlier, this one captures the element of court politics and intrigue that is central to Dumas, rather than dumbing the plot down to the level of a B-Western. The cast is excellent and the action sequences have a very realistic feel.

Murder on the Orient Express: And here is, I think, the best big-screen adaptation ever of any of the works of Agatha Christie. Albert Finney makes a very good Hercule Poirot--only David Suchet, in the BBC television series, has ever topped him in the role--and the all-star cast which surrounds him is generally good.

The Man Who Would Be King: This adaptation of a story by Rudyard Kipling is John Huston's greatest film (and he made a lot of really good ones). It's the last, and one of the best, of the old-style adventure films where the story mattered at least as much as the action and the special effects. Michael Caine and Sean Connery are wonderful as the two roguish ex-soldiers who set out from India to try to become kings in a fabled, far-off land called Kafiristan.

Superman: Films about the exploits of comic book superheroes are all around us these days, or so it seems, but very few have ever matched the first one of them all. The big reason, I think, is the absolutely perfect casting of Christopher Reeve, who strikes the right tone--not too heavy, not too light--throughout the film, both as the Man of Steel and as his mild-mannered alter ego. Margot Kidder also made a wonderful Lois Lane.

It's going to take me at least one more post to get to the end of this, so I'll resume tomorrow. :)

Continuing after a very busy week.

1980s

The Long Riders: My favorite of Walter Hill's often interesting films. One of many Westerns with Jesse James as a protagonist, this one had a gimmick to the casting. Characters who were brothers--Frank and Jesse James, the Younger brothers, etc.--were played by actors who were brothers. James and Stacy Keach played the James brothers, the three Carradine brothers were the Youngers, and so forth. While loosely plotted, the cast proves to be strong, especially David Carradine as Cole Younger and Pamela Reed, a scene-stealer as Belle Starr.

The Gods Must Be Crazy: I've always found this one very enjoyable, although it's been controversial for its depiction of the culture of the Bushmen. N!xau, the Namibian bushman who plays the central character, has a very winning screen presence, and Marius Weyers as a socially awkward biologist is a great comic performer. Plus, the local Fire Enforcement Officer (a rhino!) is a riot.

Diva: This is an intricately-plotted, visually stunning French thriller. The cinematography and production design are outstanding, the plot has plenty of lovely twists, and the action sequences are superb, especially the best chase sequences set in Paris since the days of Jean-Pierre Melville.

Gregory's Girl and Local Hero: These are a pair of Scottish films that are the high point of the career of a director named Bill Forsyth. Gregory's Girl is a very charming teen romance, one of the best of its kind I've ever seen aside from Say Anything. Local Hero is a social comedy about the efforts of a Texas oilman (Burt Lancaster, who actually has a relatively small role) to acquire land for a refinery in a remote Scottish village.

The Man From Snowy River: This is a very nice coming-of-age story, sort of a Western set in Australia, adapted in part from a poem by A. B. Paterson (also known as the author of the lyrics to "Waltzing Matilda"). Kirk Douglas is the big star, playing a dual role as twin brothers. Tom Burlinson is the "man" of the title, Sigrid Thornton is the feisty rancher's daughter he falls in love with, and Jack Thompson is Clancy "of the Overflow," another character from Paterson's poems.

My Favorite Year: This is a delightful comedy, based on the experiences Mel Brooks had as a young writer for Sid Caesar's "Your Show of Shows," especially the week he was assigned to babysit a past-his-peak, boozy Errol Flynn, that week's guest star. In the film, Flynn becomes Alan Swann (Peter O'Toole), guest starring on the show hosted by King Kaiser (Joe Bologna). O'Toole is terrific and Bologna matches him in the highlight of his film career.

Star Trek II: The Wrath of Khan: Probably the best Star Trek movie of all, definitely the best with the original series cast. Nicholas Meyer, who directed and wrote the shooting script (although contract issues meant he didn't get a writing credit), wisely turned the focus of this one away from the "hard" sci-fi attempted in the first Trek film, and back to the characters. He also struck paydirt in bringing the character of Khan (Ricardo Montalban), featured in an episode of the TV series, back as the antagonist. All the regular cast members are quite good, especially Leonard Nimoy, who gives the film's biggest moment a terrific emotional punch.

The 1990s

Miller's Crossing: My favorite Coen Brothers film to watch and one of their best. It's their take on the classic gangster film, with a basic story that owes a lot to Dashiell Hammett's "The Glass Key," as well as the 1942 film adaptation of the Hammett book. Gabriel Byrne heads a terrific cast, while the Coens got excellent contributions from their regular collaborators Carter Burwell (score) and Barry Sonnenfeld (cinematography).

Cyrano de Bergerac: I read the play by Edmond Rostand long ago--in high school, in fact--and greatly enjoyed it. This film adaptation directed by Jean-Paul Rappeneau is equally enjoyable. Gerard Depardieu took the title role, a soldier, duellist and above all a poet and passionate romantic, and delivered one of his finest performances. Rappeneau, who was very good as this sort of thing, delivers a great romantic adventure with a heartbreaking ending.

The Last of the Mohicans: Michael Mann was well outside his normal territory of urban crime dramas when he made this adaptation of James Fenimore Cooper, but this is one of his very best films. Working from the script for an earlier Mohicans adaptation, Mann converted Cooper's clunky plot into a workable story, and as always he got a terrific cast: Daniel Day-Lewis and Madeleine Stowe as the romantic leads (with smoldering chemistry), Native American actors Wes Studi and Eric Schweig along with political activist Russell Means in his film debut (he has impressive presence), and above all a striking performance from Jodhi May as Stowe's younger sister.

Tombstone: Here's yet another film about the famous OK Corral gunfight; of them all, I'd rate this one a distant but honorable second to My Darling Clementine. Kurt Russell was a solid Wyatt Earp, although not in Henry Fonda's class. The memorable performances here are from Val Kilmer as Doc Holliday and Sam Elliott as Virgil Earp.

Desperado: I will admit that I really enjoy the films of Robert Rodriguez; this is probably my favorite. It's the middle film in his El Mariachi trilogy, more or less a set of spaghetti Westerns set in modern Mexico. Antonio Banderas is a very effective lead as a reluctant one-man army, and the camera simply loves Salma Hayek in this one.

Richard III: One of the best of several very good Shakespeare adaptations from the 1990s. The setting is updated to the 1930s, with multiple allusions to that period. Ian McKellen turns in a tour de force in the title role, ably supported by the likes of Jim Broadbent as Buckingham, Maggie Smith as the Duchess of York, and Robert Downey, Jr., as Earl Rivers.

Hamlet: And here's another terrific Shakespeare adaptation, the first to present the uncut text of the source play. Kenneth Branagh directed and played the lead, superbly. If anything his supporting cast is even better than McKellen's: Derek Jacobi (once a noted Hamlet himself) as a regal Claudius, Kate Winslet excelling in Ophelia's mad scenes, Nicholas Farrell a superb Horatio, Charlton Heston as the Player King and Billy Crystal, of all people, memorable as the First Gravedigger. While it's 4 hours long, I was riveted from start to finish.

Jackie Brown: From Shakespeare, we move to adaptations of Elmore Leonard. This delightful, intricate caper film based on Leonard's Rum Punch is my favorite Quentin Tarantino film; for once Tarantino tells a compelling story, in a generally linear fashion. This film ensures that Pam Grier (in the title role) will be remembered for something other than blaxploitation films, and that Robert Forster, who snagged an Oscar nomination, will be remembered, period.

Out of Sight: Along with Jackie Brown, this is the best film adaptation of Elmore Leonard that I've ever seen. As usual with Leonard, there's an interesting crime story; however, that takes a back seat most of the time to the impossible romance between bank robber Jack Foley (George Clooney) and US Marshal Karen Sisco (Jennifer Lopez). Clooney is at his best, while J. Lo proves that, beneath all the hype, she is a talented actress.

Next Stop Wonderland: Another of my favorite romances. Writer-director Brad Anderson eschews many standard rom-com conventions. Instead, he introduces us to two interesting people--Erin (Hope Davis), and Alan (Alan Gelfant). We follow their separate story lines for about 90 minutes, while Anderson suggests, ever so subtly, that they would be perfect for each other. Then they meet, in one of the great moments for movie romance.

Election: This is a delicious black comedy; Alexander Payne is spot-on in his subtle critique of society in general and high school society in particular. Reese Witherspoon is fantastic as Tracy Flick, the driven over-achiever who covets the office of student body president at a suburban Omaha high school. While Witherspoon's Oscar-winning performance in Walk the Line is very good (and I like that film quite a lot), this is the best performance of her career.

One more decade to cover; I'll get back to do it when I find the time.

Jackie Brown: From Shakespeare, we move to adaptations of Elmore Leonard. This delightful, intricate caper film based on Leonard's Rum Punch is my favorite Quentin Tarantino film; for once Tarantino tells a compelling story, in a generally linear fashion. This film ensures that Pam Grier (in the title role) will be remembered for something other than blaxploitation films, and that Robert Forster, who snagged an Oscar nomination, will be remembered, period.

I remember watching this one...why, I don't know, but I do recall enjoying it.

And yet, I could not get through "Pulp Fiction" after several tries...

Okay, wrapping up a lengthy series of posts at last.

The 2000s

A Mighty Wind: My favorite of the "mockumentaries" from Christopher Guest, Eugene Levy & company. I grew up on folk music of the sort gently parodied in this one--the clean-cut, whitebread stylings of the Kingston Trio, the New Christy Minstrels, etc.--so I can really appreciate the humor in this one. Plus, many of the faux folk tunes are actually quite good.

Master and Commander: This was a very good adaptation of the Aubrey/Maturin novels of Patrick O'Brian. Peter Weir directed a very good old-style adventure film where the story really matters, and captures the feel of the "wooden ships and iron men" age of naval warfare very well.

Mystic River: A highly faithful adaptation of the novel by Dennis Lehane. Clint Eastwood turned in one of his best movies, Brian Helgeland (who also did the script for LA Confidential once upon a time) gives a clinic in adapting a novel to screen, and the cast deservedly won numerous acting accolades including Oscars for Sean Penn and Tim Robbins; a young Emmy Rossum also stands out in her handful of scenes.

Love Actually: Okay, this one isn't necessarily for everyone--if you sit around thinking "there are just too many movies with happy endings," this is not the movie for you. It's a hyperlink romantic comedy (with two or three bittersweet storylines mixed in) with a fistful of, yes, happy endings. I do enjoy a happy ending now and then, so I watch this one at least once a year.

Serenity: While it wasn't a giant success at the box office, I think this one is one of the best action-adventure films of the last 30 years or so; Joss Whedon, in adapting his TV series "Firefly" for the big screen, displays the kind of storytelling talents that I associate with classic directors like Hawks or Ford.

Brick: This debut feature from Rian Johnson is, of all things, a film noir pastiche set in a typical suburban high school. There are a pair of terrific performances in this one, from Joseph Gordon-Levitt as the loner determined to discover the truth about the murder of his ex-girlfriend, and from Nora Zehetner as a teenage femme fatale. Gordon-Levitt has, deservedly, gone on to a degree of stardom; sadly, the just-as-talented Zehetner has not.

Stardust: Matthew Vaughn, who directed this adaptation of a novel by Neil Gaiman, is one of the two most promising directors to come on the scene in the past decade (in my humble opinion, anyway). It's a beautiful romantic adventure and the best fantasy film of the post-Lord of the Rings era that I've come across.

Hot Fuzz: This is a riotously funny action comedy. Imagine that some of the Monty Python crew got their hands on, say, the script for one of the Lethal Weapon movies--this is what you'd get as a result. Director Edgar Wright and his stars, Simon Pegg and Nick Frost, give this one so much energy and zest that it's hard to resist liking it.

Zombieland: Like Hot Fuzz, this film is full of energy, of the sort I associate with some of Robert Rodriguez's films. It's set in a "zombie apocalypse" scenario, but it's an action comedy, not a horror film. What really makes it work, along with a witty script, are the four lead performers--veteran Woody Harrelson and up-and-comers Jesse Eisenberg, Emma Stone and Abigail Breslin--who create a quartet of genuinely likable characters who we care about.

Up in the Air: Here's a nice film from the other of the best directors to break through in the past decade, Jason Reitman. Ryan (George Clooney) has a job that keeps him on the road 300 days a year (he handles layoffs for corporations too wimpy to wield the axe themselves)--and he loves it. But Natalie (Anna Kendrick), the new Ivy Leaguer at the home office, has a scheme to handle layoffs by videoconferencing. The core of the movie, where these two have to hit the road together, is fantastic--funny but humane. Clooney is in his element in this sort of role, and is predictably good, while Oscar-nominee Kendrick holds her own with him in a sparkling performance. Down the cast are two names I always like to see, Melanie Lynskey and Sam Elliott.

In just over a year since I wrapped up posting on this thread, I've seen another baker's dozen of the films on the "1001" list, so here's an update:

The Earrings of Madame de... (or sometimes just Madame de...): this film from a legendary director named Max Ophuls opens with a simple event--the "madame" of the title (Danielle Darrieux) pawns a pair of earrings which were a gift from her husband. This sets in motion a chain of events which ends in tragedy--a simple story, which Ophuls tells with incredible visual power.

Ugetsu monogatori: Probably the greatest film every by the Japanese director Kenji Mizoguchi. It's a parable about folly of trying to turn unrealistic dreams into reality.

Straw Dogs: Sam Peckinpah's most controversial film. It was known in its day for excessive violence, but it's tame in that regard by modern standards; what's far more troubling is the way it portrays the marriage between protagonists David (Dustin Hoffman) and Amy (Susan George). I found it well done technically, but not truly enjoyable.

Deliverance: In this dark adventure film, four Atlanta businessmen make a canoe journey into a remote corner of Georgia. None of the four, even the macho and wilderness-savvy Lewis (Burt Reynolds), is prepared for how they will be tested by the violence of both nature and of some of the local inhabitants. This one is famous for the "Dueling Banjos" scene with Ronny Cox and teenage actor Billy Redden.

The Killer: One of John Woo's signature films, with Chow Yun-Fat as the killer of the title, a man tired of his lethal profession. It's sort of a spiritual successor to Melville's Le Samourai (which I wrote about earlier in this thread), in both its main themes and its fatalistic tone. As it's a John Woo film, however, there's a prodigious expenditure of ammunition and a body count high enough to do credit to a small army. Violent, pretentious, and a bit overdone, but with a very good lead performance from Chow Yun-Fat.

Pretty Woman: This famous romantic comedy has a packaged, carefully planned feel to it--well-executed to be sure, but with nothing that stands out, except the film's breakthrough star. Julia Roberts at this early stage of her career was just bursting with charm and appeal, never displayed to better effect than in the role of hooker-with-a-heart-of-gold Vivian Ward.

The Big Lebowski: This black comedy/mystery is one of the Coen Brothers' best films. It may be a bit too eccentric for some tastes, but Jeff Bridges shines as Jeff Lebowski--or as he prefers to be known, "the Dude"--the most laid-back slacker of all time.

The Hurt Locker: The Best Picture winner for 2009 is a very powerful experience. Jeremy Renner and, to a lesser extent, Anthony Mackie have made career breakthroughs as a result of their performances in this one, and it definitely captures the intensity of the combat experience very well.

Black Swan: Natalie Portman deservedly won Best Actress for her portrayal of Nina Sayers, the dancer with the dream of dancing both of the "swan" roles in Tchaikovsky's ballet Swan Lake. Portman convincingly portrays Nina as an obsessive perfectionist, who eventually turns out to be a little bit insane as well. Darren Aronofsky directs this dark psychological thriller very ably, the strong supporting cast is led by Golden Globe nominee Mila Kunis, but this is Portman's show all the way.

True Grit: It's been a long time since there's been a really great Western, but the Coen Brothers' remake, adapted from the novel by Charles Portis is an exceptional one. Out of the many exceptional elements in this film, two stand out to me: 1) Carter Burwell's exceptional score, much of it based on the old hymn "Everlasting Arms," and 2) 13-year-old Hailee Steinfeld's Oscar-nominated performance as Mattie Ross. In her film debut, Steinfeld holds her own and then some with Jeff Bridges (also Oscar-nominated), Josh Brolin, Matt Damon, and others.

The Girl With the Dragon Tattoo: Adapted from the novel by Stieg Larsson, this one is probably more a well-executed thriller than a genuine classic, but it should please most fans of the Millennium Trilogy. Rooney Mara gives an effective portrayal of Larsson's most memorable character, Lisbeth Salander, and the rest of the cast, headed by Daniel Craig, is very solid.

Tinker Tailor Soldier Spy: As a fan of both the novel by John Le Carre and of the BBC miniseries starring Alec Guinness, I was somewhat disappointed in this one. The intricate plot of Le Carre's novel has been stripped down to such an extent that it moves too fast for many viewers to follow--being very familiar with the story, I had no problems, but someone less acquainted with the source material would likely have had a tough time understanding what was happening. In the giant cast, two performances stand out: Benedict Cumberbatch as Peter Guillam and Tom Hardy as Ricki Tarr are both superb.

Hugo: Martin Scorsese might seem one of the least likely directors ever for a PG-rated children's adventure film, but I found this one delightful. There are a lot of big names in the cast, but the central roles belong to two young performers, Asa Butterfield as the eponymous Hugo, and Chloe Moretz as his friend Isabelle.

I also have a few films to add to my "favorites which aren't on the 1001 list."

They All Laughed: This romantic comedy from Peter Bogdanovich isn't really a classic but it's become a personal favorite of mine. There isn't a huge amount of dramatic tension to the story; it's about a trio of private eyes who are doing classic PI work--keeping an eye on wives who are suspected of cheating by their husbands--and falling into the classic PI trap--falling in love with the women they are spying on. But the film literally is bursting over with an amiability and spirit of good will that I find very hard to resist. A nice cast included Audrey Hepburn, Ben Gazzara, Colleen Camp, John Ritter, and the tragically-short-lived Dorothy Stratten.

Topsy-Turvy: A wonderful period piece about a fascinating subject. Any Gilbert & Sullivan fan should particularly love this story of the origins of the duo's most popular operetta, The Mikado. Jim Broadbent is terrific as W. S. Gilbert and the recreations of the rehearsals and performances of the Savoy operettas are outstanding and highly believable.

The Avengers: one of the most effective of the comic superhero-to-film adaptations I've ever seen. Joss Whedon did a terrific job--not that I'd expect anything less from him--at portraying the Marvel Comics superhero team. There's exciting action aplenty, but also some quieter scenes where those in the cast with acting chops--Robert Downey, Jr., Mark Ruffalo, Scarlett Johansson, Jeremy Renner--show their stuff.