Starring: Humphrey Bogart, Walter Huston, Tim Holt
Directed by: John Huston
Number on the AFI List: 38
Year: 1948
In this dramatic thriller, Humphrey Bogart plays Fred Dobbs, a man gone mad over gold. Accompanied by Howard (Walter Huston), a quirky old medicine man, and Bob Curtin (Tim Holt), a kind hearted fellow working man, the three set off to the mountains in search of gold after a few bad deals while in Tampico, Mexico. Greed begins to get the best of Dobbs, and he spirals into madness in perhaps Bogart's best performance of his career. His slow decline into insanity is subtle and creepy, and was nice to see him play someone outside of his film noir, leading man typecast. This movie is filled with unexpected plot twists and turns, with bandits, natural elements, and inner demons providing conflict throughout the film. Justice is another huge theme of the movie, with people being killed right when convicted of crime.
How can you be a just human being with greed motivating your every move? Answer: you can't. How can you obtain wealth when everything, even gold, is dust in the wind? Well, I don't want to answer that question because I don't want to ruin the movie.
Favorite moment: Honestly, Bogart's whole performance. I can't choose a specific moment.
Will I watch it again: Probably not. It was great, but not my cup of tea.
Starring: Myrna Loy, Fredric March, Dana Andrews, Teresa Wright, Cathy O'Donnel, Harold Russell
Directed by: William Wyler
Number on the AFI List: 37
Year: 1946
Milly: What do you think of the children?
Al: Children? I don't recognize 'em. They've grown so old.
Milly: I tried to stop them, to keep them just as they were when you left, but they got away from me.
It's rough coming home after war. The lives you saw lost, the limbs you're now without, the disappointments and hardships leading to PTSD and other ailments, all make for a stressful return to a home where your loved ones kept living and growing. The Best Years of our Lives follows the return home of three WWII veterans, Al Stephenson (Fredric March), Fred Derry (Dana Andrews), and Homer Parrish (Harold Russell). Each have their own struggles to overcome: Al with this alcoholism and his now grown children, Fred with his wife who only loves him for his money that he no longer has, and Homer, who lost both of his hands during the war. Alongside them are their detached relatives who don't exactly know how to handle their return after being away from so long, nor how to love these men who have drastically changed while facing the evils of the world. Not only that, the job market has changed and years of war don't mean anything to employers who want you to have experience in order to work.
This movie beautifully encapsulates the internal and relational war that must be won after fighting the physical war overseas. It draws you in from the very first scene to the last, and thoroughly pays off at the end. It is also a reminder to love and have patience with the veterans in your own life. Thank them, respect them, and know that they've suffered more than you realize.
The Best Years of our Lives won Best Picture, among other awards, at the 19th annual Academy Awards. Well deserved.
Favorite scene of the movie: probably the first scene with the three men together in the airplane flying home.
Senior angel: "Clarence, a man down on earth needs our help."
Clarence: "Splendid, is he sick?"
Senior angel: "Worse. He's discouraged."
It's a Wonderful Life melts my heart every time. The romance between George and Mary, the goodness of George Bailey and his defiance against Potter, the disappointment of George's broken dreams replaced with the realization of how many people love him...I can't get enough.
From the time Mary as a child says "George, I'll love you until the day I die," to their first date with George declaring "What is is you want, Mary? You want the moon? Just say the word and I'll throw a lasso around it and pull it down," to George's breakdown towards the end of the movie, the relationship between George and Mary is a prime example of loving your spouse through thick and thin. Mary is a solid support for George in the most difficult of circumstances, a constant encouragement and friend. I love how she saves the day when the bank is about to be foreclosed. She is a true heroine of self sacrifice in her own right.
I'm sure George's broken dreams were all too real for the men and women in post-WWII America. If you had dreams before, they were probably shattered by the harsh realities of war. This movie is a beautiful picture of what's important in life; beyond wealth, dreams, and getting everything you want out of life, true contentment is found in being surrounded by those you love and standing up for what's right. Even though it kept him from pursuing his dreams of travel and college, George couldn't let Mr. Potter corrupt Bedford Falls. Of course, his self sacrifice pays off in the end when the entire town, even those out to foreclose his business, rally together to help him, and George finally realizes how much he is loved and appreciated. Even his brother, Harry, declares "Here's to my big brother George, the richest man in town!"As Clarence said in his note to George, "no man is a failure who has friends." Wealth and riches will all come to an end, but relationships and the impact you have on people will last forever.
Side note: I'm really sad that I will never have the chance to marry Jimmy Stewart!
Favorite scene: Oh man. Either the walk home after the dance or the ending.
Will I Watch it again: Probably twice before the year is over!
Starring: Fred MacMurray, Barbara Stanwyck, Edward G. Robinson
Directed by: Billy Wilder
Number on the AFI list: 29
Year: 1944
I gotta say, Neff. You kinda set yourself up for this one. I mean, way to fall in love with a married woman just after meeting her (while she was in a towel, no less) and giving her every ounce of trust you have. That's always a smart move, especially when she wants to have her husband killed so she can get all of his insurance money. Oh, and then you sold him the insurance and created the plan to kill him yourself. Didn't you see the red flags?
I say that as if I'm blaming him, but I didn't see the red flags, either. That's what makes this movie so great. And what makes Barbara Stanwyck, who played Phyllis Dietrichson, a wonderful actress. I never saw the cards up her sleeve. She played the victim so well throughout the movie that I was just as shocked as Neff (played by Fred MacMurray) was when she double crossed him. This movie is a suspenseful film noir thriller with an excellent plot and cast. There was never a dull moment, as each scene created more and more obstacles for Neff to overcome as he tried to hide the murder and get the girl. However, lies and manipulation will always lead to a downfall, which both main characters discover at the end of the film. The moral of the story: money is not worth an inevitable downfall, no matter how well you cover up your tracks.
Favorite scene: The final scene between Neff and Phyllis. I don't want to spoil it, so I won't post a video. What great acting!
Yankee Doodle Dandy is not only a wonderful film but a great theatre history lesson! I didn't know the details of George M. Cohan's life before this film, nor his contribution to the American theatre, but I did know his music. Now I know who wrote classics like The Yankee Doodle Boy and Give My Regards to Broadway. Along with his contributions to theatre, Cohan (played by James Cagney) played a major role in keeping up morale of US soldiers during WWI and WWII, primarily with his song Over There. This film is a great reminder of the importance of art and music, especially during war times. As President Roosevelt reminded Cohan at the end of the movie (*spoiler alert*), he is just as important to the American war effort as the soldiers on the field.
Beyond the history lesson, the acting, singing, and dancing in this film were fantastic. From the vaudevillian act, The Four Cohans, at the beginning to the broadway shows (and of course James Cagney tap dancing down the stairs at the end), everything was spectacular and reminded me of my love for theatre and America. I only wish they made more movies like this today!
Favorite moment: The finale. Especially Cagney tap dancing down the stairs and the end where he joins the soldiers singing!
Casablanca. What a beautiful, tragic movie. Casablanca houses many refugees from war hoping to travel to Lisbon and then to America to escape raging WWII. It is a representation of lives on hold. Many people have been stuck here for months, including Rick Blaine, played by Humphrey Bogart. Rick is an embittered man, closed off to friendship and love, occupying his time with running his nightclub in the middle of the city. When Ilsa Lund, played by Ingrid Bergman, enters the club, we find out that she is the love of his life, even though they only had a brief time together in Paris. She was and is married to Victor Lazlo, played by Paul Henreid. Loyalties and morality are frequently challenged for both Ilsa and Rick, with their relationship hanging in the balance by the end of the movie. Should they run off together, or should Ilsa remain loyal to her husband? I won't spoil the ending, but the transformation in Rick by the end of the film is wonderful.
The whole ensemble cast in this film is fantastic; I especially loved Sam played by Dooley Wilson and Captain Renault played by Claude Rains. Beyond the love story, the question of who to be loyal to, the Nazi's or France, left me guessing throughout the film, especially with Captain Renault. His transformation by the end of the film is fantastic as well. Overall, this movie is beautifully directed, well acted (even Humphrey Bogart toned down his film-noirness), and an overall entertaining and satisfying story.
"Here's looking at you, kid."
Favorite moment: What can I say, I'm a typical girl. The love story in Paris. There aren't any good videos of this on YouTube. :(
This movie is my favorite talking comedy on the list thus far. I had no expectations going into it: no idea of the plot, I didn't know who the director or starring actors were, and the poster doesn't do it justice. Joel McCrea plays John L. Sullivan, a Hollywood director who has had his life handed to him on a silver platter and wants to become homeless for two weeks in order to relate to the lower class, and thus make a movie appealing to them-O Brother, Where Art Thou, which ended up being a hilarious comedy starring George Clooney in 2000 (but that's a different story...and this is a run on sentence). On his first attempt at this journey, he finds himself back in Hollywood and meets a struggling actress, The Girl, played by Veronica Lake (so funny how often names are overlooked in movies). She falls for him and decides to go on this journey with him, but a few setbacks later they're back in Hollywood again. Finally, after a series of unfortunate events, Sullivan finds himself accused of battery and in a chain gang, where he really learns what it means to be homeless and without hope. However, he finds that laughter is really what the poor need, not a depressing film that reflects their hardship.
I could say a lot about how this movie inaccurately depicts the poor, but social commentary aside, this movie is quick witted, well acted (subtle, not overt), and fun. I'm in LOVE with McCrea and Lake as co-stars, especially Lake, who threw herself into hilarious physical comedy without batting an eye. The whole ensemble cast was fantastic, from the producers who lie about their own hardships to get Sullivan to rethink his own life, to the reporters following Sullivan around, to the hobo's on the train. Well done, Preston Sturges.
Well, this was a fun one! From the beginning I was hooked with the mystery and high energy dialogue. Humphrey Bogart as Sam Spade wears the detective hat well in this fast paced, whodunnit drama also starring Mary Astor as Brigid O'Shaughnessy. O'Shaughnessy was my favorite character of the film; her lies and manipulation had me believing her for most of the movie. I was humored by how every conversation had to have at least one person smoking a cigarette; even when Spade was beating up on Cairo in Spade's office, he had a cigarette in his mouth. I also loved the cool, collected way Spade handled every unfortunate situation he was thrown into without batting an eye. He knew he would figure out the truth among the lies and come out on top.
I don't have much else to say about this one. I had a good time watching it and will look forward to seeing more of Bogart and his film noir films in the future!
Favorite moment: "When you're slapped, you'll take it and like it!"
Will I watch it again: Yes!
THIS WAS MOVIE #20! Therefore, it's time for me to again rank the movies I've seen thus far. Here goes (based on taste rather than artistic achievement):
1. City Lights
2. Modern Times
3. Sunrise
4. Snow White and the Seven Dwarfs
5. Wizard of Oz
6. Gone with the Wind
7. Citizen Kane
8. A Night at the Opera
9. Bringing up Baby
10. The Gold Rush
11. The Maltese Falcon
12. It Happened One Night
13. Mr. Smith Goes to Washington
14. The Grapes of Wrath
15. The Philadelphia Story
16. King Kong
17. The General
18. Intolerance
19. Swing Time
20. Duck Soup
Stylistically stunning, Citizen Kane is a masterwork of storytelling and cinematography from beginning to end. Flashbacks used in the relentless pursuit of the purpose behind Kane's final word, "rosebud," were thought provoking and completely engaged me in the mystery. Why was "rosebud" so important to Kane? Where did it come from? Why do I care about this rich tycoon who is frivolously spending his money and why didn't he care about his spending habits or other people? The simple answer isn't just that he was rich and "rich people don't care about others." He said in his conversation with Thatcher:
Kane: You know... if I hadn't been rich I might have been a really great man.
Thatcher: Don't you think you are?
Kane: I think I did pretty well under the circumstances.
Thatcher: What would you like to have been?
Kane: Everything you hate.
Citizen Kane is a story of a man deprived of a childhood, abandoned by his parents, brought up by people who only tried to convince him what to do with his money, and the after effects of what he does in order to feel fulfilled in his life. All he knows is his wealth, and yet he has the faint memory of home. He collects artwork, builds castles in the air, marries whomever he wants, runs a continually failing newspaper, and yet nothing is satisfactory to him-all is fragile, made of glass, as we see in one of the final moments of the movie. Even the snow globe representing his home is unsubstantial.
I was unsympathetic towards Kane until the very last shot of the movie when we find out what "rosebud" represents. At that moment, everything in the movie clicked, and I did gain sympathy towards this harsh man who only keeps people around so he can feel loved and secure-beautifully explained by Susan as she leaves Xanadu:
Kane: Don't go, Susan. You mustn't go. You can't do this to me.
Susan: I see. So it is YOU who this is being done to. It's not me at all. Not how I feel. Not what it means to me. I can't do this to you? Oh, yes I can.
To me, it is the loss of childhood. No amount of money can replace the warmth and love of family. Kane spent his life looking for that which was lost in money, fame, politics, marriage, but as he died he realized what he had been searching for all along was lost in his youth.
This is my theory that I'm sure will change as I watch the movie again. The boldness in casting and directing of this film earned it the number one spot on the AFI list. While it's not my personal favorite, I can see why this film is so important to film history.
(Also, shout out to William Hearst whom I didn't know this movie was partially based on but totally caught on within the first 10 minutes that it was inspired by him.)
Favorite moment: There are SO MANY COOL SHOTS in this movie that it's hard to choose just one. But the moment of Kane being essentially sold off to the bank stands out in my mind-the contrast between the young boy playing not knowing that his fate is about to change vs. the stoic mother who is resigned to sell off her child:
Starring: Cary Grant, Katharine Hepburn, Jimmy Stewart, and John Howard (who I definitely thought was Clark Gable)
Number on the AFI List: 44
Year: 1940
I must say, this is another movie I need to re-watch to appreciate more. I didn't find the script nearly as funny as Bringing Up Baby, which probably added to my disenchantment with the movie. However, the cast is fantastic; how can you go wrong with Grant, Hepburn, and Stewart? But unfortunately the movie didn't hook me in right away so I was rather lost the whole time. This is what I get for watching movies tired! I will say, though, I have yet to see another movie attempt not a love triangle, but a love square, with three potential suitors for one girl (poor Liz). Jimmy Stewart out shined the rest of the cast with his colorful character, Macaulay Connor. It was nice to see him break away from his dramatic everyman roles and play someone more offbeat and humorous. I also absolutely ADORED Virginia Weidler as Dinah Lord. She tied the whole movie together with her sarcasm and playful antics, however, she was the voice of truth and reason when everyone else was blind to reality. Hepburn did a beautiful job with her character arch from snobby, perfectionist rich girl to down to earth, reasonable woman. Admittedly, Grant was a little one note to me; a stark, disappointing difference from his hysterical character in Bringing Up Baby.
Favorite moment: Every time Dinah was on screen.
Will I watch it again: Yes. I need to give it another shot :)
Starring: Henry Fonda, Jane Darwell, John Carradine
Number on the AFI list: 23
Year: 1940
There's no place like home...unless the man comes and takes it away from you. Thus began the long, arduous journey of moving an entire family West with a promise of work and wealth. Death, struggle, and lost dreams follow this family all the way to California, and the story ends with the hope that man will survive if he has the willpower to do so. I've heard the ending of the film is more hopeful than the ending in the book. I wouldn't know. I think I skipped the John Steinbeck classic in high school.
The movie, despite its depressing tone, was well acted and the story was captivating. I especially loved Jane Darwell as Ma Joad. She represents strength and compassion in the midst of struggle, feeding starving children and caring for her dying parents. She is a rock for her whole family, especially Tom Joad, played by Henry Fonda. His farewell speech at the end was one of my favorite moments of the film.
This movie depicts how easy it is to take advantage for those in poverty; if you have no where else to turn, you'll work for the smallest of wages. However, the hope at the end, which I'm sure inspired many of its original audience, is to keep fighting for what's right. Keep going, and eventually, the hope for tomorrow will turn into a better today.
Favorite moment: When the children see running water for the first time in the showers at the government-run camp.
Year: 1939 (which must have been quite the year for great movies-this is the third movie on the list released in 1939!)
I'm going to go ahead and say it-I wasn't blown away by this movie like I thought I would be. Maybe I wasn't in the mood to watch one man struggle against everyone else persecuting him. The whole thing seemed rather cynical. The movie explores the question of how does someone with pure intentions get anything done in government that is positive for the American people. The conclusion: they don't; not without a relentless fight (not too far from the truth, even today!).
However, that doesn't negate the wonderful acting done by Jimmy Stewart (*swoon!*) and Jean Arthur. Stewart, as Mr. Smith, had many wonderful monologues throughout the movie that sparked patriotism and belief in the goodness of mankind. Arthur, as Saunders, also had great monologues about how the government works, from the senate to passing a bill...a great refresher for my memory! Her character arch, spanning from annoyance of Mr. Smith to accepting and falling in love with him, was fun to watch. And I couldn't help but join in Mr. Smith's awe of Washington D.C. and being inspired by his forefathers, primarily Lincoln.
I probably need to give this movie another shot. I can tell that this was the foreground to It's a Wonderful Life- Capra loves the use of Auld Lang Syne and stories of common man being placed in circumstances they didn't ask to be placed in and struggling with the powers that be. He also loves concluding his movies with excessive props representing either gain or loss (money in It's a Wonderful Life, paper telegrams in Mr. Smith Goes to Washington). I'm not saying it was a bad movie by any means, I just couldn't get with the story.
Favorite moment: The greatest quote of American patriotism of all time:
Starring: Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley
Number on the AFI List: 10
Year: 1939
Another movie I watched over and over again as a child, The Wizard of Oz never fails to capture my attention and imagination. Now that I'm older, I can clearly see the ways director Victor Fleming subtly alludes to Dorothy's trip down the yellow brick road and the friends she will meet while still in Kansas, and the transformation that needs to take place for Dorothy to be content with the life she leads. I also noticed while on the yellow brick road journey, all four characters already have what they are seeking within themselves: the scarecrow makes wise decisions along the way, the tin man cries in sad and difficult situations, and the lion finds courage within himself whenever he needs to rise to the occasion to save Dorothy. And of course, we learn at the end that all Dorothy needed to get home were the ruby slippers on her feet. What a beautiful picture of life; in order to discover all that is great within us, we need to go through difficult journeys, face the "wicked witch" that would seek to destroy us, and fight for what we need with our friends supporting us. The man behind the curtain is someone we think we need when we really don't; we can easily follow people who promise us great things as long as we do what they want. In reality, we don't need them, we just need contentment in the love that we already have for our family and friends at home.
Another thing I noticed as I re-watched the film was a very subtle almost break in character by Dorothy when she meets the Cowardly Lion. Go to 1:00 and watch her slight smile as the Lion wipes his face with his tail for the first time:
A quick note on the director: Victor Fleming had a few huge years of filmmaking considering that he directed BOTH Gone with the Wind and The Wizard of Oz. Both released through MGM in "glorious Technicolor," these two movies set a high bar for filmmaking in full color, and they're both in the top 10 of the AFI top 100 list! Kudos, Mr. Fleming. You're a mastermind at storytelling, proven by these films continuing to be two of the most well loved films of all time.
Favorite moment: Always and forever will be when Dorothy opens the door of her house and sees Munchkinland for the first time:
Directed by: Victor Fleming
Starring: Clark Gable and Vivien Leigh
Number on the AFI List: 6
Year: 1939
Before I get snarky with my remarks, I will say that this movie is a beautiful masterpiece, thoroughly entertaining and captivating with beautiful cinematography and direction. The costumes and set design were amazing! The costumes made me almost wish we still dressed like the ladies of the late 1800s. Almost.
I was lost in the movie from the first scene, and even though the it was four hours long (not three, like I had anticipated), I was rarely bored. However, I can tell this movie was made before sequels or mini-series were a thing. I personally think the first and second acts were different enough in storyline (save for the Butler/O'Hara "romance") to split into two movies. The first act was spectacular- from the whimsy of the old south to the horrors of war, it flowed beautifully and realistically depicted the struggles of changing times. The second act, while entertaining, was a little overdone. The last hour shifted in style from romance to melodrama with so many tragedies happening one after the other to the point of it being too much drama. I was also waiting for Scarlett to have a change in heart and attitude much sooner. Her character brought the movie down with her selfish manipulation; it's hard for me to stay completely engaged in a movie when the lead is so unforgiving. Thankfully, Melanie (Olivia de Havilland) made up for Scarlett's heartlessness with her gracious, gentle demeanor, as did Mammie (Hattie McDaniel) who did a great job of constantly putting Scarlett in her place. The very end was a bit of a disappointment, but it ended as all proper tragedies should (don't want to spoil it for those who haven't seen it!).
Now, here's what I REALLY want to say:
Dear Scarlett,
He's just not that into you.
Also, stop marrying men just to hurt other people.
Love,
Jodi
Dear Rhett,
She's just not that into you.
Also, please stop forcefully kissing Scarlett.
Love,
Jodi
Favorite scene of the movie: I don't have a moment, but I have a line:
"You need kissing badly. Thats what's wrong with you. You should be kissed, and often, by someone who knows how."
Will I watch it again: Sure. If I ever have time again :)
Unfortunately I wasn't able to watch this movie in one sitting-I kept getting interrupted! But over the course of three days, I was continually anticipating finishing it. I must say, I naively thought Katharine Hepburn was a dramatic actress and Cary Grant was a dramatic actor, so I was surprised to find them both hysterical, yet sometimes a little annoying, in this movie. Cary Grant as David stole the show from the beginning as the eager straight man who continually found himself in unfortunate circumstances. Katharine Hepburn as Susan admittedly drove me a little crazy at the beginning with her lack of listening (not the actress-the character), and I couldn't believe she continually got away with stealing other people's belongings! I didn't know cars could be easily stolen back then. I also thoroughly enjoyed the addition of the tame leopard, Baby, who loved listening to "I Can't Give You Anything but Love." That created multiple opportunities for misunderstood conflict when David and Susan were searching for Baby towards the end of the film. Quirky and fun, this comedy of errors was entertaining from beginning to end.
Favorite moment: I can't find a clip online, but the initial scene where we discover the leopard loves "I Can't Give You Anything But Love."
Directed by: William Cottrell and David Hand, et al
Starring: Adriana Caselotti
Year: 1937
Number on the AFI List: 34
This is the first movie on the list I've already seen! I've always loved Snow White. I watched it over and over again as a child. I absolutely love the Dwarfs. They are the funniest side kicks, and yet so sympathetic and charming. There are so many funny moments in this movie-the turtle who can never keep up and is always five minutes too late, the little bird who can't sing, everything Dopey does (in particular, inhaling the soap and getting soap hiccups)...the list can go on and on. Beyond the humor, I find Snow White herself to be a great example of love and forgiveness even when life is uncertain. She is a bit naive, but she only wants what is best for those around her and has a heart of gold. The queen is terrifying-her collection of skulls and skeletons, books of witchcraft, crow sidekicks, and the most obvious, her obsessions with Snow White death...she is quite the crazy one! I will say, though, her peacock throne is LEGIT.
This movie has beautiful animation for a time where technology wasn't too advanced and everything was drawn by hand. The beauty of perspective technique and the scene changes astound me. One of the coolest moments of animation is when the queen turns into the old hag:
Overall, this movie is spectacular all around- story telling, comedy, animation...it will always be my favorite.
Favorite moment: SO hard to choose! Probably the dancing scene. I always would fast forward to it as a child:
Is it just me, or was the plot of this movie similar like It Happened One Night? I'm sensing a formula here, Hollywood. But it worked, so I can't complain! Lucky (Astaire) and Penny (Rogers) were phenomenal dancers and wonderfully awkward romantic leads. Pop (Victor Moore) and Mabel (Helen Broderick) were hysterical sidekicks. And of course, "The Way You Look Tonight" is arguably the most romantic song of all time! However, among the good moments of this film, there were a few racist moments...Bojangles was a fantastic dance number, but uncomfortable to watch while Astaire was in blackface.
Favorite Moment: "...do you like my dress?" (Fast forward to 1:30!):
Number on the AFI List: 78 (WHO'S JUDGING THIS ANYWAY?!)
Year: 1936
STOP. BEFORE YOU READ, PLAY THIS SONG AND LISTEN TO IT WHILE YOU READ.
Smile. Written by Charlie Chaplin (for Modern Times). Vocals by Nat King Cole.
Once again, Charlie Chaplin has left me speechless. This movie is challenging, thought provoking, humbling, and heartbreaking. How appropriate that the title theme is Smile. Smile when life is hard, smile when you've lost your job for the fourth time, smile when your home is nonexistent. Sometimes all you need is your loved one by your side on the long road to who knows where. What a powerful message this must've been to the depression-ridden USA of the 1930s. Not only does this film challenge (albeit over-exaggerated) the atrocities experienced by city laborers at the time, it humanizes those struggling with joblessness and starvation. I must say, I didn't laugh for the first 30 minutes even though there were funny moments. The struggle of the Factory Worker (Charlie Chaplin) was sickening-especially the moment where he is asked to be the guinea pig for a human feeding machine. I'm sure it was supposed to be funny, but I couldn't get past the hopelessness of the situation. I FINALLY laughed during the lunch scene in jail where the Factory Worker accidentally consumes cocaine time and time again. The faces! THE FACES! I died.
And who can forget the skating scene in the department store? I was on the edge of my seat, so nervous he was going to fall.
This is the last Charlie Chaplin film on the AFI list, and I must say I'm sad that I don't have another Chaplin film to look forward to (at least for now-I will be watching all of them after I'm done with this list!).
Charlie, thank you for your inventiveness, your risk-taking, your boldness, your humor, and your kindness to share your talents with the world. I'm sure like most artists you were hard on yourself, wanting everything to be perfect and not settling for anything less than best. I hope that you found moments to truly smile and be satisfied with your work, proud that it touched so many lives and helped people during times of hardship and sadness.
That's what we artists do, right?
"You'll find that life is still worthwhile if you just smile."
Favorite moment: Cocaine scene. Those eyebrows!
Will I watch it again: Absolutely. No question.
I would post the YouTube link on here, but the only good one has the very few dialogue lines in French, so I would recommend you pick this up from your local library.
MY ORDER OF THE TOP 100 MOVIES OF ALL TIME THUS FAR (based on tastes alone, not cinematic quality):
Title: A Night at the Opera
Director: Sam Wood
Starring: The Marx Brothers
Number on the AFI List: 85
Year: 1935
At first I wasn't looking forward to another Marx Brothers' film, but this movie made me a Marx Bros believer. Not only did I laugh a lot, I also enjoyed the plot line of the brothers trying to get the lesser known tenor, Ricardo, to star in the opera in New York (because really, every actor can relate to that frustration). The pun's had me dying:
Groucho: "It's all right, that's in every contract. That's what they call a sanity clause."
Chico: "You can't fool me! There ain't no Sanity Claus!"
Harpo's antics weren't so obnoxiously overdone like in Duck Soup, and Chico was great as the dim-witted Italian manager of Ricardo. There are many unforgettable comedic moments in this film, including cramming everyone into Groucho's cabin:
and Harpo and Chico helping conduct the opera:
However, beyond comedic antics this movie had great sentimental moments between Ricardo (Allan Jones) and Rosa (Kitty Carlisle). My favorite scene of the movie has to be when the boat is about to set sail and the two lovers sing "Alone" to one another. This of course is hilariously interrupted by the entrance of the Marx Brothers, which is even funnier because it comes at the middle of a serious moment:
Believe it or not, there is a similarity between King Kong and It Happened One Night: both lifted their respective studios out of poverty! This movie is charming and endearing. It was surprising to me that neither Clark Gable nor Claudette Colbert were excited about doing this film; in fact, Colbert reportedly told a friend "it was the worst film I've ever made." However, the movie swept the Oscars in all major categories- Best Film, Actor, Actress, Director, and Screenplay, so they must have done something right! And they did. The characters in this movie have great arcs from beginning to end; it was fun to watch how each character's pride slowly got chipped away until love and acceptance were found at the end, including the father's! I loved the allusion to the walls of Jericho representing the wall put up between Gable and Colbert, literally by a blanket in the middle of the room. This made for a wonderful payoff at the end with her drunk father declaring "let 'em topple!"
I do have to say, I don't QUITE get why this movie is titled "It Happened One Night." What is the IT? Which night was it? There were multiple nights in the movie. But that's neither here nor there.
To be brutally honest, I didn't like this movie. Maybe it's because I've watched a few Charlie Chaplin films now, so the Marx Brother's comedy seemed forced. Maybe its because the movie literally had no soundtrack, unlike the silent films I've watched (even though there were a few random musical numbers). Maybe its because I could tell Groucho's "mustache" was painted on his face. Whatever the real reason, something about this movie just didn't keep me entertained, but I did enjoy the puns. Puns are my favorite. I was also questioning the entire time who the fourth Marx brother was-Zeppo Marx. He apparently played the role of Bob Roland. Who was Bob Roland? That's how much this movie was lost on me. Maybe I need to watch it again. I enjoyed the little details they threw in; for example, at the end during the war, Groucho literally changed costumes to every major general in war history. That was clever. I also enjoyed the "mirror" scene:
However, most of the time I was just annoyed. Especially at Pinky. STOP CUTTING THINGS, PINKY!
Director: Merian C. Cooper and Ernest B. Schoedsack
Starring: Fay Wray, Robert Armstrong, Bruce Cabot
Number on the AFI List: 41
Year: 1933
MY FIRST TALKIE!
"It was beauty killed the beast!"
Note to self: if a director asks you to leave with him the next day on a boat to an island with no name in order to star in his next big feature, just say no. Also note to self: If you do end up saying yes, don't let the director make the terrible decision of bringing the beast (who's just killed dinosaurs) back with you to New York. Bad ideas all around.
This movie must have blown everyones mind's back in the 1930s. It was impressive to see the use of stop motion figures as a backdrop to the live actors; pre-computers, that was quite the feat! King Kong captured the desperation of the depression era but proved that even in desperate times you still need to be smart about what decisions you make. It's interesting to note the movie within the movie mirroring real life. King Kong saved RKO pictures from bankruptcy and was a huge risk to take in the midst of the depression. The director also told Fay Wray that her co-star would be "dark and handsome," which is similar to Carl Denham's non-descriptive lines he uses to lure Ann Darrow into making his mysterious film with him. The acting in the movie was typical film-noir style, with the damsel in distress always flailing her arms and covering her eyes, and the director speaking in monotone, staccato rhythm. Did I mention how GORGEOUS Bruce Cabow is?!
*swoon*
Timeless and inspirational, I can see how many films have been inspired by this movie, particularly Raiders of the Lost Ark and Jurassic Park. I was expecting Indiana Jones to jump in and save the day after Ann got captured! It was a huge RISK to make this film, and the risk paid off exponentially.
Favorite scene: Climbing the empire state building. Cliche, I know, but that image will stay in my mind forever!
The poster is a little misleading: this movie is not actually about boxing (darn!). However, it is a wonderful romantic comedy about the Tramp (Charlie Chaplin), homeless and penniless, falling in love with a blind flower shop girl. Blindness is not only found in the love interest, but also in a millionaire whom the Tramp rescues from suicide-however, the millionaire only recognizes the Tramp when he is drunk. If and when the millionaire is sober, the Tramp finds himself kicked out and even jailed. All the while, the Tramp just wants to financially help the blind flower girl. Typical Charlie Chaplin-esque antics ensue, but the subtleties of the discoveries in this movie, especially at the end, are what set it apart from the other films I've seen so far. It makes sense, considering this was made when "talkies" were already competing in Hollywood. Where Sunrise mastered the use of cinematography and interchanging genres, all the while maintaining a romantic feel, the acting and simple yet compelling plot line are what makes this movie one of the greats.
Of course, Chaplin's wonderfully choreographed comedic moments are impossible to forget, including this moment at the beginning which had me rolling with laughter (it's the tipping of the hat that gets me!):
Further thoughts (as of 4:30pm on 7/24): This movie centers around the Tramp not being truly seen by anyone, from the blind girl who REALLY can't see him and mistakes him for a rich man, to the millionaire who only recognizes the Tramp when he's drunk, to the man who thinks the Tramp could be a successful boxer, to the foreshadowing at the beginning with the reveal of the statue where the Tramp is sleeping. All of this blindness creates an even more meaningful ending when the Tramp is really seen for the first time for who he is. Well done, Mr. Chaplin.
Favorite moment: The one linked above, and the cigar lighting scene in the restaurant.
I've decided to get rid of the "least favorite moment" question until I find a movie with a least favorite scene!
Number on the AFI List: 82 (way too far down the list, in my opinion)
Year: 1927
I'm still trying to figure out how to articulate how beautiful this movie is. From the spectacular cinematography, to the wonderful use of dramatic irony, keen direction, flashbacks, and symbolism throughout...I'm starting to wonder why Hollywood ever needed to create talkies! I don't want to give away too much of the plot. Just know that this is a movie definitely worth watching, the morality expressed is still relevant today, and the acting is superb. What I find most fascinating is you never quite know what genre of film you're watching. Is it a thriller? Drama? Comedy? However, the lack of genre clarity is not distracting and flows easily throughout the film. Also, can we talk about how beautiful Janet Gaynor is AND how much she looks like Amanda Seyfried? Or maybe its Dakota Fanning.
Favorite Scene: The church scene. And the end. What a pay off! Oh, and the drunk pig. That was a fun moment.
Sometimes it's fun to look at the Union as the enemy! Based on true events from the Civil War, The General is about a locomotive engineer, Johnnie Gray, who was denied the chance to enlist in the Confederate army because he was invaluable to the South as a train operator. He of course proves his worthiness to be a soldier-and to win the girl!-as he singlehandedly chases down Union soldiers, discovers their battle plans, and returns to the South (girl in tow) in order to warn the Confederacy of the upcoming attack from the North. (I don't know about you, but I'm thinking Captain America could have gotten some inspiration from this movie with the whole you-can't-join-us-but-then-you-prove-you're-worthy plot).
Stonefaced Keaton is as funny as they come. Slapstick schticks like sitting on the coupling rods of a train as it slowly moves away and death defying stunts as Keaton literally runs and jumps and climbs over the train like an expert stole the show for me.
One has to wonder how slow the trains were actually going and if they sped up the footage later (probably), but it was fun to watch nonetheless. Beyond the humor was great storytelling. The plot was easy to follow and smoothly transitioned, with each scene building intensity like a runaway train. It was also fun to watch this movie for a brief moment with my roommate, Rachel, who's exclamations expressed what everyone would be thinking at each moment: "He's so dumb!" "It's only one guy!" "What are they doing?" "She's curvy!" (Yes, shout out to Marion Mack who didn't have to succumb to Hollywood body standards).
It's interesting to note that during this time of Hollywood history, the rise of the movie star was taking place with Keaton and Charlie Chaplin being the two biggest names of this day and age. Also at this time neither of them were hired by any of the major movie companies- MGM, Warner Bros, Universal, or Paramount. They were true indie filmmakers way back in the beginning of Hollywood.
