Badlands - This was the filmmaking debut of Terrence Malick and the first starring role of Sissy Spacek. They're the reason why the film still stands out among all the other similar crime pictures that have come since. Malick's lyricism and sublime use of the environment, give "Badlands" a feel and tone that is entirely unique. It's also vital that the story is told from the point of view of Spacek's character Holly, a naive, dreamy young woman who sees the violent events that unfold as part of her own personal fairy tale. The result is a film that is haunting, strange, and very, very beautiful.
The Exorcist - The effects may have become dated, the shocks lessened, and the scares harder to come by over time, but "The Exorcist" still has no small amount of cinematic power. I give a great amount of credit to the performances from Ellen Burstyn, Jason Miller, and Max von Sydow, but more to director William Friedkin. The lengths that he went to in order to achieve what he wanted are the stuff of Hollywood legend, and it comes across onscreen. He broke so many rules and so many barriers, if the film hadn't been a sensation, I wonder if he would have ever worked again.
The Holy Mountain - Alejandro Jodorowsky's magnum opus, an opulent, surreal, wildly ambitious vision of the world as presented through the journeys of a Fool. It's a movie full of fantastical places and characters, full of symbols and mysticism plucked from all over the world. It is certainly a spiritual film, but perhaps better described as a psychedelic one, focused on the search for self and the nature of reality. I love the playfulness of Jodorowsky's work here, full of little absurdities and satirical moments. And, of course, it features one of the greatest meta endings of all time.
The Sting - Paul Newman and Robert Redford made a great onscreen pair, and my favorite of their appearances together was in George Roy Hill's beloved grifter classic. There's a lovely deliberateness and patience to the way the scheme plays out, taking time to enjoy the period setting, the affectionately drawn characters, and every step of the con - helpfully accompanied by lovely illustrated chapter cards. The actual con job is pretty simple and doesn't present many surprises, but it's so beautifully executed that you can't help but marvel at the level of the craft and storytelling.
High Plains Drifter - Clint Eastwood directed this unusually brutal western, a revenge story about a stranger and a corrupt town under siege by outlaws. It's a dark and morally dubious story, often relayed more like an existential horror film than a western, which is one of its major strengths. Eastwood's stranger is irredeemable, but the film doesn't need him to be redeemed, only appeased. I love the harsh look of the film, the lurid iconography and the bleak night visions. I love the roughness and the crudeness of it, the handling of themes we'd later see refined in "Unforgiven."
O Lucky Man! - A curious sequel to Lindsay Anderson's "if...," curious because it's not remotely in the same style or tone. "O Lucky Man!" is a warmer, funnier picture, a broad satire and coming of age story. The anti-establishment sentiments are still there, but approached very differently. This is a film much larger in scope, following the adventures of our hero as he jumps from one job and situation to another. It features a lively soundtrack with a rock band that acts as a greek chorus, a young Helen Mirren, and an abundance of style - mixed media, meta elements, and over-the-top characters.
Paper Moon - A depression era fable about parenthood, presented by Peter Bogdanovich and real life father and daughter, Ryan and Tatum O'Neal. Tough, bawdy, cynical, and terribly heartwarming, this is such a perfect encapsulation of all the tensions and compromises that dealing with small children demands. The production is gorgeous to look at, the script is a treasure, and the adult actors are all strong, but I'm convinced that the success of "Paper Moon" is due in large part to Tatum O'Neal. She's an utterly magnetic presence, delivering a pitch perfect child performance for the ages.
Scenes From a Marriage - I haven't seen the six episode miniseries that the theatrical film is a distillation of, but I don't know if it could match up. Much of the power of Ingmar Bergman's examination of a couple's failing relationship is the way it compresses so much time and incidence into the space of three hours. Ad yet, Liv Ullmann and Erland Josephson have plenty of narrative space to build that fantastic onscreen relationship and then tear it to pieces. The premise is so simple, but yields so much searing drama. Subsequent films and television shows are still following its example to this day.
Scarecrow - I will always adore "Scarecrow" for giving Al Pacino and Gene Hackman the opportunity to give two of the greatest performances of their careers. They play a pair of drifters who become friends, and get in and out of trouble together. Partly a road movie and partly an Odd Couple buddy movie, it presents a striking look at two men suffering from very modern social ills. Hackman's Max is a great blusterer who reveals a surprising humanity and pathos. Pacino's Lion, however, is an absolute heartbreaker, a man who holds on to his illusions so hard that they speed along his downfall.
Spirit of the Beehive - An examination of a dangerous world through the eyes of a curious six year-old girl in 1940s Spain. She seeks out invisible spirits and monsters, not comprehending the threat of impending warfare, but also not wholly unaware of it. The film was constructed to be a metaphor for life during the Spanish civil war, full of enigmatic images and hints of deeper and more disturbing events. I love that "Frankenstein" plays such a big part of the story, and the way that director Victor Erice incorporates that film's mystique. And I love the portrayal of childhood, full of mystery and magic.
Honorable Mention:
Don't Look Now
---
No comments:
Post a Comment