The Big Screen Bulletin 10.22.07: The Best Movies of the Alphabet (Part 1)
Posted by Chad Webb on 10.22.2007
The best movies of the alphabet list kicks off with some picks you might expect, and others you won't. Read on and have fun!
Introduction
Well it has been 2 years at 411mania.com along with 100 issues of The Big Screen Bulletin, and I can safely say I still love writing for this site just as much as I did when I first started. It has been a long hard road, but writing for Ashish has been one of the best things that has ever happen to me. Words can't express how it feels when I sit down to type a new review, or finish a news report. It has been great making friends, and improving my material during my time here. I never intended to have a news report when I got hired, but Scott Rutherford asked me if I was interested one day, and 100 weeks later, here I am. I hope that I can last 100 more weeks. It is always a pleasure to bring readers movie news and opinions. Whenever I prepare an article, I have one thing in mind. If I can persuade just one person to see or avoid a film, I'll have accomplished my goal. Anyway, on with the alphabet list.
Everyone loves when critics and websites classify "best of" lists, whether it is a "top 10" this, or a "top 100" of that, the public can't get enough of them. I was always one of those people. That is why I wanted to do one of my own, and I had an idea of taking all the best films for each letter of the alphabet, and deciding which one would be the top for each respective letter. Initially, I wasn't sure how anyone would view this idea. After asking around though, the reactions seemed genuinely positive, so I knew I could make it work. I thought it would be extremely fascinating to reveal what films could beat out others. Putting certain titles up against each other would no doubt make for some surprises. By the way, I'm not saying I am the first to do this, but I haven't found anyone else yet.
This list is not just based on my own opinions and favorite films. I took the votes of the staff, and used them as a guideline of what people were thinking. I left the final selection up to me because I wanted to make this list was both accurate and comprehensive. Foreign efforts, animated features, and any other obscure title you prefer are fair game. I wanted to avoid copying others "best of" lists like those of AFI, or any other newspaper, magazine, or website. I wanted my list to be original, yet also informative. If everyone clicks on this only to read about movies they have already seen, that wouldn't be any fun. That is why for some letters, the winner may startle you. There will not be "one" best movie for the entire list at the end. That would defeat the purpose. This was made to recognize various films individually for all the passion and diligence that went into making them.
For the next several weeks, The Big Screen Bulletin is putting its movie news on hold, and focusing on "The Best Movies of the Alphabet." I truly hope you enjoy what the finished product looks like, and on a side note, the second and third place films are signified by a silver and bronze Oscar statue. A nice touch I thought. If you have any questions, comments, or concerns, feel free to email them to me. I appreciate any and all feedback.
A is for...
Apocalypse Now
Apocalypse Now
Directed By: Francis Ford Coppola Written By: John Milius and Francis Ford Coppola Starring: Marlon Brando, Martin Sheen, Robert Duvall, Frederic Foreest, Harrison Ford, Laurence Fishburn, and Dennis Hopper Release Date: August 15, 1979 The Plot: During the on-going Vietnam War, Captain Willard is sent on a dangerous mission into Cambodia to assassinate a renegade Green Beret who has set himself up as a God among a local tribe. Oscar Victories: Best Cinematography, Best Sound Alphabet Trivia: What filmmaker was initially attached to direct this project?
"I love the smell of napalm in the morning." That line is one of the most memorable ever spoken in cinema. Robert Duvall's obsessive surfer Lieutenant Colonel Kilgore says that with such a frightening straightforward tone that it remains with the viewer. This is just one of countless masterful moments in Francis Ford Coppola's Apocalypse Now that have been etched in stone. Of all Hollywood's ambitious films chronicling a phase of Vietnam War, I have debated with myself whether or not this, or Platoon was superior. Regardless of what picture one prefers, there is not a single aspect of Apocalypse Now that does not reach down and rattle your insides.
Oddly enough, the first time I saw Apocalypse Now was the Redux version. Let me be clear, the cut I am writing about is the original version released in theaters. Even though it was significantly longer, and some of the added footage was unnecessary, I still knew that what I had seen was more than just a standard movie. I was consumed by the experience, like Kurtz was with war, only it didn't drive me insane. Over the years I've met quite a number of people who were not moved by Apocalypse Now. I can definitely understand how it could rub some the wrong way. This is a very bizarre story in many respects, but there is no denying the power conveyed. It absorbs the audience into its world of thick forests, murky waterways, and humid temperatures.
These days, the problems and controversy surrounding Francis Ford's Coppola's $31 million dollar excursion have been basically forgotten (although the documentary Hearts of Darkness on the making of this is due out in a few months). For instance, Coppola himself had this to say about this film back in 1979: "This isn't a film about Vietnam. This film is Vietnam." We also heard how Marlon Brando was paid $1 million for his contribution. A journal from Coppola's wife was even released unveiling tales of Coppola's infidelity and financial gambles. If that wasn't enough, critics' primary complaints dealt with the manner in which he translated Joseph Conrad's Heart of Darkness novel to his own vision. Through all of its madness however, it stands tall as a stunningly operatic tale with some of the most gut wrenching scenes ever captured by camera.
Coppola does not force-feed messages or ideas, but presents us with the dark atmosphere of that place and time by means of such a vast scale and a demented nightmarish perception. Although John Milius' heavily revised script is subtly outstanding, Coppola says a great deal without having the actors utter any dialogue. Just the expressions on their faces, or the eerie mood that floats in a particular setting fills us with so many different emotions that they become difficult to handle, but impossible to ignore. What Coppola does is not simply reveal the ins and outs of Vietnam warfare through cinema, but he rips the soul from the tragedy, and creates fictional characters and events to expose the depths and truths of the encounter.
Harvey Keitel was initially cast in the role of Willard, and countless others were considered, but it is Martin Sheen's coarse vocals which lurk through us as the horrors of battle are observed. This is a burnt out soldier on the verge of exploding, and must have a task to undertake, or else. He is a Special Operations Officer and trained government assassin who has been sucked dry from this ordeal. Sheen exudes his struggles flawlessly, even though Coppola fired him while shooting in the Philippines. As for Marlon Brando, he arrived as an overweight pain the derriere, and some were concerned is iconic status would distract the audience in the long run. Nevertheless, he is unstoppable as Colonel Kurtz, a man who has transformed himself into a God of some secluded part of the jungle. Brando's rambling performance is so enthralling it acts as a magnet to which no one can look away as he appears before us.
The quality of the ending has been raised on more than one occasion. To expect this journey to conclude and be wrapped up like a nice gift package with no loose ends is almost ridiculous in my opinion. Despite the widespread knowledge of a tumultuous filming regimen, the final portion of Apocalypse Now is perfectly suitable as it was finished in the editing room. In a tale that is packed with bravura scenes like Lt. Col. Kilgore attacking a village in helicopters as "Ride of the Valkyrie's" booms overhead, what continues to haunt my dreams is the first image of Kurtz's Cambodian lair. This is a psychologically dominant and surreal visionary effort that absolutely puts to shame the coyness of modern submissions.
2nd Place
3rd Place
B is for...
Back to the Future
Back to the Future
Directed By: Robert Zemeckis Written By: Bob Gale and Robert Zemeckis Starring: Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover, Thomas F. Wilson, and James Tolkan Release Date: July 3, 1985 The Plot: In 1985, Doc Brown invented time travel, in 1955, Marty McFly accidentally prevented his parents from meeting, putting his own existence at stake. Oscar Victories: Best Effects (Best Sound Effects Editing) Alphabet Trivia: What MTV Movie Award nominated actor made his first on screen appearance in Back to the Future?
The pinnacle to which all other time travel movies are compared will most likely always be Back to the Future. It is a superb adventure fueled by a Flux Capacitor and endless amounts of imagination. Director Robert Zemeckis and Producer Steven Spielberg crafted one of the most delightful stories of the 1980's, and its timelessness is a testament to the compassion and aptitude, and to the carefree contributions of everyone involved.
As far back as I can remember, the entire Back to the Future trilogy never gets old no matter how many viewings I witness. That is when you know a film is special in another realm. Every great saga must start somewhere, and in 1985, Michael J. Fox and Christopher Lloyd took the world in a DeLorean and blew our minds. Of course anyone can grumble about flaws or whether or not it warrants a four star rating, but if any fantasy adventure has surpassed the need for ratings, it is this one. The logic of the time travel scenario could make a harsh assessor crazy, but the fact that this tale is so lighthearted and full of life causes those concerns to dissipate.
When young Michael J. Fox skateboarded into our lives as Marty McFly during his time as Alex P. Keaton on Family Ties, he put forth exuberance and coolness into a new character that he would forever be recognized for. Marty represented the type of teenager the 1950's could not handle, yet in the 1980's, he was plain and relatively normal. Fox's eternally youthful appearance, easygoing attitude, and magnificent portrayal are what make Marty so charming and likable. Viewers are right along with Marty for this ride. We believe in him, his actions, his foolhardy decisions, and everything in between. To this day though, I do not know why Marty was wearing a life preserver.
Christopher Lloyd morphed into one of cinema's all-time spectacular kooky scientists. As Doctor Emmett Brown, Lloyd's wild white hair, long white lab coat, and nutty gyrations instantly make us laugh, love, and admire the close to insane inventor who fell off a toilet, realized how to achieve time travel, and how to deceive Lybian terrorists. It is the comic seriousness with which Lloyd is so engagingly amusing. He says "Once this sucker hits 88 miles per hour, you're gonna see some serious shit" in a hysterical manner that further troubles the astonished Marty.
It goes without saying that these films were immensely popular with audiences upon their release, but who could have thought otherwise? Director Robert Zemeckis has become synonymous with taking our imaginations to lengths we never thought possible. He did so with Forrest Gump, Who Framed Roger Rabbit?, and The Polar Express, but when he took us back to the Hill Valley lightning storm of 1955, a masterful star was born. The timing of Zemeckis makes this zany premise effective. Take for instance, the scene where Marty meets his pathetic excuse for a father as he fends off Biff Tannen. Marty stares shocked at this loner, who he formerly knew as a pitiful middle man, and George (Crispin Glover) finally whips his head around from his breakfast and says "What!" Timing and delivery are what carry Back to the Future from a decent summer blockbuster to an undying classic.
I can't think of anyone who hasn't wondered at some point what it could have been like to meet their parents when they were young. Back to the Future explores this angle to a degree that will never cease to be hilarious. How would you feel if your mother or father was attracted to you? Another aspect that I have always adored is the set design, and how dramatically Hill Valley, California changes over decades of development. The shopping mall is a farm, the clock tower is not damaged, but the election committees are still driving up and down the streets broadcasting political agendas.
The in jokes and sight gags are endlessly terrific. One of my personal favorites occurs as Marty plugs in an electric guitar to speakers that would make the Rolling Stones drool. He does one strum, and the force of the sound blows him backward in mid-air at alarming rate. One key that made this experiment a success is chemistry. Not just between actors, but between the filmmakers and the performers. Most notably, Christopher Lloyd and Michael J. Fox are one of the century's most irrefutably mesmerizing duos, but Thomas F. Wilson and Crispin Glover deserve a mention as well. Together they are the stereotypical nerd and bully, but in all truth, both are equally as moronic.
A crucial feature that is rarely discussed is the score. Alan Silvestri's energetic and remarkable theme is one that once it enters your head, becomes increasingly difficult to stop humming. Back to the Future is the purest and most heartwarming form of escapist fantasy. It is a family friendly affair that will turn a frown upside down without hesitation.
2nd Place
3rd Place
C is for...
Citizen Kane
Citizen Kane
Directed By: Orson Welles Written By: Orson Welles and Herman J. Mankiewicz Starring: Orson Welles, Joseph Cotten, Dorothy Comingore, Agnes Moorehead, Ruth Warrick, and Ray Collins Release Date: May 1, 1941 The Plot: Following the death of a publishing tycoon, news reporters scramble to discover the meaning of his final utterance. Oscar Victories: Best Writing, Original Screenplay Alphabet Trivia: While making this movie, Orson Welles repeatedly screened the only film he feels is close to cinematic perfection. What is it?
Citizen Kane being selected for the letter "C" proves that this list is not biased. Honestly, had this been completely my choice, and had I not cared for the opinions of my colleagues, Casablanca would have won the vote. I'm insinuating that I did not enjoy Citizen Kane, but that cannot be further from the truth. This is indubitably a daring and virtuoso piece of filmmaking that marked a monumental place in Orson Welles's career.
When I became a certified film addict, one picture stood above the rest as a must-see. It was heralded as "the best film of all-time." Chicago Sun Times critic Roger Ebert praises its genius regularly, and he even contributed a commentary track on the DVD. After the American Film Institute updated their top 100 list as a 10th anniversary, Citizen Kane maintained the #1 position it held initially. I saw this after it had first been named number one. Diving into a viewing when it is called "the best of all-time" is difficult because you always have that statement on your mind while it progresses. After losing my Kane virginity, I knew I had seen an exemplary offering, but "the best?" I just could not wrap my head around that.
For this reason, I avoided writing about it, or watching it again. Now that many years have passed, and I am a more mature moviegoer, I can confidently say that Citizen Kane's invincible status has grown on me. I understand how and why this made such an indelible impression on society and critics. This is a visually breathtaking feat with strikingly gorgeous camera shots and angles, and even though it has aged prominently in the eyes of critics more than the general public, it still rests on top of the mountain of cinema.
How does one approach a review of such a landmark accomplishment? What could I say that was not already mentioned or discussed in detail hundreds of times over? All I can do is talk about my experiences and outlooks of the film, and tackle as many principal areas I can. The opening glimpse of Charles Foster Kane's hilltop castle Xanadu is amazing as it's blanketed by fog. Mr. Kane, a newspaper mogul, is dying, and his last word "Rosebud" becomes a mystery that must be solved. His paper, The New York Inquirer sends a reporter (William Alland) to investigate and rummage through Kane's past in hopes of finding the answer to a legend's last remark.
No one can deny the power and suspense of beginning the tale on that note. What a superb premise, and when it finally concludes, the explanation is so simple, yet appropriate and innocent that it cements instantly why Citizen Kane is regarded so highly. The black and white cinematography from Greg Toland is masterful and supreme. His manipulation and skilled crafting of various slants, lights, and shadows can never be rivaled.
Herman J. Mankiewicz was the screenwriter, with some aid from Welles himself, and it is loosely based around the life of William Randolph Hearst. A great deal of controversy existed on who deserved more credit between Welles and Mankiewicz. Maybe the amount Mankiewicz supplied was downplayed, and maybe it wasn't. This does not change the sheer superiority of the script.
The wide assortment of camera innovations utilized by Welles and Toland were meant to take all the eggs they possibly could, and put them into one basket that would be Citizen Kane. The results are unmistakable and mind-boggling. One specific technique that was perfected in the film and examined by numerous folks was called "deep focus." Greg Toland achieved such superlative acts through experimentation with his tools that one can seek out documentaries devoted to his deeds. In addition, Citizen Kane was influential due to the staggering make-up efforts of Mel Berns, and the applications of sound that Welles brought from his days working in radio.
Orson Welles was an enigma of a person, and if Citizen Kane was the peak of his endeavors; he would not reach that summit again. Other motion pictures would be terrific in their own right (Touch of Evil), but not on the level most associate with this magnum opus of 1941. His performance as Charles Foster Kane is a searing tour de force victory of humongous proportions for method actors. His meticulous and ruthless work ethic is well-documented as he chipped ankle bones and left shoots with bloody hands. His every move is mesmeric, and he hypnotizes all eyes to be gazed upon him for every second he is on the screen.
Will I ever worship Citizen Kane as Roger Ebert or Peter Bogdanovich have? Of course not, but I can admit to the undeniable wizardry that was present during this production. Because it was a box office failure in many ways, Citizen Kane was way ahead of its time, but then again, no filmmaker probably would have had the patience, brains, and luck to complete as consummately as Welles did today. I still would not classify this as the best movie ever made, but this list is not about one best, but many of the best.
2nd Place
3rd Place
D is for...
The Decalogue
The Decalogue
Directed By: Krzysztof Kieslowski Written By: Krzysztof Kieslowski and Krzysztof Piesiewicz Starring: Henryk Baranowski, Miroslaw Baka, Jerzy Stuhr, Zbigniew Zamachowski, and Anna Polony Release Date: December 10, 1989 The Plot: Ten television drama films, each one based on one of the Ten Commandments. Oscar Victories: None Alphabet Trivia: Which two Decalogue stories were eventually expanded into longer feature films?
This is no doubt the most surprising selection on the list, but it is a decision I stand by whole heartedly. Krzysztof Kieslowski's The Decalogue is simply put, one of the finest achievements in the history of film. This list was not confined to films released theatrically. It is "The Best Movies of the Alphabet", therefore I would not feel right had I not made this the winner for the letter D. For those that have been fortunate enough to see all 10 works of art, they automatically empathize with why it is here. Because the entire accomplishment was 10 hours long, distributors refused to screen it theatrically besides a brief tour that stopped in specific cities. No one can make the argument that this does not deserve to be mentioned in conjunction with the acclaimed classics of the last century. For those skeptical of The Decalogue, know that Director Stanley Kubrick named this as the only masterpiece he could name in his lifetime.
The Decalogue was initially produced as ten 60 minute episodes for Polish television. Each film is based on one of the Ten Commandments. What makes this so special is that each segment does not focus entirely on one commandment. Some only shortly address the commandment, while others touch on more than one at a time. For this reason, The Decalogue will continue to be one of the most thought-provoking efforts of all time. Each time you watch it, a new wonderful vision, or vital message can be found. There have been classes solely on these films. Even Roger Ebert taught one.
These can be viewed individually, or out of order, but I would advise against mixing them due to numerous spots in which all movies are connected. I bought the DVD set of The Decalogue blindly. I had heard so much about them, and thought I was making an astute purchase. The problem was, as is certainly similar to many thinking of giving them a chance, I never knew how or when to begin watching the set. I finally made a point to finish all the episodes over a recent vacation. Whenever I had spare time, I would devote myself to finishing it. Once I started, I could not turn it off. Of course I did not sit and watch all back to back, but over a week's time, and many free hours on a plane with my portable DVD player, at long last I had gone the distance. Regardless of any prior film I had seen, never before did I know of any project that offered such intelligent, informative, and engrossing material each time without fail.
The Decalogue warrants more than just several paragraphs, it deserves a book to fully appreciate them all, and analyze each one. From beginning to end, they have unique and beautiful tones and moods. Some are tragic and heartbreaking, a few are light and comical, and still others are just gripping and mysterious. A glorious new ambiance is available on each exploration. All the stories take place in a high rise Warsaw apartment complex, and this is where all the main characters live. We become sucked into these lives, and instantly a part of their dilemma. Kieslowski does not concern himself with vast philosophical conjectures or political beliefs, but stays concentrated on delicate and private quandaries that people would face.
The obstacles the characters confront are plausible and genuine. And because Kieslowski limits himself to refrain from delving into issues and images of that time period (this was made in the late eighties), 10, 20, or 30 years from now, each test endured will still be significant as it was when they first aired. Kieslowski has not crafted exaggerated or dramatic plots that come and go every week, but lasting portraits that define our society. No conclusion is laid out simply. They end aptly, but also in a manner that leaves ample room for dialogue.
All of these stories are equally as stunning and spectacular, but there are a few that stood out for me. "Decalogue One" examines the commandment "I am the Lord thy God. Thou shalt have no other Gods before me." It involves a father who believes in science instead of God. His son is smart as a whip, and together they use a computer to calculate the freezing rates of a nearby pond, so as to discover when it is safe to skate. The thickness and freezing of water is a tricky thing, and sometimes computers do not have all the answers. "Decalogue Five" studies the commandment "Thou shalt not kill", and for this one, it is impossible not to have a predisposed notion of the premise, but trust me, what results is a totally different sequence of events than one would expect. It is about an unscrupulous murderer, and his defense attorney, a young man trying his first case. After careful consideration, my favorite would probably be "Decalogue Ten", which is basically a comedy, and in fact a couple of the actors can be seen in another Kieslowski film, Three Colors: White.
Krzysztof Kieslowski meant to give each of these scripts for an aspiring filmmaker, but he just could not part with them in the long run. A wise choice. Who knows what would have happened had he not been the helmer. He does not use the same cinematographer in any episode, and this prevents any replications or echoes and maintains a distinctive style on the proceedings. The performances cannot be scrutinized like normal portrayals. Each actor is natural, unassuming, gentle, authentic, and poignant. The Decalogue is one of the most important and most remarkable submissions I have ever seen. The themes, characters, stories, and morals will be with me always, and I urge everyone reading this to look for this box set, and enjoy it as I have.
2nd Place
3rd Place
E is for...
The Exorcist
The Exorcist
Directed By: William Friedkin Written By: William Peter Blatty Starring: Ellen Bustyn, Max von Sydow, Linda Blair, and Lee J. Cobb Release Date: December 26, 1973 The Plot: A troubled cleric sees a means of redemption in helping a psychologically damaged teen. Oscar Victories: Best Sound, Best Writing Based on Material from Another Medium Alphabet Trivia: What 1954 painting inspired the film's poster image, which is also a famous scene in the movie itself?
Rarely has a horror film instilled such fear, suspense, and intrigue like The Exorcist. It is quite honestly one of the landmarks of the genre, and is the type of horror that audiences today will never experience. By current trends what could possibly cause people to faint, vomit, or run screaming from the theater? Director William Friedkin is patient with displaying the hideous images, terrifying scenes, and deplorable dialogue to increase the level of foreboding astonishment. When it was first released in 1973, it was a movie event that entranced and sickened the world, and for good reason. No studio would have the guts to distribute this nowadays. We should be thankful that it can now be treasured as a classic in every sense of the term.
It is crucial that everyone realize that the version I am referring to is William Friedkin's original theatrical cut, not "the version you've never seen" with some inconsequential added footage, and a longer ending that definitely tarnished the outstanding original conclusion. William Peter Blatty's choice was always William Friedkin as director. Stanley Kubrick wanted to assume the responsibility, but only if he could produce it. Ultimately, Blatty would get his way, but the entrance of French Connection filmmaker Friedkin would mean a extraordinary experience for the cast and crew. The lengths he went to in order to attain the desired reaction or effect were startling. The actors were placed in a refrigerated room for the chilling breath moments, Ellen Burstyn was severely injured after being jerked in a harness, Max von Sydow forgot his lines due to the foul language spoken by Linda Blair's character, and Friedkin even slapped one person in the face just because he could not evoke the intended look.
More often than not though, when a cast and crew endures so much hardship during the course of production, if the destined psychotic filmmaker is leading the charge, the results will be unmatched, and that is exactly what occurs in The Exorcist. What I loved about this film was how the storyline was given time to stretch. The running time is 122 minutes, but the gradually escalating atmosphere of dread turns a ludicrous premise into a disturbingly believable one. A similar method can be examined in Roman Polanski's masterpiece Rosemary's Baby. Not everyone may agree to this pacing, but despite any complaints, the longevity of such offerings is more substantial.
The visuals contained are just miraculous. The actions of the young possessed Reagan will forever scar us from her uses of a cross to the unsettling twist of her head. Every aspect of the process worked wonderfully from the creepy set design of Jerry Wunderlich to the eerily unforgettable score. What makes this film so revolting and petrifying is the fact that Friedkin and Blatty were not afraid to venture the whole nine yards in depicting the transformation of an innocent and sweet 12 year old girl to a demonic and vulgar possession of Satan. The special effects were groundbreaking for the time period, and even though they may seem a bit dated today, that does not diminish their vigor.
The stars were Ellen Burnstyn as Chris MacNeil, Jason Miller as Father Damien Karras, and the renowned Max von Sydow as Father Lankester Merrin. All the performances are uniformly brilliant and legitimately spine-numbing. I mean, they had to be right? What choice did they have with an insane Friedkin conducting? Without Linda Blair's hair-raisingly excellent portrayal of Reagan, this could not have obtained the premeditated degree of alarm. What she reaches is a triumph of invading and disfiguring our nightmares.
Many have debated the need for the prologue sequences held in Iraq with Father Merrin on an archaeological dig, but I say it was a fantastic technique of foreshadowing and symbolism. When I was young, there was only one movie that my father would admit to being scared at when he saw it in theaters. The Exorcist was that film. One can carp about ways in which this could have allegedly been better, but I say this was great the way it was revealed in 1973. It remains an unparalleled seminal exertion on every level.
2nd Place
3rd Place
Trivia answers: A) George Lucas, B) Billy Zane, C) Stagecoach, D) Five and Six, E) Empire of Light
