Best Picture Academy Award Winners
The ratings you see are not those of a professional, or of one aspiring to be so. They are chosen primarily based on personal preference rather than objective fact. Indeed, mainstream acceptance has actually been a preeminent clue that it will not be one of my favorites.
I take into consideration the following: (1) Character development & depth; (2) Quality of direction & acting, (3) Pacing, use of screen time, & general cohesiveness of story, (4) Ingenuity, originality, pioneering; (5) Caliber of soundtrack/dance numbers; (6) Personal impact after the film has long ended (Does it make me view the world differently? Rethink a belief I have long held? Inspire me to change something?); (7) Ability to withstand the test of time.
This is all considered, of course, within the parameters of the time period in which the film was made; the cultural and social norms of its time, as well as what audiences needed or wanted at the time.
That being said, I am the first to admit to gladly succumbing to a film based on entertainment value or nostalgia alone.
Key To Ratings:
10: An instantaneous classic; A film with unforgettable scenes, quotable lines, illustrious characters; Unparalleled cinematography with an exceptional soundtrack; Ingeniously made and masterfully directed.
9: Near perfection! A definite favorite; not quite on par with my all-time-favorites, but so, so close.
8: An amazing film; Meaningful story told in a remarkable and/or unprecedented way with memorable characters and dialogue; inspiring and thought-provoking.
7: A very good film! Captivating, well-told, with admirable artistic achievement. A solid win, but may not stand the test of time; not an all-time-favorite.
6: A notable film with at least some above average qualities; Interesting characters and a worthwhile story.
5: Nothing special; Average film to check off the list; Possibly elements of the film were variable, but still an engaging film overall.
4: Disappointed; Slightly below average film; Mostly watchable, but failed with the essential parameters that constitute a good film.
3: Another film not worth mentioning; Unable to maintain audience interest; Predictable dialogue, uninspiring story, unnecessary scenes, unimpressive cinematography, production, and direction.
2: A failure; an impressively inadequate film in all respects; Not quite the worst of the worst, but close enough.
1: This is a film? Cannot believe I forced myself to watch it; hated it. Worst of the worst!
I take into consideration the following: (1) Character development & depth; (2) Quality of direction & acting, (3) Pacing, use of screen time, & general cohesiveness of story, (4) Ingenuity, originality, pioneering; (5) Caliber of soundtrack/dance numbers; (6) Personal impact after the film has long ended (Does it make me view the world differently? Rethink a belief I have long held? Inspire me to change something?); (7) Ability to withstand the test of time.
This is all considered, of course, within the parameters of the time period in which the film was made; the cultural and social norms of its time, as well as what audiences needed or wanted at the time.
That being said, I am the first to admit to gladly succumbing to a film based on entertainment value or nostalgia alone.
Key To Ratings:
10: An instantaneous classic; A film with unforgettable scenes, quotable lines, illustrious characters; Unparalleled cinematography with an exceptional soundtrack; Ingeniously made and masterfully directed.
9: Near perfection! A definite favorite; not quite on par with my all-time-favorites, but so, so close.
8: An amazing film; Meaningful story told in a remarkable and/or unprecedented way with memorable characters and dialogue; inspiring and thought-provoking.
7: A very good film! Captivating, well-told, with admirable artistic achievement. A solid win, but may not stand the test of time; not an all-time-favorite.
6: A notable film with at least some above average qualities; Interesting characters and a worthwhile story.
5: Nothing special; Average film to check off the list; Possibly elements of the film were variable, but still an engaging film overall.
4: Disappointed; Slightly below average film; Mostly watchable, but failed with the essential parameters that constitute a good film.
3: Another film not worth mentioning; Unable to maintain audience interest; Predictable dialogue, uninspiring story, unnecessary scenes, unimpressive cinematography, production, and direction.
2: A failure; an impressively inadequate film in all respects; Not quite the worst of the worst, but close enough.
1: This is a film? Cannot believe I forced myself to watch it; hated it. Worst of the worst!
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- DirectorMichael CurtizStarsHumphrey BogartIngrid BergmanPaul HenreidA cynical expatriate American cafe owner struggles to decide whether or not to help his former lover and her fugitive husband escape the Nazis in French Morocco.
- DirectorSteven SpielbergStarsLiam NeesonRalph FiennesBen KingsleyIn German-occupied Poland during World War II, industrialist Oskar Schindler gradually becomes concerned for his Jewish workforce after witnessing their persecution by the Nazis.
- DirectorMichel HazanaviciusStarsJean DujardinBérénice BejoJohn GoodmanWhen George, a silent movie superstar, meets Peppy Miller, a dancer, sparks fly between the two. However, after the introduction of talking pictures, their fortunes change, affecting their dynamic.Similar premise to the classic Singin' In The Rain: Silent movie stars try to make it in the talking-film transition. The similarities stop there, however.
Jean Dujardin plays endearing George Valentin, who falls into a mostly awkward but still sweet romance with aspiring actress Peppy Miller (Bérénice Bejo). Valentin is unable to transition into the speaking-film world because of his stubborn refusal to accept such a change and his career suffers as Miller becomes a star (Who's That Girl?"). Falling into desperation and depression, Valentin is first saved by his cuddly dog, then by Miller, who finds out that the one film roll he wanted to save in his impressive collection was the one in which they first met. The end of the film shows the two of them starring in a musical together.
The story is fun and easy to follow; the characters are relateable and loveable; the antiquarian feel of the film is a perfect look back at the golden age of film. Characters are well cast, performing wonderfully in the mostly-silent film, with revealing expressions and body language. Goodman and Cromwell are ingeniously cast as a director and Valentin's loyal valet, respectively. Valentin's adorable dog adds to the charming cast. Sound is used only twice in the film, and the times are chosen wisely.
The Artist takes a creatively updated look at that era of the film industry; almost a love-letter look-back one. And it is done impressively well. An imaginative and artistic use of sound as a character; the black-and-white a subtle yet essential backdrop; the musical numbers entertaining and well choreographed; characters with depth and a story that is ever so adorable, but told with such elegance. - DirectorRon HowardStarsRussell CroweEd HarrisJennifer ConnellyA mathematical genius, John Nash made an astonishing discovery early in his career and stood on the brink of international acclaim. But the handsome and arrogant Nash soon found himself on a harrowing journey of self-discovery.
- DirectorJames CameronStarsLeonardo DiCaprioKate WinsletBilly ZaneA seventeen-year-old aristocrat falls in love with a kind but poor artist aboard the luxurious, ill-fated R.M.S. Titanic."Fifteen-hundred people went into the sea, when Titanic sank from under us. There were twenty boats floating nearby... and only one came back. One. Six were saved from the water, myself included. Six... out of fifteen-hundred. Afterward, the seven-hundred people in the boats had nothing to do but wait... wait to die... wait to live... wait for an absolution... that would never come."
Thus begins, I have to admit, one of my favorite romance stories of all time. It does have a historical aspect to it, told with accuracy. James Cameron's 194-minute, $200 million film of the tragic voyage is in the tradition of the great Hollywood epics. If its story stays well within the traditional formulas for such pictures, well, you don't choose the most expensive film ever made as your opportunity to reinvent the wheel. Everyone knows the story of the maiden voyage of the great Titanic. Today, everyone also knows the story of Rose & Jack Dawson: Rich Rose falls in love with lower-class Jack on the fateful maiden voyage of R.M.S. Titanic. Jack won his ticket in a lucky poker game and draws for a living. Rose is to marry Caledon, someone she despises at best. This, along with her suffocating mother and general way of life, leads her to attempt suicide, but is saved by Jack. Thus begins the love of a lifetime, in the most unfortunate of circumstances. Their young love surpasses all, as the great Titanic sinks, taking thousands of lives along with it.
Yes, quite overplayed by now. Melodramatic, but only because of said overplays. Enigmatic, superbly crafted, Cameron's film is a winner, despite all the teenage gushing. Cameron does something most epics are unable to do: It does not seem too long. Every moment of screen time is used with purpose. There are many characters, but none seem unnecessary. He used real documentary footage in many parts of the film, and the cinematography for the remainder is stunning, both in scope and depth. The image of the great Titanic sinking is not one that any viewer will be soon to forget. Other memorable scenes: Their first meeting, when Jack saves Rose ("It would hurt. I'm not saying it wouldn't. Tell you the truth, I'm a lot more concerned about that water being so cold."), The ship's orchestra continuing to play, even though the end is now inevitable ("No, thank you. We are dressed in our best, and are prepared to go down as gentlemen. But we would like a brandy", "Gentlemen, it has been a privilege playing with you tonight"), The Captain standing proudly at the wheel as the ocean rushes in, "I'm King of The World!"; "I'm Flying, Jack!", Rose wearing The Heart Of The Ocean as Jack sketches her ("I want you to draw me like one of your French girls, wearing this...Wearing only this"), Rose's hand amidst the steam in the infamous sex scene ("Where to, miss? "To the stars!"), The two lovers adrift at sea: "Promise me now, Rose, and never let go of that promise... Never let go" "I'll never let go, Jack. I'll never let go.", The great Irish dancing scene as Rose ventures to Jack's world ("I saw that on Nickelodeon once and I always wanted to do it"), Rose proving her love for the now gone Jack: "Can I take your name, please love?" "Dawson, Rose Dawson."
In addition to Leonardo DiCaprio, Kate Winslet, Billy Zane, Kathy Bates, & Frances Fisher, all the characters are played with talent, even minor roles such as Mr. Andrews (Victor Garber), The Ships's Designer, Ismay (Jonathan Hyde), The Ship's Captain (Bernard Hill), Lovejoy (David Warner). Gloria Stuart and Bill Paxton in the present-day story line are also extraordinary. The soundtrack, headlined by Celine Dion's "My Heart Will Go On", is also remarkable. In fact, come to think of it, I am proud to say that this is one of my favorite romantic films of all time. The key things being, I know why I love it so. And they are not superficial, teenager-gushing reasons. Everything Cameron did in this film, with this simple yet historical story, surpassed expectation. - DirectorWoody AllenStarsWoody AllenDiane KeatonTony RobertsAlvy Singer, a divorced Jewish comedian, reflects on his relationship with ex-lover Annie Hall, an aspiring nightclub singer, which ended abruptly just like his previous marriages.One of my top five Woody Allen films, of course. Allen at his best, where every line is material, with at least half eliciting a good laugh. To begin with, Annie Hall received this honor rather than Star Wars. Unbelievable. What is even more unbelievable is that I am not the only one who believes it was deserved.
Annie Hall set the precedent not only for Woody Allen's best films, but also a new sub genre of the romantic comedy. In fact, some say that Woody Allen invented the romantic comedy with this film. Unlike any other romantic films of the time, it featured a relatable, endearingly awkward romance that did not end with the two of them together. Even Annie Hall's fashion choices were instrumental, her vest & tie now iconic. And it was funny. Really funny!
With classic references to Allen's Brooklyn home, atheism, Jewish ethnicity, an "analyst", and general nervous, seemingly pessimist outlook on life, it was a pretty openly autobiographical film. Alvy Singer (Woody Allen) is a stand-up comedian who does not usually do well with girls, but meets and falls in love with Annie Hall (Diane Keaton), who also sets a precedent for the classic woman of interest in a Woody Allen film. She is much younger, intelligent, philosophical, a little unsure of herself- even ditzy, admires Alvy, and her love eventually becomes exasperation at Woody Allen's character's needy insecurities, neurotic tendencies, and pretentious comments.
As always for Woody Allen, "Annie Hall" provides many social and cultural references and portrays his loyalty to New York. The film is played as a stream of consciousness, with frequent commentary and monologues spoken directly to the audience. Other original approaches to the art of film used by Allen include the use of vignettes, adult time traveling back to childhood, the use of split screens with conversations across panels, commentary regarding the film to complete strangers, dialogue between two voice-overs, animation/fantasy within a non-animated film, the sudden appearance of a real-life character (Alvy suggests a what-if scenario and a famous author appears on the scene), double-exposure (two different Annies), subtitles contrasting actual events (to illustrate the difference between a character's thoughts and what they actually say).
An artistic and captivating tribute to the absurdity and necessity of love, "Annie Hall" will be loved for years to come. - DirectorFrank CapraStarsJean ArthurJames StewartLionel BarrymoreThe son of a snobbish Wall Street banker becomes engaged to a woman from a good-natured but decidedly eccentric family not realizing that his father is trying to force her family from their home for a real estate development.
- DirectorWilliam WylerStarsMyrna LoyDana AndrewsFredric MarchThree World War II veterans, two of them traumatized or disabled, return home to the American midwest to discover that they and their families have been irreparably changed.
- DirectorFrancis Ford CoppolaStarsMarlon BrandoAl PacinoJames CaanThe aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son.The Godfather Trilogy redefined the art of films; It invented the definition of a Mafia family- how a boss acted, what it meant to be a part of one, the way they talked, the way they operated, how it was reflected both within the circle and outside of it. According to real-life made members, this was the perfect illustration of who they were- in fact, some have admitted to adopting vernacular & sophistication used by Vito Corleone. Watching this film feels like watching a stereotype. That is, before one realizes that it is the stereotype. Before this film, there was no such thing as a gangster film (everything before this was during the time of The Production Code & required "just desserts" for any mafia violence and are therefore completely different). This film, the first in the trilogy, began it all.
"The Godfather" provides us with a comprehensive introduction to the great Corelone family. The legendary boss, Vito Corleone (Marlon Brando), his three sons: Michael (Al Pacino), Fredo (John Cazale), & Sonny (James Caan), his only daughter, Connie (Talia Shire), and Michael's girlfriend-then-wife Kay (Diane Keaton). Other influential individuals include Tom Hagen, the family lawyer and consigliere (counselor), Vito's godson Johnny Fontane, and caporegimes (other high-ranking members of the mafia family. There are literally dozens of integral supporting actors, somehow successfully interwoven into the film, all with impressively believable and often phenomenal performances.
Vito has decided to decline an offer to involve his family in the drug industry, which is what begins a domino effect that causes retaliation, revenge, and countless murders within The Five Families (The most powerful Mafia Families in power at the time). Vito is taken early on, but miraculously survives until the end of the film, when the youngest of the sons, Michael, takes over as Mafia Boss. Interestingly, Michael was the one son who initially pledged to never be like his father; to stay out of the Mafia. It is clear by the end of the film that his power has caused him to become a cold murderer, more relentless than any other Corleone.
With numerous stories, somehow masterfully woven into a cohesive whole, various themes are explored, notably: family loyalty/responsibility, earning/paying respect, and the inevitable corruption/burden of power. and the idea of having admirable integrity even while murdering and overseeing a mafia family. Vito Corleone loves his family and it is made very clear, very early on, that once a member of his family, you are cared for in ways one could not imagine. ("A man who doesn't spend time with his family can never be a real man."; Favors are carried out quickly and judiciously for those he deems worthy; When Vito is taken down, everyone is there to seek revenge almost immediately) For the first time, the audience sees these individuals as honorable. Their is a burden of power and their decisions are shown to be inevitable due to society's inability to serve justice. In the opening scenes, The Godfather is asked for a favor: "I believe in America. America has made my fortune. And I raised my daughter in the American fashion. I gave her freedom, but - I taught her never to dishonor her family." But the government has failed: "They went free that very day!... And those two bastards, they smiled at me. Then I said to my wife, 'for justice, we must go to Don Corleone.'" Vito Corleone asks one things of those in his family: respect. You give him respect, he has you covered.
Violence, gangster films, film-noir? Not my choices when it comes to film. That being said, this film represents the best of its kind.
Cinematography? Amazing. Use of light/dark, alleys, rain/weather and shadows, contrasting the sunshine of merrier scenes with laughter and everyday "real world" events such as family dinners, weddings, and a walk in the park. The soundtrack & score adds nuances that one barely notices. Beautifully timed and choreographed, the film is given an entirely immersive feeling of suspense and intensity.
"I'll give him an offer he can't refuse!" Pretty much one of the most memorable, quoted lines in film history. And with this illustrious film, Francis Ford Coppola gave audiences a film they couldn't refuse to love. - DirectorDavid LeanStarsPeter O'TooleAlec GuinnessAnthony QuinnThe story of T.E. Lawrence, the English officer who successfully united and led the diverse, often warring, Arab tribes during World War I in order to fight the Turks.Although not historically accurate in the details, this film is based on T.E. Lawrence's autobiographies published in the 1920s, "The Seven Pillars Of Wisdom" & "The Revolt In The Desert", documenting his years serving The British Army during World War I; more specifically, as a liaison during The Arabian Revolution against Turkey, as well as The Sinai & Palestine Campaign, in which the protection of The Suez Canal was an important part.
In his first significant (and oft regarded as best) starring role, Peter O'Toole is T.E. Lawrence, the ostensibly charming, confident, and flamboyant T. E. Lawrence. At the beginning of the film, we see a naive young Lawrence, arrogant and ostentatious, bordering on pretentious and overbearing. His most prominent personality qualities (proud, charming, loyal, determined, focused, loyal, fearless), along with his uniquely extensive knowledge of Middle Eastern culture and geography, lead him to great success in his interactions with the Arabians. But, as with many great individuals, it is also these exact qualities that lead to his eventual downfall. He has high expectations, most of all for himself.
Stationed in Cairo, he is deployed to the deserts of Arabia by General Murray (Donald Wolfit), on the counsel of Mr. Dryden from the Arab Bureau (Claude Rains), whom suggests that time in the desert may "make a man out of him."
[This was likely an intimation to Lawrence's flamboyance and his commonly believed but unmentionable (at the time, due to societal beliefs, etc. media did not address gay/lesbian/bisexual themes) homo-erotic feelings and/or homosexuality. Interestingly, this specific detail was indeed an accurate reflection of the real T. E. Lawrence. Biographers and historians have only circumstantial evidence that Lawrence was open to the idea when most everyone else was not; he has also written in personal letters that he had never experienced sex, leading close friends to believe him to be asexual.]
His orders are to locate Prince Feisal (Alec Guinness) and collect intelligence regarding The Arabian Revolution against Turkey, among other things. (Turkey was allied with Germany during this time in World War I; of primary concern was preventing them from accessing The Suez Canal.) The film then details his meeting of the Arabian Bedouins, led by Sheik Sherif Ali (Omar Sharif) and ruled by the aforementioned Prince. They lead a small army into the successful conquer of the important port city of Aqaba, after which he returns to Cairo. There he is promoted and returns to the deserts of Arabia. He is then captured by the Turkish in Deraa, where he is traumatically raped and tortured. As might be expected, this significantly changes Lawrence into an and he seeks revenge leading to a merciless killing of hundreds in Tafas.
Even early in his Arabian adventures, Lawrence seems to believe himself to be infallible. He is fearless and insists on partaking in nearly impossible endeavors. There are countless allusions and references symbolizing him as a sort of God or even God himself.
Many of the Arabians literally look up at him; two young boys, Ferraj (Michel Ray) and Daud (John Dimech), follow Lawrence and become his "servants", although Ali correctly says they are "worshippers, not servants". When Lawrence first arrives at The Prince's tent, it is through a mystical smoke. The Prince tells him that what the Arabian Bedouins need is "what no man can provide, Mr. Lawrence... we need a miracle"; Lawrence is shown walking away to consider this "miracle", footsteps in the sand. Lawrence's solution, to acquire Aqaba, initiated and executed without the knowledge of his superiors, is subsequently referred to by him as well as Serif Ali as "the miracle". When he is first given the white, flowing, ethereal robe, he play acts, using his sword for a reflection, posing and bowing to an invisible audience; During the confrontation with Auda (Anthony Quinn ) regarding the well, he unnecessarily raises his hands high into the air in "surrender", the white sleeves of the robe divinely in the sky; He continues wearing this even after leaving the desert, when it is in fact not only unnecessary but also causing discrimination and problems for him. "Nothing is written," Lawrence says expressively after saving Gasim; Indeed, Serif Ali agrees, "Truly for some men, nothing is written unless they write it."; Later, after Lawrence boldly volunteers for the role of an executioner, Serif Ali says, "You gave life and you took it. The writing is still yours." Later, after they have succeeded in Aqaba, Auda inquires, "You will cross Sinai in ten days?" "Why not?" Lawrence replies, "Moses did." "You will take the children?" Auda inquires again, referring to two of Lawrence's worshippers. "Why not? Moses did," Lawrence repeats En route to Deraa, when hurt but not dying, he exclaims, "Not hurt at all. Didn't you know? They can only kill me with a golden bullet."
Lawrence's experiences in Arabia inevitably reveal the insecurities of the great man. His own worst enemy, he blames himself for anything less than perfection. The first indication of this is after the death of two Arabians he feels responsible for. One was Daud, Lawrence's servant and friend, victim of the lethal desert's version of quicksand. Although Lawrence did what he could to save him, he was unable to. The other man, whom he was obligated to execute in order to maintain peace between the rival tribes, was actually Gasim, the man whom he had only days before rescued from the Nefud Desert, at the risk of his own life. Interestingly, it was this selfless, bold, maybe vain determination to return to the desert to search for and subsequently rescue Gasim that first brought him into the Arabs' high esteem.
On his first report back to superiors, Lawrence explicitly expresses his hesitation with the dark side of war. He denies a possible promotion as he does not believe himself to be the right man for it. Further explanation reveals that he actually liked killing Gasim. It is evident that this scares him, at least on some level. Unfortunately, General Allenby (Jack Hawkins) & Brighton (Anthony Quayle), namely in light of his recent achievements, dismiss his statements to nervousness. Surrounded by praise and adoration, Lawrence recovers and redeems his mission to return to the desert to make peace between the rival groups and continue assisting the Bedouins in their revolution against the Turkish.
As the war continues, and as he kills more and more, Lawrence becomes more fearless, more vain, and more audacious. En route to Deraa, he is forced to kill the second of his friend/servants, Ferraj in mercy. This effects Lawrence, but he doesn't let it show ("Salute him for me," he whispers, referring to Daud). In Deraa, it is his own stupidity that causes his capture. Although Serif Ali has tried many times to provide reason, Lawrence decides to "announce himself" in enemy territory. In response to Ali's worry, he says, his face showing no signs of not believing every word, "Please, Ali. I am invisible." He prances through the streets with a smile, even laughing. "Walk on," he laughs, as they are yelled at by Turkish militia. Of course, they are seized. Seeing Lawrence as the real threat, The Turkish Commander (Jose Ferrer) gives Serif Ali his freedom. Lawrence is rescued by Serif Ali shortly, but not before he is raped and tortured.
Lawrence then makes a second try to leave Arabia, pleading with The General to send him home, for personal reasons. "Personal? Are you mad?" he asks. "No," Lawrence answers, "And if you don't mind, I'd rather not go mad. That's my reason too." When asked what it is that he wants, Lawrence says, "I told you. I want my ration of common humanity."
Despite his eloquent words, Lawrence in convinced to return one more time with the intent of conquering Damascus. Allenby convinces him by telling Lawrence that he is extraordinary; he has a destiny he cannot fail. Lawrence's unstable state of mind (of which he was already aware) is betrayed in Peter O'Toole's most memorable performance in the bloody encounter at Tafa. Lawrence runs, then staggers, around the field, killing without hesitation, a crazed, delusional look in his eyes, yelling, "No prisoners!" Covered in blood, first utilizing his sword, then his gun (note that none of the Arabians had artillery), he shows no intention of stopping, even when Serif Ali yells, "Enough! Enough! Lawrence, Enough!" In the aftermath, it cannot be denied: The once great Lawrence Of Arabia has become corrupted and hateful.
Nevertheless, they continue on to Damascus and successfully conquer it for The British and Arabs. The Arabs, however, continue their disagreements, foregoing their chance at liberation. Lawrence finally realizes that he will be unable to see the Arabs make peace with each other. He is promoted one last time and send home, an empty, lost look in his eyes. In the last scene, as he is being escorted back to Britain, he observes several Arabs on their camels, dressed in their usual robe attire, as he rides in the passenger seat, fully dressed in his military uniform, a forlorn expression betraying the internal struggle implied throughout the film for him to "belong", his search for identity; to identify with himself and what he wants in life, and his unsure allegiance to either his new found friends in the desert or his home country.
Another character study illustrated through wartime decisions. However, unlike director David Lean's other Best Picture Winner, 1957's The Bridge On The River Kwai & Francis Ford Coppola's Patton (1970), Lawrence Of Arabia was consistent throughout with the most important aspects of a great film.
Enchanting and compelling story aside, the technical merit in this film was more than impressive, with its creative cinematography, a magnificent score, and accomplished performances. The title track, as well as most of the soundtrack are familiar to most individuals today, even to those whom have yet to see it. A few scenes that were especially commendable in cinematography were: the cut from Lawrence blowing out the match flame to the sun-kissed Arabian desert sky; the mirage entrance of Serif Ali; Lawrence's mystical entrance at The Prince's tent; Lawrence's lone camel skimming the beach at Aqava, against the backdrop of a beautiful, multi-colored sunset; the appearance on an impressive ocean liner in the middle of valleys of desert sand, revealing the deep blue waters of The Suez Canal. But, really, it was filmed on location in Jordan, Morocco, & Spain. All beautiful countries. And the desert? As long as I'm not there suffering, it is beautiful, especially at night.
As Peter O'Toole left us less than a week ago, on December 14, 2013, I believe it is necessary for me to state that he should have received Best Actor for his illustrious performance. Quite sadly, O'Toole received eight nominations for Best Actor in his career, but never won. He had many great roles after this, but this one was made for him. - DirectorAlfred HitchcockStarsLaurence OlivierJoan FontaineGeorge SandersA self-conscious woman juggles adjusting to her new role as an aristocrat's wife and avoiding being intimidated by his first wife's spectral presence.
- DirectorGeorge Roy HillStarsPaul NewmanRobert RedfordRobert ShawTwo grifters team up to pull off the ultimate con.
- DirectorRob MarshallStarsRenée ZellwegerCatherine Zeta-JonesRichard GereTwo death-row murderesses develop a fierce rivalry while competing for publicity, celebrity, and a sleazy lawyer's attention.
- DirectorRobert WiseStarsJulie AndrewsChristopher PlummerEleanor ParkerA young novice is sent by her convent in 1930s Austria to become a governess to the seven children of a widowed naval officer.
- DirectorFrancis Ford CoppolaStarsAl PacinoRobert De NiroRobert DuvallThe early life and career of Vito Corleone in 1920s New York City is portrayed, while his son, Michael, expands and tightens his grip on the family crime syndicate.The only sequel to receive this honor in addition to its predecessor, as of 2013. In my opinion, likely forever. (2003's The Lord Of The Rings: Return Of The King was the only one of the three to win; also, it was the third installment. In my opinion, had Coppola not waited almost two decades for Part Tres, they could have taken home the win again.) Part Dos of this trilogy parallels Part Uno on a few different levels. The same themes are explored, albeit in different ways, i.e. family honor, the importance of respect, the burden of power, and the Mafia family as an inevitable, honorable way of life. Both films elicit contrasting emotions during family celebrations/"real-world" events versus necessary murder scenes. The opening credits in this film show the empty leather recliner, the seat of the Mafia boss, which was of great significance in the closing scene of the first film. They pretty much mirror each other in opening with a family gathering/significant rite of passage (Connie's Wedding in the first film & a funeral (prequel story line)/Michael's son's first communion (sequel story line) in this film), followed by "family court" behind the scenes.
All main characters return, with the same performances, with the exception of young Vito. Although obviously necessary, the loss of Brando is apparent. Part Two serves as both a prequel and a sequel. Somehow, Coppola successfully manages to make the film view as a cohesive whole.
The prequel documents Vito Corleone's rise to power, beginning with his immigration to New York City's Ellis Island as a young boy. We learn that Vito Corleone is really Vito Andolini, the name murdered in 1901 Sicily by Mafia boss Francesco Ciccio (The father first, then elder brother Paolo when he vowed revenge, finally his mother sacrificed her life to save his). In Little Italy, Vito Corleone works his way to Mafia boss due to the irreversible corruption, deeply ingrained unfairness, his will to survive and better his family, and with some guidance from friends. We watch his rise through the years, see him before and after the birth of his sons, and end with his life twenty years before the beginning of The Godfather, when Vito finally travels back home to Italy and follows through with the much-awaited revenge against Ciccio for the Andolini name ("My father's name was Antonio Andolini...and this is for you!").
The sequel dominates most of the film (three-fourths), and is understandably stronger; the material covered is much more intense. Whereas the prequel explains some things we never questioned, the sequel continues the story of the Corleone family. Michael Corleone, having now taken over as Mafia boss, deals with raising his family with Kay, while trying to keep his promise of making The Corleone family legitimate. In the last film, he promised Kay five years. It has now been more than seven. By this time, the family has expanded into casinos and relationships with politicians. Scenes in Havana, Lake Tahoe, Las Vegas, and Miami certainly add a refreshing cultural, lavish, and exotic vibe but take away from the intimacy that attributed so much to the success of the first film, which took place entirely in one time period and city. Whereas the first film's predicaments begin with Vito Corleone's refusal to partner with Sollozzo's drugs, here his youngest son is about to become legitimate when East Coast magnate Hyman Roth attempts to assassinate him. Michael survives and proceeds to systematically uncover who has betrayed him. It is obvious to him that they had to have someone on the inside; someone close to him personally.
As could be predicted, Fredo, the middle son who was passed by younger Michael to become mafia boss, hides some hostility ("It ain't the way I wanted it! I can handle things! I'm smart! Not like everybody says. Like dumb. I'm smart, and I want respect!") and inadvertently almost caused his younger brother's death. Revealingly, it is Fredo who easily gives himself away by speaking about Ola (an associate of Hyman's) on friendly terms, after denying having ever met the man only moments before. Some of the film's most powerful scenes are between the two brothers, Michael somewhat admirably sparing his brother's life to honor his mother's wishes ("I don't want anything to happen to him while my mother's alive."). At the same time, partially due to Fredo's betrayal, Michael must battle with a Senate Commission investigating The Corleone family. They are ultimately unable to implicate him. Other great scenes show Kay trying to maintain her dignity and protect her children ("Michael, you are blind. It was not a miscarriage. It was an abortion. An abortion, Michael. Like our marriage is an abortion... I didn't want your son, Michael. I wouldn't bring another one of your sons into this world... It was a son, and I had it killed because this must all end!"). (Oh, and his face in the midst of this illustrious monologue by Diane Keaton, his powerfully controlled desire to murder... Priceless. Phenomenal. Stunning. Magnificent.)
One of those never-ending debates. The comparison. Less intimate, more complexity in the stories which resulted in some loss of momentum. But, more character depth and explorations of relationships (i.e., Michael & Kay, Michael & Fredo). Performances were wonderful in both, but Brando is incomparable. In the end, The Godfather to me is representative of an honorable, "right" Mafia family. And the romanticism of this idea is explored most in the first film. Without Part II, Part I would have been as legendary. Without Part I, Part II would be missing something. Alas, that is the bias of an original film that becomes an icon. - DirectorMartin ScorseseStarsLeonardo DiCaprioMatt DamonJack NicholsonAn undercover cop and a mole in the police attempt to identify each other while infiltrating an Irish gang in South Boston.
- DirectorBilly WilderStarsJack LemmonShirley MacLaineFred MacMurrayA Manhattan insurance clerk tries to rise in his company by letting its executives use his apartment for trysts, but complications and a romance of his own ensue.
- DirectorVictor FlemingGeorge CukorSam WoodStarsClark GableVivien LeighThomas MitchellA sheltered and manipulative Southern belle and a roguish profiteer face off in a turbulent romance as the society around them crumbles with the end of slavery and is rebuilt during the Civil War and Reconstruction periods.
- DirectorFrank CapraStarsClark GableClaudette ColbertWalter ConnollyA rogue reporter trailing a runaway heiress for a big story joins her on a bus heading from Florida to New York and they end up stuck with each other when the bus leaves them behind at one of the stops along the way.
- DirectorBen AffleckStarsBen AffleckBryan CranstonJohn GoodmanActing under the cover of a Hollywood producer scouting a location for a science fiction film, a CIA agent launches a dangerous operation to rescue six Americans in Tehran during the U.S. hostage crisis in Iran in 1979.I was impressed by Benn Affleck's directing abilities in this entertaining look at the 1980 Iran hostage crisis. He takes an interesting angle: that of the undercover Hollywod film team used to rescue the hostages. Name of the science fiction film they are creating? Argo, of course. Informative, yet manages to be fun, humorous, and suspenseful!
- DirectorRobert BentonStarsDustin HoffmanMeryl StreepJane AlexanderAfter his wife leaves him, a work-obsessed Manhattan advertising executive is forced to learn long-neglected parenting skills, but a heated custody battle over the couple's young son deepens the wounds left by the separation.One of my favorite films illustrating the multiple effects of divorce, especially on the child(ren). Hoffman gives a most convincing performance as the workaholic-father-turned-great-father; Meryl Streep is equally engaging as the mother who abandons her family in desperation, only to return and demand her son back. Most impressive of all, however, is Justin Henry, who plays young Billy Kramer.
What is wonderful about this film is that it does not take a side in the divorce proceedings. Both Ted & Joanna Kramer have had their share of wrongs when it comes to their son Billy, so who should win custody? Like in real life, this is not an easy question. Director/Screenwriter Robert Benton, following Avery Corman's novel of the same name, does not dramatically paint either party as the villain. Sure, we see more of Ted's interactions with Billy, but we know that this is not the way it was before, when he was working all the time. Joanna is shown as the once-loving mother whom has now abandoned both Billy and Ted, but she redeems herself when she comes back and we see the way Billy runs to her in the park. In court, we see how Ted & Joanna are not bad people. They both love their son, an although may not be great for each other as husband/wife, still care for each other. They do not like hurting each other, but, unfortunately, this is how the divorce procedure/custody battle works in this country today. Even more unfortunate, there still tends to be a bias towards the mother, regardless of the specific situation. And this is not always the best decision.
The ending of the film is my favorite part. Probably a more conclusive, redeeming ending than I could have created on my own. It leaves a tiny bit of ambiguity as far as their marriage goes, but both mother and father have shown their true loving characters. - DirectorBilly WilderStarsRay MillandJane WymanPhillip TerryThe desperate life of a chronic alcoholic is followed through a four-day drinking bout.
- DirectorOliver StoneStarsCharlie SheenTom BerengerWillem DafoeChris Taylor, a neophyte recruit in Vietnam, finds himself caught in a battle of wills between two sergeants, one good and the other evil. A shrewd examination of the brutality of war and the duality of man in conflict.I don't usually like war movies, at all. Platoon was an unexpected exception. Oliver Stone's first of three Vietnam War films, for me it really came down to an educational expose of the psychological trauma unique to war. With an all-star ensemble cast, the performances were exceptional. From what I have read, this can be attributed to training from a retired Marines Captain as well as director Oliver Stone's personal history as a Vietnam soldier. I believe Platoon to be an accurate representation of war on a micro scale, but not a macro one- any and all of these events could have and probably did happen at some time during the war, but it is unlikely that this much could happen between such a small number of men in such a short amount of time. The protagonist is played by none other than a young Charlie Sheen at his prime. Taylor's words of wisdom throughout the film are a testament to the long lasting effects of war. Veterans have a stereotype personality: more often than not, someone more logical than emotional; a lover of order, rules, and regimen; individuals willing to sacrifice for the greater good; a cool, collected, logical decision maker and leader even under high-pressure circumstances. As with all stereotypes, it is rooted in truth. Studies have shown that individuals attracted to the military tend to, overall, be a little less agreeable, extroverted, and friendly than those who do not seek it out. One study in particular finds them to be "more aggressive", "interested in competition rather than cooperation", and "less concerned about the feelings of others". These particular personality traits, whereas obviously not so great for romantic relationships or for forming lasting friendships, are often an asset in career success. For example, these individuals are more likely to make the difficult decisions sometimes necessary for success.
Psychologists claim that our personalities do not change dramatically over the course of our lifetime. Interestingly, the military is one of the only exceptions to this, as various research has shown. An exception, though, that couldn't be more understandable. After all, what one experience is more immersive, uncompromising, and invasive? A prominent aim of military training is to disseminate your preconceptions, views, and outlook of the "outside" world. They want to, literally, break you down and build you back up as a soldier. The aggression, the rules, the logical coolness of higher-ranking officials? Not only welcomed, but expected. If you cannot handle yourself under pressure, cannot brace yourself for both physical and emotional war, you will not survive training, let alone deployment. Ironic, then, isn't it, that once a soldier signs his/her contract, they are bound to their word for the next several years? What if he realizes he is too sensitive? She realizes she hasn't the strength, either emotionally and/or physically? At some point, it's just too damn bad. In this way, individuals are often forced into an extreme situation; unexpected, life-altering, and personality-changing.
After the all-immersive experience of military training, an individual has had to harden themselves even more; close off their emotions in order to endure trying physical tests and emotional assault from all angles. And if they are chosen to actually go to war? Well, I am certain that the personality shift will only be that much more ingrained. Once they return home, it's easier said than done to just smoothly transition back to who they once were, how they once responded and reacted to life. And Taylor is no exception to this.
It has been a while since I felt so moved watching a film, in both positive and negative ways. Scenes depicting the cold, ruthless killing of others, friend or foe. Empathizing with soldiers wishing to be killed or injured in order to be sent home. Taylor trying to save some young Vietnamese girls from being raped by his own men. Imagining the psychological trauma of watching people you yelled at yesterday, got high with last night, bonded with this morning, die in your arms. The palpable loneliness of these men, writing home to their loved ones, or even as they vie for the any emotionless type of physical intimacy. Watching Taylor transform from a positive, optimistic young man wanting to do the right thing for his country into an old soul, enervated and jaded, murder becoming a daily occurrence rather than the unbelievable nightmare it should always be. In the penultimate scene before he is rescued, Taylor serving personal justice in taking the life of the heartless Staff Sargent Barnes.
So, I wonder, is it any surprise that soldiers return home that much more emotionally closed off, their minds almost accustomed to the idea of everyday trauma and constant panic, with an inability to open themselves up to others or allow themselves to succumb to emotional weakness? - DirectorJerome RobbinsRobert WiseStarsNatalie WoodGeorge ChakirisRichard BeymerTwo youngsters from rival New York City gangs fall in love, but tensions between their respective friends build toward tragedy.
- DirectorMichael AndersonJohn FarrowStarsDavid NivenCantinflasFinlay CurrieA Victorian Englishman bets that with the new steamships and railways he can circumnavigate the globe in eighty days.A highly entertaining, engaging, impressive film even today, it was an unparalleled achievement in 1956; Notably, this was the first year all Best Picture Nominees were even filmed in full color! Although I understand this is not the usual type of film to win the prestigious honor, I found it to be a refreshing change. Extraordinarily charming without a political, historical, and/or cultural message, director Michael Anderson takes the audience through thirteen different countries of spectacular cinematography, sets, and costume design as our heroes Fogg (David Niven) and Passepartout (Cantinflas), soon accompanied by a beautiful young princess by the name of Aouda (Shirley MacLaine), set out to circumnavigate the world in eighty days.
The characters encounter almost every imaginable obstacle possible, travel by air, sea, and land, meet all sorts of characters, yet still maintain the audience interest. Some of my favorite cinematography examples include the hot air balloon ride, the sunset on the ocean, and the Wild West train ride across the architecturally notable bridge.
The characters were most lovable, Fogg with his uncanny insistence on punctuality, Passepartout for his never-ending talents and resourcefulness and his unmovable loyalty, Princess Auoda for her underplayed devotion and simply beauty, even Fixx for his determination that continues to fail in the face of the likes of Fogg and Passepartout. There were plenty of laughs throughout the film, and I have to admit I found the cameos to be akin to a treasure hunt. Among my favorites were Frank Sinatra, Peter Lorre, & Robert Morley.
Yes, many cameos with arguably unnecessarily spectacular mise en scene, but I felt it was the right amount. Verne's novels have been interpreted and reinterpreted many times by many different artists in many different venues, but this film is one of the few that did it right. What is a trip around the world but a lavish, fancy, posh event? And still, unlike many, say, Michael Bay films of this generation, it was not overdone. - DirectorWilliam WylerStarsCharlton HestonJack HawkinsStephen BoydAfter a Jewish prince is betrayed and sent into slavery by a Roman friend in 1st-century Jerusalem, he regains his freedom and comes back for revenge.
- DirectorWilliam A. WellmanHarry d'Abbadie d'ArrastStarsClara BowCharles 'Buddy' RogersRichard ArlenTwo young men, one rich, one middle class, who are in love with the same woman, become fighter pilots in World War I.The first Best Picture Winner; not surprisingly, also the first and only silent film to do so (2011's The Artist narrowly missed this designation). It tells the story of two World War I fighter pilots in love with the same girl (Sylvia Lewis), first enemies, but bonding during training to become best friends.
Jack Powell (Charles Rogers) is a middle class man, while David Armstrong (Richard Arlen) comes from the most prosperous and illustrious family in the area. Not quite a love triangle, however, as the "girl next door" to Jack, Mary Preston (Clara Bow), is in love with him, and isn't even subtle about it. But one thing that hasn't changed in the past century is the impressive quality of cluelessness bestowed upon young men, and Jack hasn't the faintest idea of her adoration.
Some favorite endearing additions to the story: Jack painting a shooting star on his vehicle in the opening scenes ("Do you know what you can do when you see a shooting star? You kiss the girl you love"); His nickname "The Shooting Star" is what enables Mary to find his later in the war when she is volunteering as an ambulance driver; The pilots' good luck charms (Jack carries a photograph of Sylvia he mistakenly believed to be for him rather than David, and David has the cutest little plush bear that reminds him of his loving mother and regal father), Jack not really recognizing Mary in Paris but for the sequins on her dress that appear to him, in his drunken state, as bubbles ("Whoever has the most bubbles wins!"); the fighter pilot air scenes, impressively well-made for the 1920s; the close friendship the two men have, one that you would never find portrayed in film today, unfortunately, without a gay connotation.
An admirable achievement for its time with an endearing story, redemptive qualities, and adept performances, "Wings" is an overall lighthearted fun film. - DirectorRidley ScottStarsRussell CroweJoaquin PhoenixConnie NielsenA former Roman General sets out to exact vengeance against the corrupt emperor who murdered his family and sent him into slavery.
- DirectorElia KazanStarsGregory PeckDorothy McGuireJohn GarfieldA reporter pretends to be Jewish in order to cover a story on anti-Semitism, and personally discovers the true depths of bigotry and hatred.
- DirectorPeter JacksonStarsElijah WoodViggo MortensenIan McKellenGandalf and Aragorn lead the World of Men against Sauron's army to draw his gaze from Frodo and Sam as they approach Mount Doom with the One Ring.
- DirectorVincente MinnelliStarsGene KellyLeslie CaronOscar LevantThree friends struggle to find work in Paris. Things become more complicated when two of them fall in love with the same woman.
- DirectorClint EastwoodStarsClint EastwoodGene HackmanMorgan FreemanRetired Old West gunslinger William Munny reluctantly takes on one last job, with the help of his old partner Ned Logan and a young man, The "Schofield Kid."
- DirectorEthan CoenJoel CoenStarsTommy Lee JonesJavier BardemJosh BrolinViolence and mayhem ensue after a hunter stumbles upon the aftermath of a drug deal gone wrong and over two million dollars in cash near the Rio Grande.
- DirectorRobert RossenStarsBroderick CrawfordJohn IrelandJoanne DruThe rise and fall of a corrupt politician, who makes his friends richer and retains power by dint of a populist appeal.
- DirectorJohn MaddenStarsGwyneth PaltrowJoseph FiennesGeoffrey RushThe world's greatest ever playwright, William Shakespeare, is young, out of ideas and short of cash, but meets his ideal woman and is inspired to write one of his most famous plays.I am confident that Shakespeare In Love would be much more appreciated today had it not actually won. The primary nominees that everyone seems to believe to be the deserving winner, in this order, are: Saving Private Ryan, The Thin Red Line, or Life Is Beautiful. But mostly it is Saving Private Ryan. I am not going to digress anymore into why Shakespeare In Love did indeed win, whether it was all about politics, who really deserved it that year, etc., because it is not of any real importance. It did win, and it was a deserving film, regardless of its competition that year.
Shakespeare In Love tells the story of the one and only William Shakespeare; specifically, his inspiration for his greatest masterpiece, Romeo & Juliet. The year is 1593 and Shakespeare (Fiennes) is a playwright at The Rose Theater. His current play is titled "Romeo & Ethel: The Pirate's Daughter"; it isn't going very well and he cannot seem to finish it (he even tries some mystical spell for a muse, a lady he finds in bed with another man soon thereafter). Shakespeare's wife, Anne Hathaway, is currently residing in another city and he soon falls in love with a young maiden, Viola de Lesseps (Paltrow), whom he first sees at a performance for The Queen (Elizabeth, Dench), then at a ball.
Despite being unable to finish writing it, Shakespeare commences casting for his play, with the assistance of Ned Alleyn (Ben Affleck). He meets a young man with obvious talent, "Sir Thomas Kent". Kent is really, of course, Viola. He eventually finds out Kent's true identity and thus begins their rendezvous and love affair.
Alas, in the sixteenth century, their love cannot be fulfilled. Not only is William Shakespeare already married and divorce impossible, but, seemingly coincidentally, Viola is betrothed to Lord Wessex (Firth), whom everyone realizes is marrying for the de Lessep's wealth. Discovering Viola's assignations with Shakespeare, he seeks revenge. Shakespeare, himself now disguised as a girl (Viola's cousin), reveals the identity of her lover to be Christopher Marlowe, friend and rival playwright. The news of Marlowe's death (murder) causes Shakespeare much guilt, and Viola is anguished, being led to believe it is Shakespeare. She is greatly relieved to find out the truth. On opening night, Viola is able to play Juliet along Shakespeare's Romeo, despite the sexist policy of male actors only, because she is the only one available whom knows the lines. Their performance, of course, dazzles the audience. At the conclusion of a truly passionate Romeo & Juliet performance, The Master Of The Revels arrives, having discovered Kent's true identity. Kent/de Lesseps is saved by The Queen, whom, rather than reveal what she knows, stealthily lets Viola know that it is time her to marry Lord Wessex and say goodbye to "Sir Thomas Kent" and, therefore, Shakespeare. In one of the most poetic and tender farewell scenes, Viola and Shakespeare express their love to each other for the last time.
Typically, I do not like Shakespeare of any sort, be it a live play, film, book. I am not a fan of Latin and/or Elizabethan English. All the more impressive, then, that I thoroughly liked Shakespeare In Love. And it was pretty funny! It is always difficult to write an original comedy, let alone set in a different time period, in Elizabethan English! The costuming, of course, was amazing. It is always impressive to see a film that is able to transport the audience to a different era. The award-winning score was beautiful, as was set design.
Dench, as evidenced by her less than ten minute Academy Award winning performance, was magnificent. She was exactly how I imagine a true Queen to be: overbearing, pretentious, ostensibly bitchy, but kind-hearted when needed. Paltrow was elegant and alluring as Viola, with a performance I did not necessarily believe to be her best or even Academy Award Winning, but commendable nonetheless. Finnes was well-casted in this definitive role. Probably my favorite character, yet inexplicable under appreciated by most, is Nurse (Imelda Staunton). I loved not only how loyal and loving she was to Viola, but also watching her nervously try to cover for her, like when she was in the rocking chair as the two of them were clearly making love in the next room. Other supporting characters were also convincing.
At the end of the day, however, what makes this film so deserving of its accolades, is the writing. One of the most quotable films I have seen in a while, and in such poetic, eloquent, grandiloquent words!
"My story starts at sea, a perilous voyage to an unknown land. A shipwreck. The wild waters roar and heave. The brave vessel is dashed all to pieces. And all the helpless souls within her drowned. All save one. A lady. Whose soul is greater than the ocean, and her spirit stronger than the sea's embrace. Not for her a watery end, but a new life beginning on a stranger shore. It will be a love story. For she will be my heroine for all time. And her name will be Viola."
... And thus begins William Shakespeare's next great play, The Twelfth Night... - DirectorJoseph L. MankiewiczStarsBette DavisAnne BaxterGeorge SandersA seemingly timid but secretly ruthless ingénue insinuates herself into the lives of an aging Broadway star and her circle of theater friends.
- DirectorJonathan DemmeStarsJodie FosterAnthony HopkinsScott GlennA young F.B.I. cadet must receive the help of an incarcerated and manipulative cannibal killer to help catch another serial killer, a madman who skins his victims.
- DirectorWilliam WylerStarsGreer GarsonWalter PidgeonTeresa WrightA British family struggles to survive the first months of World War II.An interesting World War II film in that there was not a single scene on the front lines; focused entirely on the home front and the lasting effects of war on a middle class family in England, "Mrs. Miniver" was originally created as a form of propaganda to elicit sympathy for the European war. In this way, its purpose was achieved.
However, how does it stand on its own now, more than seventy years later? Mrs. Miniver (Greer Garson) is the heart of the family, and her character is performed with talent and a silent authority. Oldest son Vin (Richard Ney) falls in love with Carol Beldon (Teresa Wright), marrying her shortly before volunteering to serve in the Royal Air Force. Husband Clem also leaves to assist in the Dunkirk Evacuation, code named Operation Dynamo, to rescue Allied forces from France. An especially well-performed scene involves Mrs. Miniver unexpectedly encountering a fallen wounded German pilot in her front yard. She responds to his threats and undisguised hatred toward her country (The Third Reich conquered other countries, killed thousands within hours; they would do the same there) with grace and resilience. Another scene involves Lady Beldon, who arrives in order to sway Kay from allowing Vin to marry Carol. With reassurance and empathy from Kay, Lady Beldon eventually learns to accept, even appreciate the young couple. A heartwarming scene at the annual flower show illustrates a small but notable change in Lady Beldon's initially prim and aloof character when she disregards the panels' decision (it is evident that, with her status in the community, Lady Beldon is the expected winner every year regardless of the competition) and announces Mr. Ballard's (Henry Travers) "Mrs. Miniver" Rose as the winner. An unexpected tragedy occurs at the end of the film when Kay's daughter-in-law dies next to her during an air attack. Vin returns home, safe, to face the news.
By the end of the film, one is impressed by the perseverance shown by not only Kay Miniver but her entire community, and saddened by the countless hardships that surround them.
In all, in comparison to other Best Picture Winners, "Mrs. Miniver" is missing something that would make it memorable years later. It is a great story and film with considerable merit, but nothing stands out as unprecedented or amazing. - DirectorJohn FordStarsWalter PidgeonMaureen O'HaraAnna LeeAt the turn of the century in a Welsh mining village, the Morgans, he stern, she gentle, raise coal-mining sons and hope their youngest will find a better life.Notorious for taking The Holy Grail from the venerable Citizen Cane at the 13th Academy Awards, "How Green Was My Valley" is the family saga of the Morgans, a tenacious mining family.
The film is narrated by an older Huw Morgan, as he nostalgically remembers "How Green" his Valley once was, before all the trials and tribulations and the passage of time brought him to today, as he says farewell to him home. There is a considerable age difference between him and his six siblings: five older brothers and one older sister, and his family want to see him achieve more and be better; to go to school and become a "scholar". His sister is also in love with the new priest, who returns her sentiments but is hesitant to follow through with his feelings. Many things happen throughout the film, from the miners receiving notice for wage deductions; Huw saving his mother's life on a freezing winter night, putting himself at great risk; two of his brothers being forced to go elsewhere for work; his father refusing to unionize even when it seems necessary; a rich man proposing to the older sister, forcing her to confront the priest with their mutual feelings; to a most unfortunate accident in which Huw's father is killed. In the penultimate scene, Huw holds his dying father is his arms, whose last words are, ""There's a good old man, you are." to which Huw replies, "Men like my father cannot die. They are with me still... Real in memory as they were in flesh, loving and beloved forever. How green was my Valley then."
A poetic tribute to all real-life miners, "How Green Was My Valley" is a sentimental, sometimes overplayed but affecting film about family, loyalty, love, and perseverance. - DirectorWilliam DieterleStarsPaul MuniGale SondergaardJoseph SchildkrautThe biopic of the famous French muckraking writer and his involvement in fighting the injustice of the Dreyfus Affair.
- DirectorDelbert MannStarsErnest BorgnineBetsy BlairEsther MinciottiA middle-aged butcher and a school teacher who have given up on the idea of love meet at a dance and fall for each other.
- DirectorNorman JewisonStarsSidney PoitierRod SteigerWarren OatesA black Philadelphia police detective is mistakenly suspected of a local murder while passing through a racially hostile Mississippi town, and after being cleared is reluctantly asked by the police chief to investigate the case.
- DirectorAnthony MinghellaStarsRalph FiennesJuliette BinocheWillem DafoeAt the close of World War II, a young nurse tends to a badly burned plane crash victim. His past is shown in flashbacks, revealing an involvement in a fateful love affair.With nine wins, this was one of the most awarded films in Academy History. Beautiful cinematography, visual and emotional richness, layered with some impressive performances with poetic dialogue; a film about love and secrets; how the actions of one person or one couple can affect so many others, in profound ways. Impressive spanning shots of the dessert, enchanting and memorable scenes, i.e. Count Laszlo de Almásy (Ralph Finnes) & Katharine Clifton (Kristin Scott Thomas) falling in love during a sandstorm, Katharine in The Cave Of Swimmers as she waits for true love's rescue, Nurse Hana (Juliette Binoche) swinging by rope with torch, as Kip (Naveen Andrews) guides her in the dark among the beautiful murals of a church, Caravaggio (Willem Dafoe) struggling, in vain, to maintain his innocence, The Geoffrey Clifton (Colin Firth) watching and waiting, heartbroken, on their anniversary night, as his two-timing wife returns from her evening with Count Almásy, Clifton's subsequent suicidal, kamikaze-esque landing of his plane in Count Almásy's desert camp, Katharine as his passenger (He proclaimed his love for her shortly before crashing).
Somehow, this film was less than the sum of its parts. It was much too long, with parts of the films much longer than necessary, others not long enough. Their are three main story lines: (1) Count Almásy as co-leader of a Royal Geographical Society archeological and surveying expedition in Egypt and Libya during his love affair with Katharine Clifton as she plays the faithful wife to Geoffrey, (2) Count Almásy as The English Patient, following the bombing of his plane, being cared for by Nurse Hana & confronted by Caravaggio, and (3) Nurse Hana trying to overcome her fear that everyone she comes into contact with; that cares for her will die, primarily through her relationship with a bomb defuser in The British Army, Kip.
Honestly, had this film not gone with a flashback/elliptical structure, but rather focused on story line one, this film would have been near-perfect. the secondary story lines are not sufficiently told, detract from the main story line, and it has always been my opinion that if you cannot tell a story right, it is better left untold, or told in a different venue/time. - DirectorBernardo BertolucciStarsJohn LoneJoan ChenPeter O'TooleBernardo Bertolucci's Oscar-winning dramatisation of the life story of China's last emperor, Pu Yi.
- DirectorKathryn BigelowStarsJeremy RennerAnthony MackieBrian GeraghtyDuring the Iraq War, a Sergeant recently assigned to an army bomb squad is put at odds with his squad mates due to his maverick way of handling his work.As of 2013, the only Best Picture Winner by a female director, The Hurt Locker is probably the only exemplary film of its time regarding the war in Iraq One reason for this is that it had no political agenda whatsoever; there was also no real story line and/or plot followed. Bomb technicians were on scene, doing what they are meant to be doing, suspense, intrigue, real-life intensity, and real lives on the line throughout the entirety of the film.
It is filmed in Jordan, with no "special effects" or lavish "additions", making this film feel much more like a documentary. There is no shortage of action or intensity, as each of the characters go through each day, more focused on survival than anything else. The camera work, angles, and use of mise en scene accentuate the rawness and immediacy. The film is, in short, an immersive experience in a psychological, physical, and heightened landscape.
Jeremy Renner, Anthony Mackie, Brian Geraghty, Guy Pearce, Ralph Fiennes, & David Morse all star in this intense film that, if nothing else, takes viewers to the front lines. Some viewers describe the film as "emotionally draining", which is nothing but a true compliment to the authenticity of film-making at work.
The only reason I have for not giving The Hurt Locker a higher rating is the lack of a solid story line. It was a well-done film in every way, but did not stand out months later to me. It had me looking at war in different ways, but so have many other great war dramas. To me, it was an almost all-action film, which was fun and an intense adventure to watch, but not necessarily memorable in its own right.
One doesn't really have time to think, let alone absorb the film, until it is over. Only then does one add the questionable motives for war, especially in the case of The Iraq War, to the paranoia, blatant confusion, and extreme tragedy illustrated in the film. And one begins to think. And that is what the best of films do: Have us considering real life in new ways, long after the film is over. - DirectorSam MendesStarsKevin SpaceyAnnette BeningThora BirchA sexually frustrated suburban father has a mid-life crisis after becoming infatuated with his daughter's best friend.
- DirectorElia KazanStarsMarlon BrandoKarl MaldenLee J. CobbAn ex-prize fighter turned New Jersey longshoreman struggles to stand up to his corrupt union bosses, including his older brother, as he starts to connect with the grieving sister of one of the syndicate's victims.
- DirectorJohn SchlesingerStarsDustin HoffmanJon VoightSylvia MilesA naive hustler travels from Texas to New York City to seek personal fortune, finding a new friend in the process.
- DirectorGeorge CukorStarsAudrey HepburnRex HarrisonStanley HollowayIn 1910s London, snobbish phonetics professor Henry Higgins agrees to a wager that he can make crude flower girl, Eliza Doolittle, presentable in high society.
- DirectorRobert ZemeckisStarsTom HanksRobin WrightGary SiniseThe history of the United States from the 1950s to the '70s unfolds from the perspective of an Alabama man with an IQ of 75, who yearns to be reunited with his childhood sweetheart.
- DirectorRobert RedfordStarsDonald SutherlandMary Tyler MooreJudd HirschThe accidental death of the older son of an affluent family deeply strains the relationships among the bitter mother, the good-natured father and the guilt-ridden younger son.
- DirectorKevin CostnerStarsKevin CostnerMary McDonnellGraham GreeneLieutenant John Dunbar, assigned to a remote western Civil War outpost, finds himself engaging with a neighbouring Sioux settlement, causing him to question his own purpose.
- DirectorLaurence OlivierStarsLaurence OlivierJean SimmonsJohn LauriePrince Hamlet struggles over whether or not he should kill his uncle, whom he suspects has murdered his father, the former king.
- DirectorBarry LevinsonStarsDustin HoffmanTom CruiseValeria GolinoAfter a selfish L.A. yuppie learns his estranged father left a fortune to an autistic-savant brother in Ohio that he didn't know existed, he absconds with his brother and sets out across the country, hoping to gain a larger inheritance.
- DirectorMilos FormanStarsJack NicholsonLouise FletcherMichael BerrymanIn the Fall of 1963, a Korean War veteran and criminal pleads insanity and is admitted to a mental institution, where he rallies up the scared patients against the tyrannical nurse.
- DirectorHugh HudsonStarsBen CrossIan CharlesonNicholas FarrellTwo British track athletes, one a determined Jew and the other a devout Christian, are driven to win in the 1924 Olympics as they wrestle with issues of pride and conscience.
- DirectorClint EastwoodStarsHilary SwankClint EastwoodMorgan FreemanFrankie, an ill-tempered old coach, reluctantly agrees to train aspiring boxer Maggie. Impressed with her determination and talent, he helps her become the best and the two soon form a close bond.
- DirectorCecil B. DeMilleStarsJames StewartCharlton HestonBetty HuttonThe dramatic lives of trapeze artists, a clown, and an elephant trainer are told against a background of circus spectacle.
- DirectorWilliam FriedkinStarsGene HackmanRoy ScheiderFernando ReyA pair of NYPD detectives in the Narcotics Bureau stumble onto a heroin smuggling ring based in Marseilles, but stopping them and capturing their leaders proves an elusive goal.
- DirectorFred ZinnemannStarsPaul ScofieldWendy HillerRobert ShawThe story of Sir Thomas More, who stood up to King Henry VIII when the King rejected the Roman Catholic Church to obtain a divorce and remarry.
- DirectorTom HooperStarsColin FirthGeoffrey RushHelena Bonham CarterThe story of King George VI, his unexpected ascension to the throne of the British Empire in 1936, and the speech therapist who helped the unsure monarch overcome his stammer.An educational biography of King George IV, especially at his relationship with Lionel, his determined and loyal speech therapist, as he somewhat suddenly is forced to ascend the throne. An interesting story, characters well portrayed by stellar performances. This is definitely a film made by casting and well-developed and acted characters.
Colin Firth immerses himself completely in his role as King George and it shows. Scenes illustrating his inner struggle to face his new responsibilities as he accepts his new position in life are well performed and elicit empathy. Lionel Logue (Geoffrey Rush) has his own struggle, having never made it as an actor, his first aspiration, nor been formally certified as a speech therapist. He must face patronizing from various individuals, but remains true to his friendship with King George. The two do not take the easy route to a lasting friendship, but the one they do take makes it all the more worth it. In the final scene, in King George's most important speech to date, it is redeeming to see him adamant that no one be there with him during his speech but his friend Logue.
I tend to be less interested in biographies/historical dramas, however, so it isn't one of my favorites. Still, a well told story, with extraordinary performances, notable costume design, and an educational/historical context, "The King's Speech" is a meritable film. - DirectorBruce BeresfordStarsMorgan FreemanJessica TandyDan AykroydAn old Jewish woman and her African-American chauffeur in the American South have a relationship that grows and improves over the years.
- DirectorHarry BeaumontStarsBessie LoveAnita PageCharles KingA pair of sisters from the vaudeville circuit try to make it big time on Broadway, but matters of the heart complicate the attempt.The first sound/talking film to win the award, known this year as "Outstanding Picture". As of 2013, it is also one of only ten musicals to achieve this distinction. Also of pioneering significance, one of the first film to feature a Technicolor sequence.
The film follows a mostly unoriginal love-triangle between sisters Queenie & Hank Mahoney (Anita Page and Bessie Love) & Hank's (short for Henrietta, apparently) fiance Eddie Kerns (Charles King), whom has agreed to assist with the sister's vaudeville act, transforming it for Broadway. Initially in love with the older sister and "stage manager" Hank, he "inevitably" falls in love with the younger, more beautiful Queenie, who avoids the situation by dating a notorious playboy, Jacques Warriner (Kenneth Thomson). Of course, she also ends up falling in love with Eddie, despite her desire to not take away something she knows her sister loves. Eventually everybody finds out everyone's true motives and intentions, and in the last scene Queenie and Eddie embrace, free now to live happily-ever-after, as Hank leaves to begin a thirty-week traveling show she was offered earlier. Free, that is, except for Queenie's guilt; she is still remorseful over the situation and expresses her sadness to Eddie.
Intertwined through all of this are some acceptable dance and song numbers, some laughing moments, but really not much else. It is an alright film, but nowhere near the caliber of most other Best Picture Winners. I will admit that some of the dialogue, meaning, and even social cues/traditions were lost to me, due to the nearly-a-decade difference. The sound was difficult to listen to; Obviously at this early time, the studios were still far from mastery. In all, an entertaining look at early sound films, but not too much more depth. - DirectorMichael CiminoStarsRobert De NiroChristopher WalkenJohn CazaleAn in-depth examination of the ways in which the Vietnam War impacts and disrupts the lives of several friends in a small steel mill town in Pennsylvania.Another film about the effects of war. The Vietnam War this time. Thoroughly disliked the Russian Roulette scenes as well as most of the hunting scenes. No chemistry between De Niro & Streep. Walken's performance was the best thing about the film. Illustration of the nightmares of war and has historical, social, and political significance, but I feel that many other war film have done it better.
- DirectorJohn G. AvildsenStarsSylvester StalloneTalia ShireBurt YoungA small-time Philadelphia boxer gets a supremely rare chance to fight the world heavyweight champion in a bout in which he strives to go the distance for his self-respect.So... the classic underdog sports film. I will admit to some bias here, as this was filmed in Philadelphia, a city I find to be charming and culturally rich; one I lived in for a few years. I am very familiar with many of the iconic locations for filming, including Kelly Drive, Kensington, The Schuylkill River, The Italian Market, Philadelphia City Hall, and the Philadelphia Museum Of Art Steps. That being said, I liked this film more than I probably would have had it been filmed elsewhere. Sadly, that was not enough to overcome my innate dislike for sports films, Sylvester Stallone, etc.
The training scenes & accompanying "Gonna Fly Now", I admit, were impressively made and choreographed. More than a sports story, this is also the story of a simple, endearingly awkward romance. Shy but loving Adrian complements Stallone's tough exterior and it was redeeming to watch their relationship and love for each other unfold.
The true change in character is shown in the final match where both contestants refuse to let it end, neither wanting a rematch, despite serious injuries to both (both can barely see/walk straight). Commendation for avoiding a complete feel-good ending, Apollo, the expected victor is crowned, contrasted with the real winner of the story calling out for Adrian, the last lines being "I love you." Because the real test, of course, was one of courage. And the real win was love.
An entertaining film, with a great song, lasting characters, filmed in a wonderful city. - DirectorDanny BoyleLoveleen TandanStarsDev PatelFreida PintoSaurabh ShuklaA teenager from the slums of Mumbai becomes a contestant on the show 'Kaun Banega Crorepati?' When interrogated under suspicion of cheating, he revisits his past, revealing how he had all the answers.
- DirectorSydney PollackStarsMeryl StreepRobert RedfordKlaus Maria BrandauerIn 20th-century colonial Kenya, a Danish baroness/plantation owner has a passionate love affair with a free-spirited big-game hunter.
- DirectorTony RichardsonStarsAlbert FinneySusannah YorkGeorge DevineThe romantic and chivalrous adventures of adopted bastard Tom Jones in 18th-century England.
- DirectorVincente MinnelliCharles WaltersStarsLeslie CaronMaurice ChevalierLouis JourdanWeary of the conventions of Parisian society, a rich playboy and a youthful courtesan-in-training enjoy a platonic friendship which may not stay platonic for long.
- DirectorEdmund GouldingStarsGreta GarboJohn BarrymoreJoan CrawfordA group of very different individuals staying at a luxurious hotel in Berlin deal with each of their respective dramas.
- DirectorFred ZinnemannStarsBurt LancasterMontgomery CliftDeborah KerrAt a U.S. Army base in 1941 Hawaii, a private is cruelly punished for not boxing on his unit's team, while his commanding officer's wife and top aide begin a tentative affair.
- DirectorLewis MilestoneStarsLew AyresLouis WolheimJohn WrayA German youth eagerly enters World War I, but his enthusiasm wanes as he gets a firsthand view of the horror.
- DirectorDavid LeanStarsWilliam HoldenAlec GuinnessJack HawkinsBritish POWs are forced to build a railway bridge across the river Kwai for their Japanese captors in occupied Burma, not knowing that the allied forces are planning a daring commando raid through the jungle to destroy it.
- DirectorRichard AttenboroughStarsBen KingsleyJohn GielgudRohini HattangadiThe life of the lawyer who became the famed leader of the Indian revolts against the British rule through his philosophy of nonviolent protest.
- DirectorCarol ReedStarsMark LesterRon MoodyShani WallisAfter being sold to a mortician, young orphan Oliver Twist runs away and meets a group of boys trained to be pickpockets by an elderly mentor in 1830s London.
- DirectorJames L. BrooksStarsShirley MacLaineDebra WingerJack NicholsonFollows hard-to-please Aurora looking for love and her daughter's family problems.
- DirectorLeo McCareyStarsBing CrosbyBarry FitzgeraldFrank McHughWhen young Father O'Malley arrives at St. Dominic's, old Father Fitzgibbon doesn't think much of the church's newest member.A fun loving film with Bing Crosby. Some wonderful musical numbers, but really not much of a meaningful, memorable story; performances are nothing extraordinary.
Crosby won an Academy Award for his performance as Father O'Malley, the new priest in town from East Saint Louis, replacing Father Fitzgibbon, a much more old-fashioned traditionalist. O'Malley helps a group of troubling teens as well as a young runaway girl with his novel approaches. he convinces the young boys to take part in the church choir, and eventually with their hep and some of his friends, he raises funds to save the local church.
At the end of the film, O'Malley, like a mysterious angel sent by God for a singular purpose, prepares to leave on another assignment from the bishop. He makes sure all the other characters are taken care of, loose ends tied, and off he goes. This little religious part of the world in New York City, however, has been "touched by an angel". A wonderful soundtrack, of course, due to Crosby, but nothing else is extraordinary. - DirectorPaul HaggisStarsDon CheadleSandra BullockThandiwe NewtonLos Angeles citizens with vastly separate lives collide in interweaving stories of race, loss and redemption.
- DirectorMilos FormanStarsF. Murray AbrahamTom HulceElizabeth BerridgeThe life, success and troubles of Wolfgang Amadeus Mozart, as told by Antonio Salieri, the contemporaneous composer who was deeply jealous of Mozart's talent and claimed to have murdered him."Amadeus" is one artist's approach to solving the many mysteries of young Mozart's life, including the now-mythologized circumstances surrounding his early death at the age of thirty-five.
Interestingly enough, the film was more of a character study on Salieri, a Composer to Emperor Joseph II (Jeffrey Jones). The film opens with Antonio Salieri (F. Murray Abraham) in an asylum after attempting suicide, asking for forgiveness for murdering Mozart (Tom Hulce) in 1791. His story; his confession; this film, is told to a priest by the name of Father Vogler (Richard Frank). "Amadeus" takes place primarily in Vienna, from 1781 until 1791, when Mozart dies. Through Salieri's words, we are able to see Mozart as he is (supposedly) when away from public eye, and the picture is less than ideal. Mozart, although still an undeniable genius and musical prodigy, is also immature, rude, selfish, and has no respect for his wife, children, family, nor anyone else in society.
It goes without saying that the accompanying music is phenomenal. Mozart' compositions are essential and forefront enough throughout the entirety of the film to be considered a character. The costume design, period production, mise en scene, etc. was all exceptional. However, I could hardly watch the film because of Mozart's character. Especially his laugh. To make this worse was the fact that this was all in the director/writer's imagination. Yes, this is historical fiction. And I understand that not all facts portrayed in the film need to be historically accurate. However, although this has been perfectly fine for me in other films, in this film, it simply did not work. I really wanted to like this film, I did. But I could not. I had to force myself to watch most of the scenes, saved purely by beautiful costumes and melodious compositions. I found myself hating Mozart, but why? I should rather hate the Mozart this film has created!
As I said, thankfully this was more Salieri's than Mozart's plot, and Salieri, although far from lovable, was a watchable and complex character. Although he idolizes Mozart's genius, he hates his character, and struggles with this up to the very last moment. And, really, that is precisely how I felt. - DirectorFrank LloydStarsCharles LaughtonClark GableFranchot ToneFirst mate Fletcher Christian leads a revolt against his sadistic commander, Captain Bligh, in this classic seafaring adventure, based on the real-life 1789 mutiny.
- DirectorMel GibsonStarsMel GibsonSophie MarceauPatrick McGoohanScottish warrior William Wallace leads his countrymen in a rebellion to free his homeland from the tyranny of King Edward I of England.For whatever reason, I hated almost everything about this film. Yes, I am a girl. That probably contributes a lot. Mel Gibson's accent and acting seemed overdone. The story was constantly overshadowed by an overly dramatic battle scene. The film was pretty much made to flaunt machismo, daring, and flashy firework-battle scenes.
To make matters worse, not even historically accurate. Wallace was not the poor villager the film depicts, but a landowner and minor knight. Queen Isabella, his love interest, was only a few years old at the time period used in the film; the kilt was not worn for another few centuries; Robert never betrayed Wallace; The Scottish did not paint their faces.
Sure, overlooking this, as a film is primarily fiction, this could have been a good film. But I could not see it. Sure, there were some intense scenes, some scenes that made me smile. But, as a whole, Braveheart was a loss. What I take away from this film, actually, is the idea of Primae Noctis, the legendary right that feudal lords supposedly had to peasants' marriage beds on their wedding nights. Sadly, this is not proven fact, but a myth. Still, it is interesting trivia that could be true.
I will say that the landscape was beautiful and lush for much of the film, with impressive costume design and a production element that must have taken some talent. The accompanying soundtrack was also well done, with music played at the right moments in the right amounts.
An ambitious film with an overuse of blood, battle scenes, and paint, Mel Gibson does not impress. I found myself turning away several times either in disbelief and/or loss of interest. - DirectorFranklin J. SchaffnerStarsGeorge C. ScottKarl MaldenStephen YoungThe World War II phase of the career of controversial American general George S. Patton.
- DirectorRobert Z. LeonardStarsWilliam PowellMyrna LoyLuise RainerThe ups and downs of Florenz Ziegfeld Jr., famed producer of extravagant stage revues, are portrayed."The Great Ziegfeld", an autobiography of the eponymous Florenz Ziegfeld Jr., was a great success in its time. At almost three hours long, the film illustrates pretty much the man's entire career, from the 1893 World's Fair until his death in 1932.
Chronicling his relationship with various acts and his creative use of marketing to win over rival Jack Billings (Frank Morgan), we also watch his romantic interest in Anna Held (Luise Rainer) develop, whom was initially an act he signed on. After the two of them marry, in 1907, his most famous and successful production, "The Ziegfeld Follies", begins.
One of the themes in Ziegfeld's life is his need for more shows, more success, more glitter and glam. This is both his crowning glory and his downfall, as it leads to his great successes, but also to his eventual end. He is always looking for more acts, more girls to fall in love with, more audiences to impress. By 1913, Anna has decided to file for divorce. Always the playboy, Ziegfeld soon marries another actress, Billie Burke (Myrna Loy), and they have a daughter.
As times change and live stage shows become less popular. Ziegfeld is forced to borrow, then partner with his former rival.
Various scenes are unnecessary (especially those of the early years in his career, as he tries to begin a relationship with Anna Held (Luise Rainer)), as well as the numerous lavish dance and song numbers, which are entertaining at first, but all blend together as one by the end of the film.
The real life man is best known for "The Ziegfeld Follies," also the best produced aspect of the film. About thirty minutes of footage from this production are illustrated. Other notable scenes include Ziegfeld facing bankruptcy during The Great Depression, eliciting an emotional moment for the audience. The dramatized version of his death in the closing scene is also notably representative of the man's entire life and career, although obviously unreal. Ziegfeld hallucinates his "glory days", his last words being, "More steps. Higher! Higher! Higher!".
Entertaining at times, but much too long, this film accurately describes an iconic man. The problem is that with his real-life wife overlooking production, the accurate characterization was missing the flaws every man has. The result is a film that seems all to much like fiction. - DirectorFrank LloydStarsDiana WynyardClive BrookUna O'ConnorA portrayal of the triumphs and tragedies of two English families, the upper-crust Marryots and the working-class Bridgeses, from 1899 to 1933.It has only been a few days, but I can hardly remember what happened in this film. Or nothing ever happened. Really, "Calvacade" is a prime example of a film that tries to cover more time and events than possible. I felt like I was watching a strange fictional documentary on New Year's Eve 1899 through New Year's Day 1933, with my hosts Jane and Robert Marryot (Clive Brook and Diana Wynyard), prominent London socialites.
Interestingly, it was probably one of the first "Upstairs/Downstairs" films, portraying not only the lives of the Marryots & their sons Edward (John Warburton) and Joe (Frank Lawton), but also their valet, Alfred Bridges (Herbert Mundin), his wife, maid Ellen (Una O'Connor), and their daughter, played by Ursula Jeans.
A few laughs, some tears, some endearing scenes, beautiful costume design, maybe even a notable performance or two, but it was there for a second; over before one could appreciate it. 33 years to cover, not much time to spend on an hour of time.
The death of Queen Victoria, The Second Boer War, Titanic, and World War I are all covered, but with so little time to cover so much time, they were glazed over. Perhaps a testament to how little events we deem today as life-changing and imminent will one day be a nominal memory? - DirectorWesley RugglesStarsRichard DixIrene DunneEstelle TaylorA newspaper editor settles in an Oklahoma boom town with his reluctant wife at the end of the nineteenth century."A nation rising to greatness through the work of men and women... new country opening... raw land blossoming... crude towns growing into cities... territories becoming rich states....
"In 1889, President Harrison opened the vast Indian Oklahoma Lands for white settlement... 2,000,000 acres free for the taking, poor and rich pouring in, swarming the border, waiting for the starting gun at noon, April 22nd..."
And herein begins the worst Best Picture Winner in history. I completely lost interest in this film less than ten minutes in. Yes, after the one and only scene that in and of itself had true merit: The 1889 Oklahoma Land Rush, a historically accurate event which would be best described as a free-for-all mad rush. Unclaimed land at various finish lines... Ready, Set, Go! Anyway, from there it went... Well, not exactly nowhere. More like a multigenerational family saga or an epic with missing chapters, Cimarron was an onerous endeavor!
Yancey Cravat (Richard Dix) is a newspaper magnate, or a lawyer, or both. He is the hero of our story, but most definitively does not act like one. I do not think, even in 1931, that is was perfectly acceptable for a man with a wife and children to, on a whim, disappear to chase another Pot of Gold at the end of a rainbow he has not even located yet. The film does not give a definitive time frame, but, he is gone for a time period of years, and then, when he feels like it, reappears as if he hasn't done anything wrong, like nothing has changed, like he has not abandoned his entire family; left his wife to raise their children. Aside from whether or not I agree with our "hero", transitions between time periods are confusing at best. Certain important events are only explained in retrospect, while others are completely ignored, leaving the viewer perplexed. No, the suspension of disbelief would not be enough to solve this films' disjointed array of loosely connected scenes.
Another concern I had with "Cimarron" was its shameless discrimination and racism. Yes, the times were different. But I also do not see any other films from its time period with the same level of audacity.
Sabra (Irene Dunne) is the dutiful and respectful, but opinionated and passionate wife who, in her husband's years long absences, becomes a formidable political force. Her role is one of the only redeeming qualities in the film. Along with her performance, there are a few humorous scenes involving minor characters. At times, dessert terrain and impressive landscapes make for a nice backdrop. Other than that, I found myself having little clue as to why something was happening, what the characters' motivations were, how A became B but suddenly appeared as C, where in the trajectory of the film's timeline was a scene taking place, how this film was such a success in ever way when it first came out. As if this was not enough, I have learned that Cimarron is one of only two films in history to be nominated in every eligible category, and the only one of which went on to attain the title of Best Picture.
By the end of the film, when Sabra (by chance, yet they are still married!) finds a dying husband in her arms following a nitroglycerin accident, I am ever so relieved that the story, if you could call it that, has finally decided to come to an end. - DirectorSteve McQueenStarsChiwetel EjioforMichael Kenneth WilliamsMichael FassbenderIn the antebellum United States, Solomon Northup, a free Black man from upstate New York, is abducted and sold into slavery.
- DirectorAlejandro G. IñárrituStarsMichael KeatonZach GalifianakisEdward NortonA washed-up superhero actor attempts to revive his fading career by writing, directing, and starring in a Broadway production.