Ok film fans last night we got into the list of the Highest Grossing Romantic Comedies since 1978 and the frightful mess of which it's comprised. Way back on day 48 I posted my Top 5 Indie Romance films and it's not much of a surprise but my list doesn't fair to well in the box office. From #5 to #1 on my list their ranking on the money list would be pathetic. Let's look at their grosses in descending order from #5 to #1: $446k, $4.3 mil, $2.8 mil, $550k and unknown. That's absolutely pathetic. Even better, Wishful Thinking doesn't even appear on the Box Office Mojo's website. Since not a single of those films actually qualify as a romantic comedy allow me to humiliate myself with yet another guilty pleasure.
Cousins is little gem of a love story (based on the French film Cousin, Cousine) that once again reminds us we do not choose love, love chooses us. Directed with surprising elegance by Joel Schumacher (the genius behind Batman & Robin) is a story of two couples affairs with their respective spouses. Tom Hardy (William Peterson long before CSI) and Tish Kozinski (Sean Young before she went batshit insane) slip away in the middle of a large wedding reception for a little romp and return from their tryst long after the party is over. The next day Tom's wife Maria (Isabella Rossellini) tracks down Tish's husband Larry (a surprisingly effective Ted Danson) to discuss the possibility of their spouses having an affair.
But this isn't a shallow film simply concerned about bed hopping, the script delves deeper than most of the romcoms that get churned out of Hollywood. We meet both parties' families, witness their dynamics and explore the psyche of the couples as well; Tom is a brash BMW salesman, Tish is young woman who married for excitement, Maria is a wife whose put her family obligations before her own needs and Larry is a social misfit with a heart of gold. The film centers on the emerging romance between Maria and Larry and their struggles with giving in to what may be true love. The love story and the film as whole succeeds because of the wonderful performance of Isabella Rossellini. The warmth and sheer happiness she exudes is so genuine you can't help but want her character to find true love.
The truth is the film works not because adultery is funny, but because life itself is funny. It's written with an understanding of how people speak and the funny little things they say to each other within the confines of their relationships. These touches add warmth and spark to scenes beyond what we normally expect. Perhaps it's just me, but the film works because Isabella Rossellini gives a performance more believable, heartfelt, funny and cute than anything Julia Roberts, Sandra Bullock or any of the bland crop of America's Sweethearts that Hollywood force feeds us ever dreamed of while sleeping on their huge piles of money.
Thursday, April 8, 2010
Wednesday, April 7, 2010
day 96 - Highest Grossing Romantic Comedies
Ok film fans, the last few nights I've been in a comedy mood. It's one of those wonderful things built into the human condition; laughter can lighten your mood and lift your spirits when you're feeling down. Comedy films are one of the most amazing things to watch because comedy is such a difficult thing to gauge. What might be funny to you might not be funny to someone else, case in point, the list for the highest grossing romantic comedies since 1978. Take a close look at this list. How many have you seen? More importantly, how many do you like? You may be surprised by this, because I don't give off a light-hearted rom-com vibe, but I've seen 80 of the films on this list. Unfortunately, I like maybe 20 of them.
The top ten of this list is the prime reason so many horrible rom-coms get made. I'm not shocked that there's two Julia Roberts films (worst best actress award ever! seriously, watch the other nominees from the year she one, you'll understand) and one from Sandra Bullock, they're America's Sweethearts (I just threw up in my mouth a little). I am surprised that there are actually three films I liked, There's Something About Mary, Knocked Up and As Good as It Gets. I'm also surprised there's two Helen Hunt films here, I had forgotten how much America loved this eighthead looking train wreck of a film actress (she wasn't bad on TV).
The closer you look at this list the more bizarre it looks, a random hodgepodge of styles and themes. No wonder Hollywood keeps churning these suckers out, you never know what's going to make over a $100 million, and yes I'm looking at Valentine's Day. You've got every kind of humor you can think of, from sappy (Pretty Woman) and raunchy (Knocked Up) to stories about teens (Pretty in Pink) and septuagenarians (Something's Gotta Give). It seems that if you throw a little romance into a film you can call it a romantic comedy if you through in even crappy jokes (i.e. every other film on this list).
What's even more disturbing is the group from 101 to 200. Here's is where you'll find some of my favorites, (500) Days of Summer, High Fidelity and Valley Girl slumming with the likes of All About Steve (Sandra Bullock made this and won an Oscar in the same year, this is one of the little known signs of the apocalypse), Addicted to Love and Picture Perfect (please for the love of all humanity, stop Jennifer Anniston from making any more films in this genre). In the end romantic comedies are such an eclectic group because it combines two things we all share but have wildly different opinions about; love and comedy.
Least you think I'm a film snob, which I try very hard not to be, I do consider this genre to be my biggest source of guilty pleasures. I like Sleepless in Seattle and You've Got Mail. I've been known to watch Notting Hill (yes I realize this is hypocritical of me) and The Wedding Date. One of my all time favorite films of the 80s is, and this is not to be spoken of outside this post, Blame It on Rio (one the greatest soundtracks as well, but impossible to find). Some of my favorite films don't even show up on this list until you get well into the 200s and others aren't even listed. But I think we'll save that for tomorrow.
The top ten of this list is the prime reason so many horrible rom-coms get made. I'm not shocked that there's two Julia Roberts films (worst best actress award ever! seriously, watch the other nominees from the year she one, you'll understand) and one from Sandra Bullock, they're America's Sweethearts (I just threw up in my mouth a little). I am surprised that there are actually three films I liked, There's Something About Mary, Knocked Up and As Good as It Gets. I'm also surprised there's two Helen Hunt films here, I had forgotten how much America loved this eighthead looking train wreck of a film actress (she wasn't bad on TV).
The closer you look at this list the more bizarre it looks, a random hodgepodge of styles and themes. No wonder Hollywood keeps churning these suckers out, you never know what's going to make over a $100 million, and yes I'm looking at Valentine's Day. You've got every kind of humor you can think of, from sappy (Pretty Woman) and raunchy (Knocked Up) to stories about teens (Pretty in Pink) and septuagenarians (Something's Gotta Give). It seems that if you throw a little romance into a film you can call it a romantic comedy if you through in even crappy jokes (i.e. every other film on this list).
What's even more disturbing is the group from 101 to 200. Here's is where you'll find some of my favorites, (500) Days of Summer, High Fidelity and Valley Girl slumming with the likes of All About Steve (Sandra Bullock made this and won an Oscar in the same year, this is one of the little known signs of the apocalypse), Addicted to Love and Picture Perfect (please for the love of all humanity, stop Jennifer Anniston from making any more films in this genre). In the end romantic comedies are such an eclectic group because it combines two things we all share but have wildly different opinions about; love and comedy.
Least you think I'm a film snob, which I try very hard not to be, I do consider this genre to be my biggest source of guilty pleasures. I like Sleepless in Seattle and You've Got Mail. I've been known to watch Notting Hill (yes I realize this is hypocritical of me) and The Wedding Date. One of my all time favorite films of the 80s is, and this is not to be spoken of outside this post, Blame It on Rio (one the greatest soundtracks as well, but impossible to find). Some of my favorite films don't even show up on this list until you get well into the 200s and others aren't even listed. But I think we'll save that for tomorrow.
Tuesday, April 6, 2010
day 95 - Waiting
Ok film fans, the week is still young and, much like last night, I'm still in need of some laughter. And tonight not just any kind of laughter will do. I'm looking for the kind that comes from relating to the situations onscreen because you've been through it yourself. Obviously making a connection with any kind of film enhances your appreciation for it, but with comedy it almost a whole genre unto itself. These slice of life comedies rely on our understanding of the situation, whether it is romance or a job.
Waiting... is a coming of age/workplace film that looks at the workers of the restaurant industry, many of whom are either in or just out of school. The employees of Shenanigans deal with boredom, rude customers and an uptight boss with humor, games and parties. If you've ever had any type of job in the wonderful food service industry you'll get the source of the comedy. The film revolves around Dean (Justin Long) who is beginning to questioned his job at Shenanigan's when he learns a high school classmate now has a lucrative career in electrical engineering. He's thrown into turmoil about his dead-end life and what he should do next when he's offered the Assistant Manager job . Dean's friend and roommate Monty (Ryan Reynolds) is in exactly the same boat, but he couldn't care less as he's more concerned with partying and getting laid.
Over the course of one chaotic shift, we get to know the rest of Shenanigan's quirky staff: Mitch (John Francis Daley), a quiet new employee, Monty's tough-talking ex-girlfriend, Serena (Anna Faris), Shenanigan's over-zealous manager, Dan (David Koechner), and head cook Raddimus (Luis Guzman), who's obsessed with a senseless staff-wide competition known only as "The Game". Having worked as a waiter in college this film always makes me laugh. My fellow waiters and I weren't as crude as the Shenanigan's crew, but I still remember the sense of monotony we fought against during each shift. Looking back on it through this film takes me back to a simpler time and makes me laugh, but there's no way in hell I'd want that job again. And that's just the kind laughter I needed.
Waiting... is a coming of age/workplace film that looks at the workers of the restaurant industry, many of whom are either in or just out of school. The employees of Shenanigans deal with boredom, rude customers and an uptight boss with humor, games and parties. If you've ever had any type of job in the wonderful food service industry you'll get the source of the comedy. The film revolves around Dean (Justin Long) who is beginning to questioned his job at Shenanigan's when he learns a high school classmate now has a lucrative career in electrical engineering. He's thrown into turmoil about his dead-end life and what he should do next when he's offered the Assistant Manager job . Dean's friend and roommate Monty (Ryan Reynolds) is in exactly the same boat, but he couldn't care less as he's more concerned with partying and getting laid.
Over the course of one chaotic shift, we get to know the rest of Shenanigan's quirky staff: Mitch (John Francis Daley), a quiet new employee, Monty's tough-talking ex-girlfriend, Serena (Anna Faris), Shenanigan's over-zealous manager, Dan (David Koechner), and head cook Raddimus (Luis Guzman), who's obsessed with a senseless staff-wide competition known only as "The Game". Having worked as a waiter in college this film always makes me laugh. My fellow waiters and I weren't as crude as the Shenanigan's crew, but I still remember the sense of monotony we fought against during each shift. Looking back on it through this film takes me back to a simpler time and makes me laugh, but there's no way in hell I'd want that job again. And that's just the kind laughter I needed.
Monday, April 5, 2010
day 94 - Pootie Tang
Ok film fans another new week is upon us and tonight I'm feeling like I could use a laugh or a couple dozen or perhaps some nitrous oxide. Over the years I have built a catalog of films to fall back on for nights like this and tonight I'm feeling like I need a little quality time with mindless stupidity.
Pootie Tang is one of the stupidest films ever made. It is also jam packed with scenes so ridiculous you can't help but find yourself laughing out loud. Written and directed by one of my all time favorite comedians, Louis C.K. (Who is actually writing the jokes Dane Cook steals for his shows), this is a film filled with cameos from his fellow stand-up comedian friends. Despite its glaring stupidity everyone in the cast seems to be in on the joke. If you're not in on the joke within the first few minutes you should probably just turn it off, it's only going to get more bizarre and outlandish as the film continues.
Basically a biopic, it chronicles the life of the musician/actor/activist/folk hero as he fights against criminals and the evil Lector Corporation, which sells cigarettes, booze, drugs and fast food to kids, with his magical belt. Oh yeah, he has a magical belt. He also speaks gibberish that everyone seems to understand without any problems. There's almost no point in getting into the plot because with this kind of film who really cares? The main goal here is to make you laugh and if you get the blaxploitation references it's even funnier. A labor of love for Louis C.K and Chris Rock (the Pootie Tang character appeared in five-minute bits on HBO’s The Chris Rock Show on which C.K. was a writer) this is not a mainstream film. It has however, become a cult favorite for fans of alt-comedy. So if you like your comedy a little subversive and a lot stupid, Pootie is your man.
Pootie Tang is one of the stupidest films ever made. It is also jam packed with scenes so ridiculous you can't help but find yourself laughing out loud. Written and directed by one of my all time favorite comedians, Louis C.K. (Who is actually writing the jokes Dane Cook steals for his shows), this is a film filled with cameos from his fellow stand-up comedian friends. Despite its glaring stupidity everyone in the cast seems to be in on the joke. If you're not in on the joke within the first few minutes you should probably just turn it off, it's only going to get more bizarre and outlandish as the film continues.
Basically a biopic, it chronicles the life of the musician/actor/activist/folk hero as he fights against criminals and the evil Lector Corporation, which sells cigarettes, booze, drugs and fast food to kids, with his magical belt. Oh yeah, he has a magical belt. He also speaks gibberish that everyone seems to understand without any problems. There's almost no point in getting into the plot because with this kind of film who really cares? The main goal here is to make you laugh and if you get the blaxploitation references it's even funnier. A labor of love for Louis C.K and Chris Rock (the Pootie Tang character appeared in five-minute bits on HBO’s The Chris Rock Show on which C.K. was a writer) this is not a mainstream film. It has however, become a cult favorite for fans of alt-comedy. So if you like your comedy a little subversive and a lot stupid, Pootie is your man.
Sunday, April 4, 2010
day 93 - The Ten Commandments
Editor's Note: I've been suffering from some web issues, again, but I'm back for more. Here's my post from April 4th.
Ok film fans I've got to get running again, things to do and people to see on this Easter Sunday. But since its Easter, now is a good time to bring out a classic that just happens to be one of the greatest epic films ever made.
The Ten Commandments is the epitome of the adage "they just don't make them like that anymore." This epic blockbuster is #5 on the adjusted for inflation all time domestic box office sales list. If you add the restriction of first runs only, because this film was never re-released for the big screen, it's actually #1. It's been shown on ABC since 1973 with the exception of 1999 when some programming genius decided they should pull it. Unsurprisingly, a shit ton of pissed off people called them and they put it back on the air. My own streak of continuous viewing runs from approximately 1975 to 1993, but I've reincorporated it into my Easter viewing over the last couple of years.
I'm not going to explain the story here; if you're not familiar with the story of Moses I recommend you go to church, heathen. Of course there is a version for the heathen in all of us as well. The final film directed by old school Hollywood icon Cecil B DeMille, this grand epic is filled with grandiose images and old-fashion special effects that still stand the test time (ok, not all of them do, but they're still pretty cool). There's so many to choose from sometimes you forget the smaller scale effects, e.g. the water turning red, in the face of the larger effect like the classic parting of the Red Sea.
It's an epic story with the best visuals money could buy at the time (a whopping $13 million in 1956), overly dramatic performances from Charlton Heston (only in the 50's would this guy get to play a Jew and a Mexican), Yul Brynner and Edward G Robinson in addition to a film set in Egypt with almost no black faces visible. My sister and I devised a game as kids to see if we could find black people in the background, kind of like an early Where's Waldo.
Despite what now appears as campy or even stilted acting, this is still a timeless classic that tells a wonderful biblical tale in a manner we no longer see. But at least every Easter we can still plop down on the couch and watch a classic. And with HDTV now it looks so good it's like rediscovering it all over again. Next year make sure to add it to your Easter weekend, you won't be disappointed.
Ok film fans I've got to get running again, things to do and people to see on this Easter Sunday. But since its Easter, now is a good time to bring out a classic that just happens to be one of the greatest epic films ever made.
The Ten Commandments is the epitome of the adage "they just don't make them like that anymore." This epic blockbuster is #5 on the adjusted for inflation all time domestic box office sales list. If you add the restriction of first runs only, because this film was never re-released for the big screen, it's actually #1. It's been shown on ABC since 1973 with the exception of 1999 when some programming genius decided they should pull it. Unsurprisingly, a shit ton of pissed off people called them and they put it back on the air. My own streak of continuous viewing runs from approximately 1975 to 1993, but I've reincorporated it into my Easter viewing over the last couple of years.
I'm not going to explain the story here; if you're not familiar with the story of Moses I recommend you go to church, heathen. Of course there is a version for the heathen in all of us as well. The final film directed by old school Hollywood icon Cecil B DeMille, this grand epic is filled with grandiose images and old-fashion special effects that still stand the test time (ok, not all of them do, but they're still pretty cool). There's so many to choose from sometimes you forget the smaller scale effects, e.g. the water turning red, in the face of the larger effect like the classic parting of the Red Sea.
It's an epic story with the best visuals money could buy at the time (a whopping $13 million in 1956), overly dramatic performances from Charlton Heston (only in the 50's would this guy get to play a Jew and a Mexican), Yul Brynner and Edward G Robinson in addition to a film set in Egypt with almost no black faces visible. My sister and I devised a game as kids to see if we could find black people in the background, kind of like an early Where's Waldo.
Despite what now appears as campy or even stilted acting, this is still a timeless classic that tells a wonderful biblical tale in a manner we no longer see. But at least every Easter we can still plop down on the couch and watch a classic. And with HDTV now it looks so good it's like rediscovering it all over again. Next year make sure to add it to your Easter weekend, you won't be disappointed.
Saturday, April 3, 2010
day 92 - Super Troopers
Editor's Note: I've been suffering from some web issues but we are back up and running. Here's my post from April 3rd.
Ok film fans March Madness has officially broken my spirit (I hate Duke so much I'm not even going to watch the final game) so I need a comedy to lighten my mood. There are many different types of comedy - slapstick, dark or black, parody and satires - that sometimes matching the comedy to your mood can be difficult. Since tonight I'm just looking for a diversion, I think we'll keep it light.
Super Troopers was the first full length feature film from the comedy troop known as Broken Lizard. To say these gentlemen enjoy their comedy with equal dashes of slapstick and vulgarity is an understatement. It's also really damn funny. There's not a lot of depth here, but they have managed at least to create a plot around the skits, even if it is just a MacGuffin.
A small Vermont State Troopers station is in danger of being axed by budget cuts, which would be a humiliating defeat in its ongoing rivalry with the Spurbury Police. Trooper Captain O'Hagan (Brian Cox! He must honestly say yes to every script offered him) urges his men to limit their endless shenanigans (I can't even use this word anymore without thinking of this film) and get some serious police work done to restore their image. However, their endless hazing of the station's rookie, tormenting of the squad loser and running gags seem to be more important to them than their jobs. Their accidental discovery a corpse and huge amounts of marijuana may save their jobs, but not if the Spurbury police captain has anything to say about it.
Is this a ridiculous, simple-minded film? Absolutely. But that's the charm of the Broken Lizard boys; they understand goofy, vulgar slapstick comedy. They do it well and make no apologies because they're not trying to make any statements or even make you think about the jokes. If you want to mindless, laugh out loud comedy, this should fit the bill nicely.
Ok film fans March Madness has officially broken my spirit (I hate Duke so much I'm not even going to watch the final game) so I need a comedy to lighten my mood. There are many different types of comedy - slapstick, dark or black, parody and satires - that sometimes matching the comedy to your mood can be difficult. Since tonight I'm just looking for a diversion, I think we'll keep it light.
Super Troopers was the first full length feature film from the comedy troop known as Broken Lizard. To say these gentlemen enjoy their comedy with equal dashes of slapstick and vulgarity is an understatement. It's also really damn funny. There's not a lot of depth here, but they have managed at least to create a plot around the skits, even if it is just a MacGuffin.
A small Vermont State Troopers station is in danger of being axed by budget cuts, which would be a humiliating defeat in its ongoing rivalry with the Spurbury Police. Trooper Captain O'Hagan (Brian Cox! He must honestly say yes to every script offered him) urges his men to limit their endless shenanigans (I can't even use this word anymore without thinking of this film) and get some serious police work done to restore their image. However, their endless hazing of the station's rookie, tormenting of the squad loser and running gags seem to be more important to them than their jobs. Their accidental discovery a corpse and huge amounts of marijuana may save their jobs, but not if the Spurbury police captain has anything to say about it.
Is this a ridiculous, simple-minded film? Absolutely. But that's the charm of the Broken Lizard boys; they understand goofy, vulgar slapstick comedy. They do it well and make no apologies because they're not trying to make any statements or even make you think about the jokes. If you want to mindless, laugh out loud comedy, this should fit the bill nicely.
Friday, April 2, 2010
day 91 - Y Tu Mama Tambien
Editor's Note: I've been suffering from some web issues but we are back up and running. Here's my post from April 2nd.
Ok film fans since last night was officially my longest post (and I just barely scratched the surface of that topic!) let's make tonight a little shorter.
Y Tu Mamá También is the best road trip film made in the last decade. Seriously. This Oscar nominated screenplay, written and directed by Alfonso Cuaron (who is also responsible for the amazing Children of Men), is a road trip through contemporary Mexico that sends a newly impulsive, beautiful twenty-something woman and two teenage boys in search of an unspoiled bit of paradise. But like all road movies, it’s more about the journey than the destination. It’s about the moments in youthful life before things change, before paradise gets spoiled and adulthood starts to limit the possibilities of youth.
In the middle of a boring summer vacation, Mexico City teenagers Tenoch (Diego Luna) and Julio (the sublime Gael Garcia Bernal) meet the older Luisa (an amazing performance from Maribel Verdu) at a wedding. In a pathetic and transparent attempt to impress/seduce her they tell Luisa they are headed on a road trip to a beautiful, secret beach called Boca del Cielo (Mouth of the Sky). Dealing with more adult issues in her life, like her adulterous husband, Luisa is desperate for an escape and impulsively asks if she can join them on their trip.
Y Tu Mama Tambien was advertised and sold as a Mexican coming of age road trip film, which is essentially true. But that's like saying Moby Dick is a story about a whale. The film deals with themes of sexual discovery, class structure in Mexican society and self discovery. There is a serious film beneath the surface of the comedy here and below that lies a film as serious as any of Ingmar Bergman's works. Cuaron captures this slice of life tale with a playfulness that never works against the grave themes lingering below the film’s beautiful surface. It's an honest and frank look at life we rarely see in American cinema; that it is told through the eyes of people living in Mexico reminds us that no matter who or where we are there is no difference in the things we want, the way we live or the truths of human lives.
Ok film fans since last night was officially my longest post (and I just barely scratched the surface of that topic!) let's make tonight a little shorter.
Y Tu Mamá También is the best road trip film made in the last decade. Seriously. This Oscar nominated screenplay, written and directed by Alfonso Cuaron (who is also responsible for the amazing Children of Men), is a road trip through contemporary Mexico that sends a newly impulsive, beautiful twenty-something woman and two teenage boys in search of an unspoiled bit of paradise. But like all road movies, it’s more about the journey than the destination. It’s about the moments in youthful life before things change, before paradise gets spoiled and adulthood starts to limit the possibilities of youth.
In the middle of a boring summer vacation, Mexico City teenagers Tenoch (Diego Luna) and Julio (the sublime Gael Garcia Bernal) meet the older Luisa (an amazing performance from Maribel Verdu) at a wedding. In a pathetic and transparent attempt to impress/seduce her they tell Luisa they are headed on a road trip to a beautiful, secret beach called Boca del Cielo (Mouth of the Sky). Dealing with more adult issues in her life, like her adulterous husband, Luisa is desperate for an escape and impulsively asks if she can join them on their trip.
Y Tu Mama Tambien was advertised and sold as a Mexican coming of age road trip film, which is essentially true. But that's like saying Moby Dick is a story about a whale. The film deals with themes of sexual discovery, class structure in Mexican society and self discovery. There is a serious film beneath the surface of the comedy here and below that lies a film as serious as any of Ingmar Bergman's works. Cuaron captures this slice of life tale with a playfulness that never works against the grave themes lingering below the film’s beautiful surface. It's an honest and frank look at life we rarely see in American cinema; that it is told through the eyes of people living in Mexico reminds us that no matter who or where we are there is no difference in the things we want, the way we live or the truths of human lives.
Thursday, April 1, 2010
day 90 - Top 5 Alfred Hitchcock Films
OK film fans, tonight is the glorious three month mark of my little experiment! Yea me! As such I feel tonight is the perfect night to discuss one of my all time favorite directors, Alfred Hitchcock. As a kid I used to watch reruns of Alfred Hitchcock Presents and scare myself silly. When I was older I discovered that my Jr. High school's library had copies of similarly titled books and I had the fun of scaring myself all over again.
I have loved the works of The Master of Suspense since I was too young to be anything other than scared. He is synonymous with the genre. AFI's Top 10 Mystery's include 4 of his films. Hitchcock's definition of suspense vs. surprise, the element used in most horror and pseudo suspense films made today, is important in understanding why his films are so effective. As Hitchcock explained, when a bomb under a table goes off, that's surprise. If we know the bomb is under the table but not when it will go off, that's suspense. Modern slasher films depend on danger that leaps unexpectedly out of the shadows. It's a surprise that quickly dissipates, giving us a momentary rush but not satisfaction. In addition to suspense Hitchcock's films always revolve around secrets we try to hide from each other; our intimate desires, obsessions and fears. Enough of the hype, let's get my Top 5 Alfred Hitchcock Films rolling!
Honorable Mention: Rope - 1948 I had to throw one more in here. While not a great film you have to give the master serious kudos for attempting to make a film that appears, much like a play, as if it is one seamless shot. Since the length of one roll of film was 8 minutes there are ingenious transitions designed to mask when the film would run out and he would need to reload. The technical skill it took to make this film, incorporating the lighting, blocking and camera movement, is impressive even if the film about two spoiled high society boys attempting to get away with murder isn't. (I was going to go with The Birds here, but I thought I'd go with something a little less known.)
5. Notorious - 1946 Alicia Huberman (legendary Ingrid Bergman) has become a reputed wanton woman, living in disgrace since her father was convicted as a Nazi spy and committed suicide. She is recruited by Government agent T.R. Devlin (who else could be this smooth but Cary Grant?) to fly to Rio and infiltrate the home of Alexander Sebastian (Claude Rains), the head of a Nazi spy ring. Sebastian was once in love with Alicia, making her job somewhat easier. But Alicia agrees to essentially gather information through pillow talk because she is in love with Devlin. This is often considered Hitchcock's most elegantly filmed work. The camera work is beautiful and designed to enrich the story at every turn. In fact, it's so good most times it tells more of a story then the words spoken by the actors.
4. Rear Window - 1954 Jeff Jefferies (another icon, James Stewart) is a famous photographer, a man of action, whose lifestyle has led to a broken leg and some time holed up in his apartment with nothing to do. His nurse Stella and his fiancee Lisa Fremont (The Grace Kelly) are his only regular visitors and with his options limited Jeff does what he does best, looks through the lens of his camera. The only problem is all he has to look at is the life of his neighbors through their open windows facing the shared courtyard. To call him a voyeur is an understatement. While peeping on his neighbors he witnesses the strained relationship of a man and his bed-ridden wife. When she suddenly disappears our story of suspense begins. This thriller is considered by many to be Hitchcock's finest work, but it's a little formulaic for me.
3. Psycho - 1960 One of the master's few excursions into horror also happens to be perhaps his most well known film. This landmark film was beyond groundbreaking when it was released at the beginning of the 60's. It is also the epitome of Hitchcock's wonderful use of the MacGuffin. Shot on a cheap budget with black and white film and using the crew Hitchcock used for his television show gave this film a gritty, pulp feel that added to its 50's horror film look. It was also advertised like the cheap horror films of epic pitchman William Castle. Marion Crane (Janet Leigh, mom of scream queen Jamie Lee Curtis) has stolen $40,000 from a creep to use for her boyfriend. While on the run she pulls over to get out of the rain and clear her head at a sleepy little motel. In a twist (no this is not a spoiler, what's wrong with you!) that stunned the film viewers of the day; our lead star meets her demise in the now famous shower scene. The unexpected transition makes motel owner Norman Bates the lead and we watch as he attempts to cover up Marion's disappearance from her sister and a private eye. While Hitchcock wasn't done with the surprise twists yet, the film remains in our collective memories not because of unforeseen plot changes (I'm looking at you M. Night) but thanks to the master's manipulation of fears we all share.
2. North by Northwest - 1959 New York advertising executive Roger Thornhill (Cary Grant again!) gets caught in a worst case scenario of mistaken identity. Foreign spies believe he is a CIA agent named George Kaplan and a threat that needs to be eliminated. Adding to Thornhill's problems he's also being accused of murder and now the cops are searching for him as well. On the run and looking for a way to clear himself he is aided by Eve Kendall, a woman he meets on a train. This, by the way, is never a good sign, especially in a Hitchcock film. Along the way we get iconic scenes in a field and on Mt. Rushmore. I'm going to stop here and just say I love this film. Anytime I see it's on TV I always end up watching it. When you get done with this post, you should too.
1. Vertigo - 1958 Trust me when I say we'll be looking at this film closer later on as it is quite simply one of the greatest films ever made. Consistently found on Best Film lists, most recently AFI's #9 choice, it didn't begin to get critical praise until 1968. It was pulled from circulation between 1973 and 1983, then restored and re-released in 1996 (which I saw on the big screen... very cool). This dark, odd film about love and obsession is filled with enough subtext to write a book. There's also the film's exploration of some of the very demons that plagued Hitchcock himself. The use of color in the film and the importance that red, green and yellow plays in providing subliminal cues have been well documented.
Scottie Ferguson (James Stewart, again!) is a police detective forced into early retirement when his fear of heights leads to the death of a fellow police officer. He now spends most of his time meandering around San Francisco and hanging out with his former college sweetheart Midge. When an old friend asks him to follow his wife, Madeleine (Kim Novak, huba-huba), Scottie takes the job out of curiosity and boredom. She appears to believe she's the reincarnation of a long dead woman of San Franciscan lore. Over time he gets to know her and even fall in love with her.
Rather than give away anything for the uninitiated, I'll just leave you with this passage from my guru, Mr. Roger Ebert. "A man has fallen in love with a woman who does not exist, and now he cries out harshly against the real woman who impersonated her. But there is so much more to it than that. The real woman has fallen in love with him. In tricking him, she tricked herself. And the man, by preferring his dream to the woman standing before him, has lost both."
When you are ready for a film experience few films can match, this is your film.
I have loved the works of The Master of Suspense since I was too young to be anything other than scared. He is synonymous with the genre. AFI's Top 10 Mystery's include 4 of his films. Hitchcock's definition of suspense vs. surprise, the element used in most horror and pseudo suspense films made today, is important in understanding why his films are so effective. As Hitchcock explained, when a bomb under a table goes off, that's surprise. If we know the bomb is under the table but not when it will go off, that's suspense. Modern slasher films depend on danger that leaps unexpectedly out of the shadows. It's a surprise that quickly dissipates, giving us a momentary rush but not satisfaction. In addition to suspense Hitchcock's films always revolve around secrets we try to hide from each other; our intimate desires, obsessions and fears. Enough of the hype, let's get my Top 5 Alfred Hitchcock Films rolling!
Honorable Mention: Rope - 1948 I had to throw one more in here. While not a great film you have to give the master serious kudos for attempting to make a film that appears, much like a play, as if it is one seamless shot. Since the length of one roll of film was 8 minutes there are ingenious transitions designed to mask when the film would run out and he would need to reload. The technical skill it took to make this film, incorporating the lighting, blocking and camera movement, is impressive even if the film about two spoiled high society boys attempting to get away with murder isn't. (I was going to go with The Birds here, but I thought I'd go with something a little less known.)
5. Notorious - 1946 Alicia Huberman (legendary Ingrid Bergman) has become a reputed wanton woman, living in disgrace since her father was convicted as a Nazi spy and committed suicide. She is recruited by Government agent T.R. Devlin (who else could be this smooth but Cary Grant?) to fly to Rio and infiltrate the home of Alexander Sebastian (Claude Rains), the head of a Nazi spy ring. Sebastian was once in love with Alicia, making her job somewhat easier. But Alicia agrees to essentially gather information through pillow talk because she is in love with Devlin. This is often considered Hitchcock's most elegantly filmed work. The camera work is beautiful and designed to enrich the story at every turn. In fact, it's so good most times it tells more of a story then the words spoken by the actors.
4. Rear Window - 1954 Jeff Jefferies (another icon, James Stewart) is a famous photographer, a man of action, whose lifestyle has led to a broken leg and some time holed up in his apartment with nothing to do. His nurse Stella and his fiancee Lisa Fremont (The Grace Kelly) are his only regular visitors and with his options limited Jeff does what he does best, looks through the lens of his camera. The only problem is all he has to look at is the life of his neighbors through their open windows facing the shared courtyard. To call him a voyeur is an understatement. While peeping on his neighbors he witnesses the strained relationship of a man and his bed-ridden wife. When she suddenly disappears our story of suspense begins. This thriller is considered by many to be Hitchcock's finest work, but it's a little formulaic for me.
3. Psycho - 1960 One of the master's few excursions into horror also happens to be perhaps his most well known film. This landmark film was beyond groundbreaking when it was released at the beginning of the 60's. It is also the epitome of Hitchcock's wonderful use of the MacGuffin. Shot on a cheap budget with black and white film and using the crew Hitchcock used for his television show gave this film a gritty, pulp feel that added to its 50's horror film look. It was also advertised like the cheap horror films of epic pitchman William Castle. Marion Crane (Janet Leigh, mom of scream queen Jamie Lee Curtis) has stolen $40,000 from a creep to use for her boyfriend. While on the run she pulls over to get out of the rain and clear her head at a sleepy little motel. In a twist (no this is not a spoiler, what's wrong with you!) that stunned the film viewers of the day; our lead star meets her demise in the now famous shower scene. The unexpected transition makes motel owner Norman Bates the lead and we watch as he attempts to cover up Marion's disappearance from her sister and a private eye. While Hitchcock wasn't done with the surprise twists yet, the film remains in our collective memories not because of unforeseen plot changes (I'm looking at you M. Night) but thanks to the master's manipulation of fears we all share.
2. North by Northwest - 1959 New York advertising executive Roger Thornhill (Cary Grant again!) gets caught in a worst case scenario of mistaken identity. Foreign spies believe he is a CIA agent named George Kaplan and a threat that needs to be eliminated. Adding to Thornhill's problems he's also being accused of murder and now the cops are searching for him as well. On the run and looking for a way to clear himself he is aided by Eve Kendall, a woman he meets on a train. This, by the way, is never a good sign, especially in a Hitchcock film. Along the way we get iconic scenes in a field and on Mt. Rushmore. I'm going to stop here and just say I love this film. Anytime I see it's on TV I always end up watching it. When you get done with this post, you should too.
1. Vertigo - 1958 Trust me when I say we'll be looking at this film closer later on as it is quite simply one of the greatest films ever made. Consistently found on Best Film lists, most recently AFI's #9 choice, it didn't begin to get critical praise until 1968. It was pulled from circulation between 1973 and 1983, then restored and re-released in 1996 (which I saw on the big screen... very cool). This dark, odd film about love and obsession is filled with enough subtext to write a book. There's also the film's exploration of some of the very demons that plagued Hitchcock himself. The use of color in the film and the importance that red, green and yellow plays in providing subliminal cues have been well documented.
Scottie Ferguson (James Stewart, again!) is a police detective forced into early retirement when his fear of heights leads to the death of a fellow police officer. He now spends most of his time meandering around San Francisco and hanging out with his former college sweetheart Midge. When an old friend asks him to follow his wife, Madeleine (Kim Novak, huba-huba), Scottie takes the job out of curiosity and boredom. She appears to believe she's the reincarnation of a long dead woman of San Franciscan lore. Over time he gets to know her and even fall in love with her.
Rather than give away anything for the uninitiated, I'll just leave you with this passage from my guru, Mr. Roger Ebert. "A man has fallen in love with a woman who does not exist, and now he cries out harshly against the real woman who impersonated her. But there is so much more to it than that. The real woman has fallen in love with him. In tricking him, she tricked herself. And the man, by preferring his dream to the woman standing before him, has lost both."
When you are ready for a film experience few films can match, this is your film.
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