Saturday, January 30, 2010
Of course, there's always the openings of A Clockwork Orange, Vertigo, North by Northwest, High Noon, The Wild Bunch and then...I'm drawing a blank. What are the other great title sequences/opening credits?
Friday, January 29, 2010
I don't know if it's gone, (or if the man is any saner after returning to the screen in a big production for the first time since 2002's Signs) but his performance, full of rage and wrinkles, is good enough to elevate the film into a perfectly enjoyable (albeit rutted) thrill-ride which proves that the bad, in fact, do not sleep well.
Edge of Darkness is a pulsating, brooding, mad-as-a-hornet revenge-seeker by way of corporate conspiracy paranoia and dread - bare-knuckled and mean. As Gibson, with his big stubby hands, pries around in the wake of his daughter's seemingly unmotivated death, he unravels a mighty juicy plot of collusion and corporate greed. The violence is real and quantifiable (especially in the last fifteen minutes) and in my estimation, oddly earned.
The resulting body count is therefore almost immeasurable and the screen alive - palpitating with serious fear, instability lurking around every corner. Unfortunately, the screenwriters and director Martin Campbell (Casino Royale) play their hand by revealing too much about the initially mysterious weapons manufacturing company called Northmoor. (Given a face by a clean-cut Danny Huston). By the end, you feel as if you could recite their company lines and quarterly profits.
This isn't necessarily a film that hearkens back to the good old days of 70's conspiracy and paranoia, but rather a 21st-century makeover - energetic opposed to hypnotic and implausible opposed to reasonable. It's got a few potholes and it's suffocatingly mawkish (let's just say Mel's daughter shows up from time-to-time), but upon review, I remember Edge of Darkness as a fairly smooth ride.
Thursday, January 28, 2010
Nevertheless, it's easily one of Frank Capra's most purely enjoyable early sound films, centering around a reporter (Robert Williams) who falls for a glamorous, wealthy and radiantly blond heiress (Jean Harlow). This is bad news to the slinky, puppy-eyed Gallagher (Loretta Young), who secretly lusts for her adventurous journalist colleague.
Anyway, I think it looks okay. I'm really not okay with anything Shia LaBeouf is in anymore (the guy reminds me of a boyish, skinner version of Orlando Magic point guard Jason Williams) and the fact that he's currently dating soon-to-be Best Actress nominee and co-star Carey Mulligan totally kills it for me.
Wednesday, January 27, 2010
It's a taut, exceedingly and expectedly well-shot film noir about a pertinacious and rotund detective (Edward G. Robinson) who's hot on the trail of a suspected Nazi war criminal (Orson Welles) now under the guise of a university professor named Charles Rankin.
As his wife (Loretta Young) becomes more and more exposed to the idea of her husband as somebody potentially in hiding from authorities, it plays out like a killer-in-the-midst drama reminiscent of Alfred Hitchcock's Shadow of a Doubt (1944).
The others, The Goonies, Three Kings, What's Up Doc? (and more) are mid-level interests to me - rentals at best. And although I haven't seen David O. Russell's Three Kings (1999) in a long time, I am a fan, just not enough to double-dip.
It's also refreshingly set in Bwah-ston and not in some Euro port with tiny cars and mysterious French guys with beards. I'm not expecting The Parallax View or Three Days of the Condor, but I am expecting something better than Taken.
Tuesday, January 26, 2010
In 1946, while directing a stage production (a musical) of Jules Verne's "Around the World in Eighty Days," Welles ran out of funding and desperately convinced Cohn to send him the extra dough to keep the show running. In exchange, Welles promised to star, write and direct a feature film for Columbia at no further cost - needless to say, Cohn accepted.
I absolutely love the opening credits set to just the sounds of the African jungle, the plain white letters welcome in their simplicity, yet once the the film starts, I just don't care two licks about Katharine Hepburn and Humphrey Bogart's better-late-than-never romance or their hair-brain scheme to sink a German vessel.
I like my Bogart stone-faced and ashamedly heroic, not goofily drunk with his Babe Ruth hat. Plus, every time Hepburn says, "Hip, hip hooray!" I lose a part of my soul.
Of course I'm going to give it another chance with this new high-def transfer, (I've only seen the film twice on TCM) but I can't imagine myself ever loving it. I haven't liked one of the "Hollywood Goes to Africa" travelogues released in the 50's - King Solomon's Mines, Mogambo, The African Queen. I don't know why, but I just resist their charms.
Monday, January 25, 2010
The blind man, glum and suicidal, hears the voice of Stanwyck's phony religious awakener and rejuvenated and enlightened, seeks her out. But naturally, the one in need of a miracle is the one who least expects it.
With the PGA awarding it their film of the year, it is viable and completely rational to assume that some of the other guilds and voting bodies will embrace it as well, and The Wrap's Steve Pond agrees. Or maybe everyone is just grasping at straws, trying to stir the pot, wishful thinking, etc. After all, it's $600 million vs. $12 million.
Sunday, January 24, 2010
John Wells' The Company Men sounds interesting, ditto Henry Joost and Ariel Schulman's Catfish - but there hasn't been a must-see drama along the lines of Moon or An Education yet.
2. Legion (Screen Gems) $18.2 million
3. The Book of Eli (Warner Bros.) $17 million
4. The Tooth Fairy (Fox) $14.5 million
5. The Lovely Bones (Paramount/Dreamworks) $8.8 million
6. Sherlock Holmes (Warner Bros.) $7.1 million
7. Extraordinary Measures (CBS Films) $7 million
8. Alvin and the Chipmunks: Squeakquel (Fox) $6.5 million
9. It's Complicated (Universal) $6.1 million
10. The Spy Next Door (Lionsgate) $4.7 million
Avatar passed $550 million this weekend and will inevitably pass Titanic sometime in the next two weeks, if not one. Fine, well-done Fox. Enjoy your martinis and your champagne and your Oscar, you took a hell of a risk and it somehow payed off.Elsewhere, bravo to Screen Gems, who somehow managed to milk an $18.2 million weekend for the angelic horror film Legion on just 2,400 screens for a solid 7,351 per-screen average. I didn't see that coming at all. Another film with humanity in the balance and God very much on the mind, The Book of Eli held a decent 48% for a $17 million follow-up. That's $62 million after two weekends, good numbers for Warner Bros. The Book of Eli II: Revelations?
The Tooth Fairy opened with a disappointing $14.5 million, which is considerably less than The Rock's other family-friendly comedy, The Game Plan, which made over $22 million on its first weekend in 2007. Nothing else really of note besides the predictably murky and mawkish Extraordinary Measures (no I haven't seen it, I just know) which made $7 million in its first weekend, which I suppose is more than it would have made airing on Lifetime.
Saturday, January 23, 2010
The unfortunate thing about all of this is the apparent death of Kathryn Bigelow's The Hurt Locker, which came up empty at the Globes and now comes up empty at the SAG's. Although I still hold out hope that James Cameron's Avatar can be upset come Oscar time, it simply doesn't appear to be in the cards this year. There are far better films than Cameron's $300 million+ brainchild, but none of them made more headlines or more money.
Capra made no mistake about attempting to match the success of his first talking action-picture Flight ('29), casting the same two leads Ralph Graves and Jack Holt to play pilots competing for the affections of a beautiful lady, this time played by Fay Wray just two years before her legendary turn in King Kong ('33).
Dirgible makes no bones about what it is - it's high-flying romantic escapism made to exploit the public's insatiable appetite for aviation films, as evidenced in William A. Wellman's Wings ('27) and Howard Hughes' Hell's Angels ('30) to name a few. Capra's second exploit in this crowded field of topical adventures traces two rival pilots - one a wild grand-stander (Graves) and the other a distinguished and honorable dirigible operator (Holt) - as they attempt to reach the South Pole.
Complicating matters is the wife of Ralph Graves' Friskie Pierce, Helen (Wray), who refuses so sit idle while her husband flies half-way around the world and then naively attempts to rebound with his best friend, Jack Bradon (Holt), when he's away. Instead of dumping one pilot for another (isn't this a lateral move?) she should be seeking a man with more inactive career choice more befitting for her cloying personality - perhaps a painter or a writer.
Although it shamelessly capitalizes on film's of its kind that came before it, Capra proves once again that he's a great entertainer and magician of aerial photography. Avoiding the technical pitfalls of Flight (a dirigible crash over the Atlantic and a rough Antarctic landing show leaps in technological progress) and taking advantage of a supportive and accommodating U.S. Navy who allowed Columbia Pictures to shoot famous air-suspended dirigibles like the USS Los Angeles, the film feels polished, if nothing else.
The problem lies in the film's rote and reductive screenplay (co-written by Capra regular Jo Swerling), which stresses predictable plot points and exploits the type-casted personas of its actors. Nevertheless, the film was a huge success for Columbia and was the first film from the studio to premiere at Grauman's Chinese Theater, a fateful night on April 3rd, 1931.
It's too flimsy and familiar, and although technically evolved from Frank Capra's previous aviation epic Flight, Dirigible seems auspiciously grand, yet dramtically stale. It's a big, giant zeppelin of a film - a wonder of the skies, yet hollow, empty and inevitably, obsolete.
Thursday, January 21, 2010
The film's frolicsome, jesting mood doesn't fit with the Peckinpah eruptions of violence and there's never any sense of scale or danger in the entire running-time even though a good majority of characters on screen are offed in gruesome, gleeful ways. Most of the time it seems as if Eliot Ness (Kevin Costner) and Jim Malone (Sean Connery) are the only cops in the city and they practically live next door from kingpin Al Capone (Robert De Niro).
I also have a big problem with almost every performance in the film. De Niro seems to be in self-parody mode, encapsulating every performance he's ever given, while Andy Garcia just sort of looks around at everybody with his slicked-back hair and fake-Italian bravado. Meanwhile, Sean Connery, who somehow won an Oscar for this, plays the aging, rough-and-tumble Irish cop Jim Malone with an unrelenting jocular-Grandpa sidekick vibe that echoes what he would later turn in as the father of Indiana Jones in The Last Crusdae ('89). (Harrison Ford was offered the role of Eliot Ness in The Untouchables but declined.)
And that brings us to Kevin Costner as the aforementioned Eliot Ness, who turns in one of the most boring, inadequate performances of his career, and in a movie stocked full of actors off their game, he makes his presence felt in the worst way. How this guy even got dressed in the morning, much less tracked down the most notorious gangster in our nation's history, is beyond me. His scenes with his wife (Patricia Clarkson in her screen debut) didn't work for me at all, either. This is a sometimes stylish and well-produced film, I'll give it that, but it's too jaunty, disproportionate and chimerical by a half.
Humanity is on the brink of destruction again, this time because God has sent a legion of angels to bring on the apocalypse, with only a group of strangers at a roadside diner and an archangel played by Paul Bettany standing in their way. This thing didn't even screen for critics - look out. (No reviews)
In the spirit of The Game Plan, this very family-friendly comedy sees Dwayne "The Rock" Johnson as a hockey player (um....) who becomes a tooth fairy. 12% RT, 37 Metacritic.
Look, it's a high-school film about white jock-guilt. I'm not sure how many theaters it's opening at tomorrow, but it's playing near me. I'm not going. (No Reviews)
Paul Bettany's second movie of the weekend, this time his plays Charles Darwin in this biopic which takes place just before the English naturalist wrote "The Origin of Species." It opened the Toronto Film Festival and it's coming out in January without an iota of buzz. 49% RT.
It's essentially a tragedy in a maze of guilt, greed and corruption in which nobody ends up sitting pretty by the time it's over. The most interesting aspect, which was admittedly dramatized by Redford among other things, was the investigation spearheaded by congressman Dick Goodman (Rob Morrow) who spends the majority of the film sniffing around desperately for clues until he loses himself and his direction in the end. ("I thought we were going to get television. The truth is, television's gonna get us.")
Sure, Quiz Show is a little on-the-nose at times (a game of poker as a metaphor for lying, brilliant! Chess, anyone?) and even if you have no historical context or background about the quiz show scandals of the late 50's (like me), you know where the thing is going after fifteen minutes and there very few surprises along the way.
Perhaps the biggest surprise was how little screen-time is actually spent watching the quiz show, Twenty-One. I would have liked to have seen more of that, which would have plugged in some drama and tension in places where it would prove beneficial. Hell, Paul Thomas Anderson's Magnolia ('99) had more game-show drama.
Still, the performances are top-notch, the period dressings and production design are good and predictably sepia-toned with poodle-skirt music and Rhinestone glasses. And while it sometimes drags along with its corporate greed tangents and truth-seeking riffs, the heart of the movie is Rob Morrow's Dick Goodman, who seems to resemble Zodiac's Robert Graysmith (Jake Gyllenhaal) with his doggedness, perserverance and his arc - coming from a supporting character to a lead.
He gets so far buried underneath his own digging that he can't see which way's out. The blow-back that his character endures over the last thirty or so minutes of the film is touched upon, but not in any resolute way. Quiz Show is a film that goes here and there and compels throughout without hitting anything out of the park - an investigation that's more interesting than riveting.
Wednesday, January 20, 2010
Oh, if only the Oscars went this way.
Tuesday, January 19, 2010
The film, which also stars Matt Damon and Josh Brolin, is slated to begin shooting in March and I can't wait to see what they do with the material. I know the Coen's are divisive and their worldview certainly not for everyone, but with No Country for Old Men and (especially) A Serious Man, they're easily two of the most interesting American directors working today.
Reworking a 1928 Broadway hit for the screen, Frank Capra and writer Jo Swerling (who worked with the director of Ladies of Leisure) removed the musical numbers but kept in the major players from the stage play, specifically the loud, speed-talking wizard of a showman, Joe Cook, in his screen debut.
I don't particularly like the output that DreamWorks Animation puts out, but I will concede with a point that Harry makes about comparing this film to Kung Fu Panda, one of the few films of theirs that actually works for me.
That film was kid-friendly funny, beautiful to look at and refreshingly devoid of cheap, low-ball humor and pop-culture references. (I'm look at you, Monsters vs. Aliens). And I think that has to do with its period setting, which is the case here with How to Train Your Dragon, a story about a worthless, wanna-be Viking named Hiccup who captures and then befriends a dragon named Toothless. I love the foggy, misty Scottish-countryside look it, which apparently has influenced and consulted by Roger Deakins.
The trailer isn't anything impressive, and I'm not looking forward to the "dragons are misunderstood/anti-captivity angle," but Harry concedes as much in his review. Hey, it has to be better than Shrek Forever After, no?
Sunday, January 17, 2010
Frank Capra nearly passed on the then 23 year-old Brooklyn-born actress Barbara Stanwyck in the early production stages of Ladies of Leisure. However, it was a committed husband (Frank Fay) who convinced Capra to take a look at her screen test performed by Alexander Korda of all people, that ended up being the clincher.
1. Avatar (20th Century Fox) - $41.3 million
2. The Book of Eli (Warner Bros.) - $31.6 million
3. The Lovely Bones (Paramount/Dreamworks) - $17 million
4. Alvin and the Chipmunks: The Squeakquel (Fox) - $11.5 million
5. Sherlock Holmes (Warner Bros.) - $9.8 million
6. The Spy Next Door (Lionsgate) - $9.7 million
7. It's Complicated (Universal) - $7.6 million
8. Leap Year (Universal) - $5.8 million
9. The Blind Side (Warner Bros.) - $5.5 million
10. Up in the Air (Paramount) - $5.4 million
Well Avatar is making a lot of money, blah, blah, blah. It's over $491 million domestically as of today - so now James Cameron can eat. The silly but reverential and stylish apocalyptic action-sermon The Book of Eli opened well for Warner Bros., but after beating Avatar on Friday, it was left in the dust throughout the weekend - should be interesting to see how it holds up.
Surprisingly, The Lovely Bones opened up to modest returns in its long-delayed wide release, considering the film is all-but-dead in terms of buzz and opened in NY and LA ages ago (or so it seems). Still, Paramount screwed this up. This was supposed to be their heavy-hitter (which is why they moved Martin Scorsese's Shutter Island back to February) and it didn't deliver. They're not going to make much off of it - if anything - and it failed to catch on with anybody, really.
The Squeakquel ($192 domestic) and Sherlock Holmes ($180 domestic) contine to hang in there a little, while Lionsgate's vampire-squealer Daybreakers dropped a dramatic 67% this weekend and didn't even crack the top ten - whoops. Things are worse for Youth in Revolt, another blunder for the Weinstein's. Poor guys.
And oh yeah, The Spy Next Door - you know the Jackie Chan babysitter-Billy Ray Cyrus soul-patch action/kids movie - pulled in $9.7 million worth of awful parents whose kids will now misbehave in an attempt to match the hysterics and Spy Kids flourishes of the movie.
Saturday, January 16, 2010
A stoic, shadowed and resourceful figure wanders the bleak, sun-worn digitized landscapes in the Hughes Brothers' clumsy, yet strangely spiritual and flashy apocalyptic sermon, The Book of Eli. Aside from carrying a wickedly sharp blade on his back and about thirty pounds more than a diet of stray cats would lead you to believe, this figure has a less than ordinary book in his possession. Everybody wants it, but nobody can lay their hands on it - at least not if our sacred nomad (a grizzly, soft-spoken Denzel Washington) has anything to say about it.
Bardelys the Magnificent stars John Gilbert, who after teaming with King Vidor on the World War I epic The Big Parade ('25), was a massive star. Bardelys never lived up to the enormous expectations following their previous collaboration, but it was a success nonetheless, and can now be enjoyed by generations to come.
Once you get past the fact that everyone in this adaptation of Rafael Sabatini's novel of French royalty under the reign of King Louis XIII looks like the Burger King mascot, it's a very enjoyable film, featuring a rousing escape sequence from the gallows near the end and a beautiful Mont Alto Orchestra score based on period photoplay music.
Included below is a lovely second-half boat ride making great use of an over-hanging tree, Eleanor Boardman as Roxalanne de Lavedan and John Gilbert as the titular Bardelys. (Note: this is not the Mont Alto score that accompanied the print I saw on TCM, but rather an alternate piano score included with the Flicker Alley DVD).
Friday, January 15, 2010
I know Harry Knowles loved it for what that's worth, but isn't everybody getting sick of Christopher Mintz-Plasse? This guy will be the next Anthony Michael Hall, you'll read about him in fifteen years in an article titled, "Where Are They Now?"
FLIGHT (1929) Columbia Pictures, 112 min
In 1929, the U.S. Marines were involved in an intervention in Nicaragua, fighting rebel forces under the leadership of revolutionary figure Augusto Sandino. Capra's whole-hearted political support of U.S. involvement led to significant cooperation between Columbia Pictures and the U.S. Marines for this aviation epic billed as the first "100% all talkie of the air."
And it was certainly one of Capra's first talkies, regarded at the very least as his most successful and fluid of the early sound era. The story for Flight ('29) was ripped right from one of Capra's more successful silent films under Harry Cohn at Columbia, the underwater actioner, Submarine ('28).
It returned stars Jack Holt and Ralph Graves as Marines combating both rebels in Nicaragua and themselves, for the affections of the on-station nurse played by Lila Lee. It's a classic love-triangle that Capra had used before and would use again. (We'll get to that later in the marathon.)
This is a straight-forward, easygoing bit of crowd-pleasing formula, drawing on the current fad of the day (aviation films) and putting it into a funny, dangerous, and technologically-driven production that can still hold an audiences interest today.
Flight is a film that certainly shows its age - spotty, inaudible dialogue, poor sound mixing - while still hinting at what was to come with the advent of sound. (At the time, it was considered a monumental achievement for its exploration in that area.) Some of the aerial maneuvers can take your breath away with their realism, while crashes and landings and take-offs are done with cheap models, taking you out of it completely.
Nevertheless, it's a grand production (Capra shot over 100,000 feet of film compared to the final cut of just 10,000) and it deserves to be considered an historical film on account of its exploration and implementation of what can be accomplished in the field of sound.
This is a perfect starting point for the films of Frank Capra, bearing most (if not all) of his future trademarks - the comedy and the romance, the blending of current events and U.S. politics into the story, and the director's unabashed reputation for escapism and "fantasies of goodwill." Flight is a film that's as candid as its title - proving that formula (even Depression-era formula) can still entertain.
Thursday, January 14, 2010
THE BOOK OF ELI (Warner Bros.) [3,111]
Wednesday, January 13, 2010
This French Red Band trailer for Pierre Morel's From Paris With Love (Lionsgate, 2.05.10) makes me wanna see this buddy-spy actioner even less. Partly because I despised Morel's surprise hit of last year, the revenge-thriller Taken, but mostly because I absolutely hated John Travolta's performance in Tony Scott's The Taking of Pelham 123 and what he's doing here looks to be a variation on that.
The bald head, the goatee, the earring, the sarcastic smiling and laughing and overcussing - no thanks! I mean, I'll still see it, but I'm not looking forward to it.
Criterion hasn't announced their April releases yet, but I received their January 2010 newsletter in my inbox today with the following trivia question:
"Do you know which upcoming Criterion release was just named the best foreign-language film of 2009 by the National Society of Film Critics, the Los Angeles Film Critics Association, and the New York Film Critics Circle, as well as the number-one movie of the year in an indieWIRE poll of more than one hundred critics?"
Well, the answer is Olivier Assayas' Summer Hours, a very good French-language film about loss, family and generational divide. I had a hunch since IFC announced their deal with Criterion in the fall to release their films of DVD & Blu-ray. I'm personally hoping for an Everlasting Moments or an Antichrist Blu-ray.
Tuesday, January 12, 2010
Easily the best scene from The Hurt Locker, out today on DVD and Blu-ray. The whole film is working towards this naked, emotional conversation between Jeremy's Renner's Sgt. James and Anthony Mackie's Sgt. Sanborn - phenomenal acting.
Monday, January 11, 2010
Criticized by John Wayne for its liberal, "anti-American" allegory to the blacklisting fiasco in Hollywood at the time, Wayne shamefully ran screenwriter Carl Foreman out of town in the late 50's before answering with a more "conservative response" in 1959 with Howard Hawks' Rio Bravo. Different strokes for different folks, but Zinneman's film, with it gritty, black-and-white Tex Ritter sweat and blood, kicks the ass of Wayne and his Ricky Nelson sing-a-long from "California to the New York Island."
It's time to lighten up, and Ernst Lubitsch's heavenly comedy about a confused, love-torn con-artist/jewel thief is a pure delight. Lubtisch's Hollywood comedies during the 1930's are always characterized as having the "Lubitsch Touch," and this was his first film to carry that distinction for me and kick-start his career of first-rate, sophisticated comedy and romance. It was once described as "pure caviar, only tastier" - that works for me.
11. THE LADY VANISHES (Alfred Hitchcock; 1938)
12. VERTIGO (Alfred Hitchcock; 1958)
13. THE THIN MAN (W.S. Van Dyke; 1934)
14. SAWDUST AND TINSEL (Ingmar Bergman; 1953)
(More appropriately and with more beauty, it renders everything Mike Nichols has ever said redundant.)
15. CITIZEN KANE (Orson Welles; 1941)
16. SOME LIKE IT HOT (Billy Wilder; 1959)
17. NOTORIOUS (Alfred Hitchcock; 1946)
(Ingrid Bergman's very best performance.)
18. THE SHOP AROUND THE CORNER (Ernst Lubitsch; 1940)
19. SEVEN SAMURAI (Akira Kurosawa; 1954)
(Kurosawa writes some of the most believable and interesting characters.)
20. REBECCA (Alfred Hitchcock; 1940)
21. TOUCH OF EVIL (Orson Welles; 1958)
22. BEAT THE DEVIL (John Huston; 1954)
(One of my favorite scripts - written by Truman Capote).
23. ANDREI RUBLEV (Andrei Tarkovsky; 1966)
24. IKIRU (Akira Kurosawa; 1952)
25. ONCE UPON A TIME IN THE WEST (Sergio Leone; 1968)
26. THE MAGNIFICENT AMBERSONS (Orson Welles; 1942)
(Orson's studio-compromised masterwork still retains its framework.)
27. FITZCARRALDO (Werner Herzog; 1982)
28. JULES AND JIM (Francois Truffaut; 1961)
29. TAXI DRIVER (Martin Scorsese; 1976)
30. ROSEMARY'S BABY (Roman Polanski; 1968)
(A testament to the power of the maternal instinct.)
31. THERE WILL BE BLOOD (Paul Thomas Anderson; 2007)
32. KLUTE (Alan J. Pakula; 1971)
33. THE GETAWAY (Sam Peckinpah; 1972)
34. STALKER (Andrei Tarkovsky; 1979)
35. THE TREASURE OF THE SIERRA MADRE (John Huston; 1948)
36. DIARY OF A COUNTRY PRIEST (Robert Bresson; 1951)
37. REAR WINDOW (Alfred Hitchcock; 1954)
38. PATHS OF GLORY (Stanley Kubrick; 1957)
(The greatest anti-war movie ever made.)
39. MRS. MINIVER (William Wyler; 1942)
40. SINGIN' IN THE RAIN (Gene Kelly and Stanley Donen; 1952)
(Manic, high-wire MGM musical at its best. Jean Hagen is amazing.)
41. THE WAGES OF FEAR (Henri Georges-Cluzout; 19)
42. JEZEBEL (William Wyler; 1938)
(Its on this list for Bette Davis' career-best performance.)
43. CASABLANCA (Michael Curtiz; 1942)
44. THE VIRGIN SPRING (Ingmar Bergman; 1960)
45. ONE-EYED JACKS (Marlon Brando; 1961)
46. PASSAGE TO MARSEILLE (Michael Curtiz; 1944)
47. CONTEMPT (Jean-Luc Godard; 19)
48. THE FRENCH CONNECTION (William Friedkin; 1971)
49. VIRGINIA CITY (Michael Curtiz; 1940)
(One of Curtiz's most adamant examples of the enduring spirit of patriotism.)
50. THE ELEPHANT MAN (David Lynch; 1980)