Weirdo's Movie ABC's!

Beat the Devil (John Huston, 1954) One of the oddest films Humphrey Bogart was ever in, with a plot harder to follow than The Big Sleep. Basically, Bogart and a group of thugs are out to get the uranium rich lands of East Africa, but run into problems with a British couple, their steamer and with bandits. The film is intended as a tongue in cheek spoof of Bogart’s various other adventures. Its reputation has obviously never reached the level of those films, mainly because most viewers expect it to be another Casablanca, The Maltese Falcon or The African Queen and don’t know what to think after seeing it. Still, Beat the Devil is more then worth checking out, even if the said cast members (Especially Bogart and Peter Lorre) seem a little bored at times. My dad got the DVD for about $3.00 in a bargain bin at Best Buy, so its not a big hassle to get, either.

Clockwork Orange, A (Stanley Kubrick, 1971) The adaptation of Anthony Burgess tale of a violent, deviated youth in a futuristic, brutal society whom is brainwashed by the deviated state to be a good person has lost little of its punch. Controversial upon release (It wasn’t released in England for thirty years), the movie shocks with its depiction of violence in a light, almost playful and balladic sense (Right down to using classical music such as The Thieving Magpie or Beethoven’s 9th Symphony or Singing in the Rain for a brutal rape scene). The performances are great: Malcolm McDowell as the teen terrifies, but also has the audience emphasize with his perhaps deserved but still cruel fate. Kubrick has several questions for us to ponder (Does violence make violence?, Is it better for a person to misuse their free will or to have no free will at all?) and the answers are not easy or pleasant.

Double Indemnity (Billy Wilder, 1944) Or the not-so perfect crime. An insurance salesman (Fred MacMurray) is rounded by a cold-hearted Femme-fetale (Barbara Stanwyck) to murder her husband to collect on the insurance money, which includes a double indemnity clause. Everything seems perfect, until the agency claims manager (Edward G. Robinson at his scene-stealing best) begins investigating, and when human greed and doubt begins to kick in. Based on true events and loaded with sharp-edged dialogue and outstanding performances by all three main actors (Possibly the best work that either of them did). Unfortunately, DI is not available currently on DVD (A poor-quality version is out of print) and my VHS copy got jammed in the VCR. So I’m screwed until I can find out some way to blackmail Universal into producing a new DVD. Anybody care to join me?

Exorcist, The (William Friedkin, 1973) Based on William Peter Blatty’s acclaimed novel, The Exorcist has become perhaps the most terrifying movie of all time. The film merges together the story of a possessed girl, a Priest whom begins to doubt his faith and another Priest whom wants to have a show-down of sorts with an evil spirit. The only movie my parents say has ever truly terrified them (It was the movie they saw on their second date; it’s a wonder that they’re still together after thirty years.) Has been released in an extended Version You’ve Never Seen.

F for Fake (Orson Welles, 1972) The last movie completed and released by Orson Welles, 30 years after Citizen Kane, still showed that the master filmmaker had some left in him. Welles, with the assistance of Francois Reichenbach, creates a documentary/drama/fantasy/magical illusion about the worlds greatest art forger and his even more devious biographer, examining the thin, sometimes non-existent line between fact and fraud, which Welles himself shows that he has sometimes blurred. It is a fascinating, personal and very entertaining movie from one of the great pranksters.

Goldfinger (Guy Hamilton, 1964) The third installment of the James Bond series, featuring Agent 007 (Sean Connery) on a mission to stop a gold smuggler (Gert Frobe) from obliterating Fort Knox. Admittedly, it is not my personal favorite Bond, but I cannot deny its influence on the rest of the series, for it pretty much set the standard for the movies that followed. And it does contain several of the greatest Bond moments, such as Bond slipping out of a wet suit to reveal a Tux, the best named Bond Girl (Pussy Galore), one of the coolest Bond villains (Oddjob), one of the best Bond cars (Aston Martin DB5) and the best lines ever uttered in a Bond movie:
James Bond: You expect me to talk?
Auric Goldfinger: No, Mr. Bond: I expect you to die!

Hustler, The (Robert Rosson, 1961) In what is often considered his best performance, Paul Newman isFast Eddie Felson, an out and out pool hustler whom dreams of beating the worlds greatest pool shark, Minnesota Fats (Jackie Gleason). After losing his first encounter, Felson enlists the help of a sleazy manager (George C. Scott) in order to win, but how far will he go? You may think that a movie featuring pool games would be boring, but the top-notch direction and editing keep you thrilled. The Hustler, however, is not really about pool: Its a tragic love story between Newman and a troubled woman (Piper Laure) and a dark intra-conflict and character study that happens to include pool games in it. The gritty black and white cinematography (Done by the man whom also worked on a Metropolis) won an Oscar.

It Happened One Night (Frank Capra, 1934) A socialite on the run (Claudette Colbert) meets a reporter looking for a good story (Clark Gable). They travel together, with the reporter determined to get her back. However, what do they feel about each other? The first movie ever to win all five major Oscars (Best Picture, Director, Actor, Actress and Screenplay) and filled with several memorable scenes (I.E: The bus passengers singing Man on the flying trapeze, Gables The walls of Jericho and Claudette’s way of getting a ride).

Judgment at Nuremberg (Stanley Kramer, 1961) A tribunal of American Judges in post-war Nuremberg (Lead by Spencer Tracy) must decide the fates of three German Doctors and Judges (Lead by Burt Lancaster) accused of war crimes. Their decision is conflicted by the defendants statements that They were following orders and in the midst of rising tensions between the U.S and Soviet Union and by peoples weariness of the war. Maximilian Schell won a Best Actor Oscar for his portrayal of the lead defense attorney, although he is fifth billed among the illustrious cast, which also includes Richard Widmark, Marlene Dietrich, Judy Garland, Montgomery Clift, Werner Colonel Klink Klemperer and a young William Shatner.

Koyannisquatsi (Life Out of Balance) (Godfrey Reggio, 1983) Ever wanted to see a movie that isn’t a movie? This is one for you. Godfrey Reggio puts together a collection of various scenes of oceans, skies, mountains and puts particularly focus on the machines and tools of man (Much of this footage may seem familiar, since its been used in commercials and in other films as stock footage and such). Using editing techniques such as fast-forward and slow motion shots and no dialogue (Just a marvelous score by Philip Glass), Reggio shows how the scope of developing technology has made man dependent yet totally unconscious of it. Truly an experience!

Lawrence of Arabia (David Lean, 1962) One of the all-time classics, and for a reason! The story of British officer T.E Lawrence’s (Peter OToole) venture into the Arabian Desert during the Arab Revolt is epically and, in a way, poetically told. OToole and the excellent, all-star cast (Alec Guinness, Anthony Quinn, Omar Sharif, Anthony Quayle, Jose Ferrer, Arthur Kennedy and others) are supporting players, though, to the drama of the desert, with some of the most beautiful cinematography ever put on film, highlighted further by Maurice Jarre’s moving score. I was fortunate enough to see this movie when it was put into a limited re-release in 2002 at the ArcLight in Hollywood. The crowd was fantastic and greatly enjoyed the movie, but it was the experience of seeing Lawrence in its true format that will forever stay with me.

Metropolis (Fritz Lang, 1927) Lang’s ambitious, dark and provocative vision of a futuristic city and its tyrannical rule over the working class remains stunning nearly eighty years after it was first released, and its influence on movies that followed is evident. Best seen on the Kino DVD release, which features the most complete restoration yet done (Though a large chunk of the original cut may be lost forever), the original score and some good extras.

Nosferatu (F.W Marnau, 1922) The first vampire movie ever made and, many decades after its release, it still retains its fright and power. Max Schrecks portrayal of Count Orlock (The films producers, since they didn’t have the rights to Bram Stokers Dracula, had to change the name) remains perhaps the most memorable and grotesque, with his thin body, point ears and face, claw-like fingers and sinister supernatural powers. Of course, were also familiar with the memorable usage of shadows to portray the fore coming of the vampire and of its black death that it spreads into England. Because it was an unauthorized adaptation of Bram Stokers novel, the original print was bought up and kept from distribution, with the film being shown in shorter prints over the years. Fortunately, longer prints have been resurfacing and are being redistributed so the public can rediscover this obviously dated but highly influential and important film.

On the Waterfront (Elia Kazan, 1954) During the great red scare of the 1940s and 50s, a number of actors and directors were asked to name people they knew had communist ties. Then Broadway director Elia Kazan was one such witness. Although he tried his best not to, Kazan chose to eventually present a list of names of people he met when he went to a communist party meeting in the 1930s. This decision haunted Kazan for the rest of his life, and On the Waterfront is often seen as an allegory by the director to answer and explain why he did it. The story is of a longshoreman (Marlon Brando, in an Oscar winning performance) whom fights a corrupt union boss (Lee J. Cobb) through force, but, more destructively, through being called for testimony for witnessing a murder. The movies politics and social meanings and so on are for others to discuss, but the filmmaking quality is superb (Kazan shot at actual ports in New Jersey to add to the realism, while Leonard Bernstein contributes his sole dramatic score ), and the supporting work by Eva Marie Saint, Karl Malden and Rod Steiger is great as well. Brando, though, steals the show in not just his greatest performance, but one of the all-time greatest performances ever on film, with his force of personality but also his uncertainty of what to do and his realistic, method acting style. Obviously everybody knows about the taxi cab sequence, with Brando doing the often impersonated but never equaled contender speech (Which he reportedly directed himself). My favorite line from the movie, though, comes earlier: After one of the characters is killed, a gangster whom helped commit the crime leans over to his partner and says, in a straightforward but half-humorous manner, I think somebody just fell off the roof. One of the so-called essentials in cinema.

Patton (Franklin J. Schaffner, 1970) Beginning with one of the most famous openings in cinema history (The speech in front of the enormous American flag), Patton is a tremendous biography of one of World War II’s most charismatic, enigmatic, feared, accomplished and controversial figures. The movie often times feels to be a one man shown on the part of George C. Scott, whom towers far and above over every other cast member. It’s also obvious that supporting characters are painted in the image perceived by the General (The British are proper (Stuck-up), the Germans fear him and are in awe of him, the Russians are ugly, etc.). Nonetheless, Scott has more then enough force in his personality to keep the audience interested (He won an Oscar for Best Actor, which he turned down). Patton’s flaws, such as his quick temper and unwillingness to be a team player, are more then evident as well, and are what eventually leads to the mans down fall. Karl Malden does well as Gen. Omar Bradley, the man whom holds down Patton from getting in any more trouble. And, of course, I love Jerry Goldsmiths score.

Quiet Man, The (John Ford, 1952) Considered one of John Wayne’s greatest performances, as he portrays an American boxer whom goes to his home in Ireland to escape bad feelings from the states. He meets and falls in love with an Irish woman (Maureen OHara), but runs into trouble with her brother (Victor McLaglen), whom objects to the union. John Ford has an evident passion for his Irish roots and the movie is gorgeously filmed (It won Oscars for Cinematography and Direction).

Right Stuff, The (Phil Kaufmann, 1983) A drama/satire on the exploits and the politics surrounding Americas foray into outer space. Beginning with the test pilots at Edwards, and the sound barrier breaking flight of Chuck Yeager (Sam Shepard), the movie goes into how the Soviets beat the Americans into outer space and the gathering of the astronauts whom would form the Mercury Seven, while contrasting the flashy public and troubled personal stories of these men. Extremely entertaining, with a great cast, awesome cinematography and an unforgettable score, you’ll finally get the answer to Gordo Coopers (Dennis Quaid) immortal question: Who was the best pilot you ever saw?

Scalphunters, The (Sydney Pollack, 1969) Burt Lancaster and Ossie Davis star as a fur-trapper and his slave, whom relentlessly pursue the Indians whom stole Lancaster’s hard-earned furs. Trouble is caused by some Indian scalpers (Led by Tally Savalas) and one blonde beauty (The late Shelly Winters). With plenty of action and comedy and great enthusiasm on the part of the actors, it’s a wonder that this movie still remains relatively unknown. The recent DVD release by MGM ought to solve that problem!

Third Man, The (Carol Reed, 1949) One of my all-time favorites! The story takes place in Vienna, as it lays shattered in the aftermath of World War II. A pulp-fiction American writer, Holly Martins (Joseph Cotten) comes to Vienna at the offer of his friend, Harry Lime (Orson Welles). Martins discovers, though, that Lime died, and the British chief of police (Trevor Howard) seems to be all the happier for it. Martins launches his own investigation, interviewing Limes girlfriend (Valli) and other associates, but what he discovers completely changes his perspective of the world. Reed keeps the direction at a constant tempo and also takes advantage of the damaged locations in Vienna (Which looks strangely photogenic in post-World War II occupation), shooting a lot of scenes at night or in the city’s sewer, which is the key setting of the films climax. There are several memorable scenes, such as the surprise return of Lime and his famous cuckoo clock speech. The Third Man is most famous for the eerie zither score by Anton Karas: You may not be familiar with it now but, after seeing the movie, you’ll have that tune in you head for days after.

Un Chien Andalou (Luis Buneal, 1928) The most famous short film ever made and, after nearly eighty years, still one of most surrealistic, shocking and enigmatic. Such unforgettable moments include the slicing of a human eye, a person falling out of a window, a man pulling pianos with men and dead donkeys attached to them and two people going for an everlasting walk on the beach. The scenes are very abstract and seemingly random, but this is a movie that, after the initial shock value, gets more and more interesting as one ponders deeper and deeper into it (Believe it or not, according to my film teacher, it can be interpreted to be an allegory on marriage). Or you could just watch it for the random quality of it.

Vera Cruz (Robert Aldrich, 1954) Two rival soldiers of fortune (Gary Cooper and Burt Lancaster) are caught during the Mexican war between fighting with the rebels or fighting with Emperor Maximillan (Cesar Romero). They agree to escort the Emperors countess to the port city of Vera Cruz, but things deepen when it’s discovered that she’s carrying a secret load of gold with her, which leads to questions of loyalty. It’s been awhile since I saw this, but I seem to remember enjoying it very much (I watched it like two or three times the weekend I saw it). Plus, how can you dislike the pairing of Cooper and Lancaster?

White Heat (Raoul Walsh, 1949) James Cagney, in what may be his best performance, portrays a psychotic gangster whose kept from the edge of insanity by his loving mother. But while in prison, he suffers a breakdown when he learns his Ma has died. He pursues the people who did it and gets rounded up in another robbery. The picture is a bit over the top, but it’s consistently engaging and suspenseful. The supporting characters played by the likes of Virginia Mayo and Edmund O’Brien help out as well. And Cagney never had a better end scene: As Pauline Kael wrote, ‘He literally explodes.’

Xanadu (1980, Robert Greenwald) I’m going to admit this: There are three movies on this list that I have not seen. I’ll leave it up to you to find the other two, but I will admit that I have yet to see this one. From what I’ve heard, though, I am not missing much. This movie has not gained a very good word of mouth reputation, even with the presence of the usually likable Olivia Newton-John and the legendary Gene Kelly. It isn’t poisonous like Sly Stallione in post-Rocky movies, but I’ve read that it tries too hard to be so many things. As Roger Ebert said, “It’s all ends and no beginnings.”

Yankee Doodle Dandy (Michael Curtiz, 1942) Despite becoming a screen legend from his gangster roles, James Cagney won his only Oscar for his most out of character and, arguably, most tremendous performance. Cagney portrays showman George M. Cohen, a vaudeville and Broadway entertainer whom wrote and produced some of the most memorable patriotic themes in American history, such as Yankee Doodle Dandy, You’re a Grand Ole Flag, Over There and others. Directed by the same man whom did Casablanca, so the pace is good, the cast is at their best and the action is consistent. Whether taken as patriotic propaganda or just as a good ole fashioned musical, this is one to enjoy over and over.

Zorba the Greek (Michael Cacoyannis, 1964) Zorba is all about feeling free and happy on the Greek island of Crete, which leads to various conflicts with those who know him. The filmmaking quality is great, and Anthony Quinns portrayal of the title character is often hailed as his greatest performance (And that’s no small words, either). Lilia Kedrova's work was good enough to receive an Oscar for Best Supporting Actress.