With the recent post on The Wizard of Oz, as well as the journey we’ve been taking through movie music in the context of the year 1939 (which has included lists of the great composers, scores, and songwriters in film history), I thought that a list of the greatest movie songs is worth putting together. Continue reading
After the bombing of Pearl Harbor in 1941 and the subsequent entry into World War II by the United States of America, James Maitland Stewart joined the US Air Corps. Before the war, Stewart was a talented pilot in the private sector, amassing hundreds of hours of flight time and even participating in a cross-country race as a co-pilot. He had invested (and recruited more investments) in a pilot-training program hosted by Southwest Airways. He was an immensely popular actor on the home-front, starring in such films as The Philadelphia Story with Katharine Hepburn and You Can’t Take it With You with Jean Arthur. He was well-publicized, well-known, and was an interesting character, who loved flying, loved his country, and respected his family’s military tradition. Continue reading
I plan on writing four different reviews on famous chanbara (or “samurai”) films. Initially, I wanted to save the best for last, but, after writing my review on Hiroshi Inagaki’s The Samurai Trilogy, I learned that I just couldn’t wait anymore. Were I to keep waiting, I would have to keep mentioning Seven Samurai every other line in the other reviews, and you would not have the foundational benefit of having read a review on Seven Samurai. So, I’m going to go ahead and save the best for second. Continue reading
1948 was an important year for the Western. Movies like 3 Godfathers and Fort Apache were contributing to the overwhelming continuation to the genre by the team of John Ford and John Wayne. Movies like Silver River with Erroll Flynn and Yellow Sky with Gregory Peck were headlining other great team-ups with superstar actors and directors (Raoul Walsh directed the former; William Wellman, the latter). The second World War was drifting into the past, but its ripples were still freshly informing the new artistic psyche, and these team-ups were beginning to integrate a far more human arrangement into the Western to supplant what was originally a mythological archetype. Method acting and human dilemma were rising to an important position in the way that Westerns were written. While these aforementioned films, and others, were making their dramatic (or, at times, comedic) impact on what was, before the war, a simple formula, two films really made waves in 1948. These two Westerns were The Treasure of the Sierra Madre and Red River. Continue reading
The most intimidating part of this blog is now upon me. Part of me has wanted to do this for a long time. Another part has been apprehensive. Continue reading
Okay, so this is a little indulgent. But I can’t help but think that all this Academy Award talk in which I have been engaging can be diverting in this quest from casual movie watching to competency in film. What I would like to do is bring back the discussion from contemporary films and set our sights backwards again, towards the vast world of cinema that encompasses over a hundred years of art and culture. So, I’ve decided to go back and set up my own hypothetical awards ceremony, complete with honorary awards and imaginary glamor. Imagine a red carpet with Miley Cyrus in her fishnet leggings and Audrey Hepburn in her black Givenchy dress; Jared Leto’s long hair followed by Humphrey Bogart in unbelted wool jackets. The notion is enchanting, sure. Those basketball or football video games that I like to play often have a “fantasy draft” setting or a pick-up game kind of setting were you can do the most absurd things: you can have LeBron James play against Oscar Robertson, or have the Detroit duo of Isaiah Thomas and Bill Laimbeer take on Michael Jordan and Dennis Rodman. Why not do something like that for movies? I consider this “fantasy academy” a well-earned journey into the indulgent imagination of my own self. It is time to let all those worlds, the world of John Huston, the world of Federico Fellini, the world of Robert Bresson, the world of Martin Scorsese, and the world of Christopher Nolan, all come together in the ultimate exposition of glamor, art, competition, and class. And considering the fact that my lists of the greatest directors and movies and acting performances are buried so deep in this blog, I feel like a resurrection of these lists in some new form is not an altogether bad idea, especially considering the fact that I just posted a page which, in essence, restated all the principles and theories that this blog has laid out thus far. As long as I’m in the “reviewing” mode, I might as well review those earlier lists by having a little fun; having my own awards ceremony in my head.
The nominees are listed in alphabetical order. There are 10 nominees for each category. The winners are in bold. I have hyperlinked all but one of the nominees to clips online (most of which can be found on YouTube) for your viewing pleasure. Continue reading
In my review of Modern Times, I said that it was part of Charlie Chaplin’s “Big 3” along with The Gold Rush and City Lights. Since I have already reviewed The Gold Rush as well—and, in that review, admitted that I had great desire to tarry in Chaplin’s world for a little while—I would like to now provide a review of Chaplin’s best picture, City Lights. Continue reading
(This list, like all lists in this blog is regularly updated when I feel it is necessary).
I like to release a fun little list in conjunction with my new posts and pages. I think it’s time I put up a new one, especially considering the fact that I didn’t have such a list for that mammoth publication on montage theory I did. Now, considering the emphasis I placed on wit and dialogue in my “My Take On…Comedy” page, I felt it would be appropriate to list the greatest movie quotes of all time. Most of these are comedic in that they are funny, satirical, witty, or sarcastic—as a matter of fact, they’re all at least witty (though some are far from funny). That is good enough reason to publish this list in conjunction with an analysis on comedy. Continue reading