| Title |
Year |
Director |
Male Lead |
Female Lead |
Remarks/Best
Scene/Other |
|
Nosferatu |
1922 |
F.W. Murnau |
Max Shrek |
Greta Shroder |
In its day, this
silent work scared audiences out of their wits and put both Bram
Stoker's Dracula and cinema into human consciousness forever.
They had to change the name of the film due to Stoker's rights
to the word "Dracula." |
|
Wings |
1927 |
William Wellman |
Jack Powell |
Mary Preston |
A World War One
epic winning the first "Best Picture" from the Academy. |
|
Snow White & the Seven Dwarves |
1937 |
Walt Disney |
N/A |
N/A |
"Mirror, mirror,
on the wall" |
|
Gone With the Wind |
1939 |
Victor Fleming |
Clark Gable |
Vivien Leigh |
"Frankly, my dear.
. ." |
|
Dark Victory |
1939 |
Edmund Goulding |
George Brent |
Bette Davis |
Extraordinary for
its day and features Ronald Reagan in a small role. The
talent of Davis becomes undeniable with this work. "I'd
like some prognosis negative." Later, "The sky sure
looks dark." Have tissue. |
|
The Wizard of Oz |
1939 |
Victor Fleming |
Several |
Judy Garland |
"We're not in
Kansas anymore." |
|
Mr. Smith Goes to Washington |
1939 |
Frank Capra |
Jimmy Stewart |
Jean Arthur |
Should be required
viewing for everyone elected to office. |
|
Citizen Kane |
1941 |
Orson Welles |
Orson Welles |
Dorothee Comingore |
"Rosebud."
The first film to feature flashbacks and the extent to which
cinema can warp and dance with time. |
|
The Maltese Falcon |
1941 |
John Huston |
Humphrey Bogart |
Mary Astor |
Classic Bogey
noir. |
|
Bambi |
1942 |
David Hand |
N/A |
N/A |
In its day, the
gunshot ripped through the hearts of the nation's children as no
cinematic event had ever done before, and quite possibly, ever since. |
|
Casablanca |
1943 |
Michael Curtiz |
Humphrey Bogart |
Ingrid Bergman |
What man cannot
relate to the romantic crucifixion demonstrated so perfectly by
Bogart with that late night drink, "Of all the gin joints
in the world. . ." |
|
The Seventh Victim |
1943 |
Mark Robson |
Tom Conway |
Jean Brooks |
Classic Val Lewton.
This film features the first shower scene later used by Hitchcock
in Psycho. |
|
The Song of Bernadette |
1943 |
Henry King |
Joseph Cotten |
Jennifer Jones |
Inspired by higher
forces. "I saw her.
I really saw her." This film deeply moved and
disturbed me. It is NOT fiction. The story, the
film, and the story about the film, are all phenomenal. I
don't know what happened at the grotto on Thursday, February 11,
1858. Truly, deeply haunting, and utterly real. |
|
Gaslight |
1944 |
Thorold Dickensen |
Charlres Boyer |
Ingrid
Bergman |
Bergman's first Academy Award as a woman doubting her sanity
while clinging to it. |
|
To Have and Have Not |
1944 |
Howard Hawks |
Humphrey Bogart |
Lauren Bacall |
Based on an Ernest
Hemingway story and William Faulkner helped with the script.
Fabulous, "You know how to
whistle, Steve?" |
|
Double Indemnity |
1944 |
Billy Wilder |
Fred MacMurray |
Barbara Stanwick |
The camera fixed
on Barbara's face as she (and we) hear her husband being
strangled right next to her in the car is just first rate noir.
|
|
The Best Years of Our Lives |
1946 |
William Wyler |
Fredric March
Mickey Rooney |
Dana Andrews
Teresa Wright |
Garnered seven
Academy Awards for capturing the disorientation of GI's
returning from the war and trying to fit into society,
nightmares, wounds, and all. |
|
It's a Wonderful Life |
1947 |
Frank Capra |
James Stewart |
Donna Reed |
"I'm going to
jail. Isn't it wonderful?" |
|
Portrait of Jennie |
1948 |
William Dieterle |
Joseph Cotten |
Jennifer Jones |
Compellingly
touching and transcendent. |
|
The Asphalt Jungle |
1950 |
John Huston |
Sterling Hayword |
Jean Hagan |
Among the finest
of noir, and oh la femme fatale!! |
|
Sunset Boulevard |
1950 |
Billy Wilder |
William Holden |
Gloria Swanson |
|
|
The Day the Earth Stood Still |
1951 |
Robert Wise |
Michael Rennie |
Patricia Neal |
A Cold War classic
voice against nuclear proliferation. |
|
A Street Car Named Desire |
1951 |
Elia Kazan |
Marlon Brando |
Vivien Leigh
Kim Hunter |
"STELLA!!!!" |
|
Rebel Without A Cause |
1955 |
Nicholas Ray |
James Dean |
Natalie Wood |
Cannot be
appreciated without the context of 1955, the brewing teenage
angst that would erupt in the following decade, "You people are
tearing me apart!!" |
|
Invasion of the Body Snatchers |
1956 |
Don Siegel |
Kevin McCarthy |
Dana Wynter |
Intended as a
warning against communism, the film as
originally presented was too frightening, so they re-edited to
have the story told in flashback (so the viewer knows that the
protagonist survives the story). |
|
Forbidden Planet |
1956 |
Fred McLeod Wilcox |
Walter Pidgeon |
Anne Francis |
The first science
fiction film to feature those funny sci-fi sound effects.
Also introduces Robby the robot, which would form the basis for
the robot in the TV Series "Lost in Space." |
|
Wild Strawberries |
1957 |
Ingmar Bergman |
Victor Sjostrom |
Bibi Andersson |
Existentialism
Distilled. |
|
Cat on a Hot Tin Roof |
1958 |
Richard Brooks |
Paul Newman
Burl Ives |
Elizabeth Taylor |
MASTERPIECE.
So many to choose from, "Lies and mendacity." I will stick
with, "I hurt him, Maggie. I hurt him REAL BAD."
Also, "clickety-click." |
|
A Touch of Evil |
1958 |
Orson Welles |
Charlton Heston |
Janet Leigh |
Famous to cinema
fans for its opening eight or so minute continuous run without a
cut. Hilariously mocked by Robert Altman's 1992 "The
Player" which intentionally runs longer while in fact discussing
the length of the take. |
|
Ben-Hur |
1959 |
William Wyler |
Charlton Heston |
Haya Harareet |
The chariot race
remains one of the greatest moments in the history of cinema,
"There's still enough of a man here for you to hate." |
|
Breakfast at Tiffany's |
1961 |
Blake Edwards |
George Peppard |
Audrey Hepburn |
"Moon River" and
something about Hepburn made the otherwise so so film. The
ending with the cat was cheesy, but delicious. |
|
The Miracle Worker |
1962 |
Arthur Penn |
N/A |
Anne Bancroft
Patty Duke |
Bancroft could not
have been better. When Patty Duke starts to "get it" the
electricity between their hands is tear jerking. |
|
The Umbrellas of Cherbourg |
1964 |
Jacques Demy |
Nino Castelnuovo |
Catherine Deneuve |
Yes, they sing,
but who cares? Magic descends from who knows where on
certain films. This is one of them. There is the
romance and idealism of "I will wait for you."
Then there is reality. No,
she won't. |
|
The Sound of Music |
1965 |
Robert Wise |
Christopher
Plummer |
Julia Andrews |
Featuring a script
penned by the stellar Ernest Lehman, other than the above this is the only
musical I can stand. The evening scene in the gazebo right
before they connect features some of the best romantic
electricity ever captured on film. |
|
Doctor Zhivago |
1965 |
David Lean |
Omar Shariff |
Julia Christie |
A sweeping epic of
solid historical grounding. Shariff delivers too many
spectacular moments to name just one. |
|
The Good, the Bad, and the
Ugly |
1966 |
Sergio Leone |
Clint Eastwood
Eli Wallach |
N/A |
The best by far of
the Eastwood spaghetti westerns. Features the terrific
Ennio Morricone soundtrack and perhaps the finest performance of
Eli Wallach's career, "Blondie!!!" |
|
Persona |
1966 |
Ingmar Bergman |
Gunnar Bjornstrand |
Bibi Andersson
Liv Ullman |
Solid Bergman.
Serious inquiries only. |
|
Who's Afraid of Virginia Woolf? |
1966 |
Mike Nichols |
Richard Burton |
Elizabeth Taylor |
Another Ernest
Lehman work of sheer genius based on an Edward Albee play.
From a certain
perspective, this is the greatest motion picture ever made.
Priceless, from "I'm nobody's houseboy now!" to "I'm
pre-occupied with history" to "Hump the Hostess," "Get the
Guests," and "Oh my God, I think I understand this." If
you keep pace with the drinking of the characters, you will not
finish the film, "Clink." |
|
The Thomas Crown Affair |
1968 |
Norman Jewison |
Steve McQueen |
Faye Dunaway |
A fascinating
paradigm breaking story of cat and mouse that stunned audiences.
Not only does the bad guy reject the girl, he GETS AWAY. |
|
The Graduate |
1968 |
Mike Nichols |
Dustin Hoffman |
Katherine Ross
Anne Bancroft |
When I graduated
from Northwestern in 1983, the graduates gathered to watch this
film projected onto the side of the library building. What
a cinematic achievement, "Plastics." |
|
2001: A Space Odyssey |
1968 |
Stanley Kubrick |
Keir Dullea
Gary Lockwood |
N/A |
I still remember
seeing this in original release with my father at the theater.
I was six or seven and did not have the vocabulary, so when the
film was over and we were driving home, I turned to my father
and said the six year old equivalent of "What the fuck?" My
father shook his head, "I don't know." |
|
A Clockwork Orange |
1971 |
Stanley Kubrick |
Malcolm McDowell |
N/A |
"I'm Singing in
the Rain." |
|
Straw Dogs |
1971 |
Sam Peckinpah |
Dustin Hoffman |
Susan George |
A truly original
work that features one of the most thought provoking and
disturbing rape scenes ever filmed. Like John Boorman's
Deliverance to be filmed a few years later, this work believes
in male initiation into manhood by violence. |
|
Cries and Whispers |
1972 |
Ingmar Bergman |
Anders Ek |
Liv Ullmann |
I don't know what
to say. It's Bergman. From IMDB, "A haunting and
shattering film experience." That's a Yes. |
|
The Godfather |
1972 |
Francis Ford Coppola |
Marlon Brando
Al Pacino
Robert Duvall |
Diane Keaton
Talia Shire |
PERFECT |
|
Solyaris |
1972 |
Andrei Tarkovski |
Donatas Banionis |
Natalya Bondarchuk |
This is the
Russian original of the film Soderheim remade with George Clooney.
Although long, very thought provoking with outstanding sequences
that push the envelope of what it might be like to engage
something truly alien and intelligent. |
|
The Exorcist |
1973 |
William Friedkan |
Jason Miller |
Linda Blair |
The film freaked
the country. Based on William Peter Blatty's book with Max
Von Sydow as the Exorcist, the film captured the realistic
granularity to be truly terrifying. Many consider this the
most frightening film ever made. |
|
Scenes from a Marriage |
1973 |
Ingmar Bergman |
Erland Josephson |
Liv Ullmann |
Cuts to the
marrow quickly and stays there. |
|
Deliverance |
1974 |
John Boorman |
Burt Reynolds
Jon Voight
Ned Beatty |
N/A |
A manly man's film
about humiliation, courage, and violence. Like Straw Dogs,
a film where a boy becomes a man by looking death in the face
and achieving manhood through the act of taking life.
Boorman himself plays a small role at the end as the Sheriff. |
|
Chinatown |
1974 |
Roman Polanski |
Jack Nicholson |
Faye Dunaway |
|
|
The Conversation |
1974 |
Francis Ford
Coppola |
Gene Hackman |
Cindy Williams |
A fascinating
journey into the world of snooping. The perceptive will
see Harrison Ford in his first major motion picture appearance,
a tiny role with one or two lines. |
|
Network |
1976 |
Sidney Lumet |
William Holden |
Faye Dunaway |
"I'm mad as hell,
and I'm not going to take this anymore!" |
|
Rocky |
1976 |
John Advilsen |
Sylvester Stallone |
Talia Shire |
The one time shot
theme of the film also applied to Stallone personally with this
project. Stallone sold his dog to help pay the production
costs. When the movie grossed millions and won Best
Picture, Stallone bought his dog back. |
|
The Serpent's Egg |
1977 |
Ingmar Bergman |
David Carradine |
Liv Ullmann |
Pre WWII Germany.
A Serpent's Egg indeed is about to hatch. |
|
Annie Hall |
1977 |
Woody Allen |
Woody Allen |
Diane Keaton |
"What we have here
is a dead shark." |
|
Attack of the Killer Tomatoes |
1978 |
John De Bello |
David Miller |
Sharon Taylor |
Over the top
irreverence at its best. Gut busting absurdity as
tomatoes embark on a conquest of the planet. |
|
The Deer Hunter |
1978 |
Michael Cimino |
Robert DeNiro |
Meryl Streep |
Russian Roulette
at its finest. |
|
Halloween |
1978 |
John Carpenter |
Donald Pleasance |
Jamie Lee Curtis |
Barefooted cuties
in nightgowns running from butchers. Why didn't we think
of this sooner? Shot for a song, it made Carpenter's
career. |
|
Autumn Sonata |
1978 |
Ingmar
Bergman |
N/A |
Ingrid
Bergman
Liv Ullmann |
Extraordinary exploration of mother daughter dynamics.
Watch the film knowing that this is Ingrid Bergman's last film
and that in real life she is dying of cancer, and she knows she
is dying of cancer and that this is her last work, and it
becomes a breathtaking experience. Not for the weak. |
|
Alien |
1979 |
Ridley
Scott |
Tom
Skerritt
Ian Holm
John Hurt |
Sigourney Weaver |
Saw
this in the theater as a high school senior. Now this was
horror. Featuring the artwork of the truly twisted H.R.
Giger (remember Emerson, Lake, and Palmer's Brain Salad
Surgery?), Ridley Scott took the concept of the monster to a
new level. This film was also one of the first to have the
kick-ass character be one "hot, intelligent chick" and was she
ever! |
|
Apocalypse Now |
1979 |
Francis Ford Coppola |
Marlon
Brando
Martin Sheen |
N/A |
Merging Conrad's "Heart of Darkness" with Vietnam, this film
almost killed both director and star. The early underwear
scene is NOT fiction. The broken mirror was not in the
script, and the blood and the breakdown were real. Sheen
had a heart attack during the film and Coppola considered
suicide. The madness translates to the celluloid, "Get the
Roach!" |
|
Blade Runner |
1982 |
Ridley Scott |
Harrison Ford
Rutger Hauer |
Sean Young |
Woefully
underappreciated during its theatrical release and later
redeemed, especially when Scott's director's cut without the
voice-over became available. Scott consistently delivers
some of the most spectacular cinematography ever filmed,
bordering on visual poetry. |
|
A Question of Silence |
1982 |
Marleen Gorris |
N/A |
Edda Barends |
A quality feminist
piece, in particular the final scene where the three women stand
before the attorney, which I consider a unique moment in the
history of cinema. |
|
Scarface |
1983 |
Brian De Palma |
Al Pacino |
Michelle Pfeiffer |
This film features
many extraordinary lines. 1. "All I have in this world are my
word and my balls, and I don't break 'em for nobody." 2. "You
know what a hosser is, Frank? It's a pig that don't fly
straight, and neither do you." 3. "A man who's not his word is a
cockroach." I could keep going, "I always tell the truth,
even when I lie." |
|
The Hunger |
1983 |
Tony Scott |
David Bowie |
Catherine Deneuve
Susan Sarandon |
Tony cuts a
sharper edge than Ridley, and the opening sequence of this work
to Bauhaus, "Bela Lagosi's Dead" is riveting. |
|
The Breakfast Club |
1983 |
John Hughes |
Emilio Estevez
Anthony Michael Hall
Judd Nelson
|
Molly Ringwald
Ally Sheedy |
Far and away the
best of anything John Hughes ever created, infinitely
superior to Sixteen Candles, Pretty in Pink, or Some
King of Wonderful. Here, everything came together just
right to produce an extraordinary film that applies as much to
teenagers today as it did when it was produced. |
|
The Sacrifice |
1986 |
Andrei Tarkovski |
Erland Josephson |
Susan Fleetwood |
Bring your brain. You will
need it. |
|
Blue Velvet |
1986 |
David Lynch |
Kyle McLaughlin
Dennis Hopper |
Isabella
Rossellini
Laura Dern |
"Now It's Dark."
"Hit me!" |
|
Full Metal Jacket |
1987 |
Stanley Kubrick |
Matthew Modine |
N/A |
"I am in a world
of shit." and at the end, "Shoot me." |
|
The Princess Bride |
1987 |
Rob Reiner |
Cary Elwes
Mandy Patinkin |
Robin Wright Penn |
There is something
wrong with a person that does not enjoy this film,
"Inconceivable!!" From the fire swamp to iocaine powder to
Billy Crystal's cameo appearance, it's pure cinematic candy. |
|
Goodfellas |
1990 |
Martin Scorcese |
Robert DeNiro
Ray Liotta
Joe Pesci |
Lorraine Bracco |
Few can make a
camera dance like Scorcese. |
|
Silence of the Lambs |
1991 |
Jonathan Demme |
Anthony Hopkins |
Jodie Foster |
"I ate his liver
with some fava beans and a nice Chianti." The final
moments of this film with Agent Starling blinded in darkness
while Buffalo Bill wears night vision goggles is positively
exquisite, as is the end of the film, "I'm having an old friend
for dinner." |
|
Reservoir Dogs |
1992 |
Quentin Tarantino |
Harvey Keitel
Tim Roth
Michael Madsen
Chris Penn |
Yea, right. |
Tarantino's first
and finest. Madsen's dance with a straight razor to "Stuck
in the Middle with You" before blood over duct tape took cinema
into new terrain. |
|
Unforgiven |
1992 |
Clint Eastwood |
Clint Eastwood
Morgan Freeman
Gene Hackman
Richard Harris |
N/A |
Won "Best Picture"
and deserved it. As Eastwood matured, his interest in the
reality of violence and exploring it in cinema developed.
This film is a significant step in that direction, further
refined by the haunting Mystic River in 2003. |
|
True Romance |
1993 |
Tony
Scott |
Christian Slater
Dennis Hopper
Christopher Walken |
Patricia Arquette |
This
film features scenes worth watching dozens of times. The
electricity between Gary Oldman and Slater is fabulous, and the
scene between Christopher Walken and Dennis Hopper is about as
good as it gets, with future Soprano star James Gandolfini in a
deliciously foreshadowing role. |
|
The Piano |
1993 |
Jane
Campion |
Harvey
Keitel
Sam Neill |
Holly
Hunter |
A
thoughtful and thought provoking piece. The sexual tension
of a finger touching a leg through a hole in a sock is
positively succulent. |
|
The Ice Storm |
1997 |
Ang Lee |
Kevin Kline
Tobey Maguire
Elijah Wood |
Sigourney Weaver
Joan Allen |
Most people don't
know about Ang Lee's early and extremely creative film about a
1973 Thanksgiving. The work has the quality of an artist
who has something to say, not a dollar to make. Weaver
lies next to her lover after sex, and he starts talking.
She interrupts him, "You're boring me. I already have a
husband." The electrocution scene is positively
extraordinary. |
|
American Beauty |
1999 |
Sam Mendes |
Kevin Spacey |
Annette Bening
Thora Birch |
Written by Alan
Ball (Six Feet Under), the film ranks among the finest ever
produced. Winning five Academy awards including Best
Picture, the work is a must see and those who haven't are
missing part of the human experience. |
|
Shadow of the Vampire |
2000 |
E. Elias Merhige |
John Malkovich
William Dafoe |
Catherine
McCormack |
See the 1922
Nosferatu first. William Dafoe delivers the best
performance EVER regarding a vampire. In fact, William
Dafoe delivers one of the best performances EVER of anyone ever
doing anything in front of a camera. He is THAT good. |
|
Laurel Canyon |
2003 |
Lisa Cholodenko |
Christian Bale
Alessandro Nivola |
Francis McDormand
Kate Beckinsale
Natascha McElhone |
Cholodenko is
gifted. The swimming pool scene features energy seldom
captured on film and the testing of barriers in the context of
bohemian freedom is exhilarating. |
|
21 Grams |
2003 |
Alejandro González
Iñárritu |
Sean Penn
Benicio del Toro |
Naomi Watts |
A deep and complex
work intertwining themes to produce a thought provoking piece
exposing the painful aspects of the human condition including
guilt, revenge, gratitude, grief, love, hate, loss, and anguish.
Not a picker upper. |
|
The Descent |
2005 |
Neil Marshall |
N/A |
Shauna Macdonald
Natalie Mendoza |
The claustrophobia
is heart-stopping. Not for the timid and brilliantly
executed, the piece is literally a descent into darkness and
death, blow by crushing blow with a realism not easily
forgotten. Macho morons that think women are wimps stay
away. |
|
Little Miss Sunshine |
2006 |
Jonathon Dayton
Valerie Faris |
Greg Kinnear Alan
Arkin |
Abigail Breslin
Toni Collette |
A refreshing
authentic glimpse into the sloppiness of the reality of the
human condition. Heart warming and hilarious. |
|
Inland Empire |
2006 |
David Lynch |
Jeremy Irons Harry
Dean Stanton |
Laura Dern |
Filmed without a
script and without film, Lynch takes cinema over the edge into
uncharted terrain. Genius. |