[Author’s note: As some of you are probably aware, a writer is a delicate human being with a fragile psyche (oft damaged by rejection notices and unnoticed misspellings) and an apparent inability to count. Hence, this skipped-over section of the Fancy Plans Guide to AFI’s Top 100 Films is appearing now (rather than never) and screwing with the whole 1-100 countdown we all agreed on sometime last year.
Further, Fundamental Jelly has indicated he would like to hear about my current tastes in media, but I don’t really have anything useful to recount at this point, other than: Archer. Watch. This. Show. Thanks in advance for your understanding and for keeping your mocking comments to a minimum.
Oh, yeah: the previous, randomly ordered entries can be found here:
The Fancy Plans Guide to AFI’s Top 100 Films Archive]
41. West Side Story (1961)
Coming on like a glee club production of Romeo and Juliet (mixing one-half Colors with one-half Michael Jackson video), West Side Story obscures its rote storyline with just enough added elements (finger snapping, singing) to keep familiarity from breeding contempt like so many Shakespearean rabbits.
Features some of the most beloved songs ever sung by non-threatening gang members and the women who love them, including “Maria,” “I Feel Pretty” and “99 Problems.” Exceedingly musical.
42. Rear Window (1954)
Hitchcock’s entry into the “scary murderous neighbor” genre, following closely in the footsteps of Sliver and Pacific Heights. Jimmy Stewart plays an injured man whose recuperation takes the form of scaring the bejesus out of himself (and his wife) with his obsessional, psychopathic relationship with his telescope. Is his neighbor a killer? Is 120x recommended for apartment-to-apartment viewing? Will his leg ever heal?
These questions and more will remain unanswered as the third reel has been misplaced. Sorry about that, folks. Please stop by the box office for a partial refund.
43. King Kong (1933)
Singlehandedly credited with creating the “monster movie” genre which plagues us to this day, King Kong is a triumph of movie mythmaking. As the action shifts from the tangled jungle of what-could-possibly-go-wrong-here Monster Island to the mean streets of New York City, viewers are forced to confront uncomfortable questions about “who the real monster here is” and to what extent the love story would have gone, had biplanes and other nuisances not interrupted the mismatched couple pre-coitus.
44. Birth of a Nation (1915)
Early movie mogul D.W. Griffith employs a cast of thousands of whites to rewrite the history of the United States as it was still being made. Although somewhat heavy-handed and exceedingly long, Griffith manages to keep his “alternate reality” film fresh by deploying such seldom-used plot devices as the KKK in non-villain roles and a bumbling depiction of Abraham Lincoln that would not be equaled until Bill and Ted’s Excellent Adventure (#89). The cast of thousands lauded Griffith for his “slavedriver” work ethic and lax interpretation of EOE requirements. Exceedingly long.
45. A Streetcar Named Desire (1951)
A Tennesee Williams’ Joint, A Streetcar Named Desire stars Marlon Brando as abusive, alcoholic everyman Stanley Kowalski whose iconic cry of “Stellaaaaaa!!!” (very often misquoted as “Adriaaaaannn!!!”) has become part of modern folklore.
Parents: Steer your children clear of this film. In addition to the psychosexual antics of some sweaty Southerners, this film also teaches kids not only to talk to strangers, but to “rely on their kindness.”
46. A Clockwork Orange (1971)
Yet another dystopian treatise on the many problems with today’s youth, not the least of which is their tendency to take long drives into the countryside for the sole purpose of smashing in someone’s skull with a large, phallic sculpture. That they are also partial to Hollywood musicals, Ludwig van Beethoven and milk is not comforting in the least, thanks to Kubrick’s ominous depiction of what was once considered an “unfilmable” book (Martin Hanford’s dada-esque tale of dislocation and hats, Where’s Waldo?).
Another “highlight” is the made-up language Nadsat, which has given the English language several new words, including ultraviolence, codpiece and tween.
47. Taxi Driver (1976)
Scorsese’s ultraviolent (see above) take on the second-oldest service profession brings to life an “alternate” version of New York City where the streets are filled with rude assholes and 12-year-old hookers.
De Niro went “Method” of course, working 12-hours shifts as a cab driver when not flaunting his unlicensed weapon and nifty new mohawk. Inspired by his tireless efforts, Jodie Foster attempted a Method approach as well, resulting in the arrest of every adult on the set. Inspired by these events, a lone gunman interrupted Ronald Reagan’s portrayal of the US President with some well-placed bullets.
Inspired a new wave of filmmaking and one presidential assassination attempt, claims only equaled by Big Momma’s House and Big Momma’s House 2. Also inspired a generation of piss-poor De Niro impressions.
48. Jaws (1975)
Directly responsible for dozens of inferior monster movies and various Shark Weeks, Jaws (or Jawrs in the Northeastern US) is the tense tale of a rogue great white shark and a somewhat modern day triumph of filmmaking. Budget limits forced Spielberg to hand rig a variety of nearly-functional sharks and cast Roy Scheider and Richard Dreyfuss over younger, more attractive men who would have better handled the main characters’ often shirtless banter.
This also explains some long stretches where many people talk about the shark but not many actually see the shark. It also explains some scale inconsistencies in which the great white is portrayed as being anywhere from the size of a large tuna to the size of a 3-bedroom ranch-style home.
Based loosely on Moby Dick and followed by several sequels which stretched the emaciated idea to the breaking point before snapping it completely and continuing forward with absolutely no ideas at all. The nadir of the series (Jaws 3D) posited that the shark was only interested in leaping or charging directly at the camera.
49. Snow White and the Seven Dwarves (1937)
The first Disney film on AFI’s list, Snow White is also the first animated film to be featured in AFI’s Top 100. A triumph of imagineering, Snow White does what classic Disney does best: take someone else’s story and make millions of dollars off it through aggressive marketing, merchandising and bullying copyright control.
Ostensibly the story of a deathly pale den mother for a pack of overly-hairy child laborers, this Disney film features a timeless story ripped right from the public domain pages of the Brothers Grimm and converted into a successful series of collectors’ plates, outerwear and Happy Meal toys.
There’s some other mumbo-jumbo in there about true love being more effective than CPR and the evils of strip-mining, but mainly it’s just the normal “woman falls in love with a crew of undersexed animators under the control of a marketing machine built by an undersexed megalomaniac with Howard Hughes’ tendencies.” The New York Times Review of Film calls it “timeless,” most likely referring to Disney’s apparently infinite supply of copyright extensions.
50. Butch Cassidy and the Sundance Kid (1969)
Proto-bloody cop flick, except that the cops are criminals and the dangerous inner city is the frontier and that Bruce Willis and Samuel L. Jackson are Robert Redford and Paul Newman. Filled to the brim with shootouts, hijinks and hats.
A highly romanticized portrait of two thugs with screenwritten hearts of gold and the lamest theme song (Raindrops Keep Fallin’ on My Head) in the history of lame Oscar-winning theme songs. Features some groundbreaking bicycle usage and positive portrayals of both alcohol use and “bromance.”