Posts Tagged ‘Stanley Kubrick’

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The Fancy Plans Guide to AFI’s Top 100 Films – Volume 4

June 22, 2010

The march toward the end of the list continues! (Hmm. That sounded way more exciting before I typed it out…) If you’re just joining us, please fill out the “Getting to Know Me!” card, which is found in the Comment section. We’ll introduce ourselves after we conclude Volume 4 in The Fancy Plans Guide to AFI’s Top 100 Films

See also:
Volume Three
Volume Two
Volume One 

Unfortunately, new fonts wouldn't be invented until 1942, forcing the producers to settle for "Hobo Circus."

21. The Grapes of Wrath (1940)
Trifling road picture about a family’s ill-fated excursion to California, the land of dreams and cheap-ass labor. Hilarity ensues as Henry Fonda (playing against type as a well-rounded character) leads his family from misadventure to underpaying misadventure, including the inadvertent death of his grandfather, his grandmother’s dog and indeed, the grandmother herself. Directed by John Hughes, the whiter of the two Hughes brothers (directors of Menace II Society). 

SPOILER ALERT: Nothing in this film moves anywhere as fast as that shuttle drawing would indicate.

22. 2001: A Space Odyssey (1968)
Directed by Stanley Kubrick, 2001 uses then-cutting edge technology to prove the old adage that “In space, no one bothers to write much dialog.” 

The first half of the film is an impeccably shot space travelogue. The second half finds the protagonists dealing with a sentient on-board computer whose unwavering belief that the mission be completed is of greater importance that actually leaving anyone alive to complete it. The third half presents an extended hallucination suffered/enjoyed by the main character as he dies and is reincarnated as some sort of orbiting, metaphoric space fetus. 

Presumably this ending would have been better explained if Kubrick hadn’t blown the entire budget on construction of a full-size, fully-functioning space station and insisting that every scene be shot on location just outside of Jupiter. Exceedingly long. 

Always ahead of his time, Bogie shows off his double-gun action, beating John Woo to the punch by nearly 45 years.

23. The Maltese Falcon (1941)
Influential film noir, shot in noir and blanc and starring America’s most noir-ish actor, Humphrey Bogart. Based on a Dashiell Hammett novel, The Maltese Falcon follows the story of several small-time crooks who aim to name the valuable titular bird and the one drunken private dick tasked with getting to it first. Packed with incredible performances, fast-paced dialogue and inadequate lighting. 

Little known fact: Hammett originated the phrase “grinned wolfishly,” a descriptor that Bogie tries tirelessly to emulate by “sucking on his teeth,” which also originates with Hammett. Both phrases have been subsequently beaten to death by many authors since, most notably Clive Cussler and his nearly-sentient offspring, Dirk Cussler

"Insiders noted that De Niro looked 'puffy' and 'hand-shaded...'"

24. Raging Bull (1980)
Scorsese’s 1980’s masterpiece (which doesn’t look a day over 1950, thanks to a film mixup during development) follows the epic storyline of legendary boxer Bobby (Robert) De Niro (La Motta) whose brutal fighting style and even brutaller lifestyle saw him climb the heavyweight hierarchy while simultaneously hitting rock bottom (and his significant others). 

Remade four years earlier as Rocky, which featured a more populist slant, one that culminated with Rocky 4 in which Rocky beats up the Soviet Union. 

Eliott shows up the "magic" of static electricty to his new, and suddenly very scared, friend.

25. E.T. (1982)
Spielberg returns to space (or rather, space returns to earth) five years after his groundbreaking UFO flick Close Encounters of the Third Kind gave us all a much-needed sense of wonder, as well as something to do while playing with our food. 

E.T. follows the story of The Man Who Fell to Earth, except that the “man” is actually a diminutive alien with the voice of a 75-year-old chainsmoker rather than a wispy ambisexual singer. Much like most tourists, E.T. soon expresses a desire to return home, which he soon [SPOILER ALERT] does, but not before touching the lives of the kindly Tanner family via Reese’s Pieces product placement and various small miracles like levitating bicycles and turning guns into walkie-talkies. Goddard routinely cites this film as an influence. 

The military demonstrates the power of its repurposed "Release the Hounds" button.

26. Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb (1964)
Kubrick again, this time taking a darkly serious script and turning it into an inadvertently funny film, thanks to his heavy-handed use of black and white film and a major miscasting of Peter Sellers as four different characters. 

A note to young filmmakers: when dealing with something as portentous as the end of the world, you are probably better off utilizing a style similar to Airport ’77 or anything Roland Emmerich (Independence Day) has directed. 

Notable for its Nazi scientist, frank discussions of bodily fluids and stock footage of A-bomb detonations. 

Beatty models his proto-Dick Tracy look while Dunaway laughs drunkenly.

27. Bonnie & Clyde (1967)
Warren Beatty and Faye Dunaway set the gold standard for anti-heroes with this biopic. Still as visceral as it was back in the late ’60s, Bonnie and Clyde jumpstarted Beatty’s career, serving notice to Hollywood that this young actor would attempt to bang his female co-stars for years to come. 

Bonnie and Clyde also jumpstarted a new wave of moral panic for its portrayal of criminals as human beings, albeit highly romanticized human beings. The ensuing controversy briefly resurrected the Hays Code, which stipulated that the criminal character(s) must meet a “violent death shot at no less than 72 frames-per-second.” 

Starring Billy Zane as Billy Corgan! Featuring the disembodied head of Gregory Peck!

28. Apocalypse Now (1979)
The war flick to end all war flicks (mainly due to actor attrition and Coppola’s blowing of an entire decade’s worth of film budget), Apocalypse Now follows the story of a soldier tasked with hunting down and destroying Marlon Brando’s massive, bloated ego. As notable for its filming as it is for its epic deconstruction of the Vietnam War, it has nonetheless gained a loyal following that often finds it has four-hour chunks of time just lying around. 

A cultural phenomenon, Apocalypse Now revived “Ride of the Valkyries,” surfing while being shot at, overly-expositional narration and sent a generation of young readers straight into the open, boring arms of Joseph Conrad’s Heart of Darkness. Redefined “War Movie” and ‘Exceedingly long.” 

Alt. title: "Mr. Smith's House of Wax Busts."

29. Mr. Smith Goes to Washington (1939)
A Will Smith vehicle so utterly banal that it doesn’t even bother with giving his character a new surname (or even a first name) with which to justify his $20 million payday for “acting services rendered.” 

Features the extremely unlikely story of a black man being elected to public office, Mr. Smith exists mainly to showcase Capra’s mawkish “everyman” daydreams and unnatural affinity for black and white photography. Written by Babaloo Mandel. 

Bogie is the last to succumb to argyria, thanks to a lower amount of "silver lust."

30. Treasure of the Sierra Madre (1948)
Humphrey Bogart stars in this harrowing tale of gold and the damage done. Boldly showing the lengths that man will go to “strike it rich,” The Treasure of the Sierra Madre unflinchingly takes on man’s capacity for evil and the Mexicans lack of badges (and indeed, their inability to comprehend why anyone would need any badges). 

Hailed by uber-critic Rex Reed as a “paranoiac’s wet dream,” who goes on to say “Don’t touch my stuff.” Followed by a much-belated sequel National Treasure of the Sierra Madre 2

-CLT

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