Breakfast at Tiffany’s (1961)

Breakfast at Tiffany’s – 1961

Director – Blake Edwards

Starring – Audrey Hepburn, George Peppard, and Mickey Rooney

I’ve heard for years about Breakfast at Tiffany’s.  Nothing concrete mind you, nothing in-depth about the plot, the themes, the writing, or any of the lead or supporting actors.  Apparently, what I had been hearing about was Audrey Hepburn.  Her style, her grace, and most of all her fashion sense.  While by and large Audrey is most definitely deserving of all the acclaim she has garnered over the years, Breakfast at Tiffany’s is definitely it’s own beast, above and beyond such things.

For those, like me, who have only been privy to random rumblings about minor aspects of this film, here is a breakdown of the story.  Audrey Hepburn plays the young, beautiful, quirky, carefree, flakey, and wholly unreliable Holly Golightly, a character who wrote the book on what real-life actresses like Natalie Portman, Zooey Deschanel, and Chloe Sevigny have built plenty of their roles on.  Her charm and magnetism carries her through life, drawing people to her both for good and ill.  She seems to live in a bubble protecting her from any real sort of responsibility, keeping her real thoughts and feelings at an arm’s-length from anyone who might try to get close to her.  Mind you that doesn’t stop anyone from trying, prospective suitors, friends, and even family, keep trying to reel her back into reality, and are forever willing to forgive her for struggling to keep them away.

Even the square-jawed, perfectly coiffed, understanding, new neighbor, Paul Varjack (played by a George Peppard with super Technicolor blue eyes), runs into the same brick wall that everyone else does.  Where everyone else eventually gets the hint, Paul maintains his pursuit of Holly despite her track record of flighty behavior, and gold-digger-esque tendencies.  Paul himself is a slave to what made him a success as well.  His claim to fame is a novel that he wrote with the support of his well-to-do mistress, without whom he would still be in dwelling in relative obscurity.

Assuming both Holly and Paul were able to maintain the same frame of mind, they would make a good couple, but Paul has grown tired of his shallow existance, and yearns for something else.  In the end, all of Holly’s qualities that attract Paul, end up keeping him at arm’s length.  The free-spirited, irresponsible behavior that seems so attractive at first, ends up actually being a bundle of paranoia and anxiety, unable to let go of a failed formula for love and success. That isn’t quite the glamorous image that is presented in the marketing of the film.

This film is much closer to the films of the seventies than it’s release date lets on.  It is more concerned with the exploration of the damaged side of the young miss Golightly, and mr. Varjack than it is with showing off the lush, lavish, fun lifestyle of the sixties.  It seeks to juxtapose the unfulfilled, unhappiness that both Paul and Holly are subject to, with the carefree party lifestyle that both are living (on the surface anyway).  In the end, non-stop drinking, lurid rendezvous’ with faceless strangers, and the absence of any sort of responsibility will only contribute to the feeling of worthlessness.  Holly’s telephone, locked away in her suitcase, is representative of her isolation from and fear of the actual relationships, commitments, and everything else encompassed by “the real world”.

On script writing duties is Truman Capote, a man who I know little about although I’m more curious than ever to read more of his work.

The director, Blake Edwards is no stranger to popular, well regarded movies.  Though this does seem to have a somewhat deeper subtext than a lot of his other movies, it does share a fair amount with some of his other films (I’m going from memory here, it’s been a while since I’ve seen anything.), most notably “The Party” from 1968.  The party scenes in both films share a certain voyeuristic quality as the audience simply observes the merriment and mayhem as it happens.  They don’t so much expound upon what we already know of our characters as much as they give us a inkling of the time and the place in which they live.  There is some humor there, but it is more descriptive than it seems on the surface.

I have to say I was surprised by how much I liked this film.  On paper, a film about two broken socialites doesn’t seem all that engaging to me.  I really like Audrey Hepburn, in everything I’ve seen her in, so it was a no-brainer that I’d like her here, but I can’t shake the image of George Peppard as Hannibal from the A-Team, so he was a bit of a harder sell at the outset.  It’s a good thing he didn’t smoke a cigar in this film or my suspension of disbelief would have been gone and it would have pulled me out of the film entirely.

Truthfully though, his character, Paul, was the real heart of the film.  While Holly, along with her sense of style, is the centerpiece of the film, Peppard does most of the heavy lifting in terms of character growth, exposition, and engagement with the audience.  Peppard is to Hepburn what Joseph Cotton is the Orson Welles in “The Third Man”.

The film’s one failing grace, and really it’s just a sign of the times in which it came out, was the overtly racist, and unflattering view of asian culture put forth in the form of Holly’s upstairs neighbor, Mr. Yunioshi played by the shitty Mickey Rooney.  Rooney’s portrayal serves no purpose except for getting cheap laughs at the expense of a people perceived as being simply ignorant, pajama-wearing, slow-witted, buffoons.  Luckily it doesn’t ruin the rest of the film, though it is unfortunate.

All in all I would say the film paints an accurate picture of loneliness, and as a bonus it crafts a realistic and satisfying ending that allows the characters to grow beyond their selfish, opulent trappings.  Overall, I’d say it’s definitely well worth the time, and worth a watch.

(***Warning Spoilers***)

“Don’t worry.  The cat’s fine.” – Ashley

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The Magnificent Ambersons (1942)

The Magnificent Ambersons

Director – Orson Welles

Starring – Joseph Cotton, Delores Costello, Anne Baxter, and Tim Holt

Often compared as a bastard sibling to the widely praised Citizen Kane, The Magnificent Ambersons is the second of Orson Welles’ two picture deal with RKO Pictures.  While he was away filming another feature in Brazil, Ambersons was taken away from Welles by the studio who felt the picture was too slow and somber.  RKO cut roughly 50 minutes of footage from the end, and tacked on a happy ending to appease test audiences who, since it was released after the attack at Pearl Harbor wanted something a bit more cheerful, and with laughs.

Ambersons tells the story of a spoiled little rich kid, George Amberson Minaver, played to cruel, selfish perfection by Tim Holt.  George (apparently based on the somewhat spoiled Orson Welles) is so caught up in himself, and his worries, that he doesn’t allow anyone else in his family the opportunity of their own happiness.  Seeing the affection between his mother, Isabel, and Joseph Cotton’s character Eugene Morgan, as a threat, he firmly plants himself in between the pair willing to go to great lengths to keep them apart.  The families reliance on their seemingly endless wealth threatens to teach them some hard life lessons.  From this brief synopsis, you can see where the story is going, but rest assured you won’t see the abbreviated ending coming.

Despite the new happy ending, The Magnificent Ambersons, as it exists today is incomplete.  The editor, Robert Wise, a director in his own right (The Haunting, West Side Story, and The Sound of Music) was put in charge of cutting the film to its current length.  While salvaging as much as he could of the story, the film still seems to end abruptly, destroying the our investment in the characters as well as the weight and importance of the story.  The cut footage was rumored to have been destroyed to prevent Welles from protesting and producing another cut, all though officially it was to clear space in the studio’s vaults.

Since we will never fully know what this film could have been, it is unfair to say it is as good as Citizen Kane, nor is it fair to put it on the list of 1001 Movies You Must See Before You Die, especially since it isn’t commercially available on DVD in the United States (I watched a decent quality AVI file that I happened upon).  That being said, what is present in the version that I saw, was a prime example of why Orson Welles was (and still is if you ask me) such a revered filmmaker.  The ensemble acting is the quality you might expect of the Mercury players, everyone does a great job, not only of playing their parts, but also of supporting their fellow actors in their roles.

A class could be taught on the cinematography of this film alone.  Stanley Cortez replaces Gregg Toland as Welles’ cinematographer of choice, but none of the elegance inherent in Citizen Kane was lost.  Unlike a lot of films from this era, Welles isn’t afraid of using shadow to dramatic and atmospheric effect.  Character’s, especially female characters, in most american films seem to always find that same pocket of light that illuminates them in just such a way.  In Ambersons, not only is there plenty of darkness, but it is nearly a character all its own.  One that each other character interacts with, and plays against (both physically with the shadows in a scene, and metaphorically with their own motivations and intentions).

Another interesting element deserving of mention is the mammoth estate in which the Amberson’s dwell.  The sense of foreboding and expectation carried by the physical structure that houses this indomitable family affects the story as much as any other element in the story.  The cavernous stairway is host to as many romantic kisses as it is to malicious eavesdropping and tense stand-offs.

Finally it is important to point out the resonance this film has had with one of my favorite films of all time, The Royal Tenenbaums.  Similar to The Magnificent Ambersons, Tenenbaums deals with the perceived mythology of a family of spectacular characters, and juxtaposing that ideal against the reality of the dysfunction that is inherent in family.  Similarities range from the small (the titles are similarly grand) to the grand (the main conflict in both films comes about when love and relationships are threatened by jealousy and depression).  Wes Anderson, to his credit, has managed to finish what Orson Welles was never able to.  With The Royal Tenenbaums he manages to bring closure to the wonderful story that has had a false happy ending on it for nearly 60 years.

Is The Magnificent Ambersons great?  No, not as a whole, but what it’s made of, what it was going to be, and what it has inspired, is far more than great!  It’s Magnificent!

…there’s more…

So it’s time again for a batch of the movies that I HAVE seen.  We are starting to get more into the time frames from which I’m more familiar with, although there are still a ton of movies from this roughly ten year span that I haven’t seen.  Either way I have some work ahead of me, so without further ado…

The Stranger (1946)

This was one my more recent Orson Welles views.  As one of his less talked about films, I didn’t know whether it was something that I should expect to really enjoy like The Third Man, or Mr. Arkadin, or if it was more of a “I was young and needed money” type of movie.  I was pleasantly suprised to find that it was the former rather than the latter.  Welles plays a former member of the Nazi party hiding out in plain sight in small town America.  He is being pursued by the ever vigilant Edward G. Robinson, who isn’t quite sure whether this is the man he is hunting, or if he is simply a small town school teacher.  The Stranger is a fantastically underrated film, Welles as a director, and both Welles and Robinson as actors are top of their game!

“The Stranger asks the age old question: What’s worse,  accidentally marrying a Nazi, or purposely grooming your eyebrows to look like semi-circles?” – Ashley

La Belle Et La Bete AKA Beauty and the Beast (1946)

Of the two versions of this film and one version in Television format (that I’ve seen anyway), I much prefer this black and white, french one from the mid 40s.  The magical whimsy that Cocteau naturally imbues this film with, through the special effects costumes, and the poetic nature of the story, far surpasses the Disneyfied and televised versions.  Jean Marais seems natural, alien, and feral all at the same time, as the beast.

The Big Sleep (1946)

Fantastic for so many reasons, not the least of which that this story serves as the inspiration for as well as the loose structure of The Big Lebowski, one of my favorite movies of all time.  Bogart and Bacall are never better together than they were in this, each at the top of their games, and each with their roles fitting like gloves.

“Wait…now who’s that guy again?” – Ashley

The Killers (1946)

I have to admit, I like the second version of The Killers, directed by Don Siegel of Dirty Harry fame, better than this 1946 version by Robert Siodmak.  Despite liking source material, Siodmak, the actors Burt Lancaster and Ava Gardner, there is just something about seeing Ronald Reagan and John Cassavettes playing opposite each other (Reagan in the villan role) that captured my attention and cheered me up.

“Ava Gardner, you so pretty!” – Ashley

Great Expectations (1946)

The rare, short David Lean film, Great Expectations was suprisingly to me, not as daunting as it could have been.  Great performances by Alec Guinness as Herbert Pocket, and Martita Hunt as Miss Havisham.

Notorious (1946)

I like this movie, although I do not necessarily love it as I feel I’m supposed to.  Cary Grant and Ingrid Bergman are great actors, but I feel that too much is made of this film.  Worth the watch, but ultimately films like Casablanca, Charade, and Rear Window are much much better.

“B.I.G!” – Ashley

Out of the Past (1947)

This is a fantastic film noir starring Robert Mitchum and Kirk Douglas, about the owner of a small town gas station, whose mysterious past catches up with him when a big time criminal boss lures him into a world of crime.  Awesome cast!  Kirk Douglas makes a great villain.

Ladri Di Biciclette AKA The Bicycle Thief (1948)

It has been such a long time since I’ve seen this movie, and since that time I’ve seen so much more in the way of foreign and art films.  And while I thought some of those films were strictly better, The Bicycle Theif still remains a benchmark against which I weigh other movies.  This film more than any other introduced me to and maintained my interest in Italian Neo Realist film.  From here I moved through the years to Fellini, Pontecorvo, Germi, Bertolucci, Pasolini, and of course Antonioni.  Still, The Bicycle Theif remains in my head, as clear as when I first saw it.

“Italian Neo-Realism…boooooring!” – Ashley

Rope (1948)

Not one of his best films, but certainly, Rope stands as an interesting experiment.  Comprised of 5 or 6 different long camera takes, Rope is effectively a filmed stage play.  The transitions inbetween scenes are fairly clever as they are meant to be invisible, making it seem as if it were filmed entirely in one take.  The action, suspense, and plot twists depend entirely upon the acting, as the camera cannot do any elaborate or special movements.  The plot centers around some young men who, as an experiment to see if they can get away with it, have murdered their fellow classmate.  As a means of proving how perfectly constructed this crime is, they host a dinner party while the body of the victim is still in the room.  It is up to Jimmy Stewart, a guest at the party, to reconstruct how it happened and expose the two murderers.

The Lady from Shanghai (1948)

Orson Welles.  Murder.  A beguiling lady.  With those ingredients you have  the recipe for an awesome movie.  To tell you facts about the plot, would almost give away too much.  Needless to say, check it out, it’s awesome.

The Red Shoes (1948)

This tragic fairytale utilizes saturated comicbook-esque color to highlight the passions in the life of the young ballerina, Victoria Page.  The color red, specifically, stands out as a sort of totem color standing for passion, drive, and even obsession.  While beautiful to look at, the story is not as engaging as some others of this era, the film’s main plot is mostly love story and for a self professed action buff, I felt it was lacking something.

The Treasure of the Sierra Madre (1948)

All you need to know about this movie:  AWESOME FUCKING MOVIE!  SEE THE SHIT OUT OF IT!!!!

Kind Hearts and Coronets (1949)

Alec Guinness is a master of disguise in this dark comedy about inheritance, and family relations.  It is a good film, a real good film actually, but I didn’t think it needed any further hype than that.  It certainly gave was the grandfather to a lot of grade B or lower films that have come out of Hollywood, Eddie Murphy pretty much has copied the premise of Kind Hearts and Coronets in all of his more recent flicks from the Nutty Professor to the present (and by this I don’t mean the failed humor, I mean the fact that Alec Guinness plays so many different characters.)

The Third Man (1949)

An absolute classic!  Orson Welles plays Harry Lime to the nines, pairling each of his moments onscreen with his dialogue, utilizing each to the fullest.  Joseph Cotten plays Lime’s jilted best friend, hunting for the elusive truth about his pal.  He is torn between his attraction to Lime’s girl, and the loyalty he feels toward his friend.  Pitch perfect in every way, right down to the bombed out rubble of the post-war Vienna setting (The film was actually in and around post-war Vienna).

Orphee AKA Orpheus (1949)

Just like “La Belle et la Bete”, another film by Jean Cocteau, Orpheus is a beautiful piece of lyrical, visual poetry.  It is filled with similar themes of death, life, love, mirror images, and redemption.  Highly visual, and despite being fairly sussinct for all of it’s ambition, it accomplishes it’s goal.

The Asphalt Jungle (1950)

A film noir through and through, from the “one last heist” type plot down through the starkly bleak urban setting.

Rashomon (1950)

The film that introduced the rest of the world to Akira Kurosawa, and Toshiro Mifune (Through the Venice film festival).  That alone warrants it’s inclusion on this or any other list of influential films, but Rashomon has so much else going for it.  It is the story of an assault, and murder, told after the fact from each of the points of view of the parties involved, the witness, the bandit, the wife, and even the victim.  Completely blew me away when I first saw it!

“If you don’t like this movie, I’ll punch you in the face.” – Ashley

Sunset Boulevard (1950)

Quite possibly the best film noir movie out there.  An ingenious story toying utilizing elements of Hollywood’s past (Gloria Swanson, Erich von Stroheim, Buster Keaton, and Cecil B. DeMille, all play integral parts in the story, some, like DeMille and Keaton, play themselves), and it’s future combining them together artfully and cohesively.  Billy Wilder’s fascination with cynicism finds a comfortable home in this tale of stars who are not ready to be forgotten.

“Don’t move to Hollywood.” – Ashley

Strangers on a Train (1951)

Hitchcock’s story about a chance meeting on a train that ends in murder.  One of his more atmospheric films, Strangers on a Train is a potboiler right down until the end, despite the stakes being revealed from the onset.

“Murder-swap!” – Ashley

The Lavender Hill Mob (1951)

Yet another Alec Guinness film that serves to highlight his subtle yet potent presence.  Here, as a seemingly mild mannered bank clerk, he masterminds a heist to smuggle a shipment of gold out of the country.  Filled with spot-on comedic moments and timing, this movie along with the original version of the Ladykillers is tied as my favorite Alec Guinness film (not including the original Star Wars Trilogy).

The Day the Earth Stood Still (1951)

A hallmark of science fiction, The Day the Earth Stood Still, seems a little dated and the premise is a little thin.  I enjoyed watching it, but I have to say for a genre of movies that depends highly on the visuals and special effects, it didn’t have the affect on me that it would have if I’d grown up with it.  That being said, it is still a fun story, and is certainly responsible for inspiring a huge number of films and directors that are inspiring me today.  Klaatu…barada…nikto.

Ikiru AKA To Live (1952)

This film asks the question, “Can one person make a difference?”, and answers with a resounding yes!  After years upon years as his bureaucratic, mundane job accomplishing nothing, Kanji Watanabe learns he has cancer and strives to do something worthwhile with the rest of his life.  Something that will make a difference to someone.  This is one of Kurosawa’s best films, illustrating the perils and dilemmas of the everyday person and demonstrating each person’s responsibility for their legacy.  Warm, humanistic, and bold, this film should be required viewing for everyone.

Le Salaire De La Peur AKA Wages of Fear (1953)

An excellent adventure film, the Wages of Fear strives to break out and be more than the definition of it’s genre.  The good news is that it succeeds.  Utilizing tension and pacing, Henri George Clouzot, keeps the audience on the edge of their seats as our (anti)heros accend the trecherous mountain pass in trucks carrying nitroglycerine, in order to stop a fire at an oilwell.  The people sent on this mission are completely disposible, each doing it for the high pay that comes with the completion of this dangerous job.  Re-made as Wizards, a film by William Friedkin, and starring Roy Schieder, The Wages of Fear stands out as one of the best action movies that I’ve ever seen.

On the Waterfront (1954)

Mired in controversy due to Director, Elia Kazan’s anti-communist and anti-union sentiments, (Kazan named names during the blacklisting period of the fifties in Hollywood) the good qualities of the film can sometimes be overshadowed.   Marlon Brando, and Rod Stiger turn in Oscar worthy performances, deserving recognition outside of this argument.  The film itself still stands as an alegory to the cancerous nature of communism and the power of the individual worker against the greedy union and mob influences.  Not as powerful a film as it is often hyped up to be, but certainly important to the history of Hollywood, and definitely worth a watch.

“Method = No enunciation. ” – Ashley

Rear Window (1954)

One of the best films ever made, and certainly Hitchcock’s best film, Rear Window does so much with so little.  It serves as a meditation on the voyeuristic nature of movies, and in society, all the while telling a cracking good yarn.  Hitchcock combines visual and storytelling elements of Jacques Tati, Orson Welles, and Billy Wilder, while adding in his own gift for mystery and suspense.  This is the best of all worlds, a nearly perfect film.  Not to mention it has the beautiful Grace Kelly in it too!

“Your creepy neighbor may save your life.” – Ashley

Well, that’s it for now.  Hopefully you’ve enjoyed another installment of the short but sweet reviews of these films that I’ve already seen.

This Just In…

1000 Movies You Must See Before You Die!

I thought of how much fun the idea of seeing all of these movies was to me, and equally of how much fun it would be to write about them all too.  It was at this point that a few things dawned on me.  I realized just how large this undertaking was, and how equally large the time commitment will be too.

I was daunted by the sheer volume of my endeavor.  I immediately started to formulate a way to lighten the load.  I’ve already seen a lot of movies, I thought, why shouldn’t I just write about the ones that I’ve already seen?  Yes!  That’s it!  I’d write about the movies in this book that I had already seen.  That way, I’d save a lot of time, and I wouldn’t be tempted to dwell on my own in-activity, and unsocial behavior.

This got me thinking yet again.  As I said before, I was looking forward to seeing all those movies…That’s IT!  I would go ahead with my initial plan of watching each of the movies that I haven’t seen and writing about each one individually, AND I would write about the ones I have seen (although these will be done in groupings so as not to accelerate my already rather sedentary behavior tendancies too much.)

Here is the first installment of the movies that I have seen.  They are not quite as in depth as the reviews that I have done and plan to continue doing for the new material, but they provide a good summary of what I liked and/or what I didn’t like.

I hope you enjoy this bunch.  It covers the first movie in the book that I had seen, up through the end of WWII.  So…get reading already

Metropolis (1927)

I was lucky enough to catch this projected from a remastered 70mm print with lost footage re-integrated into the story.  It featured a live piano accompaniment, and featured written descriptions of scenes that were still “lost”.  At the same time, I was unlucky enough to see it while I was super, super tired.  There are some slow moments, and I was drooping at times.  Still, it was probably the best possible way to see Metropolis for the first time.

“Fuckin’ love it!” – Ashley

M (1931)

The Criterion Collection has introduced me to a wide variety of movies, including quite a few of the selections on this list.  M introduced me to foreign film in general, not to mention the fantastic Peter Lorre.

Scarface : The Shame of a Nation (1932)

I saw this with a couple of other fantastic American noir and crime films in a little theater on the left bank in Paris, the Action Christine for those who are in the know.  It was part of a week long mini-film-festival concerned with classic and overlooked American noir films.  I was able to catch a number of other great flicks including, Kiss Me Deadly, Key Largo, the version of The Killers from the sixties (with Ronald Regan, Lee Marvin, and John Cassavetes), and the topper, Charade.  I was surprised how much of this story of Scarface is recognizable later on in the Brian De Palma version.

It Happened One Night (1934)

I was introduced to this movie through a friend who was absolutely in love with it.  I was, at first a little skeptical, but came to appreciate it quite a bit.  I’m not sure why everyone makes a big deal about Clarke Gable in Gone With the Wind, but not in this one (I suppose I’ll find out later, when I watch it).

(**Warning Spoilers**)

“If a man nicks names you brat, it’s because he loves you.”  –  Ashley

The Thin Man (1934)

As this was a recommendation from numerous trusted sources, I may have gone into this one with elevated expectations, which as you may or may not know can be death on first impressions.  While I didn’t love it as unilaterally as I was led to believe that I would, I didn’t dislike it at all.  It was solid, but not discernible from a lot of other movies that I have seen from this period.

“Alcoholism is hilarious!” – Ashley

The 39 Steps (1935)

One of two of Hitchcock’s British movies that I’d seen after I’d tooled through almost all of his American stuff, (The Lady Vanishes being the other…), and while I liked The Lady Vanishes better, this was not without it’s charms.  By and large this seems like a stepping stone through which you can get to Hitchcock’s great works, although it is not great in and of itself.

“Genius begins…” – Ashley

La Grande Illusion  AKA  Grand Illusion (1937)

This is another of these movies that I was introduced to through the Criterion Collection.  When I saw this movie, it was the first time that I had either heard of or seen Eric von Stroheim, Jean Gabin, or Jean Renoir.  Von Stroheim in particular interested me, and I have since been looking for his epic, studio bankrupting movie, Greed.

Snow White and the Seven Dwarves (1937)

Snow White was the second movie that I ever saw in a movie theater (E.T. being the first), and since then, thanks in part to having a good number of girl cousins, friends, and going to a daycare where a good amount of the kids were girls, I was quickly overdosed on this movie (along with The Little Mermaid, Cinderella, The Sound of Music and Mary Poppins).  That being said, upon my first viewing, I was enraptured.  I wanted to be the 8th dwarf, and I was terrified of the old witch with the apple.  Fucking scary!  This is how childrens stories can be.  They don’t have to be these antiseptic, polished, glittering trash-heaps that they came to be, straight to video sequels with crappy 3D animation.  Snow White set the standard, even IF I don’t really wanna watch it anymore.

“Teaching all pale, black-haired girls around the world that they are the most beautiful.” – Ashley

Bringing Up Baby (1938)

I partially wrote this longer post of movies that I had already seen because of this movie.  I didn’t want anyone to think that just because I had seen it, to think that this might mean that I liked it.  I saw this in film school, as an example of the studio system of the 30’s and 40’s, and more specifically because it was THE classic screwball comedy.  I liked movies from this period, and more importantly I was a pretty big fan of Cary Grant, so it seemed like a natural fit.  Then along came Katherine Hepburn and ruined everything.  She plays the most annoying, murder-inducing, terrible fucking annoyance EVER!  I could not wait until it was over.  From 5 minutes in or so I was checking my watch, sending text messages to friends, trying vein to sleep, anything to avoid that shrill voice, and that irksome demeanor.  What made it worse was, that Cary Grant, put up with it to the point where his character started to exhibit affection for Hepburn’s.  This bastion of charm, class, and smooth masculinity was was so utterly ineffectual, that not only could he not save me from hearing this woman speak, but he stole two hours from me in the process.

“Holy shit, there’s a leopard in it!” – Ashley

The Wizard of Oz (1939)

Who doesn’t like the Wizard of Oz?  It’s a little heavy on the songs, and musical routines which I don’t really go in for (making a lot of movies musicals in this book a little daunting), but the story and the fabulous imagery were far more than enough to outweigh them.

“Technicolor orgasm!” – Ashley

Rebecca (1940)

I liked Rebecca (come to think of it, I’m not sure that I didn’t like any Hitchcock movies), but I liked Notorious better.

Fantasia (1940)

This, like with a lot of different musicals, was pretty lost on me.  I’ve fallen asleep or gotten board and wandered off each time I’ve tried to watch this (3 separate times now).  The animation was great, but not quite enough I guess.

“Elephants in tutus.” – Ashley

Pinocchio (1940)

I enjoyed Pinocchio back when I saw it initially, but it was never quite as good, in my opinion, as The Jungle Book, The Sword in the Stone, or Robin Hood.  Maybe it was just the time period that I grew up in, maybe it was the animation style.

“So many sexual euphemisms, so little time…” – Ashley

The Bank Dick (1940)

W.C. Fields is a smarter, more adult, and more aware version of The Three Stooges.  He pokes fun at himself rather than poking fun at others or having them poke fun at him.  Don’t get me wrong, I love The Three Stooges, but every now and again it’s nice to see you don’t have to hit something with a hammer in order for it to be funny.

Citizen Kane (1941)

The enigma that is Citizen Kane…it is both vastly over and under-rated.  The idea that you can pick one movie in the scope of all that has come out to date and claim that it is the greatest movie ever made is a ridiculous one.  Equally ridiculous is the idea that that same movie is of no or little value simply because every other movie since then has co-opted the same bag of tricks.  Citizen Kane and Orson Welles set the standard, and now people get mad that in a sea of copy-cats, it no longer stands out to them.

“Oh, yeah.  It is real good.” – Ashley

The Maltese Falcon (1941)

Fantastic, fantastic movie.  For one reason or another, before I had ever seen a Humphrey Bogart movie, I was under the impression that I didn’t like him as an actor.  This movie, The Big Sleep and Casablanca proved me wrong three times in a row.  Each was fantastic in it’s own way, but the addition of Sydney Greenstreet and Peter Lorre make this a contender for my favorite of the bunch.

Dumbo (1941)

This is my least favorite of the early Disney movies.  I didn’t quite know what to make of the bizarre pink elephant sequence, and I took the shame and teasing that were inflicted upon the titular character to heart.  I haven’t seen this one for a long time, but I’m not sure that I want to.

“Go hug your mom.” – Ashley

Casablanca (1942)

Check out my review of  The Maltese Falcon two entries above this one, and you’ll know how I feel about this one.  With a rousing story, Ingrid Bergman, and Claude Rains you can’t help but love this movie.

(***Warning Spoilers***)

“Don’t get on the fucking plane!” – Ashley

Shadow of a Doubt (1943)

I like Shadow of a Doubt, but just before seeing it, I had seen The Third Man, and I was completely prepared to fall in love with it.  Joseph Cotton was the key.  He and the movie didn’t really stand out to me…correction, they weren’t able to blow me away the same way The Third Man had.  Despite this, I still enjoy watching it when I want to throw something on while I doing something else.

Gaslight (1944)

It was on my Grandpa’s insistence that I sat down and watched this one with him.  A well made movie, with the beautiful Ingrid Bergman, but I have to say, this spot could have easily gone to at least 2 dozen other movies (Charade, Miller’s Crossing, American History X, Leon The Professional, Bottle Rocket, El Mariachi, True Romance, Shallow Grave, Hard Boiled, Hearts and Minds, Le Cercle Rouge, and Ghost Dog to name just a few.)

Double Indemnity (1944)

I fell in love with Double Indemnity when I first laid eyes on it.  I seemed to ooze a certain coldness, and efficiency that I had never seen up until that point in movies.  I’ve heard other reviews of this movie citing Fred MacMurray as being the weak link in the chain, to not committing to the role enough (the reviewer was saying that he did this in most all of his roles), I disagree whole heartedly!  He may not have achieved the short lived notoriety of someone like James Dean or Clarke Gable (note: my definition of short lived may not match yours), but he was the right man for the job in each of the movies that I’ve seen him in.

“How not to commit a murder.” – Ashley

Murder, My Sweet  AKA  Farewell My Lovely (1944)

Murder, My Sweet was a good movie, but this is another slot given to a lesser contender.

Spellbound (1945)

When traveling in London I visited the Salvador Dali museum, expecting to see a host of what I thought were the artists more well known works.  Instead, I saw a bunch of his work that I had never seen before, including a number of artifacts from the movie Spellbound!  Ultimately, I think fairly well of my visit to the Dali museum, but that is mostly because of the items from the movie.  Spellbound, like the museum, has left a generally favorable impression on my mind, but it doesn’t go much farther than that.

“I wish I dreamed in Dali” – Ashley

Les Enfants Du Paradis  AKA  The Children of Paradise (1945)

This is a fabulous movie that you should go see.  Now.  Go ahead, I’ll wait….Wasn’t that awesome.  Well dig this…This whole movie was filmed during the Nazi occupation of France.  Film stock, supplies and artisans were in short supply, cast and crew were being routinely investigated by the puppet Vichy (read Nazi) government, and still they managed to pull off a staggeringly beautiful movie with beautifully thought out and constructed sets, top notch acting, and a story packed with anti-fascist allegory.  On top of this, the majority of the actors and crew were utilizing the “cover” of the movie in order to stay hidden, as many were French Resistance underground fighters.  Now go watch it again!

That is all for this first chapter…go watch all of these movies and write back to tell me what you think.