TWELVE YEARS A SLAVE (2013), GRAVITY (2013), DALLAS BUYERS CLUB (2013), AMERICAN HUSTLE (2013), WOLF OF WALL STREET (2013), NEBRASKA (2013), THE ACT OF KILLING (2012)

There's a buzz among movie fans each year on the topic of which film will win at the upcoming Oscars. The  progression towards this mounts as we go through the various film festivals such as Sundance, Cannes, etc. ultimately vying for good Oscar positioning. But since I've been doing this 1001 blog for so long, when I see the Oscar nominations come up, I don't think as much about who will win, as I think about which films will be in the next edition of the 1001 Movies You Must See Before You Die book! I guess I've sort of brainwashed myself in that respect.

Over the last five years, the Oscar for Best Picture nominees have extended to more films than the traditional five. So I've looked at the nominees the past few years and what made the subsequent edition of "the book." Some are only in one year's edition and are knocked out the next year, but I have been implanted with a special chip in my brain that forces me to see all movies that are in at least one edition of the book.

Here are the Oscar nominated movies from the last four years, separated by those that have been included in at least one edition of the book and those that have not made the cut in any edition. (I've added the documentary or Foreign Film winner in some cases to make an even ten for each year. since I like round numbers.)

In 2010, the 6 nominated films that made an edition of the 1001 book were:

The Hurt Locker

An Education

Avatar

District 9

Inglorious Bastards

Precious

Up 2010 (would have made my book)

The 4 nominees that have never made it in any edition were:

The Blind Side

Up

Up in the Air

The Secret in Their Eyes (foreign film winner)

In 2011, 5 nominated films made an edition of the 1001 book.

The King's Speech

Inception

The Social Network

Toy Story 3

True Grit

Winter's Bone (Would have made my list)

The five that never made the 1001 cut from the 2011 nominees were:

127 Hours

The Fighter

The Kids are Alright

Winter's Bone

In a Better World (foreign film winner)

In 2012, 6  nominated films made an edition of the 1001 book.

The Artist

The Descendants

Hugo

The Tree of Life

War Horse

A Separation (foreign film winner)

Moneyball (Probably would have made my list)

The four that never made the 1001 cut from the 2012 nominees are:

Extremely Loud and Incredibly Close

The Help

Midnight in Paris

Moneyball

In 2013, 6  nominated films made an edition of the 1001 book.

Argo

Amour (foreign film winner)

Django Unchained

Les Miserables

Life of Pi

Lincoln

Searching for Sugarman (Would have made my list)

The four that never made the 1001 cut from the 2013 nominees were:

Beasts of the Southern Wild

Silver Linings Playbook

Zero Dark Thirty

Searching for Sugar Man (Best Documentary Winner)


So the average seems to be six films in and four films out. So I'll go with that. Which six will make it this year? Here's what I think will make the cut. It's frankly a toss up after the first two.

2014

What I think will be in the next book:

12 Years a Slave

Gravity

Dallas Buyers Club

American Hustle

The Wolf of Wall Street

Nebraska

Twelve Years a Slave

12 Years a Slave-Absolutely will be in. All recent Best Picture winners have been in at least one edition. It's also a popular film about heart wrenching subject and was universally praised.

Gravity

Gravity-In 1972, The Godfather won three Academy Awards, but the film that won the most awards that year was Cabaret, which also won Best Director. Similarly, 12 Years of a Slave won the big award (and two others) for 2013, but Gravity took home seven awards including Alfonso Curacan's award for best director. Critically praised and a big hit, I think Gravity makes it in easily.

Dallas Buyers Club-Serious subject (AIDS and even more about pharmaceutical distribution of HIV medicine) and Academy Award winning breakthrough performance by Matthew McConahey puts this one in the book.  The last three movies featuring a Best Actor winner have made the book and I think this one does too.

American Hustle-70's nostalgia through a busy but intelligent plot about con men, the FBI and who's hustling who. Last years Oscar nominee Silver Linings Playbook didn't make last years edition with the same two lead actors and director, but despite not winning any awards for it's 10 Academy nominations, I think American Hustle makes the cut.

Wolf of Wall Street-This movie is a bit of an enigma. It is very well done, but at times very unpleasant to watch. Jordan Belfort is a detestable character in most ways, but I admit I couldn't stop watching this three hour epic, even while it often turnined my stomach. I think it's in the book.

Nebraska-This was the last film of all the nominees that I watched, and I have to admit it was my favorite of them all. It's rare that I watch a film and stop and reflect on how real the people in it are, but Nebraska made me do just that. It also has great drama, some real laughs, beautiful black and white photography and as I mentioned, real characters. It may or may not make the next edition, but obviously gets my vote.


The four that I don't think will make the cut for the next edition:

Philomena

The Great Beauty

Her

Captain Phillips

Philomena-I thought that this story of a woman trying to find her son with the aid of a reporter was a very well done. I have no reason to leave it off the list other than the fact that I think the book has got to leave something out!

The Great Beauty-The foreign film Academy Award winner makes the book sometimes (A Separation, Amour) and sometimes it doesn't (In a Better World, The Secret In Their Eyes). Despite being a rather creative story about an Italian writer's look back at his life, somehow I don't feel this will make the cut.

Her-Imaginative film about a lonely man's relationship with his...computer operating system certainly had its moments. It did leave me a little cold, but I guess that's what a relationship with an OS will do to you. Once again, worth seeing but maybe not in the book.

Captain Phillips-The last of the Best Picture nominees and least likely to be in the book is the true life (or sort of true to life according to some accounts) of the brave Captain Phillips and his crews escape from fierce Somali pirates. It is actually a pretty good thriller, even if you know what is going to happen. I showed this one at the library and the audience really loved it. Still, I don't see it going in the book.

Possible break-ins from 2013 to the book that I see include:

The Hunt, the Oscar nominated Danish film about a man falsely accused of molesting a young girl.

Blue Jasmine, Woody Allen's loose and updated remake of A Streetcar Named Desire that features Cate Blanchett's Oscar Winning Performance.

Frozen: The Disney CGI fairy tale extravaganza which features a soundtrack that I must listen too whenever my wife and I go on a long trip.

Inside Llwelyn Davis: Because any Coen Brothers movie has the potential to make the book.

Fifty Feet From Stardom: Oscar winning documentary about backup singers was largely a feel good movie that is hard not to like and certainly recommended, but I don't think it will make the book.

The Act of Killing-The same reason why this documentary didn't win the Oscar may be a reason that it makes the next book. Indonesian death squad leaders who are still in power are asked to recreate on camera the atrocities they committed in any genre they chose. To say this one was controversial is an understatement and I think Oscar voters couldn't bring themselves to give it the award. For me, it was very hard to watch. In fact, I admit to skipping much of the middle part. The ending did have one of the abusers returning to the scene of his crimes and begin retching (above), which was the only sign of remorse I saw from anyone in the whole film. The 1001 book doesn't shy away from the controversial (see Salo or some of the experimental films listed in each edition) and I think this will make it in.

Of course, I could be totally wrong about all of this.. 

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LIFE OF PI (2012), ARGO (2012), DJANGO UNCHAINED (2012), LINCOLN (2012), AMOUR (2012, FRANCE), SEARCHING FOR SUGAR MAN (2012), ZERO DARK THIRTY (2012)

Argo

Well, it's time for another editon of the 1001 Movies You Must See Before You Die book (5th revised). Past editions have replaced a few movies (about 10-12) with very recent ones. The movies that have changed in updated editions have almost all been within the past ten years or so.

Django Unchained

You may say this is because there is a core list of movie classics that shouldn't be changed or you may say the editors and publishers don't want to take older movies out since all the films are listed in chronological order and you would have to reshuffle the entire book to include older listings.

Linclon

Regardless, this new edition has promised 50! new films. Before knowing what is on the list, I made sure that I went through all the Oscar nominated films from the previous year. I knew the Life of Pi (a fantastical and entertaining journey and my choice for Best Picture) was on the front cover and Lincoln (a film dominated by Daniel Day Lewis's Lincoln portrayal which was as stunning as its reputation) was on the back cover.

There were also blurbs on the dust jacket for Django Unchained (Quentin Tarantino's over-the-top Western), Argo (an entertaining political film, but Best Picture of the year?) and the depressing, but moving Foreign film winner Amour, a film about an elderly woman who has a stroke and has to be cared for by her husband.

Amour

The 5th revised edition is now out and the winners (or those included in the book) from this list are:

Amour

Argo

Django Unchained

Les Miserables

The Life of Pi

Lincoln

The Life of Pi

I was also glad to see that Les Miserables made the list. I like the movie adaptation, but if you like musicals at all, try to catch this perfomed live if you can. I will also gladly perform "Do You Hear the People Sing" to any that would like me to sing it. (As of this writing, I haven't gotten any takers.)



Les Miserables



And the didn't quite make the book list from Oscar nominated films is:

Beasts of the Southern Wild

Searching for Sugar Man

Silver Linings Playbook

Zero Dark Thirty

Zero Dark Thirty

Beasts of the Southern Wild was tough little indie film which might not quite make my list either. However, I am glad it received praise and found an audience.

Silver Linings Playbook struck me as a well-written date movie. It wouldn't quite make my list, though it isn't without its charm.

Zero Dark Thirty was a hard hitting dramatization of the hunt for Osama Bin-Laden. It would probably have made my list, but the book doesn't seem to agree.

Seaching for Sugarman was the one I was really surprised wasn't on the list. The book usually adds a documentary or two with each new addition and I thought this Oscar winning crowd pleaser about the search for a mysterious folk singer would be included. Well, it's definitely on my list.



Searching for Sugar Man

Looks like that's six titles knocked off from the new book. Only 44 to go with the new entries. "Only" about 500 movies to go total...more coffee, please!

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THE KID WITH A BIKE (2011, FRANCE)

Son of 21st century films month! (Post 7 of 12)

The Kid With a Bike

The Kid With a Bike is 12-year-old Cyril's story and...

The most interesting thing about Cyril’s story is that you really see why Cyril is the way he is and does the things he does. We would dislike Cyril if we just witnessed his actions (like rob someone after hitting them over the head) instead of going through the events that lead up to it. We learn through the film that he is a boy who desperately wantes to connect with a father who wants nothing to do with him and is forced to spend much of his time in an orphanage or with a foster family. The scenes with Cyril being rejected by his father are hard to watch. Ultimately, we hope that Cyril is somehow going to straighten himself out, and the answer is...

(SPOILER ALERT!)

is…we don’t know what's going to happen to Cyril. And it seems more real that way.

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THE TREE OF LIFE (2011)

(Rod and Chip Go To the Movies 6: Rod vs. Chip! The Final Battle! Armageddon! Night of the Living Dead!)

The names have been changed to protect the innocent. The events depicted are real…sort of.

Sometime during the 21st Century

Mobile’s Crescent Theater had become about the only place Chip would go see a movie these days. Located in the middle of downtown Mobile, Alabama, the theater’s intimate and cozy atmosphere reminded him of some of those theaters he went to in Atlanta during the early 80’s. The Silver Screen…The Rhodes …those were the days. Days long ago, but days he always thought about whenever he went to the Crescent and watched whatever film was playing and always with a Anchor Steam bought from the lobby. At the front of the theater there were eight plush leisure chairs, but you had to get there early to claim one of them. Yeah, this was it, all right. Plopped down in a leisure chair with your Anchor Steam at the front of the Crescent watching whatever was on the screen. Setting mattered more than the specific movie that was playing for Chip these days.

Playing tonight was the Terrance Malick film, The Tree of Life. The film was unconventional in its narrative and Chip wasn’t sure if his wife, Dana would like it. The crowd was sparse, but enthusiastic. An interesting assortment of educated upper middle class middle age types and young college age intellectuals would certainly be filling the seats shortly. The setting was just like the old days in those theaters of old…Almost… Well, not really. But it was pleasant. After getting his Ales, Chip noticed the break that he and Dana were one of the first in the theater. He scooted her up to the front and sat down on the second leisure chair on the end. Chip pointed for Dana to claim the leisure chair next to him, but Dana hesitated.

“What’s wrong? You’ve got to get these seats while you can,” Chip said.

Dana looked a little squeamish for some reason. “Not yet. I’m going to see if I can get some popcorn,” she said.

Chip was a little annoyed at this, but signaled for her to go. Chip’s unspoken law of the Crescent was to grab the comfortable seat whenever it was open because you wouldn’t get a second chance.

After Dana went out front, Chip was surprised that no one asked him if the seat was taken. He was going to guard it for her, but the lack of interest as the back rows of the theater began to fill up was surprising to him. He took a sip from his drink as he tossed the coat he had been holding on his lap onto the empty seat.

“Hey, watch it!” A voice from the seat came at him.

Chip did a spit take as he spun his head to his left.

Chip couldn’t believe who was sitting in the chair next to him! It was his old friend, Rod!

All Chip could do was stare. It was Rod all right. The person that had sat to the left of him at hundreds of movies in the past was next to him again. But how could this be?

“Hey, don’t waste your Ale, old man. Does my presence here really startle you that much?” Rod asked.

Chip stammered before finally finding the resolve to speak coherently. “How are you here? Now? In this theater? In this town?”

“Calm down. Let’s just say that I got a special theater pass to come tonight. What was the last movie we went to together? Schindler’s List, wasn’t it? That was many moons ago. Of course, I’ve seen you at a few movies since, though I know you haven’t been able to see me.”

“This is unbelievable. Are you telling me that you’re-“

Rod interrupted him, “Let’s just say that the plane on which I reside is not something you can totally understand at this time.”

Chip took a deep breath. “Oh, man! It’s...just...crazy to see youin this form. bit I admit I'm really glad you're here! Can anyone else here see you?”

“Unlikely. Too bad they aren’t showing Harvey, eh? I could be your imaginary bunny friend. Let me get to the point since my pass is only good for a limited time. I know you are married. You have a couple of daughters now. You love them, but they give you hell sometimes. You have steady employment, which shows how people can change, eh? Oh, and you came here tonight because you wanted to see this with your wife because you thought she wouldn’t get it and you could pose as her intellectual superior to feel better about yourself.”

“Rod, I thought you majored in Anthropology, not Psychology.”

Rod lifted a finger. “I’m not finished. You came here to this same theater two nights ago and watched the same film with your…ahem, mistress so you could feel intellectually superior to her as well. You’ve become one insecure individual, my friend.”

Chip shook his head. “You’ve been keeping tabs on me. And you’re judging me. Geesh! This whole thing is mind blowing. I’m thinking back to that time you saw Frank’n’Furter in that theater. You remember? You clearly saw him in your mind, but I couldn’t>”

“Of course, I remember. Frank may have been here tonight, actually. I doubt you’d have been able to see him. Don’t ask me why. It’s difficult to explain. And don’t think I’m judging you by calling you insecure. You have to live your own life. Well, unfortunately my ticket is just about to expire. I’ve got to move on.”

“Wait! When will I see you again? I’ve got so many questions. Aren’t you going to stay and watch the movie?”

Rod laughed. “I’ve seen it. I like it. It gets some things right. It’s no Night of the Living Dead, but what is? Of course, you’re favorite was always that Doris Day/Rock Hudson movie Pillow Talk, wasn’t it?”

“You’ve been making that same Pillow Talk joke since 1977! I do kind of like Pillow Talk, truth be told. Ha. So, Rod, If you really have to leave, could you at least give me a closing line?”

Rod stood up and cleared his throat. “I have always been and shall ever be your friend….Live long and prosper, Chip.”

Wrath of Khan, Northlake Festival, Summer 1982...” Chip closed his eyes in remembrance before a voice from his right startled him.

“Hey, can you move over one?” Dana said.

Chip looked in her direction for a moment before staring back to the chair by to left of him, which was now empty. He moved over to the open seat that Rod had occupied a moment earlier and Dana sat down in the seat next to him.

“What’s this movie about again?” She said sitting down as the lights dimmed.

“What’s it about?” he asked. “It’s about…it’s about life!”

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BRIDESMAIDS (2011)

'Wondering how am I ever going to get through the 1001 Movies You Must See Before You Die list if they keep updating it with new entries' month.

(Post 10 of 10)

Bridesmaids

When I saw the 1001 updated list, I admit the one movie listed that made me roll my eyes was Bridesmaids. I knew the movie was popular, but I wasn’t enthused about watching it. I kept seeing that DVD cover of the Bridesmaids striking a militant pose that made me think of something like 27 Dresses or Sex and the City. Oh, boy.

I was also thinking of the article that Christopher Hitchens wrote in Vanity Fair called “Why Women Aren’t Funny.” The main point of which is we, the male, have to be more funny to attract a mate.

That being said, I admit Bridesmaids is funny.

There must be some explanation. Let's see.

Maybe it's funny because it was written by men, right?

No, the screenwriting credit is from star Kristen Wiig and Annie Mumolo.

It comes from Judd Apatow comedy factory and it probably isn’t as funny as the male point of view film, Knocked Up, right?

Honestly, I thought it was much funnier that Knocked Up.

I’m sure that the women in the supporting cast aren’t all that funny, right?

Well, actually Melissa McCarthy gives one of the funniest supporting performances in recent memory.

Well, for my next objection, I got…uh, I got nothing else. Maybe I need to re-read that Hitchens article.

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HUGO (2011)

'Wondering how am I ever going to get through the 1001 Movies You Must See Before You Die list if they keep updating it with new entries' month.

(Post 9 of 10)

Hugo

If you watch a lot of DVD extras on the films on the 1001 movie list, you will receive many visits from Martin Scorcese. I honestly think the man has seen every movie ever made! It gets to the point where whenever I watch anything, one of the first questions that pops into my head is, “I wonder what Marting Scorcese thought about this?” It’s like Martin isn’t any longer the director of Goodfellas or Mean Streets. He’s just my thick eyebrowed buddy Marty and he’s gonna give me his opinion. Thanks, Marty.

Of course, Scorcese is also one of the most respected directors in American film history. He has done a variety of films, though I associate him most with the gritty urban character studies like Raging Bull and Taxi Driver.

That is why I was a little surprised to see the trailer for Hugo. Hugo is based on a children’s book and is a 3-D family adventure directed by…Martin Scorcese? Are they sure they didn’t mean Steven Spielberg?

Part of the film has the young protagonist trying to find his way to get his notebook back from the grumpy toy seller at the train station where the boy lives. As we quickly discover that the man is actually forgotten French movie pioneer George Melies, it suddenly makes sense as to why my buddy Marty was attracted to the material (Other than the fact that he wanted to make a film his twelve-year-old could see.) Not to over psychoanalyze it, but I’m sure he could relate to a boy discovering not only the wonder and escape of old films, but resurrecting and bringing back to the surface an old filmmaker that he loved.

But I’ll check my friend Marty’s commentary on the extras to make sure I’m right.

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DRIVE (2011), TAXI DRIVER (1976)

'Wondering how am I ever going to get through the 1001 Movies You Must See Before You Die list if they keep updating it with new entries' month.

(Post 8 of 10)

Drive/Taxi Driver

I didn’t know what to make of Drive when I first started watching it as I didn't know anything about it going in. Was it supposed to be an action picture? Was it a character study of this nameless driver who is a part time stunt driver for the movies during the days? Maybe some kind of commentary on filmmaking? There are elements of all these things in the movie, but it doesn’t fit too neatly in a genre. Maybe that’s what I liked about it. It has violence, usually pretty brutal, but the violence it depicted has real world implications, which separates it from most of the action films that seem to be out today (Granted I don’t watch many of those).

It’s also nice to have a main character who doesn’t run his mouth all the time and have his over-the-top actions shielded by a series of wisecracks. “The Driver” (No name is given to the character played by Ryan Gosling) is enigmatic, which makes him more interesting to me than, for example, the Liam Neeson charcter in Taken (a movie I hated). He is reminiscent of the characters played by Clint Eastwood in the Sergio Leone Dollars trilogy in this respect.

However, there is one other film that Drive brought to mind that I hadn’t seen in awhile. That was Martin Scorcese’s Taxi Driver. Perhaps it was the ultimate goal of the main character. Travis Bickle in Taxi Driver wants to save a twelve-year-old prostitute, as "The Driver" from Drive wants to save the woman he loves and her son.

So I thought it was a good time to watch Taxi Driver.This was about the third time I’ve seen Taxi Driver and I’ve watched it at roughly fifteen-year intervals. I can honestly say that I think it’s a stronger movie every time. It’s definitely a fortunate combination of writer (Paul Schrader) , director and actor (Robert De Niro) coming together at the right time (and during the right time, the mid-70’s).

Paul Schrader was always at odds with his strict upbringing vs. his need to rebel against it and it really comes into play here (as well as how his later film, Hardcore does). Main character Travis Bickle (an insomniac like Schrader) regularly goes to porno movies, but doesn’t seem to get any pleasure out of it. He’s so clueless about people, that when he takes a date to see one of his porn movies, he is shocked that she might take offense at it.

This was also part of the trio of films that I think of when I think of director Martin Scorcese (Mean Streets and Raging Bull are the others). I know he’s made other good films, but I really think of this as his urban trilogy of sorts. Having seen them all again recently, I think Taxi Driver is the best of the bunch. His instincts about how he films Bickle and the streets of New York makes for a most memorable and unsettling experience.

One other link between Drive and Taxi Driver is comedian/actor Albert Brooks. I know Brooks from his short films on some of the early Saturday Night Live episodes and also some funny feature films of his own from the 80’s such as Modern Romance and Lost in America. In Taxi Driver, he does provide some comic relief in his dealings with Cybil Shepherd and seems like a basically reguler guy which contrasts greatly in the film to the intense Bickle. It’s a small part, but he does it well, but you couldn’t really picture Brooks as ever playing the tough guy, could you?

Well, in Drive, the thirty-five years older Brooks turns into the tough guy! In fact, he is the chief criminal that makes the plot of the movie go around. The Brooks patter isn’t funny anymore, it’s just ruthless and he’ll just as soon slit your throat as look at you. Definitley a most interesting (and unexpected)change of pace for Mr. Brooks.

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THE GIRL WITH THE DRAGON TATTOO (2011)

'Wondering how am I ever going to get through the 1001 Movies You Must See Before You Die list if they keep updating it with new entries' month.

(Post 7 of 10)

The Girl With the Dragon Tattoo

I read (technically listened to the Audiobook versions) all three of Steig Larrsen’s Girl With the Dragon Tattoo series. I’ve also watched and liked the three Swedish movie versions from the series. However, when it was announced that David Fincher was doing an English language version, I wasn’t overly excited. Nothing against Mr. Fincher, but I was frankly burned out on the story.

Then the updated 1001 list appears and this version of Tattoo shows up on the list. So I grudgingly give it a shot, but I do so with a decidedly grumpy attitude. It takes me awhile to get involved this version, but I eventually do. I do like the way that Fincher shows the alternating stories of reporter Mykal Blumkwist (Daniel Craig) and Elisabeth Salander (Rooney Mara) He also does monkey around a bit with some of the plot revelations (one in particular), which does give those familiar with the original story some surprises.

Rooney or Noomi?: I didn’t like Rooney Mara as much as Noomi Rapace from the Swedish versions. Rooney is okay, but Noomi really became Salander for me.

Casting choice to make you feel old: The part of the sexy, but decidedly older Editor of Millenium is played by the always seemingly youthful Robin Wright of The Princess Bride.

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WAR HORSE (2011)

'Wondering how am I ever going to get through the 1001 Movies You Must See Before You Die list if they keep updating it with new entries' month.

(Post 6 of 10)

War Horse

When I put in the DVD for the movie War Horse,I accidentally pushed the button for English Audio Descriptive on the remote. As the movie started, a female voice, with a pleasant English accent began narrating over the first shot of the movie...

A slow moving aerial view of the sun rising over an undulating gray landscape. Fields boardered by bushy hedges stretch out into the distance. The sun spreads its light over the land-a silvery lake reflects the rays. Sheeps graze contentedly. Tucked between the pastures, a tall rectangular church steeple looms up above the cluster of small, gray stone houses. White chalk litter the Devonshire landscape, below them a stream meanders to the coast. In a meadow, three men wearing rustic clothing are tending to a dark brown mare who is laying in the grass. A brown-haired teenage boy with blue eyes is peering through a wooden fence as the three men coax the mare.

Keep in mind this narration is not part of the actual movie, though I do think it describes the event taking place pretty well. I decide to watch the entire thing with English Audio Descriptive on. I come to like our narrator as the movie progresses and look forward to her describing the events as we proceed through parts of the story with limited dialogue.

During the emotional final scene, (English Audio Descriptive spoiler alert!) our narrator (who I am now referring to as Clara) paints the canvas of the unspoken scene with words...

Albert shakes his father’s hand…and then hugs him. Rose then steps toward them and places her hand on Albert’s back. A family tableau beneath the fluffy, brown clouds and orange sky. Standing by the gate, Joey watches the family as Ted and Rose stroke Albert’s face. Against the dramatic sky, Joey’s chestnut coat gleams like beaten copper. His calm brown eyes gaze toward the sunset. His long, sleek head stands in profile.

THE END

Thank you, Clara.

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THE DESCENDANTS (2011)

'Wondering how am I ever going to get through the 1001 Movies You Must See Before You Die list if they keep updating it with new entries' month.

(Post 5 of 10)

The Descendants

I wonder if a feminist film critic might ask the hypothetical question about the The Descendants that if this had been a Julia Roberts movie instead of a George Clooney movie would it have met with such critical approval and nominated for several Acamedy Awards? Would it have gone the way of Eat, Pray, Love? A popular movie largely because of the star, but not one that would be given any kind of awards.

Not that I didn’t like The Descendants. It does have something to say about how tragedy can become an opportunity. How you can stand for the right thing against pressures for you to take the easy way out. And George Clooney is a very likeable movie star. I’m just not sure it would be in my book of 1001.

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TINKER ,TAILOR, SOLDIER, SPY (2011)

'Wondering how am I ever going to get through the 1001 Movies You Must See Before You Die list if they keep updating it with new entries' month.

(Post 4 of 10)

Tinker, Tailor, Soldier, Spy

I am not a movie reviewer. But if I were, I do wonder sometimes if I were sitting in my little cubicle or huddled in my office, what would happen if the roles were reversed. What I mean by that is, instead of me passing judgment on a movie, then what if the movie passed judgement on me? I think this one might go something like this.

Hey! I’m Tinker, Tailor, Soldier Spy. Not the old one with Alec Guinness, but the new one with Gary Oldman. I just have one question. What the hell is wrong with you? I am exactly the kind of movie that you claim you want. So why don’t you like me more? Look at my great cast! Look at my literary roots! Look at the complex plot. You say you don’t like simple minded plots. Well, this isn’t simple minded at all. Were we too hard for you to follow? And those movies that are 'ridiculous with special effects,' or with 'overblown action sequences' or thos 'cutesy romances' you always complain about? Those aren't here! I thought that’s what you wanted, mate! And don’t think I didn’t see you nodding off a couple of times. That’s pretty inexcusable. I don’t mean to get so personal, but I’m afraid that I’m going to have to give you, the reviewer, a thumbs down!

-Tinker, Tailor, Soldier, Spy's review of some guy with the blog, February 10, 2013.

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A SEPARATION (2011, IRAN)

'Wondering how am I ever going to get through the 1001 Movies You Must See Before You Die list if they keep updating it with new entries' month.

(Post 3 of 10)

A Separation

I mentioned in my last post some of the criteria our library uses for choosing films to show during our foreign film festival. This Iranian film doesn’t meet one of the criteria in that it’s pretty grim and isn’t exactly uplifting. However, I’m willing to overlook that fact for this one for a couple of reasons. This film had such a positive critical response (and a Best Foreign Language Film Oscar to boot) that I have no problems in going with this one for the library to show.

Before I started going through some of the Iranian films on the 1001 list (Gabbeh, Close-Up, The White Balloon) and a couple that aren’t on the list (Offsides! and Song of the Sparrow), I had no idea that Iranian cinema was so respected. As I've looked at a few of these films, I take note of the many similarities between Iranian culture and American culture, yet societal constraints, particularly the treatment of women, are vastly different. What is the proper role of women in this society? What are the limits to what they can do or can’t do? How has the influence of Western culture changed the ways women are viewed in this environment?

I don’t have definitive answers to these question, but please feel free to talk amongst yourselves.

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LE HAVRE (2011, FINLAND)

'Wondering how am I ever going to get through the 1001 Movies You Must See Before You Die list if they keep updating it with new entries' month.

(Post 2 of 10)

Le Havre

I help choose the films for the foreign film festival that we show annually at our library. I try to keep a few things in mind in choosing the right film for our audiences.

I don’t want something with too much sex.

I don’t want something with an overabundance of bad language.

I don’t want something that is too long.

I don’t want something geared for an overly young audience.

I don’t want something commercial.

I don’t want something want something to esoteric. (Like another film on the 1001 list updated list, The Tree of Life).

It needs to be good.

The more recent the better.

Oh, yeah. It’s nice if its uplifting too.


Le Havre, the story of an aging French shoeshine man with a sick wife who takes in an African refugee in France meets all of the criteria for the type of movie we show.

Except one. It doesn’t fall under the heading of films that we can show under our film licensing (French curse word delted). I guess I’ll keep looking.

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SENNA (2010, GREAT BRITAIN)

'Wondering how am I ever going to get through the 1001 Movies You Must See Before You Die list if they keep updating it with new entries' month.

(Post 1 of 10)

Senna

In Garth Stein’s clever novel, the Art of Racing in the Rain, the canine narrator shares the love that his owner has with Formula One racing. He is especially enamored by the ability of these drivers to be able to race effectively during inclement weather. And the best of these racers during the 80’s and 90’s was formula one superstar Ayrton Senna.

This led me to view the first film on the updated 1001 list, the British documentary about the above mentioned formula one racer, simply titled Senna. I’ve never particularly been a fan of Formula One racing (unless you count that I always thought Jackie Stewart had a cool accent when he used to be on The Wide World of Sports). However, once the story of Senna is put together in this documentary through interviews, archival and racing footage and news reports, the story of the man and the legend really takes shape. One sign of a good documentary for me is something that involves you about something you wouldn’t normally be interested in. And Senna does that.

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THE ARTIST (2011)

Catching up on some recent 1001 listings
(Film 12 of 12)

I think it's safe to assume that I will not nearly be finished going through all of the 1001+ film listings by the time the next edition comes out. I also think it's safe to assume The Artist will be in the next edtion so its pretty safe to list it here.

I thought it was remarkable that a black and white silent film could not only get made in this jaded day and age, but also gather enough critical momentum to win the 2011 Best Picture.

I agree with the critic that said that the film received so many accolades, that there seemed to be a bit of a backlash against it. Some began calling it pretentious or gimmicky. That's too bad, really. Removing all the awards and accolades it received and judging it by its own merits, it's creative, enjoyable and you gotta love that dog! It will be a welcome addition to the next edition of the book.

(If for some reason the editiors of 1001 Films You Must See Before You Die decide not to include The Artist, you need to give my a call.)

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IN THE LOOP (2009), OF GODS AND MEN (2010, FRANCE)

Catching up on some recent 1001 listings
(Films 9 & 10 of 12)

In the Loop (2009) & Of Gods and Men (2010)-It’s interesting when you go down the 1001 Movie list how you really have to shift gears as you jump from film to film. I didn’t know a lot about either of these films before viewing and they almost couldn’t have been more different from one another in tone and pacing. In the Loop is an extremely fast paced story of the British and American government officials preparing for a war. But it’s a comedy! And a pretty funny one, too. West Wing on steroids with more than a hint of Monty Python thrown in. I watched it twice just to try to catch some of the dialogue that I missed.

I then watched Of Gods and Men, a story about a group of Christian monks in Algeria and their attempts to cope with the realities and dangers of life outside their monastery. Compared to In The Loop, this film seems so slow! That’s not necessarily a bad thing, you can’t rush the scenes with monks praying, after all. Of Gods and Men just paints it canvas with a more subtle brush. A much subtler brush. One thing both of these films do have in common is that they seem stronger with repeated viewings. At least a second viewing, anyway. Now if you’ll excuse me, I have to get emotionally prepared for my 1001 movies double feature viewing of Pink Flamingos
and The Sound of Music.

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MONSTERS (2010)

Catching up on some recent 1001 listings
(Film 5 of 12)

Monsters-Story of a photojournalist who is in charge of transporting his bosses daughter through an infected zone inhabited by alien squid-like monsters may not be for those who prefer more exotic creatures over characterization and plot, (like my wife)-but in my opinion, the plot carries this one (In other words, my wife is wrong).

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FOUR LIONS (2010)

Catching up on some recent 1001 listings
(Film 1 of 12)

Four Lions-I couldn’t figure out what movie this reminded me while I was watching and then it dawned on me that it was This Is Spinal Tap! only featuring terrorists instead of musicians, though I doubt I'm the first to make this observation. Favorite scene: Barry's plan to bomb the mosque. Quite clever and even funnier on a second viewing.

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THE HUNGER GAMES (2012)

We have temporarily taken control of this month's blog run on films from the 1950's to bring you a guest movie commentary on The Hunger Games from author Joyce Scarbrough.

"The book was better."

I'd say this is true for 95% of movies that are based on books, with 4% having the book and the movie equally good and 1% of movies that are better. (I'm a word person and don't play well with numbers, so don't hold me to those percentages. Hey, at least they add up to 100!)

So it was no real surprise that the theatrical version of THE HUNGER GAMES fell into the 95% category, yet I still found myself quite disappointed that this movie I had anticipated seeing on the big screen more than any other didn't quite live up to my expectations. Don't get me wrong--it's a good movie full of excitement, visual thrills and moving scenes. I'm sure anyone who sees it that hasn't read the books will think it's fabulous. It was just missing the deep, soul-stirring elements that make me love the book series so much.

It certainly wasn't the fault of the cast. While some of the actors were not how I pictured the characters, they all did a great job of bringing their roles to life and won me over. Especially Jennifer Lawrence as Katniss and Josh Hutcherson as Peeta. Their scenes together were magical--both the action-filled and the emotional ones.

No, I think the biggest problem was the inherent limitations of watching a movie versus reading a book, especially a book written in the first person POV. While Jennifer Lawrence did a wonderful job of showing Katniss's amazing bravery, devotion to her family and strength of character, even her award-worthy acting skills could not portray Katniss's inner conflicts, subtle revelations about herself and her fellow tributes, and her ingenious ability to control her outward appearances and reactions because she knew she was always being watched by the entire country.

Not only did Katniss have to manipulate the spoiled Capitol citizens whose sponsorship she needed to survive, she had to be constantly mindful that her sister and mother were being forced to watch everything that happened to her. You really can't show this through facial expressions, and it's not something Katniss would talk about with anyone even if she could do so without being overheard. So it's a major part of the story's draw that is missing from the movie.

There were other important aspects of the story that I think the director didn't do justice to or omitted altogether. This was probably because of time limitations, but I think some of the special effect scenes and visual gut-punches could have been shortened in order to show things like how desperate Katniss was to find water when she first went into the arena and how she almost died of dehydration. She finds a water source immediately in the movie and never even gets thirsty! The same thing is true of the pain she and Peeta suffered from their injuries and how close they came to dying, and also the emotional bonding between them that developed gradually while they cared for each other. These things were skipped in exchange for more death scenes, and it kept the movie audience from connecting as much to Katniss and Peeta as readers do in the books.

For me, the biggest thing about both these books and the movie is the magnificence of the heroine. Katniss is both bigger than life and completely human at the same time, and I cheered for her not only because of what she meant to the story, but for what she meant to the millions of young girls reading about her. Her message is this:

You are capable of making a difference in the world every bit as much as any of your male counterparts, and don't ever let anybody convince you otherwise!

And while the heroines in my books don't inspire any revolutions like Katniss does, they do share her belief in herself and always stand up for themselves against adversity. If they inspire even a fraction of Katniss's fans, I'll feel as if I've made a difference as a writer.

~Stay true to yourself and your dreams will come true.

-Joyce Scarbrough

http://joycescarbrough.blogspot.com/

We now return control of this blog to Chris, a librarian, at least until the next time we decide to retake control.

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TRUE GRIT (1969), TRUE GRIT (2010)

Awhile back,. someone recommended I read the Charles Portis novel True Grit for my book group. After the success of the Coen Brothers new film version of the novel, an Audiotape version of Portis’s book was recorded for the first time. I listened to the reading. A fine rendering by Donna Tartt. I thought it was a simple, but involving story of a 14-year-old hiring a surly U. S. Marshall to help her get revenge on the man that killed her father.

Then I watched the 1969 version of the movie with John Wayne, which I had never seen before. I followed that by watching the Coen Brothers version, which is listed in the latest editiion of 1001 Movies You Must See Before You Die.

After that, I listened to the book again. (It’s pretty short, only 6 discs in Books-on-CD speak.)

The night of my book group was a dark and stormy night. Only a couple of people showed up. Both had positive things to say about True Grit. One lady in my group was even inspired to purchase other books by Charles Portis. That made me glad.

As far as the movies go: I did appreciate the 1969 version. I’ve always found John Wayne rather hit or miss depending on his role, but this was truly a part he seemed to get his teeth into. He wasn’t playing John Wayne as he often did; he was the drunk, one-eyed U. S. Marshall Rooster Cogburn. But since Mattie Ross is the one telling the story, the success of the movie rides on her. Kim Darby as Mattie Ross, I liked very much.

I didn’t think the Coen Brothers version would be able to top it, but I liked it as well. It is interesting that though many parts of the new movie vary from the original, I was struck by how some scenes between the two movies were very similar. One example is the scene where Mattie negotiates with the businessman to take back the horses her daddy bought before he was killed and is a highlight of both movies. And the staging of the scene where Rooster rides against the four members of Ned Pepper’s seemed to be almost identical in the two films

But I can see by the clock on the wall that I need to pick a winner. And the winner is….Charles Portis’s book. Or at least the very least, the Book-on-CD version.

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