AFI #7 – Lawrence of Arabia (1962)

I don’t believe that I have ever watched this film in total. I know that I have seen many parts of it but decided that it was time to put in the effort. And it is an effort. At over 3 1/2 hours, it takes that determination but is worth every bit. This was Peter O’Toole first starring role and he did a great job. His character’s senses of humor and loyalty were very well played. His ‘flamboyance’ was a little over the top, but was an important part of the story.

The rest of the cast is just as impressive; Omar Sharif, Alec Guinness, Anthony Quinn and Jose Ferrer are just the biggest highlights. The actors that rounded out the Bedouins were just as skilled. I tend to enjoy films with relatively unknown actors and this film is a treat. I know I keep commenting on it, but the photography was incredible. Of course, the scenery is astounding but it was captured so well. The print that I viewed (2000 restoration) looked great when up-converted on my Bluray player. That alone is worth another look.

I am glad to have re-watched this film. I think that it is an important part of the history of cinema. And this film is one that belong in the AFI Top Ten.

AFI #23 – The Grapes of Wrath (1940)

Despite this film being nearly 70 years old, it still works. The look of the film was actually pretty contemporary. Henry Fonda, John Carradine and Jane Darwell all turned in stellar efforts. Even secondary players like Grant Mitchell (the manager at the government camp) show how seriously their craft was taken. He is the prototype for classical actors, in an era of discovery. And what else could be said about John Ford that hasn’t been said already.

I think we all had to read this book in high school, but as an adult the message means so much more and is timeless. The film has made me want to read the book again. I recall that the two versions ended differently but I can appreciate each story line. They seem appropriate for their medium. This is one of the great films that I would heartily recommend for anyone. I think it deserves a higher place in the list for myriad reasons. The story is important; the technical aspects are nearly flawless; and the talent on the screen is undeniable.

The opening scene sets the mood for the rest of the film. It draws you into the characters and their motivations. As you are introduced to them, you feel like you already know them. That is very rare, indeed.

AFI #4 – Raging Bull (1980)

I’m really wondering how this film jumped from #24 in 1997 to #4. Don’t get me wrong, it is a great film. But in re-watching it, it has lost a lot of its luster to me. I think it should be around #20 or so. It is definitely a showcase of American cinema. The casting is well done, the score is fitting. I think the black & white photography looks a bit cliche in the 21st century. The photography itself is well done. There are some interesting shots and sequences, but the saturation just seems ‘off’.

Robert DeNiro was very convincing as Jake. The fight scenes confused me though. I don’t know if Scorsese knew bout weight classes, but most of the fights made DeNiro look tiny by comparison; I’m not sure if I liked this or not. (I tend to dislike when they make actors appear bigger than they are.)  Joe Pesci seems to look the same in 1980 as he did in 1995 or so. His acting dynamic is not really tested here; or rather, his range hasn’t really strayed from this role.

Cathy Moriarty was great as Vicky. The sympathy that I felt for her was balanced with the anger with her for staying around. The rest of the cast was equally talented. Frank Vincent, Mario Gallo and many others gave it a sense of reality. Even down to using real fighting people as themselves.

Great film, great elements but after almost 30 years, it feels more like a film from the 40s, not the 80s. In most cases, that’s a good thing, but I think I enjoyed it more 10-15 years ago. I guess that’s why I’m surprised to see it up at #4 now.

AFI #29 – Double Indemnity (1944) *

This was a great movie. Fred MacMurray and Barbara Stanwyck were cast very well for this role (except for the wig that Stanwyck was wearing). It was kind of nice to see MacMurray play a bit of a heavy in the film. The dialogue was vintage film noir, with the staccato style and (what are now) stereotypical lines. Edward G Robinson was actually understated here. You know all along that he would get to the bottom of it but it was refreshing how it was revealed.

What can be said about Billy Wilder’s direction, other than it was dead on. Some of the scenes were helped by the pacing but it was when he slowed them down, they felt more personal and real. I can understand why this jumped 9 places from the AFI list of 10 years prior. It was a real joy to watch.

AFI #05 – Singing In The Rain (1952) *

I have to start with the disclaimer that I am not a fan of musicals. Most film musicals (to me) tend to present the material as if it were on stage. The procedures of a good stage performance look strange on camera. The interactions between the characters don’t seem ‘natural’. All that being said, this is still a great film. I’m not sure that I would rate it #5, but it should be in the top 10.

Singing has one of those casts that works great on paper and this is one of those cases where it works on film as well. The dancing of Gene Kelly and Donald O’Connor is some of the most athletic ever captured on film, yet appears effortless. Jean Hagen’s perfromance of the ditzy silent screen star is one of my favorite part of the film. Then there is the relative introduction of Debbie Reynolds. She is perfectly cast as the anti-celebrity anti-Hollywood  celebrity being ‘discovered’.

The photography is done very well and interesting. The use of technicolor is also carefully calculated. The snappy dialogue (particularly of O’Connor’s lines) is quite dated but still works.

AFI #19 – On The Waterfront (1954)

After re-watching this film, I have come to appreciate it a little more. The acting of Marlon Brando really ranges from understated to over the top. There were a couple of scenes that were a little cheesy, but for the most part his performance was so low key that even the word ‘understated’ doesn’t fit. He has set the mold for a brooding performance.

Karl Malden was well suited to his role and Eva Marie Saint was almost too pretty for the role. Rod Steiger’s role of Charley was the key to understanding Terry Malloy and his turmoil. The ‘I coulda been a contender’ monologue was so much more powerful than the many versions of impersonators over the years. The morality play has become cliche and this film is probably the template for many future attempts at this message.

AFI #17 – The General (1927) *

This is new on the list for 2007. It’s kind of funny how a film that is over 80 years could have been missed. Although the advent of DVDs and availability of more obscure titles may have brought this classic out of the woods. I haven’t seen a Buster Keaton film in 20 or so years and can appreciate them so much more now. This film is set at the beginning of the Civil War, which was still fairly recent when the film was made.

The comic sense is timeless. There is a lot of physical comedy and when you think of how few safety appliances were available back then, it makes them even more impressive. And this is for a comedy, not an action film. The fact that this is a silent film makes the acting even more important. The facial expressions tell so much more of a story than most of the modern dialogue that had become inane. A very nice treat.

AFI #03 – Casablanca (1942)

Another movie that is completely worthy of its place on the list. Humphrey Bogart and Ingrid Bergman were a great choice for the leads. Again, this is a great cast from top to bottom. While the main story is pretty straight forward, it is handled in a way that is not expected. This is a film that respects the viewer enough to not fall back on every cliche, although some of the elements in the film have become cliche. I can watch Casablanca at any time. It is absolutely perfect.

AFI #02 – The Godfather (1972)

Gangster film were forever changed with the release of The Godfather. But even more importantly, an epic film was made with modern sensibilities. Some of the best performances ever were captured with some of the best photography and directing. This is a rare blend of everyone being at their best. Marlon Brando, Al Pacino, James Caan and Robert Duvall are just the beginning of a stellar cast. Coppola had his vision and was able to get the most out of every scene. Add to that the incredible costumes and musical score and you have something that will not be repeated.

AFI #01 – Citizen Kane (1941)

It’s hard to argue against this film being #1 but I think there is some validity to the argument. My problem with it being number one is that it is just not as accessible as The Godfather or Casablanca. To some degree I think it is a case of the emperor’s clothes. Since film students are told this is the best film of all time, they are conditioned to continue to think so.

That being said, it is still a great film. The photography is a masterpiece. The film really captures the story and feel of the subject. Any real film aficionado needs to see this film.