Titanic (or, as I like to call it, "Tit and Ick") (DiCaprio version only). It proved, once again, Hollywood can convince the public of anything long enough to rake in the cash & run to the bank shaking their heads and laughing.

The Gods Must be Crazy - Pat and I sat in the theater surrounded by people laughing as though they thought something was funny or witty or insightful. My eyebrows went up and down, my eyes looked from side to side. I felt like I was in an asylum.

Liquid Sky - The dumbest, most pretentious, new wave/punk, nihilist batch of useless crap ever produced. It reminded me of another film with a similar 'tude - "Mysterious Planet" (animated, 1960's, French).

Magical Mystery Tour - Genius is not created from wealth. The Beatles, at whatever level of involvement they had in this poorly made piece of "Merry Prankster" wannabee psychedelic spin-off jerk-off gotta-see-it-
STONED crap, left an embarrassing pile of residue to prove no one is always right. Simple stated, it was made because it could be made.

The Life of Emile Zola - This should've been interesting! How do you take an interesting writer and turn him into a piece of old play-dough embedded with crumbs and random hairs found under the sofa?

West Side Story - Don't even get me started on NYC "teenaged toughs" who wear leotards and twirl their way to back alley gang "rumbles". THIS may be THE musical that caused me to realize musicals are a ridiculous art form... lower than mimes... lower than .... flea circuses... musicals, especially STAGE musicals, are the lowest.

My Fair Lady - See above.

Arthur - Two words: Dudley, Moore.

The King and I - See My Fair Lady.

Mrs. Doubtfire - See The Gods Must be Crazy but take it out of the "art theater" and put it in the mall octiplex.

Posted by Ronn Ives at 10:15 PM | Link

Here's my new, expanded list of GREAT FILMS YOU SHOULD SEE!

Plenty of films have been made that are good ONE-TIME views, but THIS list contains only films I'M driven to see REPEATEDLY, for one or more reasons...

I love The Movies...
...and Life is short.

The films are in alphabetical order ONLY - NOT by preference, theme, mood, date, location, stars, graphic levels of violence, sex, etc. However: most are NOT for children! (I placed an "ok" at the end of any listing that I feel are fine for kids, but I may be more liberal about this issue than yourself.) Films are dated because sometimes there exists more than one version. Some of these films will require that you find a quality video/dvd rental store covering more than your typical mainstream offering. In my opinion, you have an obligation to find & support those places in your area anyhow! THEY are the people TRYING to get some Art to you, and in turn, need your support!

NOW THE DISCLAIMER: I have preferences.

- First and foremost: I prefer drama;
- I DON'T avoid films due to graphic violence, sex, or language;
- Black & white is as BEAUTIFUL - at times more beautiful than color (can you imagine "Eraserhead" or "Manhattan" in color??);
- I prefer "METHOD" acting (Marlon Brando) over "classic" theatrical style acting (Sir Lawrence Olivier);
- I EXPECT superb acting, intelligent scripts, sound & music tracks that support the film, smart lighting, story continuity
& accuracy, etc., and,
- Whenever possible, I want some actual INNOVATION in the subject, and the way in which the subject is depicted! I want to be shown something new & of value that I can somehow "USE" - in my head, and/or heart.
- If it's a COMEDY, I lean towards the darker, more sarcastic, intellectual type (as opposed to slapstick or "farttittygiggle" flicks).
- I prefer fiction, or historically accurate films - whereas, I HATE "serious" films that play fast and loose with history (such as the sort Oliver Stone is willing to make).
- I DON'T mind subtitles - I prefer them over that goddawful dubbing.

(I love kitschy-cheezie bad films. Yes, "Plan Nine from Outer Space" IS one of the two worst films of all time...the other being "Beyond the Valley of the Dolls"), but that type is not for THIS list. They are NOT great films.)

- Oh, also: I DETEST musicals, and with so few exceptions, I'll just say: I DETEST MUSICALS!

If you've found yourself generally agreeing with me, this list might be of use. Let me know. I'm curious.

I realize many films on the list will suffer from not being seen on the "big screen", but anymore it's a compromise I'M willing to accept. The average movie audience has become a room full of pigs, who ruin your chance for a quality movie-going experience.

=====================================================================
(Last update 9-24-06)

A

The Accidental Tourist, 1988
The Accused, 1988
Affliction, 1998
The African Queen, 1951, ok
Aguirre: The Wrath of God, 1972, German
Alien, 1979
Alfie, 1966, English
All or Nothing, 2002
All Quiet on the Western Front, 1930
All the Real Girls, 2003
Always Outnumbered, Always Outgunned, 199X
Amadeus, 1984
Amelie, 2001
American Grafitti, 1973, ok
American Heart, 1992
American Psycho, 2000
An American Rhapsody, 2001
Amy's O, 2002
Anchoress, 1993
Anchorman - The Legend of Ron Burgandy, 2004
Andersonville, 1996
Angela, 2002
An Angel at my Table, 1990, New Zealand
Angels and Insects, 1995
Anne Frank Remembered, 1995
Annie Hall, 1977
Apocalypse Now, 1979
Apollo 13, 1995, ok
The Apostle, 1997
Artemesia, 1997, French
The Atomic Cafe, 1982
Au Revoir Les Enfants, 1987, French
The Autobiography of Miss Jane Pittman, 1974, ok
Avalon, 1990, ok
Awakenings, 1990, ok
The Awful Truth, 1937

B

Bambi, 1942, ok
Barfly, 1987
The Basketball Diaries, 1995
Basquiat, 1996
Bastard out of Carolina, 1996
A Beautiful Mind, 2001
Beetle Juice, 1988, ok
Being John Malkovich, 1999
The Believer, 2003
The Best Years of Our Lives, 1946
Beyond Rangoon, 1995
Big Fish, 2003
The Birdman of Alcatraz, 1962, ok
Black Rain, 1990
Black Robe, 1991, Canadian
Black Hawk Down, 2002
Blade Runner, 1982
The Blair Witch Project, 1998
Blood Simple, 1984
Blowup, 1966, British
Bob Roberts, 1992
The Boondock Saints, 1999
Born on the Fourth of July, 1989
Bottle Rocket, 1996
The Boys, 2000, Australian
Boys Don't Cry, 1999
Braveheart, 1995
Brazil, 1985
Breaking the Waves, 1996, Danish
The Bridge on the River Kwai, 1957
Bringing Out the Dead, 1999
Brokedown Palace, 1999, ok
A Bronx Tale, 1993
A Bug's Life, 1998, ok
Bully, 2001
The Burmese Harp (“Biruma No Tategoto”), 1956, Japanese

C

Camille Claudel, 1988, French
Capote, 2005
Capturing the Friedmans, 2003
Career Girls, 1997
Carrington, 1995, British
Casablanca, 1942, ok
Cat on a Hot Tin Roof, 1958
The Cell, 2000
Central Station, 1998, Brazilian, ok
Changing Lanes, 2002
Charlotte Gray, 2001
Charly, 1968, ok
Chattahoochee, 1990
Chikamatsu Monogatari (Crucified Lovers), 1954, Japanese
Children of Heaven, 1997, Iranian, ok
Chinatown, 1974
A Christmas Story, 1983, ok
Cinderella Man, 2005
The Cider House Rules, 1999
Cinema Paradiso, 1988, Italian, ok
Citizen Kane, 1941
Citizen Ruth,
City Slickers, 1991, ok
The Claim, 2000
Clean, Shaven, 1993
A Clockwork Orange, 1971
Close Encounters of the Third Kind, 1977, ok
Closer, 2005
Closet Land, 1991
The Color Purple, 1985
Come Back Little Sheba, 1952
Coming Home, 1978
The Contender, 2000
The Conversation, 1974
Cool Hand Luke, 1967
Crash, 2005
Crimes and Misdemeanors, 1989
Cross of Iron, 1977
The Crucible, 1996

D

Damage, 1992
Dancer in the Dark, 2000
Dangerous Liaisons, 1988
Das Boot, 1981, German
Days of Wine and Roses, 1962
Deconstructing Harry, 1997
The Deer Hunter, 1978
Devi, 1960, Hindi
Diary of a Country Priest, 1950, French
Dogfight, 1991
Do the Right Thing,
Dominick and Eugene, 1988
Donnie Darko, 2002
Door to Door, 2002
The Double Life of Veronique, 1991, Polish/French
The Dreamlife of Angels, 1998, French
Driving Miss Daisy, 1989, ok
Drop Dead Gorgeous, XXXX
Dr. Strangelove..., 1964, British
Drugstore Cowboy, 1989

E

East of Eden, 1955
8mm, 1999
Edward Scissorhands, 1990, ok
Ed TV, 1999
The Elephant Man, 1980
Elizabeth, 1998, British
Empire of the Sun, 1987
Enemy at the Gates, 2001
Enigma, 2002
Equinox, 1993
Equinox Flower, 1958, Japanese
Eraserhead, 1978
Eternal Sunshine of the Spotless Mind, 2004
Europa Europa, 1991, French/German
Even Dwarfs Start Small, 1968, German
Every Man For Himself and God Against All (or also titled
The Mystery of Kaspar Hauser), 1975, German
Exotica, 1994, Canadian
Eye for an Eye, 1996
Eyes Wide Shut, 1999

F

Failsafe, 1964
The Falcon and the Snowman, 1984
Far From Heaven, 2002
Fargo, 1996
Fearless, 1993
The Fight Club, 2000
The Fisher King, 1991
Fitzcarraldo, 1982, ok
Flirting with Disaster, 1996
Focus, 2002
Following, 1999
Forbidden Games, 1952, French
Four Adventures of Reinette and Mirabelle, 1986, French
Frances, 1982
Frankie Starlight, 1995
Freaks, 1932
Freedom Song, 2000
The French Connection, 1971
Fresh, 1994
Fried Green Tomatoes, 1991
Full Metal Jacket, 1987

G

Gaby: A True Story, 1987
Gandhi, 1982
The General, 1998, Irish
Georgia, 1995
Germinal, 1993, French
Ghost World, 2001
The Gingerbread Man, 1998
Girl, Interrupted, 1999
Girls Town, 1996
Glengarry Glen Ross, 1992
Glory, 1989
The Godfather, all 3 parts, 1972-90
Goodfellas, 1990
Good Night, and Good Luck, 2005
The Graduate, 1967
Grand Canyon, 1991
The Grapes of Wrath, 1940, ok
The Grass Harp, 1996, ok
Grey Zone, 2001
Grizzly Man, 2005
Groundhog Day, 1993, ok
Gummo, 1997

H

The Hairdresser's Husband, 1992, French
Hairspray, 1988
Hannah and Her Sisters, 1986
Happiness, 1998
Harakiri, 1962
Harry and Tonto, 1974, ok
Hart's War, 2002
Heart of Glass, 1976, German
Heaven, 1987
Heaven and Earth, 1993
Heavenly Creatures, 1994
Heavy, 1996, ok
Helter Skelter, 1976
Henry and June, 1990
Henry V, 1989, British
Herdsmen of the Sun, 1988
High Art, 1998, Canada
Hilary & Jackie, 1998, British
Himalaya, 1999, Tibetan
Hoffa, 1992
Homeward Bound, 1993, ok
Homicide, 1991
Hoop Dreams, 1994, ok
Hope and Glory, 1987
House of Sand and Fog, 2003
Hud, 1963
The Hudsucker Proxy, 1994
Hurly Burly, 1998
Hurricane Streets, 1998
Husbands and Wives, 1992
The Hustler, 1961
Hysterical Blindness, 2003

I

The Ice Storm, 1997
Imaginary Crimes, 1994
The Importance of Being Earnest, 2001
In Cold Blood, 1967
The Incredibles, 2004
The Indian Runner, 1991
Inherit the Wind, 1960
Interiors, 1978
Intermezzo, 1939
Interview with a Vampire, 1994
In the Bedroom, 2002
In the Company of Men, 1997
In the Heat of the Night, 1967
In the Name of the Father, 1993
Into the Arms of Strangers, 2000
The Invisible Circus, 2001
Iris, 2001
Ironweed, 1987
I Shot Andy Warhol, 1996
It Happened One Night, 1934, ok
It's a Wonderful Life, 1946, ok

J

JAZZ, 2001
Jerusalem, 1996, Swedish
The Jimmy Show, 2003
Johns, 1996
Journey of Hope, 1990, Swiss
The Joy Luck Club, 1993
Judgment at Nuremberg, 1961

K

Kalifornia, 1993
Kids, 1995
The Killing Fields, 1984
The King is Alive, 2002
King of the Hill, 1993, ok
Kiss of the Spider Woman, 1985

L

Lancelot du Lac, 1974, French
Lantana, 2002, Australian
L’Argent, 1983, French
The Last Days, 1998
The Last Emperor, 1987, Italian
L.A. Story, 1991
The Last Picture Show, 1971
Last Tango in Paris, 1973, French
The Last Temptation of Christ, 1988
Late Spring, 1949, Japanese
Lawrence of Arabia, 1962
Leaving Las Vegas, 1995
Lessons of Darkness, 1992, German
Life is Beautiful, 1998, Italian
The Life of Brian, 1979, British
The Lion King, 1994, ok
Little Boy Blue
Little Dieter Needs to Fly, 1998, German
Little Fugitive, 1953, ok
Little Shop of Horrors, 1986, ok
Little Women, 1995
Lolita, 1997, British
Lonesome Dove, 1991
The Long Way Home, 1997
Lord of the Flies, 1963
Lord of the Rings, 2001, 2002, 2003
Lost Horizon, 1937
Lost in America, 1985
Lost in Translation, 2003
The Lost Weekend, 1945
Love Liza, 2003
Lovely & Amazing, 2002
Lust for Life, 1956

M

The Machinist, 2005
Made for Each Other, 1939
The Magdalene Sisters, 2003
Man Bites Dog, 1992, Belgian
Manhattan, 1979
The Man in the Moon, 1991
Man in the Wilderness, 1971
The Manchurian Candidate, 1962
Manny & Lo, 1996
The Man Who Wasn’t There, 2001
Martha + Ethel, 1994, ok
Marty, 1955, ok
Mean Streets, 1973
Menace II Society, 1993
Memento, 2001
Metropolis, 1926, German
(restored version by Giorgio Moroder, 1984), ok
A Midnight Clear, 1992
Midnight Cowboy, 1969
A Mighty Wind, 2003
Minority Report, 2002
The Miracle Worker, 1962, ok
Les Miserables, 1998
The Mission, 1986
Moll Flanders, 1995
Monster, 2004
Monsters Inc., 2002, ok
The Mosquito Coast, 1986, ok
Mr. Deeds Goes to Town, 1936, ok
Mr. Saturday Night, 1992
Mrs. Dalloway, 1998, British/Dutch
Munich, 2005
Muriel's Wedding, 1994, Australian
Music Box, 1990
My Dinner with Andre, 1981
My Left Foot, 1989, Irish
Mystery Men, 1999
The Mystery of Kaspar Hauser, or,
Every Man for Himself & God Against All, 1975, German
Mystic River, 2003
The Myth of Fingerprints, 1997

N

Naked, 1993, British
Naked Lunch, 1991, Canadian
National Lampoon's Animal House, 1978
National Lampoon's Christmas Vacation, 1989, ok
National Velvet, 1944, ok
Nelly et Monsieur Arnaud, 1995, French
Network, 1976
Niagara Niagara, 1998
Night Falls on Manhattan, 1996
Nineteen Eighty Four, 1984, British
Normal Life, 1997
Nosferatu the Vampyre, 1979, German, ok

O

Odd Man Out, 1947
Of Mice and Men, 1981, ok
Of Mice and Men, 1992, ok
The Old Man and the Sea, 1958, ok
Once Upon a Time in America, 1984
One Flew Over the Cuckoo's Nest, 1975
Onegin, 2000
One Hour Photo, 2002
One True Thing, 1998, ok
Onibaba, 1964, Japanese
The Onion Field, 1979
On the Beach, 1959
On the Waterfront, 1954
Open Range, 2003
Orlando, 1993, British
Orpheus, 1950, French
Out of Africa, 1985
The Out of Towners, 1970, ok

P

Padre Padrone, 1977, Italian
Panic, 2000
The Paper Chase, 1973
Paper Moon, 1973, ok
Papillon, 1973
Paradise Road, 1997
The Passion of Joan of Arc, 1928
Paths of Glory, 1957
The Pawnbroker, 1965
Pelle the Conqueror, 1988, Swedish
A Perfect Murder, 1998
A Perfect World, 1993
Performance, 1970
Perfume, 2001
Permanent Midnight, 1999
Personal Velocity, 2003
Persuasion, 1995
The Piano, 1993, New Zealand
Places in the Heart, 1984, ok
Platoon, 1986
The Playboys, 1992, Irish
The Player, 1992
Poltergeist, 1982
Ponette, 1996, French
Il Postino, 1994, Italian/French
Presumed Innocent, 1990
Priest, 1994, British
The Princess Bride, 1987, ok
The Prize Winner of Defiance, Ohio, 2005
Pulp Fiction, 1994
The Purple Rose of Cairo, 1985

Q

Queen Margot, 1994, French

R

Rabbit Proof Fence, 2002
Raging Bull, 1980
Rain Man, 1988
Raising Arizona, 1987
Rambling Rose, 1991
Ransom, 1996
The Rapture, 1991
Ratas, Ratones, Rateros, 1999
Rebel Without a Cause, 1955, ok
Record of a Tenement Gentleman, 1947, Japanese
Red Sky at Morning, 1970
The Red Violin, 1998, Canadian
Reservoir Dogs, 1992
Ridicule, 1996, French
The Right Stuff, 1983, ok
The Rise & Fall of the Third Reich, X year.
Road to Perdition, 2002
Robots, 2005
Rob Roy, 1995
Roger Dodger, 2003
Romeo & Juliet, 1968, British, ok
Romeo & Juliet, 1996
Romero, 1989
Rosemary's Baby, 1968
The Rose Tattoo, 1955
Rules of Attraction, 2003
Runaway Jury, 2003

S

Safe, 1995
Sansho the Bailiff, 1954, Japanese
Save the Tiger, 1973
Schindler's List, 1993
The Secret Garden, 1993, ok
The Secret of Roan Inish, 1994, ok
The Secret of Santa Vittoria, 1969
Secretary, 2002
Secrets & Lies, 1996, British
Serpico, 1973
Seven Days in May, 1964
Seven Years in Tibet, 1997
sex, lies, & videotape, 1989
Shadowlands, 1993, British
Shakespeare in Love, 1998
Shame, 1968, Swedish
Shane, 1953, ok
The Shawshank Redemption, 1994
She's So Lovely, 1997, French/U.S.
Shine, 1996
Shooting War, 2000
The Shop on Main Street, 1965, Czech
Short Cuts, 1993
Shrek, 2001, ok
Sid & Nancy, 1986
Sidewalks of New York, 2002
The Silence of the Lambs, 1991
The Sixth Sense, 1999
Slacker, 1991
Sleuth, 1972
Sliding Doors, 1998
Sling Blade, 1996
Small Faces, 1995
Something Wild, 1986
Some Mother's Son, 1997
Sometimes a Great Notion, 1971
Sophie's Choice, 1982
The Spanish Prisoner, 1998
The Spy Who Came in from the Cold, 1965
Stand by Me, 1986, ok
Stardust Memories, 1980
Stealing Beauty, 1996, French
The Sterile Cuckoo, 1969
The Story of Adele H., 1975, French
Storytelling, 2002
The Stranger, 1967
Stranger than Paradise, 1984
Straw Dogs, 1971
A Streetcar Named Desire, 1951
Stroszek, 1977, German
The Substance of Fire, 1996
subUrbia, 1996
Sullivan's Travels, 1941, ok
Summer of '42, 1971
Sunset Blvd., 1950
The Sweet Hereafter, 1997
Sweetie, 1989, Australian
Swept Away, 1975, Italian
Sybil, 1976

T

Tae Guk Gi, 2005, Korean
Talk Radio, 1988
Tape, 2002
Taxi Driver, 1976
Telling Lies in America, 1997
Tender Mercies, 1983, ok
Terms of Endearment, 1983
Tess, 1979, French
They Might be Giants, 1971, ok
The Thief, 1997, Russian
The Thin Red Line, 1999
Thirteen, 2003
13 Conversations about One Thing, 2001
Thirteen Days, 2000
This Boy's Life, 1993
This is Spinal Tap, 1984
Thousand Pieces of Gold, 1992
The Three Faces of Eve, 1957
Three Seasons, 1999, Viet Namese
Time Out, 2003, French
To Die For, 1995
To Kill a Mockingbird, 1962, ok
Tokyo Story, 1953
Tom & Viv, 1994, British
Tora Tora Tora, 1970
Toy Story I, 1995, ok
Toy Story II, 1999, ok
Training Day, 2002
A Tree Grows in Brooklyn, 1945
Trees Lounge, 1996
The Triplets of Bellville, 2004
The Trip to Bountiful, 1985, ok
Truce, .
The Truce, 1997, Italian, etc.
True Romance, 1993
Tully, 2003
Twelve O'Clock High, 1949
25th Hour, 2003
Twentyfourseven, 1997, British
Twice in a Lifetime, 1985
2001: A Space Odyssey, 1968, British
Two Women, 1960, Italian

U

Ugetsu, 1953, Japanese
Umberto D., 1952, Italian
Under Suspicion, XXXX
Unforgiven, 1992
United 93, 2006
Unstrung Heroes, 1995, ok
The Untouchables, 1987

V

The Vanishing, 1988, Dutch/French
Village of the Damned, 1960, English
Vincent, 1987, Australian

W

Wag the Dog, 1997
Waiting for Guffman, 1997
Wall Street, 1987
Washington Square, 1997
The Waterdance, 1992
Waterland, 1992
Welcome to the Dollhouse, 1996
We All Loved Each Other So Much, 1974, Italian
We Were Soldiers, 2002
Whale Rider, 2003
The Whales of August, 1987, ok
What's Eating Gilbert Grape?, 1993
When Harry Met Sally, 1989
When Trumpets Fade, 1998
Where the Green Ants Dream, 1985, Australian/German
Where the Heart Is, 2000
White, and, Red, and, Blue (3 films), 1993, French
White Badge, 1997, Korean
White Oleander, 2003
Who's Afraid of Virginia Woolf?, 1966
Wigstock the Movie, 1995
Wild at Heart, 1990
The Wild Bunch, 1969
The Wild One, 1954
Wings of Desire, 1988, German
Winter Light, 1962, Swedish
Wit, 2001
Woman in the Dunes, 1964, Japanese
Woodstock, 1970
Working Girl, 1988
The World According to Garp, 1982
Wrestling Ernest Hemingway, 1993

Y

The Year of Living Dangerously, 1983, Australian
Your Friends and Neighbors, 1998

Z

Zelig, 1983
Zorba the Greek, 1964

Posted by Ronn Ives at 08:39 PM | Link

Last night, Pat and I watched Wim Wender's 1983 documentary "Tokyo-Ga". It is a loving tribute to the film maker HE most admires and respects, Yasujiro Ozu. Wenders and his film maker pal, Werner Herzog (WHAT a pairing!!!), travel to Tokyo, in search of the Tokyo Ozu depicted.

Like Woody Allen with New York, or John Waters with Baltimore, from the 1920's to 1960's, Ozu gave his full attention to the stage of Tokyo. Only a few days ago did I see Ozu's 1953 film "Tokyo Story" (if you get my monthly movie list, you know I LOVED it), plus, Pat and I just saw the recent film "Lost in Translation", which is also set in Tokyo. It's been a VERY Tokyo-esque week. (Interesting place, but I don't want to live there.) Like these other directors (but before them), Ozu used many of the same actors. I TOTALLY get that.

WARNING: SOME might find the next few paragraphs confusing and/or boring:

Yasujiro Ozu died in 1963.

As Wenders interviews the main people who worked "with" Ozu, I wasn't surprised to hear that he ran the show. Directors with a clear, strong vision and goal MUST be in control. As his actors and crew retold their favorite stories, there was a deep sense of respect, awe, fear, and gratitude for his no-nonsense, few-words, no-debate approach. What Ozu said, went. If you worked for him for 30 years, as did his cameraman, you came to terms with that attitude - being creative was NOT your job - and you appreciated Ozu's results.

As Ozu's career progressed, he put more "limits" on what was used to get films done. For example, he used only ONE lens! (50 mm) and, designed a tripod with only two height settings: lens/eye level sitting on floor and lens/eye level standing, and, always matching the position of the actor.

One city, same actors, just one lens, two camera heights, the theme of people in a changing world.

I'm catching on as "Tokyo-Ga" progresses. One city - the one in greatest transition. Same actors - reliable, steady, good symbol. One lens - 50 mm - no wide angle, no telephoto, close, intimate, no distortion, the glass lens equal to the human lens. Two camera heights - never looking up at or down upon the characters. Equality of the viewer with the character.

I realized that if I'd been older, spoken Japanese, and met Ozu, we could have had a decent conversation about such aesthetic considerations, since I had based my Thesis on very similar ideas. This didn't happen, obviously, and although I am sure there would've been much I could've learned from this man, I had my own great mentors (and don't feel I shortchanged at all, as you all know).

Stories that appear common. Everyday. You, your family, your neighbors, your city, your era...NONE TRULY stable despite our constant efforts to create tradition, stability, peace of mind, and rationalization.

EACH of us has a story that APPEARS common and unworthy of a closer look.

We often NEED that illusion...but it's a lie.

The closer we look at a small thing, the bigger the entire picture becomes.

Posted by Ronn Ives at 01:51 PM | Link

There ARE moments of GLORY.

Our watching the famous film 'The Passion of Joan of Arc', French, silent, and made in 1928 by Carl Dreyer, became one of those moments a few nights ago.

I'd often read about this one, finding it on many critics 'TOP TEN OF ALL TIME' lists, and seeing the still shots...but never the REAL thing. And, let's face it, your typical movie rental place does NOT stock such works.

Fortunately, in our region, two friends of mine own and run THE movie lover's rental store, and offer the non-standard fare. Instead of walking down aisles of Hillary Duff, and The Whozit Twins adventures, you're offered zones and rooms divided into 'DIRECTORS', 'COUNTRIES OF ORIGIN', 'TEEN ANGST', etc. .............. I am home........
.....and I almost always first visit the GERMAN section.

While in Germany, I remembered 'Joan...', so I went to France. There she was. The entire SUBJECT is a good one. First, that ERA - certainly a Dark Age. Then, the PERSON, Joan of Arc, and, her beliefs. Already VERY interesting. Then, the fact France CENSORED the film when it premiered in 1928. (Ironies abound...the film, at it's most basic, is about CENSORSHIP hundreds of years back...THEN the film ABOUT censorship gets censored. Makes you wonder if France ever learns anything....) Then, just as JOAN was burned at the stake, the only two known surviving copies of the FILM went up in flames (decades ago). THEN, a lost copy was discovered in 1981 (!) in the closet of a Scandinavian insane asylum!! Very poetic. It was in very poor condition, of course, but at least it existed. (THIS is like discovering a major, lost Picasso.) The background story of film lovers setting out to digitally restore it, FRAME BY FRAME, is in itself epic. (You mean France 'let it alone' this time? I'm not sure, but I AM glad it was found in ANOTHER country.)

As for the film, it IS a GREAT work of Art. Having been trained in the 'static' visual arts, I can see that the director and photographer were also trained in 2-D static imagery...which is almost unavoidable in 1928. There was little scholarly training in 'moving' pictures at that time (plus, sound was not yet a serious factor). Each frame of each human pose and room setting is composed like a painting or etching. The shots are incredibly STARK, with NOTHING BUT what NEEDS to be seen for THAT shot. The bleakness of the shots was somewhat fashionable in Germany by that time, but NOT IN FRANCE! The French have ALWAYS been about the 'frou frou'. Even compared to German films of the time ('The Cabinet of Dr. Caligari', 'Metropolis', etc.), 'Joan...' is STARK... Waaay STARK.

The costumes, the sets, the lighting, the camera movements...AND the acting...are no-nonsense, no frills, no apologies formal, expressive Art. The acting is a tad melodramatic once in awhile, but barely (compared to an equivalent contemporary silent film). It is SO gritty, so intense, you'd think these people had traveled 60 years to the future, checked out 'Taxi Driver', and rushed back to 1928. Of course, the reverse is true. It was 'Joan...' (actress Maria Falconetti) that set the pace. Richard Einhorn, alive and composing, wrote the music inspired by and used in 'Joan...'. He saw the film, and was moved to attempt making the expressive sound for it. The famous female Gregorian Chant group, 4 virtuoso women who call themselves 'The Anonymous Four' (they are wonderful), play a large role in the singing parts of this album. Also involved was the Netherlands Radio Choir, and Philharmonic Orchestra. Completed in 1995, I found the cd last night with my 'detective work' at the confused 'Planet Music'. The music is so rich, so sad, so FULL of DOOM, so PERFECT for 'The Passion of Joan of Arc', I love it. It washes over you like a fog coming in from the North Sea. Thick...all-encompassing...and feeling permanent.

My ONLY 'complaint' is about the TIMING used by some actors as they REACT in some scenes. For me, they cross over from a long, powerful stare (for example) into a shot that steps into 'a little too long' - almost tedious. I understand that timing was different then, (partly to allow for the audience to read the dialog, partly due to theatrical roots), and this story focusses upon real people going through real events (taken from the REAL TRIAL TRANSCRIPTS OF Joan of Arc), and, each frame of this film NOW is considered very valuable (so WHO would DARE cut one frame?). But, I still hold that a few closeups could be shortened by split seconds, thereby removing a small distraction.

I know I'm picky, and nearly sacrilegious. I may have pulled a 'Ted Turner': 'Let's smear color all over it for the impatient and uneducated out there'. As IF anyone would listen to me. So, let's move on. I'm done.

It is great Art, not good entertainment.

Posted by Ronn Ives at 02:10 PM | Link

December 2003:

I'm again watching the newer version of 'Diabolique'. It's a decent suspense drama...fun twists and turns that keep you wondering. But, there's only one reason I watch this film repeatedly: plain jane Sharon Stone is paired with the most beautiful woman on the planet - the one, the only, the Oh My God - Isabelle Adjani.

I first saw her in Werner Herzog's version of 'Nosferatu'. Not only was that film a revelation of story telling that finally explained to me the sense of doom, sadness, and sexuality of the Vampire legends (none of that Bela Lugosi/Hollywood junk), and, it added to my admiration of Herzog as a film maker, and solidified my interest in the acting of Natassia's crazy father - Klaus Kinski - but introduced me to, well, like I said: Oh My God, Issy.

How can one human be so gorgeous? I suppose it had to happen once, with all of the eventual genetic possibilities here on Earth. And to think I was alive when it happened... I believe in Santa.

So, I'm no teenage girl sitting in the audience at the Ed Sullivan theater, crying my eyes out for John Lennon in 1964, but I've had the adult male version of a goofball crush on Isabelle, for a quarter century now.

Maybe we each have a crush on some Cloudlike Someone, and it cannot be hidden...and, we do not feel the need to do so.

Posted by Ronn Ives at 12:34 PM | Link

In another 4 weeks, my yearly "Some of the Movies I Have Seen" compilation/review list will drop back to zero, only to rebuild throughout the next year.

Sometimes I think that if I were to suddenly wake up and find it to be 1968 again - but I retained what I know now - I would choose to reincarnate as a film making student. Yes, another difficult choice. So what's new?

My only serious doubt is with the complexity & quantity of PEOPLE needed to make most films. I am NOT a team player, nor much of a shmoozer. Keeping "delicate" personalities happy, and raising funds for film projects, would NOT be my forte. I would need someone - someone very good at those things - out in front of me.

I admire people who can create under such conditions. Speilberg, Altman, Lucas, Scorcese, Bogdanovich, Mamet, Branagh, Kubrick, or Burton...they understand things about how to deal with humans that I will NEVER grasp. I've never met a major film maker, but I suspect I would feel more akin to artists like Herzog, Wenders, Egoyan, Lynch, Bergman, Guest, Bertolucci, Malle, Waters, Lee, Clark, Campion, Peckinpah, Allen, Boorman, and Cassevettes.

Smaller projects, singular goals, no blockbusters released just before Xmess, no action figures.

Fortunately, I DO believe in the continuation of spirit, so it's not out of the question. Good thing for me, I guess.

Posted by Ronn Ives at 12:34 PM | Link

I've always made a point to follow artists and actors who have amazed me at least once. When he or she ASTOUNDS me, I want to be ASTOUNDED AGAIN, so I hunt down as much of their work as I can.

"Once" CAN mean he or she was just "lucky". With actors, I believe it can also mean they have a good agent that properly directs careers, a good support system that helps prepare them for a role, a good director who knows how to bring out the best in them, a good editor who can turn a 1,000 hours of mediocre film footage into 2 hours of Art, a project with a decent budget (which allows the actor time to experiment or screw up), etc., etc..

It's MORE than luck that someone like Meryl Streep, Julianne Moore, or Robert DeNiro has always found quality work. You KNOW that if you pick up a film with their name on it, it can't be all bad. If it's music, and you find Brian Eno's name somewhere on it, it will be the BEST it can be. THAT is saying something!

The last few years, I've been following the work of younger actors Dominique Swain, Joachim Phoenix, Lili Taylor, Clare Danes, Juliet Lewis, Jennifer Jason Leigh, Robin Wright Penn, Jack Black, Robin Tunney, Taylor Pruitt Vince, Laura Dern, Tom Hulce, Angelina Jolie, Ashley Judd, Edward Norton, Gary Oldman, Anna Paquin, Natalie Portman, Giovanni Ribisi, Christina Ricci, Elisabeth Shue, Ben Stiller, Tilda Swinton, Liv Tyler, Emily Watson, Kate Winslet, Sean Penn, and I don't give a crap about their politics. If anything, I wish some of them would just shut up and go about doing what they do best...give THAT which they love, EVERYTHING - ALL THEIR ATTENTION - and let the other things be handled by pros in THOSE fields. (It's just SAD to see a typical actor thrown into a singing role, or musician allowed to illustrate their own album cover, etc.) I'm SURE it's a real temptation, considering the spotlight never seems to go dark, to express themselves in/on many mediums. They've ALWAYS got someone who claims to be interested - if not "amazed" - with what they have to say. There's no reason to think WE would be immune to that hype either. The Industry is in constant need of gossip snax - calorically empty, and vitamin free - to feed a shallow, hungry public. They've got publicists telling them their faces need to be seen all the time, no matter what the venue. "It's better to have something BAD written about you, than nothing at all!"

The implication is, of course, that the public has no memory, and is easily swayed from one frill to the next. Well, it's true. So what do "you" do about it? If you give the public what they want - which is usually the lowest common denominator available - they'll "love" you for a week, and tire of you anyhow. ("The Four F's" - for those of you who remember THAT phrase.)

"Flavo Flave of the Week: Millie Vanilli!"

They were here, eaten, digested, and, uh... passed down the Sewer Pipe Dream of Yesterday.

Posted by Ronn Ives at 03:36 PM | Link

March 31, 2003:

ON THE CUTTING ROOM FLOOR

(If talking about The Film bores you, skip reading me now, because that's all I'm going to do. Movie chat. Snippet thoughts. At least that's my plan...)

- I was disappointed in "Harry Potter and the Sorcerer's Stone". I haven't read the books, but I will assume they are written for children only. If adults read them with enjoyment, well, fine, but that wasn't the plan. If anything, the bean counters in the FILM industry would more likely try to influence a movie to "capture" the broadest range of audience, so Harry Potter (the film) probably contains more "adult bits" than the book.

I enjoyed the heck out of the first "Lord of the Rings" film, and I love the original books.

BOTH films center on young, naive characters being suddenly thrown into roles with huge & dangerous responsibilities, while still being surrounded by wise adults, powerful monsters, evil spirits, and very complex environments. Why does one disappoint me, and one excite?

Special effects were better in Rings, but I dismiss that angle. "The Blair Witch Project" was a very smart film, and had NONE of that techno-stuff. "Chuck & Buck" had low production values, yet was a moving, interesting story. The acting was weak in Harry Potter. The kids were flat, the adults cartoon-like. I was given no "real" reason to like or dislike any of the characters. TELLING me someone is a "bad guy" just ain't gonna make it. The story seemed like a clothes line full of separate action/FX bits. A party mix. Short, easy-to-read chapters.

Okay, so I rented a weak movie. No biggie. I try to avoid it, but when renting 300+ films a year, it's going to happen. We watched "One Hour Photo" (congratulations to Robin Williams for using all of his strength to NOT overact), which was an eerie, admirable, visually intelligent story about one man lost in his own tiny world shared by no one. For that reason, story-wise it reminded me of "Taxi Driver". This is a movie that should be studied by art students, and anyone else wanting to begin learning what goes into making right visual choices...which is much - not all - of what makes up a film.

We watched "White Oleander" this week, as well. Are there REALLY kids faced with such lives? Of course there are, and since it was hopefully NOT YOUR experience, THIS is one of the strongest films to take you inside...show you around...teach you a few things...and then - WHEW - let you go. Acting was superb, situations intense and sad, complex motivations made clear and full of insight. Even if the story doesn't seem of direct interest to you, the deeper question - how DO WE react through the random kicks of our lifetimes? - IS useful.

Every tribe has Story Tellers. The Stories are intended for use. As individuals, and as a group, we sit towards the firey bright light, listen to the story, think it over, and find our Reasons.

Posted by Ronn Ives at 10:43 AM | Link

GREAT FILMS YOU SHOULD SEE!

Plenty of films have been made that are good ONE-TIME views, but THIS list contains only films I'M driven to see REPEATEDLY, for one or more reasons...

I love The Movies...
...and Life is short.

The films are in alphabetical order ONLY - NOT by preference, theme, mood, date, location, stars, graphic levels of violence, sex, etc. However: most are NOT for children! (I placed an "ok" at the end of any listing that I feel are fine for kids, but I may be more liberal about this issue than yourself.) Films are dated because sometimes there exists more than one version. Some of these films will require that you find a quality video/dvd rental store covering more than your typical mainstream offering. In my opinion, you have an obligation to find & support those places in your area anyhow! THEY are the people TRYING to get some Art to you, and in turn, need your support!

NOW THE DISCLAIMER: I have preferences.

- First and foremost: I prefer drama;
- I DON'T avoid films due to graphic violence, sex, or language;
- Black & white is as BEAUTIFUL - at times more beautiful than color
(Can you imagine "Eraserhead" or "Manhattan" in color??);
- I prefer "METHOD" acting (Marlon Brando) over "classic"
theatrical style acting (Sir Lawrence Olivier);
- I EXPECT superb acting, intelligent scripts, sound & music
tracks that support the film, smart lighting, story continuity
& accuracy, etc., and,
- Whenever possible, I want some actual INNOVATION in the subject,
and the way in which the subject is depicted! I want to be shown
something new & of value that I can somehow "USE" - in my head,
and/or heart.
- If it's a COMEDY, I lean towards the darker, more sarcastic,
intellectual type (as opposed to slapstick or "farttittygiggle"
flicks).
- I prefer fiction, or historically accurate films - whereas, I
HATE "serious" films that play fast and loose with history (such
as the sort Oliver Stone is willing to make).
- I DON'T mind subtitles - I prefer them over that goddawful dubbing.

(I love kitschy-cheezie bad films. Yes, "Plan Nine from Outer Space"
IS one of the two worst films of all time...the other being "Beyond
the Valley of the Dolls"), but that type is not for THIS list.
They are NOT great films.)

- Oh, also: I DETEST musicals, and with so few exceptions, I'll
just say: I DETEST MUSICALS!

If you've found yourself generally agreeing with me, this list might be of use. Let me know. I'm curious.

I realize many films on the list will suffer from not being seen on the "big screen", but anymore it's a compromise I'M willing to accept. The average movie audience has become a room full of pigs, who ruin your chance for a quality movie-going experience.

=====================================================================
(last update 9-24-06)

A

The Accidental Tourist, 1988
The Accused, 1988
Affliction, 1998
The African Queen, 1951, ok
Aguirre: The Wrath of God, 1972, German
Alien, 1979
Alfie, 1966, English
All or Nothing, 2002
All Quiet on the Western Front, 1930
All the Real Girls, 2003
Always Outnumbered, Always Outgunned, 199X
Amadeus, 1984
Amelie, 2001
American Grafitti, 1973, ok
American Heart, 1992
American Psycho, 2000
An American Rhapsody, 2001
Amy's O, 2002
Anchoress, 1993
Anchorman - The Legend of Ron Burgandy, 2004
Andersonville, 1996
Angela, 2002
An Angel at my Table, 1990, New Zealand
Angels and Insects, 1995
Anne Frank Remembered, 1995
Annie Hall, 1977
Apocalypse Now, 1979
Apollo 13, 1995, ok
The Apostle, 1997
Artemesia, 1997, French
The Atomic Cafe, 1982
Au Revoir Les Enfants, 1987, French
The Autobiography of Miss Jane Pittman, 1974, ok
Avalon, 1990, ok
Awakenings, 1990, ok
The Awful Truth, 1937

B

Bambi, 1942, ok
Barfly, 1987
The Basketball Diaries, 1995
Basquiat, 1996
Bastard out of Carolina, 1996
A Beautiful Mind, 2001
Beetle Juice, 1988, ok
Being John Malkovich, 1999
The Believer, 2003
The Best Years of Our Lives, 1946
Beyond Rangoon, 1995
Big Fish, 2003
The Birdman of Alcatraz, 1962, ok
Black Rain, 1990
Black Robe, 1991, Canadian
Black Hawk Down, 2002
Blade Runner, 1982
The Blair Witch Project, 1998
Blood Simple, 1984
Blowup, 1966, British
Bob Roberts, 1992
The Boondock Saints, 1999
Born on the Fourth of July, 1989
Bottle Rocket, 1996
The Boys, 2000, Australian
Boys Don't Cry, 1999
Braveheart, 1995
Brazil, 1985
Breaking the Waves, 1996, Danish
The Bridge on the River Kwai, 1957
Bringing Out the Dead, 1999
Brokedown Palace, 1999, ok
A Bronx Tale, 1993
A Bug's Life, 1998, ok
Bully, 2001
The Burmese Harp (“Biruma No Tategoto”), 1956, Japanese

C

Camille Claudel, 1988, French
Capote, 2005
Capturing the Friedmans, 2003
Career Girls, 1997
Carrington, 1995, British
Casablanca, 1942, ok
Cat on a Hot Tin Roof, 1958
The Cell, 2000
Central Station, 1998, Brazilian, ok
Changing Lanes, 2002
Charlotte Gray, 2001
Charly, 1968, ok
Chattahoochee, 1990
Chikamatsu Monogatari (Crucified Lovers), 1954, Japanese
Children of Heaven, 1997, Iranian, ok
Chinatown, 1974
A Christmas Story, 1983, ok
Cinderella Man, 2005
The Cider House Rules, 1999
Cinema Paradiso, 1988, Italian, ok
Citizen Kane, 1941
Citizen Ruth,
City Slickers, 1991, ok
The Claim, 2000
Clean, Shaven, 1993
A Clockwork Orange, 1971
Close Encounters of the Third Kind, 1977, ok
Closer, 2005
Closet Land, 1991
The Color Purple, 1985
Come Back Little Sheba, 1952
Coming Home, 1978
The Contender, 2000
The Conversation, 1974
Cool Hand Luke, 1967
Crash, 2005
Crimes and Misdemeanors, 1989
Cross of Iron, 1977
The Crucible, 1996

D

Damage, 1992
Dancer in the Dark, 2000
Dangerous Liaisons, 1988
Das Boot, 1981, German
Days of Wine and Roses, 1962
Deconstructing Harry, 1997
The Deer Hunter, 1978
Devi, 1960, Hindi
Diary of a Country Priest, 1950, French
Dogfight, 1991
Do the Right Thing,
Dominick and Eugene, 1988
Donnie Darko, 2002
Door to Door, 2002
The Double Life of Veronique, 1991, Polish/French
The Dreamlife of Angels, 1998, French
Driving Miss Daisy, 1989, ok
Drop Dead Gorgeous, XXXX
Dr. Strangelove..., 1964, British
Drugstore Cowboy, 1989

E

East of Eden, 1955
8mm, 1999
Edward Scissorhands, 1990, ok
Ed TV, 1999
The Elephant Man, 1980
Elizabeth, 1998, British
Empire of the Sun, 1987
Enemy at the Gates, 2001
Enigma, 2002
Equinox, 1993
Equinox Flower, 1958, Japanese
Eraserhead, 1978
Eternal Sunshine of the Spotless Mind, 2004
Europa Europa, 1991, French/German
Even Dwarfs Start Small, 1968, German
Every Man For Himself and God Against All (or also titled
The Mystery of Kaspar Hauser), 1975, German
Exotica, 1994, Canadian
Eye for an Eye, 1996
Eyes Wide Shut, 1999

F

Failsafe, 1964
The Falcon and the Snowman, 1984
Far From Heaven, 2002
Fargo, 1996
Fearless, 1993
The Fight Club, 2000
The Fisher King, 1991
Fitzcarraldo, 1982, ok
Flirting with Disaster, 1996
Focus, 2002
Following, 1999
Forbidden Games, 1952, French
Four Adventures of Reinette and Mirabelle, 1986, French
Frances, 1982
Frankie Starlight, 1995
Freaks, 1932
Freedom Song, 2000
The French Connection, 1971
Fresh, 1994
Fried Green Tomatoes, 1991
Full Metal Jacket, 1987

G

Gaby: A True Story, 1987
Gandhi, 1982
The General, 1998, Irish
Georgia, 1995
Germinal, 1993, French
Ghost World, 2001
The Gingerbread Man, 1998
Girl, Interrupted, 1999
Girls Town, 1996
Glengarry Glen Ross, 1992
Glory, 1989
The Godfather, all 3 parts, 1972-90
Goodfellas, 1990
Good Night, and Good Luck, 2005
The Graduate, 1967
Grand Canyon, 1991
The Grapes of Wrath, 1940, ok
The Grass Harp, 1996, ok
Grey Zone, 2001
Grizzly Man, 2005
Groundhog Day, 1993, ok
Gummo, 1997

H

The Hairdresser's Husband, 1992, French
Hairspray, 1988
Hannah and Her Sisters, 1986
Happiness, 1998
Harakiri, 1962
Harry and Tonto, 1974, ok
Hart's War, 2002
Heart of Glass, 1976, German
Heaven, 1987
Heaven and Earth, 1993
Heavenly Creatures, 1994
Heavy, 1996, ok
Helter Skelter, 1976
Henry and June, 1990
Henry V, 1989, British
Herdsmen of the Sun, 1988
High Art, 1998, Canada
Hilary & Jackie, 1998, British
Himalaya, 1999, Tibetan
Hoffa, 1992
Homeward Bound, 1993, ok
Homicide, 1991
Hoop Dreams, 1994, ok
Hope and Glory, 1987
House of Sand and Fog, 2003
Hud, 1963
The Hudsucker Proxy, 1994
Hurly Burly, 1998
Hurricane Streets, 1998
Husbands and Wives, 1992
The Hustler, 1961
Hysterical Blindness, 2003

I

The Ice Storm, 1997
Imaginary Crimes, 1994
The Importance of Being Earnest, 2001
In Cold Blood, 1967
The Incredibles, 2004
The Indian Runner, 1991
Inherit the Wind, 1960
Interiors, 1978
Intermezzo, 1939
Interview with a Vampire, 1994
In the Bedroom, 2002
In the Company of Men, 1997
In the Heat of the Night, 1967
In the Name of the Father, 1993
Into the Arms of Strangers, 2000
The Invisible Circus, 2001
Iris, 2001
Ironweed, 1987
I Shot Andy Warhol, 1996
It Happened One Night, 1934, ok
It's a Wonderful Life, 1946, ok

J

JAZZ, 2001
Jerusalem, 1996, Swedish
The Jimmy Show, 2003
Johns, 1996
Journey of Hope, 1990, Swiss
The Joy Luck Club, 1993
Judgment at Nuremberg, 1961

K

Kalifornia, 1993
Kids, 1995
The Killing Fields, 1984
The King is Alive, 2002
King of the Hill, 1993, ok
Kiss of the Spider Woman, 1985

L

Lancelot du Lac, 1974, French
Lantana, 2002, Australian
L’Argent, 1983, French
The Last Days, 1998
The Last Emperor, 1987, Italian
L.A. Story, 1991
The Last Picture Show, 1971
Last Tango in Paris, 1973, French
The Last Temptation of Christ, 1988
Late Spring, 1949, Japanese
Lawrence of Arabia, 1962
Leaving Las Vegas, 1995
Lessons of Darkness, 1992, German
Life is Beautiful, 1998, Italian
The Life of Brian, 1979, British
The Lion King, 1994, ok
Little Boy Blue
Little Dieter Needs to Fly, 1998, German
Little Fugitive, 1953, ok
Little Shop of Horrors, 1986, ok
Little Women, 1995
Lolita, 1997, British
Lonesome Dove, 1991
The Long Way Home, 1997
Lord of the Flies, 1963
Lord of the Rings, 2001, 2002, 2003
Lost Horizon, 1937
Lost in America, 1985
Lost in Translation, 2003
The Lost Weekend, 1945
Love Liza, 2003
Lovely & Amazing, 2002
Lust for Life, 1956

M

The Machinist, 2005
Made for Each Other, 1939
The Magdalene Sisters, 2003
Man Bites Dog, 1992, Belgian
Manhattan, 1979
The Man in the Moon, 1991
Man in the Wilderness, 1971
The Manchurian Candidate, 1962
Manny & Lo, 1996
The Man Who Wasn’t There, 2001
Martha + Ethel, 1994, ok
Marty, 1955, ok
Mean Streets, 1973
Menace II Society, 1993
Memento, 2001
Metropolis, 1926, German
(restored version by Giorgio Moroder, 1984), ok
A Midnight Clear, 1992
Midnight Cowboy, 1969
A Mighty Wind, 2003
Minority Report, 2002
The Miracle Worker, 1962, ok
Les Miserables, 1998
The Mission, 1986
Moll Flanders, 1995
Monster, 2004
Monsters Inc., 2002, ok
The Mosquito Coast, 1986, ok
Mr. Deeds Goes to Town, 1936, ok
Mr. Saturday Night, 1992
Mrs. Dalloway, 1998, British/Dutch
Munich, 2005
Muriel's Wedding, 1994, Australian
Music Box, 1990
My Dinner with Andre, 1981
My Left Foot, 1989, Irish
Mystery Men, 1999
The Mystery of Kaspar Hauser, or,
Every Man for Himself & God Against All, 1975, German
Mystic River, 2003
The Myth of Fingerprints, 1997

N

Naked, 1993, British
Naked Lunch, 1991, Canadian
National Lampoon's Animal House, 1978
National Lampoon's Christmas Vacation, 1989, ok
National Velvet, 1944, ok
Nelly et Monsieur Arnaud, 1995, French
Network, 1976
Niagara Niagara, 1998
Night Falls on Manhattan, 1996
Nineteen Eighty Four, 1984, British
Normal Life, 1997
Nosferatu the Vampyre, 1979, German, ok

O

Odd Man Out, 1947
Of Mice and Men, 1981, ok
Of Mice and Men, 1992, ok
The Old Man and the Sea, 1958, ok
Once Upon a Time in America, 1984
One Flew Over the Cuckoo's Nest, 1975
Onegin, 2000
One Hour Photo, 2002
One True Thing, 1998, ok
Onibaba, 1964, Japanese
The Onion Field, 1979
On the Beach, 1959
On the Waterfront, 1954
Open Range, 2003
Orlando, 1993, British
Orpheus, 1950, French
Out of Africa, 1985
The Out of Towners, 1970, ok

P

Padre Padrone, 1977, Italian
Panic, 2000
The Paper Chase, 1973
Paper Moon, 1973, ok
Papillon, 1973
Paradise Road, 1997
The Passion of Joan of Arc, 1928
Paths of Glory, 1957
The Pawnbroker, 1965
Pelle the Conqueror, 1988, Swedish
A Perfect Murder, 1998
A Perfect World, 1993
Performance, 1970
Perfume, 2001
Permanent Midnight, 1999
Personal Velocity, 2003
Persuasion, 1995
The Piano, 1993, New Zealand
Places in the Heart, 1984, ok
Platoon, 1986
The Playboys, 1992, Irish
The Player, 1992
Poltergeist, 1982
Ponette, 1996, French
Il Postino, 1994, Italian/French
Presumed Innocent, 1990
Priest, 1994, British
The Princess Bride, 1987, ok
The Prize Winner of Defiance, Ohio, 2005
Pulp Fiction, 1994
The Purple Rose of Cairo, 1985

Q

Queen Margot, 1994, French

R

Rabbit Proof Fence, 2002
Raging Bull, 1980
Rain Man, 1988
Raising Arizona, 1987
Rambling Rose, 1991
Ransom, 1996
The Rapture, 1991
Ratas, Ratones, Rateros, 1999
Rebel Without a Cause, 1955, ok
Record of a Tenement Gentleman, 1947, Japanese
Red Sky at Morning, 1970
The Red Violin, 1998, Canadian
Reservoir Dogs, 1992
Ridicule, 1996, French
The Right Stuff, 1983, ok
The Rise & Fall of the Third Reich, X year.
Road to Perdition, 2002
Robots, 2005
Rob Roy, 1995
Roger Dodger, 2003
Romeo & Juliet, 1968, British, ok
Romeo & Juliet, 1996
Romero, 1989
Rosemary's Baby, 1968
The Rose Tattoo, 1955
Rules of Attraction, 2003
Runaway Jury, 2003

S

Safe, 1995
Sansho the Bailiff, 1954, Japanese
Save the Tiger, 1973
Schindler's List, 1993
The Secret Garden, 1993, ok
The Secret of Roan Inish, 1994, ok
The Secret of Santa Vittoria, 1969
Secretary, 2002
Secrets & Lies, 1996, British
Serpico, 1973
Seven Days in May, 1964
Seven Years in Tibet, 1997
sex, lies, & videotape, 1989
Shadowlands, 1993, British
Shakespeare in Love, 1998
Shame, 1968, Swedish
Shane, 1953, ok
The Shawshank Redemption, 1994
She's So Lovely, 1997, French/U.S.
Shine, 1996
Shooting War, 2000
The Shop on Main Street, 1965, Czech
Short Cuts, 1993
Shrek, 2001, ok
Sid & Nancy, 1986
Sidewalks of New York, 2002
The Silence of the Lambs, 1991
The Sixth Sense, 1999
Slacker, 1991
Sleuth, 1972
Sliding Doors, 1998
Sling Blade, 1996
Small Faces, 1995
Something Wild, 1986
Some Mother's Son, 1997
Sometimes a Great Notion, 1971
Sophie's Choice, 1982
The Spanish Prisoner, 1998
The Spy Who Came in from the Cold, 1965
Stand by Me, 1986, ok
Stardust Memories, 1980
Stealing Beauty, 1996, French
The Sterile Cuckoo, 1969
The Story of Adele H., 1975, French
Storytelling, 2002
The Stranger, 1967
Stranger than Paradise, 1984
Straw Dogs, 1971
A Streetcar Named Desire, 1951
Stroszek, 1977, German
The Substance of Fire, 1996
subUrbia, 1996
Sullivan's Travels, 1941, ok
Summer of '42, 1971
Sunset Blvd., 1950
The Sweet Hereafter, 1997
Sweetie, 1989, Australian
Swept Away, 1975, Italian
Sybil, 1976

T

Tae Guk Gi, 2005, Korean
Talk Radio, 1988
Tape, 2002
Taxi Driver, 1976
Telling Lies in America, 1997
Tender Mercies, 1983, ok
Terms of Endearment, 1983
Tess, 1979, French
They Might be Giants, 1971, ok
The Thief, 1997, Russian
The Thin Red Line, 1999
Thirteen, 2003
13 Conversations about One Thing, 2001
Thirteen Days, 2000
This Boy's Life, 1993
This is Spinal Tap, 1984
Thousand Pieces of Gold, 1992
The Three Faces of Eve, 1957
Three Seasons, 1999, Viet Namese
Time Out, 2003, French
To Die For, 1995
To Kill a Mockingbird, 1962, ok
Tokyo Story, 1953
Tom & Viv, 1994, British
Tora Tora Tora, 1970
Toy Story I, 1995, ok
Toy Story II, 1999, ok
Training Day, 2002
A Tree Grows in Brooklyn, 1945
Trees Lounge, 1996
The Triplets of Bellville, 2004
The Trip to Bountiful, 1985, ok
Truce, .
The Truce, 1997, Italian, etc.
True Romance, 1993
Tully, 2003
Twelve O'Clock High, 1949
25th Hour, 2003
Twentyfourseven, 1997, British
Twice in a Lifetime, 1985
2001: A Space Odyssey, 1968, British
Two Women, 1960, Italian

U

Ugetsu, 1953, Japanese
Umberto D., 1952, Italian
Under Suspicion, XXXX
Unforgiven, 1992
United 93, 2006
Unstrung Heroes, 1995, ok
The Untouchables, 1987

V

The Vanishing, 1988, Dutch/French
Village of the Damned, 1960, English
Vincent, 1987, Australian

W

Wag the Dog, 1997
Waiting for Guffman, 1997
Wall Street, 1987
Washington Square, 1997
The Waterdance, 1992
Waterland, 1992
Welcome to the Dollhouse, 1996
We All Loved Each Other So Much, 1974, Italian
We Were Soldiers, 2002
Whale Rider, 2003
The Whales of August, 1987, ok
What's Eating Gilbert Grape?, 1993
When Harry Met Sally, 1989
When Trumpets Fade, 1998
Where the Green Ants Dream, 1985, Australian/German
Where the Heart Is, 2000
White, and, Red, and, Blue (3 films), 1993, French
White Badge, 1997, Korean
White Oleander, 2003
Who's Afraid of Virginia Woolf?, 1966
Wigstock the Movie, 1995
Wild at Heart, 1990
The Wild Bunch, 1969
The Wild One, 1954
Wings of Desire, 1988, German
Winter Light, 1962, Swedish
Wit, 2001
Woman in the Dunes, 1964, Japanese
Woodstock, 1970
Working Girl, 1988
The World According to Garp, 1982
Wrestling Ernest Hemingway, 1993

Y

The Year of Living Dangerously, 1983, Australian
Your Friends and Neighbors, 1998

Z

Zelig, 1983
Zorba the Greek, 1964

Posted by Ronn Ives at 08:24 PM | Link

In our contemporary life, movie watching is as close as we get to the deep-seated need for gathering around the fire, and listening to our Story Tellers. This is when and where we express our fears of the unknown, debate the
mystical, and support our assumptions about the sunlit world.

Ronn.

The following are some of the films I have seen so far this year. Within each category, the film most recently viewed is placed at the top of the list. (CODES: "again" = I've seen it before, "WOTO" = We Own This One, "IMDB" = my opinions are also found on the Internet Movie Data Base site.) (There is more to read (below the reviews), if you have lots of time...)

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2005 MOVING PICTURES NEVER enough time, SO many films
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1.
"ABSOLUTE MUST-SEE LIFE-CHANGERS!":
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"Hart's War" (again, 2002): This is a film about perceptions and honor. It's written as a WWII/P.O.W. story, set in Germany, during the winter of 1944-45. You'll be struck first by the great photography and scoring, then by the memorable scenes taking place within them. Although headed by talented actors, most are wonderfully submerged in their characters. This is a complex work, with a plot that reveals itself cautiously, which is entirely necessary to make its' points. The truth must arrive slowly. Much of it takes place in P.O.W. huts, and a makeshift "court room". At some point during the film, you'll think "Hogan's Heroes" - but lose that dumb thought. It has no place here. If anything, think "Bridge on the River Kwai", with a 2005 sensibility. This is a serious and very admirable film at all levels, discussing humankind’s most cherished, most defended beliefs. WOTO IMDB

“Umberto D.” (Italian, 1952): Considered one of Vittorio De Sica’s masterpieces, and HIS personal favorite, “Umberto D.” is the story of an old man in contemporary Italy, trying to survive on a meager pension. Renting a room from a nasty landlady, and having a young, pregnant maid as his only real friend, the lack of income slowly closes in on him and his little dog, “Flag”. This is NOT a film for the easily depressed, but IS a quiet, powerful, evenly paced, emotionally wise, good looking work of Art. WOTO

”The Deer Hunter” (again, 1978): Although “only” three hours in length, The Deer Hunter feels like thirty. This is a brilliant, high stress film that takes you through the daily lives of a group of adult friends in the urban decay of a dying, blue collar industrial revolution, as they kill time in massive, insignificant ways - only to be further decimated in the jungles of Viet Nam, and their own psyches afterwards. This is a very patient film. It’s goal isn’t to look at war, but to give insight into these few people, who are not unlike others we all know…people who are not special to anyone but one another, do their best with what they know, and try to deal with a highly complex world. All the acting is powerful, the camera work and music tracks barely excessive for my taste, but the script, detailing, roles, and story are awesome. Each character is given the depth and attention to become someone significant to you. This entire work is significant. It is a huge, complex look at, and inside, a few “average” people. Everyone is average until we begin to understand them…and then there’s no such creature. WOTO IMDB

“The Pawnbroker” (again, 1964): Directed by Sidney Lumet, scored by Quincy Jones, and starring Rod Steiger. This is one of the most powerful character studies in all of film history. It’s up there with “Lawrence of Arabia” and “Taxi Driver”. Shot in some of the most beautiful, gritty, black and white photography, set in Harlem, often using the real environment and passersby, this work has the feel of anti-Hollywood, which is completely appropriate for the story of a Jew tortured by the memories of the Holocaust, and the environment of pawn brokering. There’s not a single moment of comedy, and many moments that feel like Diane Arbus could be seen lingering nearby. Steiger’s ability to express withheld expression – anger and pain trying to burst from his impenetrable shell - is awe inspiring. When I first saw this film in the 60’s, I knew I wanted to see everything this man did. WOTO IMDB

“Devi” (Hindi, 1960): Directed by Satyajit Ray, and banned in India until the intercession of Nehru, this is the story of a lovely 17 year old wife, who is suddenly labeled as a “Goddess” (while her husband is absent to complete his final exams in college), due to a dream (“vision”) by her father-in-law. What follows is a fascinating, multi-angled look at the transitional Indian culture (and MOST cultures, frankly). Is this any different, any worse, or any more desperate than seeing the face of Jesus in a grilled cheese sandwich or the grain of a wooden door? Is her overnight change in status unique? Are the people who have confused motives, hopelessness, or malleable minds any less vulnerable here and now? The quality of the video copy I viewed was rough – a copy of a copy of a copy – yet even then, the power of Ray’s vision shines through. This is a serious, beautiful, insightful, tragic film. (It has something of a “cousins” relationship to the film “Anchoress”. WOTO IMDB

“My Left Foot” (again, 1989): Although Daniel Day-Lewis’ acting is blindingly brilliant in this amazing, TRUE story, the entire cast did nothing less than a fabulous job of helping us understand and empathize with this era, neighborhood, family, and malady. Lewis plays Christy Brown, an Irish lad born with Cerebral Palsy, in a time when the ignorant labeled them as “half wits”. He FORCED people to see the real person STUCK inside an uncooperative body. Brown was luckier than some, however. His family did not shun him or pander to any feelings of “poor me”. “My Left Foot” is an inspiring story, a great film, and one for the collection. WOTO

“The Shop on Main Street” (again, Czech, 1965): Wonderful acting and beautiful b/w photography make what first appears to be a breezy story into an increasingly frightening experience. Set in 1942, the main character, a care-free man who enjoys life and does not sweat the small things, is “awarded” the status of “Aryan Controller” along with a small business taken from an old Jewish woman. Everyone’s reactions to the shifts in status of everyday citizens – higher or lower than they’ve had all their lives – are the dynamic force within the story. The transition from light to dark mood is smooth, and done in small, hardly noticeable ways…like what the characters themselves experience. Similar films (I’m going with my gut, here) would be “Life is Beautiful” and, believe it or not, “Eraserhead”.) WOTO IMDB

“Forbidden Games” (French, 1952): Set in the French countryside in the early years of WWII, this is the story of one little girl, “Paulette”, who is forced to try and understand what is happening around her (which IS how children define themselves). She sees German planes, bombings, death, selfishness, pettiness, panic…and occasional acts of kindness. Without damaging the plot, I’ll say it has a relationship to “Ponette” (1997) mixed with “Angela” (2002) – both very fine films. I do fault “Forbidden Games” with weak artificial lighting effects and a rough edit-blend of war footage with story footage. I can also fault the occasional overacted moment (although “Paulette” has some AMAZING moments of emotion). NONE THE LESS, this is a film about Meaning, not Art, and so intensely and thoroughly explored, I see no need to pick at the formal side. This is a very strong STORY, made soon after the end of WWII, when such memories were still VERY fresh in everyone’s minds. Be grateful you are not in that position. WOTO IMDB

“Au Revoir les Enfants” (again, French, 1987): Some say this is Louis Malle’s masterpiece. Fair enough. Although set in the last years of WWII, at a Catholic boys school in France, this is not a “last gasp fight to the death against the Germans” action film with gun toting youngsters. It is a story about BOYS, and it simply happens to be 1944. They’re children of rich parents – boys who’ve been shuffled out of Paris (etc.) to the safer countryside. They’re silly, awkward, conniving, antsy, and typical. Yes, they can sometimes hear fighting in the distance (but they’re too busy with their own tiny squabbles), they are required to respond to air raids (but consider it a game), and they do see Nazis on occasion…but mainly, they’re just typical, dopey boys. Slowly - very slowly - one of the brighter boys suspects that not is all what it seems there at his school, and, with time on his hands, begins searching for secrets and answers. What he finds will change his life and lives of many others. Few films have looked at real war through the eyes of children, and this is possibly the best. WOTO IMDB

“Germinal” (French, 1993): This EPIC story, adapted from Emile Zola’s novel and put to film by Claude Berri (director of “Jean de Florette” and “Manon of the Spring”), is the gritty depiction of hard working coal miners in 1800’s France, trying to eek out a living and better their lives by forming a labor union. Loaded with issues rising through the Industrial Age, Gerard Depardieu, Miou-Miou, Judith Henry, and Jean-Roger Milo deservedly star in a frighteningly bleak setting, with ominous musical scoring, and the relentless, black dust of coal. Comparisons to the wealthy mine owners lives, opulent and very isolated from their industry’s realities, are blatant and clear. Zola wanted some economic and moral balance – just a little – and set about depicting a situation that could not be denied. WOTO IMDB

"A Tree Grows in Brooklyn" (again, 1945): Elia Kazan's directorial debut, which garnered two Oscars. I think of this film as in the same category as "It's a Wonderful Life", although “A Tree…” has a slight stage play feel to it. Neither the stories nor the characters are the same, but they ARE "cousins" to one another, and BOTH are worth multiple viewings as a way to get your dose of reminders about what is most important in life. We have our duties and our jobs, no one has the same set, and we signed on for them. We have people and places we love, and it's too easy to take them for granted or focus on "blemishes". "A Tree Grows in Brooklyn" is as emotionally powerful, funny, tender, and sad as "It's a Wonderful Life". If you like/love one, you WILL like/love the other, and never fear: one will NOT REPLACE the other. You'll be very glad BOTH exist. WOTO IMDB

“Shame” (“Skammen”) (Swedish, 1968): Definitely one of Ingmar Bergman’s masterworks, with cinematography by Sven Nyquist (who did most of Bergman’s, and some of Woody Allen’s films). “Shame” is less symbolic than some of Bergman’s works, and, an intense, psychological study of a married couple, Jan and Eva, (Max von Sydow & Liv Ullmann) have their personal problems like anyone else, but suddenly find their otherwise quiet Swedish island life completely upset by a civil war. Faced with increasing losses and degradations, we watch them struggle not only against circumstances, but their own psyches. The number of “shames” depicted is huge. This story may have influenced Lina Wertmuller’s film “Swept Away”. “Shame” is an ULTIMATE in gorgeous b/w photography, and psychological horror. WOTO IMDB

“Harakiri” (Japanese, 1962): It is the 17th century. A young Samurai warrior arrives at a mansion, asking to perform his ritual death there. In a series of flashbacks, we learn who he is, why he came, and what has occurred since. Although quietly told by another ex-warrior (about whom we also learn more), this is an interesting story that builds in complexity and tension. Debates about rituals and appearances may at first seem to hold more significance in old Japan than in the contemporary United States, but it is not difficult to translate and implement such thoughts. Love, honor, duty, family, children, saving “face”, determination, desperation…they all exist in OUR everyday lives. Dramatically photographed in beautiful black & white, given a strong Japanese score, and paced so that even the mildly patient will be glad they saw it, “Harakiri” is epically huge, and a must-see for story & film lovers. WOTO IMDB

"Tokyo Story" (“Tokyo monogatari”) (Japanese, 1953): Superbly understated, beautifully photographed & masterfully composed black and white images, "Tokyo Story" is profound and has the patience of water wearing away at the rock. An elderly couple make a trip from their country home to Tokyo, to visit their adult children. Met with varying degrees of enthusiasm, and shuttled around during their stay, they eventually seek out old friends their own age, with whom they can share feelings about the expectations they once had for their children. The movement of this story is slow and methodical. Look for no action. Look for ideas that all humans hold dear. It will NOT disappoint. WOTO IMDB

"Zorba the Greek" (U.S./Greek, again, 1964): Anthony Quinn and Alan Bates star in this beautiful black & white epic about Values in Life. It is masterpiece of film making, psychology, and philosophy. Scene after amazing scene, it is unforgettable, with some images returning to me at least once a month, year after year, usually as a spiritual reminder. It will speak for itself to you also. WOTO

"Anchoress" (again, 1993, English/Dutch): I've watched this one over and over. It is fascinating, beautiful, strange, and insightful. "Anchoress" takes place during the European Medieval period, when humans survived at the mud level. This is the story of one young woman who tries to find comfort and beauty inside the church, with 'Mother Mary'...or at least a poorly made icon. She isn't capable of deciphering her motives, and soon offers herself to the church as an "Anchoress" - a person devoted to God, relinquishing all worldly connections, and being voluntarily cemented into a small crawl space of her church's wall for the rest of her life. Strange times, those...EXCEPT we see the priest considers this a good marketing tool for the church (as an "attraction"). But, things don't go as anyone predicted... "Anchoress" is shot in some of the most powerful black & white film I've ever seen (equal to Bergman or Lynch), has an incredibly sensitive sound track (not score) attuned to the daily life of Earth, and, a camera that loves to be thoughtful and intimate. Each shot is a composed, artful image. (I've said this before, and I'll say it again: If Rembrandt had used a movie camera, with b/w film, this could've been one of his films.) Despite, or because of, the near total lack of dialog, there are scenes you will never forget. This is a very grounded film, while being mystical at the same time. Perhaps that's part of the attraction. It deals with our dual urges to rise above daily life, yet revel in them at the same time. IMDB WOTO

"Aguirre, the Wrath of God" (der Zorn Gottes) (again, 1972): Werner Herzog is one of my all-time favorite film makers, and this is one of my favorites by him. Actually taken from the diary of the priest who accompanied Pizarro's expedition in 1560, Herzog recreates the pretentious and self-deluded search for the "Lost City of Gold - Eldorado". Herzog likes true stories - ones that are bizarre in their own right – but, with his direction and personal vision, they become profound (and never optimistic). The camera work is always interesting (he single-handedly "patented" camera shots that don't sweep - they ("you") stare and stare - and stare - at a thing or person or place until it becomes abstract, intense, beautiful, threatening, profound), the scoring is always appropriate yet never expected, and his casting, often using the unique talents of the late Klaus Kinski, guarantee nothing less than an intense experience...even in a film like "Aguirre", which SLOWLY claws and slogs it's way along each and every slippery, dangerous, foreign mile of jungle. It is clear that Herzog 'focuses' on the ridiculously high beliefs humans create for and hold of themselves: that they could actually "own" anything, "conquer" anything, "outwit" that which they do not understand, and by sheer Will cause anything they deem important, to exist. Herzog is NOT a cheerleader for the history of humans, but he is a ponderer...and we are fortunate he does it on film. IMDB WOTO

"All the Real Girls" (again, 2002): An extremely elegant slice of life/coming of age story shown with the same lack of pretense as "Tender Mercies" and "The Straight Story". It is NOT an action-filled, sex-laden, violent, plot-heavy, computer effected film that will meet the demands of the average movie goer. It is SO subtle, SO understated, and SO down to earth, it hardly seems the stuff of scripts and cameras. Give it time. Be patient with it, as you would a Japanese film. It is well worth what appears to be a meandering stroll. Aside from Patricia Clarkson, whose work I love, these are actors unknown to me (listed below), but SO good, they are the ones who carry and create this incredibly natural feeling film. The "under glaze" of scoring helps raise the feelings to a slightly higher level than one would expect from daily mundane of life. The shots of common objects, cropped and focused upon, give added proof that this is an idea formed from looking a little closer and a little longer...a willingness to find the elegance and drama in what makes up most of our lives most of the time. (Paul Schneider, Zooey Deschanel, Shea Whigham, Danny McBride, Maurice Compte, Heather McComb, Benjamin Mouton, John Kirkland, James Marshall Case, Patricia Clarkson, Maya Ling Pruitt.) WOTO IMDB

"Of Mice and Men" (again, 1992): Gary Sinise almost single handedly created this film version of Steinbeck's novel, and with John Malkovich co-starring, it's a potent version of a potent story. Set in the era of 1930's Great Depression America, two drifters, who are life long friends, make do riding the rails, getting odd jobs, and clinging to any dream that helps them get one more mile down the tracks. The photography is beautiful and effective, the sound track rich and earthy, scoring very supportive, it's inspiration is flawless, of course, and the acting by all involved (including Ray Walston) is magnificent. If nothing else causes you to now read all of John Steinbeck's work, this should do it. WOTO

"Cinema Paradiso" (again, Italian, 1990): One of the most touching, funny, sad, insightful, humane movies full of deep longing ever made. Starting in a 1940's small Italian town where the only real entertainment for it's residents is the local movie house (the “Cinema Paradiso”), we watch one young boy, who is fatherless because of the war, adopt an old man - perhaps the most important man in town – the man who is the projectionist at Paradiso. The boy LOVES movies and the old man. Life is typically silly, frustrating, and joyous for him as he grows, but the time arrives when he must “become a man”, and, with the old one pushing him, he leaves his small, intimate world to tackle the larger one. Thirty years pass. When he finally returns, he finds himself facing unfinished emotional business. A very moving experience. WOTO

"Annie Hall" (again, 1977): Simply one of the most innovative, interesting, insightful films you will ever experience - again and again. THIS work announced that Woody Allen would never again return to slapstick comedy, and would instead draw from deeply personal sources in the manner of other serious artists. It's innovative for his use of still camera shots that allow it's characters to leave (or never enter) a scene (yet you hear their conversation), subtitling of thoughts vs words, movies within movies, the use of animation within a "normal" film, giving the dialog to other actors on a stage, characters who leave their bodies and still carry on conversations, characters who break from the film and talk to us the audience, split screen depictions of different times or places with the characters speaking to one another across the splits, flash backs of characters that describe their futures...it's a superb break from what was expected. It's interesting on more than artistic levels, as Allen delves into references far beyond the mundane, and presents them with wit, humor, and awkward honesty. It's insightful for his honest and thoughtful look at how humans behave under different realities. "Annie Hall" is a masterpiece. (And watch for many lucky young actors (such as Jeff Goldblume, Christopher Walken, Shelley Duval, etc.) who, thirty years ago, could only dream that "Annie Hall" would help kick start their hopeful careers. WOTO IMDB

"Il Postino (The Postman)" (Italian, 1995): The lead actor, Massimo Troisi, is a master of natural, relaxed acting. What a joy to share in his unpretentious perfection. As for the story, on the surface it appears simple: the great poet Pablo Neruda seeks political asylum on a small "back water" island of Italy. There, he begins a relationship with the only man with whom he comes in contact - his postman. For much of the film, we watch a funny and tender relationship form between these two very different men. However, do NOT make the mistake of thinking this is a uni-directional film. It goes places much deeper and wider than just two people discovering one another's worlds... and THIS is why I've put "Il Postino" in the top category. WOTO

"The Count of Monte Cristo" (2001): From Alexander Dumas' novel, this is a sweeping, grand, epic of a film, set in it's original period. The costuming, sets, locations, etc., are thoroughly believable and lush, but more important is the depth of it's issues... love, honor, treachery, morality, faith, patience, vengeance, karma, persistence...it's all here, and presented in a way that you needn't worry about it's content with older children (implied sex only, and no gratuitous violence). Jim Cavezel stars as the Count.

"Platoon" (again, 1986): If "The Thin Red Line" is a contender for the ultimate poetic film about war (and I say it is), then "Platoon" is the gritty, tense, realistic contender. There is NOTHING soft, easy, relaxing, funny, or romantic about this story. The acting is superb by all (the list is too long, although Tom Berenger, Charlie Sheen, and Willem Defoe take main characters), and each scene is a creation with only one goal in mind - to attempt an explanation of what it is to be a soldier in war. The photography is confusing and violent, the lighting leaves movement and perception in doubt, the sanity of the characters is fragile, the scoring is both epic and nostalgic. This is Art on all levels. WOTO IMDB

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2.
"TOTALLY WORTH TWO HOURS OF YOUR LIFE":
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“Monsieur Vincent” (French, 1947): Starring Pierre Fresnay and Lisa Delamare, “Monsieur Vincent” received the Oscar for Best Foreign Film 1948. Set in 17th century France, this is the life story of Vincent de Paul. It’s an interesting and profound look at that which drives some people beyond “normal” capabilities, which, in his case, was caring for the poor. He learned much along the way – gained many deep insights – that are passed to you. The copy I viewed was uneven (unrestored), but thankfully, it was done in subtitles. Acting, photography, sound, lighting…all take back seats to the biography here. They are the “servants” to the story. It could hardly be any other way. WOTO

“The Exorcist” (again, 1973): I’ll never forget the face of a best friend when he’d gone to see this film first run, alone. There was no way he was going anywhere if it meant being alone. Well, although the film is a little dated in some ways now (EVERYONE constantly smokes cigarettes, the special effects and makeup are sometimes crude), it’s still a tense, increasingly frightening story about a girl taken over by the spirit of the Devil. Set as a contemporary story (1973), in a still-Liberal American culture, as events begin to happen, no one is willing to believe such a “third world/old time” exists. And, things get worse. Heavily Catholic, full of issues about faith, omens, evil, spiritual power, and rituals, it’s a fascinating look at what is still held by the church (but kept low profile), and, it’s a good scary story. Make sure to see the uncensored version (for example, the 25th anniversary edition), or you’ll wonder why ANYONE was shocked at all. NOT for children. Best Adapted Screenplay, Best Sound, starring Max von Sydow, Ellen Burstyn, Lee J. Cobb, Linda Blair, Jason Miller. WOTO

“La Maternelle” (French, 1934): To appreciate old films, contemporary audiences MUST lose their jaded contemporary attitudes, and allow themselves to be caught up in the work as it was presented. It seems to me that if someone can allow “suspension of disbelief” in current fantasy and sci-fi, for example, it shouldn’t be THAT difficult for a willing viewer to do the same with a work that has but a slightly exaggerated style of acting, different timing, subtitles, and, no color. This is a wonderful, warm, sad, and charming little French film that has plenty of heart. A young, socialite woman had it all – and then she didn’t – finding herself working as a maid in a poverty stricken Parisian day care center. Here she finds meaning, and many kinds of fear, sadness, pain, and deep love. WOTO

“Through a Glass Darkly” (Swedish, 1961): Oscar for Best Foreign Film, Nominee for Best Story and Screenplay, Swedish Academy Award, etc., starring Max von Sydow, Harriet Andersson, and Gunnar Bjornstrand, with gorgeous, perfectly composed shots made of silvery light, by Sven Nykvist. On the Swedish coast, during the season of round-the-clock sunlight, we meet a father, his son, his son-in-law, and the daughter/wife. We slowly learn that she had serious mental problems, and everyone is hoping for her recent treatments to stick. However, this IS Bergman, and this IS Swedish. Hope is slowly lost. “Through a Glass Darkly” is a painful, difficult film if you’re willing to sink into it, and yet, a marvelously symbolic work of art. Always reminding yourself that Ingmar Bergman does nothing by accident frees you to consider everything he makes available to you – from a slightly opened door, a ship wrecked hull, a chair being painted black from it’s older white, even a pair of sunglasses – he controls his story with utmost care and concern. Nothing is an accident. WOTO

“Goodfellas” (again, 1990): It’s been at least 5 years since I’ve seen this film. Much of the storyline I’d forgotten. Yes, it’s about The Mob in the 50’s through the 80’s, much of which is a true story. Okay. Great acting that never goes “movie” on you, delivered by DeNiro, Bracco, Liotta, Pesci, Sorvino… it’s hard to find fault with this classic, sweeping tale of life inside one crime world. However, I was pickier this time, and two things – perhaps handled by the same person – were often a problem: 1) the cars were sometimes showing up as much as two years earlier than the year they were released, and 2) the pop music also being used (to set the tone), was consistently behind era by 2-4 years. Look, when you’re doing a lengthy tale dealing with decades worth of changes, and the time element is important, you don’t get sloppy with the period cues! This is the one aspect that kept yanking me OUT of the moment – something you do not want happening to your audience. Martin Scorcese is a great director. He just needs to take more care choosing his staff – since he can’t do it ALL himself. I doubt this is the first time the issue has been raised. WOTO

"A Christmas Story" (again, 1983): We watch this one every single year. We know it by heart, and still continue to love it. (Let’s see…I think this means I’ve seen it about 22 times!) It's unavoidable for me, since it tells the story of MY childhood - EXACTLY! – no, REALLY! – from the coat “Slick” wears, to the coal furnace, the school design, the heavy winter, the coon skin cap, the toys, to the tongue on the flag pole - except I never got the chance to shoot my eye out with a BB gun, which I’ve always regretted. It’s set exactly 10 years earlier than my experiences, but in Indiana, THAT means little. The period sets, costumes, cars, etc. are flawless (even if there IS some of that “clean car syndrome”). Believe me, I've studied it... but, there is ONE LINE of dialog… precisely BACKWARDS, a real mistake. One day you might catch it. Maybe not. Good luck. While you're at it, try to determine in EXACTLY what year "A Christmas Story" is set! It CAN be deciphered. WOTO IMDB

“L.A. Confidential” (1997): GREAT crime drama set in early 50’s Los Angeles. Thorough sets (although a tad dated for the year 1953), non-cartoonish costuming, no “waxed car syndrome”, a wonderful range of architecture…and plenty of tough guys, beautiful broads, little weasels, corrupt cops, and lost souls populate the story’s landscape. The acting is acceptable (the ever so-so Kim Basinger) to top notch, which would include Russell Crowe, Kevin Spacey, Danny Devito, David Strathairn, Guy Pearce, and more. Full of post-WWII California land-boom atmosphere. Be prepared to think. This is NOT a simple plot. WOTO

“Floating Weeds” (“Ukigusa”) (Japanese, 1959): The first few things I notice about films by writer/director Ozu are: the incredibly consistent, artful composition used in his shots; his patience with the “ordinary”; and his intentional avoidance of “action” and blatant “drama”. His films are meditative exercises on the daily truths we humans must face, which contain their own realistic challenges. Like Bergman and Allen, he too often uses the same actors, non-exotic locations, and stays within a philosophical area of interest that is obviously not market driven…which earns them dedicated followers...even after death. Ozu’s films are pure elegance. WOTO IMDB

“The Story of Women” (French, 1988): Directed by Claude Chabrol, starring Isabelle Huppert and Francois Cluzet. Set in WWII occupied France, many women were forced to find any means possible to afford rent and food for their families while husbands were off to war or dead. This is the story of one woman,, with two children, who HAS a man at home, but doesn’t love him, and proceeds with a life as though he didn’t exist. Huppert plays an odd character, both warmly feminine, and frozen without emotion or morals. It isn’t that she is such a complex person – just that she sees her condition as an Existential one that requires various attitudes to get the job done. Her calculating ways are even a shock to the prostitutes who come to know her. The film takes a twisted view of men as well – who are either sadistic users, or, weaklings of no value. NO ONE comes off looking good. Huppert and Cluzet are great is the lead roles. WOTO

“Memories of Underdevelopment” (Cuban, 1968): Made in 1968, set and shot (b/w) in 1961-62 Cuba, using a frighteningly smooth blend of documentary footage, and flash-backs, with new sets, locations, and actors in present-time, we watch a man at an airport say goodbye to most everyone he’s ever known. THEY are escaping the new Castro Cuba, to start over in Miami, USA. HE has decided to remain (although we’re never given much of an explanation why), and use (what must be) his independent wealth. Now living in the big city with only strangers, he wanders about looking for relationships. Instant closeness. Replacements. Although carrying the demeanor of a suave, patient, aging bachelor, he has the desperation of a teenage boy, driven by appearances and hormones. As archival footage is used to expand the vision of Castro’s Cuba, it is clear the lonely man is the one making the bigger mistake. I thought of this “story” as Emotionally Existential. WOTO IMDB

"American Beauty" (again, 1999): Kevin Spacey, Annette Bening, Thora Birch, Allison Janney, Peter Gallagher, Mena Suvari, Wes Bentley, Chris Cooper…an all-talented cast, great photography & lighting, interesting score, and supremely alienated dialog (along the line of "The Ice Storm"). "American Beauty" received the Academy Award for Best Film of 1999, about which I have no argument. Spacey does a great job of creating an average man who's slowly losing his tolerance for a life that gives nothing back (and received Best Actor for it), Benning is a self-tortured Type A real estate broker who can't find perfection in the world, their daughter (Birch) - wanders solo through the house, trying to connect with something and someone. Her best - only - girl friend (Suvari), is a loud-mouthed, acidic Prom Queen type, who talks the talk and appears to walk the walk. A young man moves in next door. He's silent, and seemingly videotapes everything and everyone (Cooper). It is often through his lens that we observe these lives. This is by no means a comedy, but there is a lot of BLACK humor for awhile, which slowly sheds the humor part... leaving the film to conclude in the only ways it could. This is one of my favorite American films of the last decade. "We" have done a great job of looking closely at our own culture, and finding some of what makes us "US". I would include "Blue Velvet" "The Ice Storm", "Exotica", "The Straight Story", and "The Sweet Hereafter" in this genre. WOTO IMDB

"Mephisto" (Polish, again, 1981): Starring Klaus Marie Brandauer, directed by Istvan Szabo. This is the first film of a trilogy (those Poles seem to love triplets!. I think it's a smart idea if, as an artist, The Art is your first concern (as opposed to typical sequels and other attempts at creating mere Hollywood cash. How do you spot the difference? Trilogies (etc.) are NOT "Parts One, then Two, then Three, normally loaded with more and more lame, self-referential cliches and marketing repeats per effort.) Instead, a trilogy is a deeper, more thorough look at a story or idea that would be damaged if cut short. Taken to the extreme, there's efforts such as Fassbinder's "Berlin Alexanderplatz",
which is 15 ½ hours in length.) Okay, NOW BACK to "Mephisto": Set in the early 1930's in Germany, we meet a totally self-involved, self-convinced, mediocre stage actor, who the audience adores...i.e., they have a perfect relationship. As Germany morphs into the Nazi environment, many artists, teachers, and other intellectuals flee Germany, but THIS man's ability to rationalize is astounding. With each small or large shift in German life, he adapts, or tries to adapt, with lightning speed... making certain the "spotlight" stays on him, and his career is not only not weakened, but grows. His narcissism keeps him blind to the fact the Nazis eventually figure out how to USE him...and use him. Learning comes slow, too slow, to this pathetic character, who earns the ironic nickname "Mephisto". I can't help but think this film was inspired by the film director Kurt Guerron, who is the subject of the documentary “Prisoner of Paradise”, and basically did the same thing, in Germany at that time. WOTO IMDB

“Colonel Redl” (German, 1984): Starring Klaus Marie Brandauer, directed by Istvan Szabo. This is the second film of a trilogy. (The third, “Hanussen” I do not own, but will try to find for rental.) Here we are in Germany again, but before WWI. A young man decides that the only way to raise himself from his peasant roots is to enter the aristocratic military world – and is willing to do anything to get in, stay in, and advance in. This he does, but there’s always The Price. He slowly loses those things and people which held any meaning or joy for him. He finds himself an amateur in a world that is completely Darwinian, and long-practiced in the art of manipulation. Like “Mephisto”, the ladder climber seems to reach spectacular heights, only to be tossed down when it most serves those who were never out of control. These films of Szabo start light, start fluffy, and slowly change into foreboding, evil, hopeless stories with NO optimism towards the human spirit, organized groups of humans, or Time being a teacher. They are very insightful essays on these subjects. WOTO IMDB

“A Generation” (Polish, 1954): This is the first of a war trilogy by Andrzej Wajda. Photographed in rich black & white, “A Generation” is about the youth of Poland, who joined underground rebellions against the Nazis. They formed small “cells” (sound familiar?) of fighters, used pseudonyms, and seldom met with larger groups – for the sake of secrecy and safety. The photography is wonderful (the long opening scene is alone worth the price of admission), the acting is great to average (with a TEENAGED Roman Polanski in one of the supporting roles!), and the dialog gives insight into kids who must grow up overnight and become not merely premature adults, but calculating killers. Made less than a decade after the war, this film depicts the serious, accurate, and even on extremely rare occasion, lighthearted moments that made up their lives. “Kanal” (1957), and “Ashes & Diamonds” (1958) follow. WOTO IMDB

“Kanal” (Polish, 1957): This is the second of Andrzej Wajda’s trilogy about WWII in Poland. I LOVE the photography – the light, the angles, the flowing camera movements. “Kanal” is about a group of resistance fighters and civilians who, out of necessity, band together to fight (what appears to be a losing battle) against the oncoming Nazis. First set in an incredibly bleak ruin of Warsaw, the story and acting only intensify as they begrudgingly try to escape through the underground sewer system. THIS one will take it out of you. It is relentless. RELENTLESS. WOTO IMDB

“Ashes and Diamonds” (Polish, 1958): And, this is the third of Wajda’s trilogy about WWII in Poland, or perhaps better stated, inside the Polish people. This one is set on t he last night of the war, and the following first day of official peace & freedom from German domination. As with both of the other films, nothing is as simple as it might first appear to us, or to the story’s characters. Although it might not be “necessary” to view this trilogy three nights in a row (as I did), they SHOULD be seen in sequence. The writer and director chose exceptionally interesting and symbolic moments in time to place these stages. Note: NONE are upbeat, optimistic considerations of what war creates, except perhaps Wajda’s inclination that the Poles do what they MUST for the greater good, even when it is for their individual worst. WOTO IMDB

“A Streetcar Named Desire” (again, 1951): Tennessee Williams wrote it for the stage – and received the Pulitzer; Elia Kazan directed it for film – and received four Academy Awards, making it a classic; and Marlon Brando (at age 27, received the first of his four consecutive Academy Award Best Actor nominations), Vivien Leigh, Kim Hunter, and Karl Malden brought it to life – and for the first time caused a film to garner three of the four acting Oscars. No one interested in stage plays or film making can or should be unfamiliar with what is arguably considered the most important single script of the twentieth century. WOTO

“Veronica Voss” (German, 1982): Rainer Fassbinder’s film about a once-was actress trying to pretend she’s still hot property (think “Sunset Boulevard”), who has a combination of problems that plague her and anyone who nears her … well, except for those who use her. Sound fun? This is no comedy. Set in 1955 Germany, with flashbacks to the “glamorous” days of WWII, we slowly learn about Veronica Voss, along with a sports writer who is drawn into her world. The b/w photography is beautiful, the use of unexpected music adds to many unreal moments, the acting is emotionally restrained (Germanic) and chilling…this is a top notch drama. WOTO

“Insomnia” (2002): I saw the original Euro version a few years back. It was good, but the story line left me a little confused at points. This 2002 version, American, made things clearer...and because of that, it became all the more interesting and tense. Add Al Pacino, Robin Williams (playing nearly as good a role as in "One Hour Photo"), and Hillary Swank as the main characters, incredible landscape scenery, the phenomenon of getting no sleep, and this was a no-lose, cat-n-mouse, crime story. WOTO

"Masculin Feminin" (French, 1966): A film by Jean-Luc Godard. I recently described "Natural Born Killers" as a film that must be seen by film fans if for no other reason than its unique presentation. "Masculin Feminin" is another work of Art that has to be viewed on its own terms...and THIS one came thirty years earlier. Shot in black & white, using a voyeuristic, documentary style, and divided into 15 unequal, titled segments, we follow a group of French friends and lovers through their lives as urban 20-somethings. With way too much time on their hands (think the t.v. show "Friends"), they spend it all either refusing to think (think "Clueless") or living entirely in their heads, espousing political dogma, spray painting slogans, and generally leading the slightly surreal lives of privileged dilettantes. (I wonder IF the youthful audience of 1966 understood Godard's indictments?) This is a unique film in its visuals, editing structure, and audio. "Masculin Feminin" sneaks up on you. It's very good. Don't let the lives of these people lull you into their way of seeing things. Stick with Godard. WOTO

“Natural Born Killers” (again, 1994): Written by Quentin Tarantino, and directed by Oliver Stone…you can fairly expect a violent, exaggerated, surreal story. Add wonderfully unique image montages, editing, camera work, color, and unexpected scoring. Woody Harrelson, Juliette Lewis, Tommy Lee Jones, Rodney Dangerfield, Robert Downey Jr., and many more stars are consumed inside their various insane, sociopathic roles. This is one twisted story of “star crossed lovers” – with a very dark sneer at the commercial media machine. NOT for kids or the squeamish, but for film fans, “Natural Born Killers” is a must-see work. WOTO

“Tully” (again, 2002): Elegantly understated, beautiful, sad, funny, and finely made. "Tully" is an independent effort that has no high profile stars, and everything you want from Art. Think "Hud" and "Tender Mercies" mixed with "The Straight Story", "The Last Picture Show", and “All the Real Girls”. Superb photography and sound capture the land, water, light, air, and each life of rural Nebraska. Relaxed dialog patiently reveals the plot and it's secrets. The acting is admirable by all. Points to be made are created with depth and forgiveness. There are no easy solutions, and problems never stay buried... WOTO

"Finding Nemo” (again, 2003): No one is better than Pixar at computer animation, but like I've said before, it's not just the look of the characters, color, light, texture, reflections, movement, sound, etc., which are all VERY good, it's also WRITTEN with characterization and story line as a PRIORITY. Sure, they ALL have something of the same concept: Lovable characters have their secure home interrupted with a threat, which only they can solve. We expect them to face multiple dilemmas on a journey, and to gain deeper appreciation for one another in the process. It's not a unique plot line, but it's done SO well, the formulaic aspects of Pixar stories (and they're not alone!), is easy to accept, in trade for the great visuals and quirky, witty characters – greatly assisted by the proper voice castings.

“Coffee and Cigarettes” (2004): Think of a series of tiny “My Dinner with Andre” films, staged in various restaurants, at single tables, set with coffee and cigarettes, and pairings of known and unknown actors, musicians, etc. – but much more eccentric. If pauses, silence, dry humor, b/w film, and no “real” action BORE you, skip it. If you find small moments interesting, as I do, SEE “Coffee and Cigarettes”. If you don’t like one piece, wait for the next. There’s a rhythm to this film, and once you find it, the nearly comatose pacing is quite enjoyable. WOTO

“Blade Runner” (again, 1982): Twenty three years have passed since this film premiered. The early 1980's were peak Punk fashion, and it shows here... BUT, this is ALSO a richly textured, atmospheric Futurist flick (courtesy of Ridley Scott), set in 2017 (oops, here comes that pesky future creeping up on us again). "Blade Runner" has a visual logic very hard to top. The sets, sound. music, costuming, scenario, moody dialog ...are VERY 80's in tone, which includes the NOIR of 1940's films, and our 1980’s concerns over the years ahead. This is outstanding "post-modern" science fiction. Harrison Ford takes the lead as an ex-specialist-cop who is unwillingly brought out of retirement to hunt down six killer androids, Sean Young is luminous as the 2017/1940 square-shouldered mystery babe, Daryl Hannah is the female epitome of bedraggled Punk athleticism, Edward Olmos is the greasey street detective that’s seen it all, Rutger Hauer is the charming but calculating killer…and other talented actors play equally interesting roles – all of whom help create one of the best mood-driven Sci-Fi’s of all time. Even people that aren’t “fans” of the genre will probably like it. WOTO

“A Bug’s Life” (again, 1998): I think I enjoyed this one as much (or close to) "Toy Story". Beautiful, funny, enjoyable. Pixar is by far the leader in compu-animation...NOT just due to visual quality (my GOD! The textures, reflections, shadows, colors of light, subtle movements, detailing!!), but for story line, sound tracks, etc. Alright, the script IS based on "The Seven Samurai", but it's a good story! WOTO

“Wild at Heart” (again, 1990): I have to qualify this one: “Wild at Heart” is one you’ll enjoy IF: you like David Lynch films in general, you have nothing against a lot of kitschy imagery (a la Tarentino), you have nothing against a lot of extreme violence, sex, and disgusting characters, and, you find all of it sort of funny. Now, with THAT said, why see it? This ISN’T a “spoiler”, trust me… you should, from the start, watch this with “The Wizard of Oz” story in mind. Both films are “road trips”, both encounter characters, have witches, evil beings, travails, tests, grandiose goals, fantasies, and, are basically love stories set as adventures. Both have lead characters who are trying to find their places in the world, and to do this, they had to LEAVE their worlds. Trust me, just keep OZ in mind, and you’ll have a weird, perverted, fun, creepy time with this one. Nicolas Cage, Laura Dern, Diane Ladd, Willem DaFoe, Crispin Glover, Isabella Rossellini, Harry Dean Stanton, Jack Nance (“Henry” of “Eraserhead”), Pruitt Taylor Vince, and other talented people got on board with this weird, fun, awful tale of True Love. WOTO

“Pretty as a Picture – The Art of David Lynch” (1997): This is a documentary, made during the production of his film “Lost Highway”. Interviews include Bill Pullman, Patricia Arquette, Robert Blake, Robert Loggia, Balthazar Getty, and Natasha Wagner. Also in the documentary are Angelo Badalamenti, Mel Brooks (did you know HE funded “The Elephant Man”!?), Lynch’s children, and many of the people who began their careers at the same time, and along with, Lynch. This film looks at Lynch as a director, but also as a painter, sculptor, photographer, collaborator, writer, and all-around Idea Man. If you’re unfamiliar with his films, this may jump in too deep too fast. I’m not sure. If you ARE familiar with them, this can only add insight into his work process. DO NOT expect him to “explain” his films to you. WOTO

“The Secret Lives of Dentists” (2004): Starring Campbell Scott, Hope Davis, Dennis Leary, and Robin Tunney – all talented actors. Life is one chaotic situation after the next, and then we choose to go on with it the next day. This is a richly textured look normal people with normal lives full of normal concerns and fears, who deal with them as best as they can - which is never quite good enough, but will just have to do. A few somewhat inventive devices are used to multi-layer the realities being considered, but the strength of this story is in it’s intrinsic truth. This is a film for all adults to see, as a reminder that we’re doing the best we can, it ain’t good enough, but until a “cure” or an “answer from on high” comes along, it’s what we’re gonna hafta live with. WOTO

“Westfront 1918” (German, 1930): I found it very interesting to watch a GERMAN anti-war film about WWI. As is often the case with anti-war films, we spend most of our time with “average Joe (Johann)” in the trenches, finding out he’s just like the rest of us. We watch the tragedy, monotony, hunger, panic, madness, mud, death, fleas, the desperate acts of desperate people…trying to accomplish what? Exactly. Survival, and nothing more. The CONTEXT of this film is what most interested me - the 1930 Historical Position – of a country defeated in that war only twelve years prior to the film’s release – a country under huge economic collapse, and the soon to be complete control of Germany by Adolph Hitler (1933). The last question asked is “Is this the end?” A VERY loaded question, full of meanings. I am SURE the people who made this film had to flee Germany. WOTO