Russell's
Movie picks!
Top 6 movies
of all time
(in
no particular order):
Crimes
& Misdemeanors (1989) Written/Directed by Woody Allen.
Woody Allen
is the greatest American screenwriter of the 20th century. This movie
proves it beyond question. The script is lucid, economical, perfect.
Every scene, every piece of dialog, from opening to close is placed
to prepare and teach us the significance of the closing sequence. It’s
a masterwork that treats its viewers as adults, assaulting them with
significant and profound questions of moral ambiguity. The film is so
well crafted, that to tamper with a single syllable or a frame, would
alter it unacceptably. Furthermore, the piece works on multiple levels.
While it is chiefly a moral/philosophical drama, Allen deftly blends
a comic subplot that supports the thrust of the story, and eventually
merges and reinforces the conclusion. This movie has stayed with me
since the first time I saw it. It’s a masterpiece, and one of the underrated
gems of 20th century American filmmaking.
Magnolia
(1999) Written/Directed by P.T. Anderson.
This is
an emotional powerhouse of a movie. The first time I saw it, I was completely
blown away, and was left reeling for days. The plot follows numerous,
seemingly unconnected, characters who are all dealing with their own
problems, shortcomings, pain, and misery. As the story progresses, we
see inside the characters, feel for them (and with them), about the
difficulty of their circumstances and history. I find Magnolia to be
a profoundly compassionate film about the mistakes we all make--the
two sided persona of goodness and evil inherent to humanity. We’re not
allowed the safe self-righteous contempt of thinly constructed stereotypic
props so common in most American films. When we’re tempted to hate the
mysogynistic Frank T.J. Mackey (Tom Cruise), we begin to see the intensity
of his inner demons, and we’re forced to step back a moment. When we
feel disgust at Claudia (Melora Walters) for her drug abuse and self
destructive behavior, we see the struggles and pain she has endured,
and are softened to her situation. The depth and layering of characters
is a tribute to writer/director Anderson, who weaves the stories to
guide us to a satisfying, memorable, and ultimately hopeful, final sequence.
Wings
of Desire (1987) Written/Directed by Wim Wenders.
This spiritual
view of pre-unification Berlin is awe inspiring and incredible. As viewers,
we’re guests to the angelic life that goes on just beyond human perception.
Two angels, Damiel & Cassiel, view human society from a spiritual perspective.
They hear the thoughts of people, and live with deep curiosity (jealousy)
of the immediacy and physicality of human experience. As Damiel (Bruno
Ganz) dreams of being human, he falls in love with a circus performer,
and chooses to leave the power of his heavenly position for the fallibility
and mortality of human life. As he descends to Earth, Damiel learns
the difference between idyllic looking in, and the reality of living.
This movie is beautiful in scope and vision. It presents human society
from an outside, slightly askew, perspective, and lets us see our own
lives in a new light.
Stardust
Memories (1980) Written/Directed by Woody Allen.
Panned
by critics at its initial release, this is one of the best Woody Allen
movies. A filmmaker (similar to Allen himself) struggles with the meaning
of life and relationships. Told partly in flashback, the story focuses
on Sandy Bates (Allen), as he attends a film retrospective given in
his honor. This sets the stage for a journey through past relationships,
hallucinogenic recreations/projections of his own fears, and an allegorical,
Bergmanesque, film within a film. All of this chaos leads to the discovery
of peace in the most humble and unexpected of places. Complex, well
told, self aware, this is a great movie!
Wild
Strawberries (1957) Written/Directed by Ingmar Bergman.
I first
saw this movie in college, and it made a profound impact on me. A cranky
old retired professor is honored with an award, and decides to drive
himself to his former university to receive it. Along the way he is
forced to deal with his present, past, and future. In the present, he
is surrounded by his daughter-in-law, and several groups of strangers
he encounters along the way (a trio of youngsters, and a bickering couple).
These encounters bring him in touch with his past, as the professor
flashes back to the events that turned him into the cold and seemingly
unemotional person we see now. Back in the present, there are glimpses
of wisdom and perspective as he responds to those younger than himself,
who mirror his own experience, and the potential for his own mistakes.
The sadness in his eyes speaks of his knowledge that life will likely
be similar for them. The future is multifaceted, one of regret and impending
death. The Professor has a growing sense of loss as he realizes how
his actions and temperament have affected those around him (particularly
his son who has become similarly cold), and yet still struggles with
becoming open and vulnerable. Bergman communicates the story with sensitivity,
and we’re invited to see the journey from the perspective of the professor,
not to forgive or judge him, but to understand. There is no simple resolution
to the issues here, and Bergman never condescends to provide any. This
is a timeless and artful work that everyone should see!
My Dinner
With Andre (1982)
Written by Wallace Shawn and Andre Gregory / Directed by Louis Malle.
At first
glance, you might assume that a movie about two men having dinner in
real-time is absurd. You’re probably right, but what a brilliant absurdity
it is! This is a wonderfully creative and thoughtful, endlessly interesting,
movie. Each time I watch, I come out with something new, some new interpretation
or thought, some ribbon of insight I had missed before. Wally (Shawn)
is a struggling writer going to meet his old theatre friend Andre (Gregory),
who has been mysteriously absent from the New York theatre for several
years. The two meet for dinner, and begin to catch up. Beginning with
drinks, and progressing through the entire meal, Andre explains his
increasingly abstract and metaphysical “theatre” experiences of the
recent past. Wally listens with rapt attention, dubious at first, but
finally joining in with his own perspective, challenging Andre in spots,
and offering his own insights and experiences. The entire conversation
is wonderfully self aware. Shawn and Gregory use their own names, and
their own lives as a metaphor for the larger construct of the film--the
“theatre” behind, and within, and around, the theatre. The film is often
criticized for its obvious lack of physical action, so if you want explosions,
bullets, and the like, look somewhere else. If, however, you want a
movie that is dense with intellectual action, packed with ideas that
will keep you pondering for days (even weeks and years) on end, then
this is it.
My Emotional
/ Romantic Favorites.
These are
movies often maligned by critics and others who are unwilling to let
themselves fly free emotionally. My reaction to these choices are (obviously)
highly personal and subjective, so you may disagree. Whenever I feel
sad and alone, these movies are sure to inspire me and fill me with
the beauty of alienation, pain, and desire:
Bridges
of Madison County (1995)
Based
on the book by Robert James Waller / Directed by Clint Eastwood.
Ignore
the cheesey B-movie actors chosen to represent the modern-day children.
Eastwood and Streep are simply amazing, and they pull off a convincing
and moving portrayal of two people caught in impossible love. The movie
respects the complexity of the situation, and allows you to see both
sides of the choice Francesca (Streep) is forced to make. The final
scenes pull my guts out every time. Tragedy at its pinnacle.
Before
Sunrise (1995) Written/Directed by: Richard Linklater
For anyone
who has ever had a whirlwind romance that may (or may not) have worked
given the time, this movie will transport you back to that place and
time. Ethan Hawke and Julie Delphy meet each other on a train, and decide
to spend a day together, talking about their lives, learning about each
other, and being new best friends for one incredible day.
Déjà
vu (1997) Written/Directed by Henry Jaglom.
This movie
is an example of what is right with modern cinema. This tale of accident/predestination
is told from the perspective of Dana (Victoria Foyt) as she meets the
man of her dreams again and again (and again) until she is convinced
that something magical is afoot. This is a profound examination of romantic
idealism vs. cynicism. The story wraps up a bit too tidily for my taste,
but it is an excellent piece of work nonetheless.
Beyond
the Clouds (1995)
Written/Directed
by Michelangelo Antonioni with Wim Wenders.
This movie
takes a lot of flak from critical reviewers, and while I see their points,
I disagree. Antonioni works on an emotional canvas, and creates a sort
of rarified alternate world. It’s the sort of place you either appreciate
or don’t, I suspect. I love this movie for small things--moments like
Malkovich on his swing, contemplative, as the beach swirls around to
a dirge-like U2 song. Throughout, the characters seem purposefully vague
and impressionistic, their motivations mysterious. This is seen as a
fault by many, but not by me. The final story is my favorite, drawing
together the spiritual and physical worlds, putting images to that inexpressible
human need for divine connection.
All reviews
written by Russell David Holsopple. (c) 2001.