The Greatest Films Of All Time – The problem with a top ten movie list is that I can’t just do ten, can anyone? My friend and colleague Craig suggested that I cheated a bit, he was right, (laughs) but I didn’t care either! Maybe my list wasn’t the same last year, it won’t be in a year, it’s just the way it is and to understand how I came to the last ten, you have to see many of the second place.
Time is the greatest enemy of movies, it wastes time and power, causing what was once great to destroy, to become ordinary. Society changes and with it just about everything in that society, so what once was is no longer important. Personally, the greatest films are those that have passed time, that are as good today as they were the first day they were released. Time has done them no harm or damage. In some cases, movies grow and become great, the next generation rediscovers them and celebrates them as the masterpieces that they were.
The Greatest Films Of All Time
(1941) is the greatest film ever made and while I maintain it is the least innovative, great works have long since surpassed it. The American Film Institute continues to name it number one, which I always disagree with. There is much to admire in the film, Welles has accomplished wonders, but time has eroded his greatness.
Movie Scene: The Greatest Films Of All Time
Paul Thomas Anderson directs and adapts this tale of a man’s greed and hatred for his brother, until it destroys and destroys his soul. Daniel Day-Lewis, using the voice of director John Huston, as Daniel Plainview, a self-described man, discovers the inanimate object. He claims it’s a family business, using his adopted son to hide his true identity. In fact, he is a clever, greedy, perishable property without an iota of goodness in him, corrupt nature, ignorant. Day-Lewis watches the film like a sleek panther, a hunter looking for his next target. Paul Dano is as great as this ideal; The false prophet Plainview despised. The cinematography is amazing, the score is perfect, the direction and the acting are brilliant. As good as a movie can be.
Steven Spielberg created a dream on the screen, and this is his best film before 1993, his greatest work. It will never be forgotten that this film was built entirely with special effects, in the days before cgi, and the performance of a ten-year-old boy. A great man is the creation of a group of artists, and the fact that their behavior has drawn millions of tears is a testament to their talent. A mild-mannered alien is left behind by his flight attendant by mistake, and Elliott finds him, a boy struggling with the separation of his parents. It enters creation and we watch, transformed as a deeper connection than a love affair. Henry Thomas is amazing as the boy, this farewell scene will captivate you, and Spielberg’s performance as a director is excellent. That score, those effects, the cinematography… amazing. Interesting work, exercise…the reason for making movies.
Until we travel this evening we will understand why Ethan (John Wayne) is looking for his sister, who was kidnapped by the natives after killing her parents and siblings. Ethan has no intention of bringing the child home, he plans to kill her because he is now part of the tribe that adopted her. The search takes seven years and during this time we see the hatred, anger and bad behavior of Ethan, Wayne’s greatest work. Finally face to face with the older Debbie, he lifted her up above his head like he did when she was little, then swept her into his arms, whispering, “Let’s go home Debbie.” The last thing Ethan expected to find was a human, yet it was all there. John Ford, John Wayne, Monument Valley… Magic. Watch as Director Ford navigates the passing of the years, with letter readings, weather, and difficult journeys home. Simple genius. The greatest western ever.
Martin Scorsese directs this violent, vehicular journey through twenty-five years in the life of a gangster. Based on the book and memoirs of Henry Hill, the film is a fascinating, often jaunty, sometimes funny, but very real, study of life in a gang. Hill (Ray Liotta) is half Italian, half Irish so he will never be a full member, but he is in the circle of power, he makes friends with the powerful and these friendships shape his life. Robert De Niro is quietly terrifying as Jimmy the Gent, a thief and cold-blooded killer, Joe Pesci, terrifying as Tommy, and Paul Sorvino, a guard, slow-moving because he can be, manage it both like Paulie. Lorraine Braco is interesting as Liotta’s wife, she has a hand in it all, because she knows and understands everything her husband does. Moving quickly, his camera taking us into the world, Scorsese confidently creates one of the great mob movies. Be warned, the violence is really scary, but true.
Best Films Of All Time (podcast)
We were all Dorothy. For me it was Easter Sunday, 2001. I had been in the hospital for three months after a terrible car accident had left me bedridden. My wife and girls came down in the morning and stayed until one, a wonderful morning with an Easter hunt in my room. When they left, this movie came out and I watched it. At one point, the desire to go home, hug my girls, smell their scent, feel their skin and see their smiling faces overwhelmed me and I started to cry. My nurse came in and sat down, holding my hand. “I’m Dorothy,” I said, sounding like an idiot. Journey to Oz, Over the Rainbow is one of the most amazing movies ever made. The performances of Judy Garland, Ray Bolger (Scarecrow), Jack Haley (Tin Man), Bert Lahr (Lion) and especially the Wicked Witch of the West (Margaret Hamilton) are amazing, absolutely perfect. Directed by Victor Fleming, the movie is a dream come true. And at some point in our lives we will long for home, because on earth, we are all Dorothy.
The forest is impossibly green, the forests are slowly moving back and forth, the waves of heat are revealing to us. On the soundtrack, Jim Morrison starts humming The End sadly as the forest erupts in flames as helicopters fly by. Thus began Francis Ford Coppola’s dark and eternal Apocalypse Now (1979). Based on his careful take on Conrad’s Heart of Darkness, Captain Willard (Martin Sheen) is ordered by an assassin to kill Colonel Kurtz (Marlon Brando), a one-time military hero, who has rebelled in the jungle, fighting his. As Willard travels across the river, following Kurtz to Cambdia, he learns a lot about the man he was sent to kill, and in the process discovers who he is. They encounter a madman on the river, Kilgore (Robert Duvall), a napalm-loving lunatic who bombs entire villages so he can surf, a play bunny for a lazy teammate, a tiger in the jungle , and the natives shoot arrows and spears. Brando is creepy and scary, Duvall just shines and Sheen is brilliant. Coppola creates a nightmare about Vietnam South that is about all war. What a wonderful surprise. It’s really scary.
David Lean directs this masterful biography of T.E. Lawrence, a World War I veteran, who was more or less deported to Arabia because he confused the army. In the great Arabian desert, he found his true calling. Lawrence was a genius, a warrior, worshiped as a god by the tribes of the desert, who chose to follow him, a sadomasochist who wanted to kill, fearless, and homosexual when it was not allowed. not be one. Dressed in a pure white dress, an Arab dress, he wore it everywhere in defiance of British military law. Lean cast the unknown actor Peter O’Toole after Albert Finley and Marlon Brando dropped out, and couldn’t imagine anyone else in the role… O’Toole IS Lawrence. From the time he rode a camel in the heat of the desert, he was with the earth. He convinced the warring Arab tribes to join him, where he crossed the impassable desert to attack Aquaba from behind, his guns pointed at the sea. Nothing he did failed, even though he lost men on the way, money he had and war money. One image from the film, for me, defines Lawrence. After the plane attacked, he sat together, his white robes now stained and dripping with blood, his voice screaming “No prisoners” in our ears. From the desert vistas, through the support of the performances of Omar Sharif, Anthony Quinn and Alec Guinness, to this great achievement and the great O’Toole, the film is a brilliant work of genius.
To make this film, Steven Spielberg abandoned all his signature techniques, everything he did
Sight & Sound’s 2022 Greatest Films Of All Time (w/ Dani Vilu)
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