Posts Tagged ‘James Mason’

h1

Answering Clayton Dillard’s 100 Top Movies of All Time

May 2, 2011

Clayton Dillard is a smart 23-year old grad student in film at San Francisco State.  I first met him at a screening of some retardation at the local Midnight Movies, and found him to be real quiet.  Then I got to know the REAL Clayton.  The one who’s seen as many movies as my Claude.  The one who has more Criterion Collections than Claude. (He secretly hates you for that, CD.)  And the one who now won Criterion’s cool contest AND was mentioned as one of the three favorites from a field of 60 winners (Claude and I were both unfairly shut out and might protest.).

But I digress.  Clayton is 23.  Claude and I, we are much older, much more seasoned, lived through the 70’s, understand things, etc.  Clayton put out his Greatest 100 Movies of All Time, and I just shook my head, cried, laughed, then cried again.  Then laughed again.  Then wrote down a bunch of movies I need to watch.

THIS RIGHT HERE IS NUMBER ONE, CLAYTON.

1.  2001:  A Space Odyssey (Kubrick, 1969)

2.  The Third Man (Reed, 1949) (I love you for that one.  I’m sure Sir Carol appreciates being Number Two.)

After those two, in no particular order come my favorites, the films I could not look away from, the ones that left me feeling like I was punched in the gut, or the movies I could watch repeatedly without getting tired of them.  I’m leaving off the ones on Clayton’s list that I would put on here, like his #1 and #15, and Citizen Kane, and Viridiana, and Apocalypse Now and The Seventh Seal and Bigger than Life, and Piranha 3-D .

Clayton has  given me a good list of stuff to watch.  And fortunately, Claude owns almost all of it.

Please remember, these are in NO PARTICULAR ORDER.  Listing is fine; ranking is nearly impossible.

3.  Clayton, are you including documentaries on your list? “Stevie” (James, 2002)

4.  The White Ribbon, or Das weiße Band – Eine deutsche Kindergeschichte  (Haneke, 2009) – I know you love me for that one, Clayton.  Mwwwah.

5.  While we’re on Haneke, how about Cachet (2005)?

6.  Fiddler on the Roof (Jewison (who was not Jewish), 1971) for personal reasons

7.  Funny Girl (Wyler, 1968) – I know you and Claude just wince at these two.  That’s ok.  I’m older than both of you.  Put together.  Squared.

8.  Barton Fink (Coens, 1991)

9.  Simon of the Desert (Buñuel, 1965)

10.  Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb (Kubrick, 1964 [a very good year – Rankin-Bass’ Rudolph the Red-Nosed Reindeer also made its debut, as did the Beatles in America, and yours truly])

11.  The Player (Altman, 1992)

12.  The Treasure of the Sierra Madre (Huston, 1948)

14.  The Lady from Shanghai (Welles, 1947)

15.  Touch of Evil (Welles, 1958)

16.  Crimes and Misdemeanors (Allen, 1989)

17.   The Phantom of Liberty (Bunuel, 1974)

18.  Little Murders (Arkin, 1971)

19.  Carnal Knowledge (Nichols, 1971)

20.  Taking Off  (Forman, 1971)

21.  The Exterminating Angel (Bunuel, 1962)

22.  This is Spinal Tap (Reiner, 1984)

23.  Bob and Carol and Ted and Alice (Mazursky, 1969)

24.  All That Jazz (Fosse, 1979)

25.  Deconstructing Harry (Allen, 1997)

26.  I Love You, Alice B. Toklas! (Averback, 1968)

27.  The Odd Couple (Saks, 1968)

While we’re on Matthau, how about

28.  A New Leaf (May, 1971)

29.  The Bad News Bears (Ritchie, 1976)

and

30. Bigger than Life (Ray, 1956 – oh yeah, that was on your list)

31.  In the Loop (Iannucci, 2009)

32.  The French Connection (Friedken, 1971)

33.  Duel (I really don’t want to type his name, 1971 – that seemed to be an exceptionally good year for movies)

35.  The Bridge (documentary, Steel, 2006)

36.  Cruising (Friedken, 1980)

37.  Lost Highway (Lynch, 1997)

38.  Sleeper (Allen, 1973)

39. Salesman (Maysels, Zwerin, 1968) – my Essential Criterion pick

40.  Gimme Shelter (Mayslels, Zwern, 1970)

41.  Midnight Cowboy (Schlesinger, 1969)

42.  The Godfather (Coppola, 1972)

43. The Godfather Part II (Coppola, 1974)

It’s hard to do this list without leaving off some of yours, like Citizen Kane.  I may only get to 50, simply because I  haven’t seen nearly as many films at all as you have.

44. Crumb (Zwigoff, 1994)

45.  Seconds (Frankenheimer, 1966)

46.  Night of the Demon (Tourneur, 1957)

47.  Rosemary’s Baby (Polanski, 1968)

48.  Paths of Glory (Kubrick, 1957)

49.  The Killing (Kubrick, 1956)

50.  Rope (Hitchcock, 1948)

51.  Shadow of a Doubt (Hitchcock, 1943)

52.  Lolita (Kubrick, 1962) – I really believe this is James Mason’s finest performance besides “Bigger than Life”

53. Defending Your Life (Brooks, 1991) – a personal favorite, even though the ending is so much of an upper, it’s really a downer.

54.  Donnie Darko (Kelly, 2001)

55.  Manhattan (Allen, 1979)

56.  The Freshman (Newmeyer and Taylor, 1925)

57. Nosferatu (Murnau, 1922)

58.  American Beauty (Mendes, 1999) (Yes, Claude, I know.)

59.  Best in Show (Guest, 2000) – one of the deleted scenes involving Guest is actually the best scene in the film, and fully improvised.

60.  A Christmas Story (Clark, 1983)

61.  Don’t Be a Menace to South Central While Drinking Your Juice in The Hood (Barclay, 1996)

62.  Psycho (Hitchcock, 1960)

63.  Sweet Smell of Success (Mackendrick, 1957)

64.  Bullitt (Yates, 1968)

65.  A Clockwork Orange (Kubrick, 1971)

66.  Take the Money and Run (Allen, 1969)

67.  A Midsummer Night’s Sex Comedy (Allen, 1982) – the cinematography, lighting and set design are worth this alone

68.  Hush, Hush, Sweet Charlotte (Aldrich, 1964)

70. Them (Moreau, Palud, 2006)

71.  The Up Series (Apted, 1964-present)

72.  Jackie Brown (Tarantino, 1997)

73.  Repulsion (Polanski, 1965)

74.  The Shout (Skolimowski, 1978)

75.  Five Easy Pieces (Raefelson, 1970)

76.  Husbands and Wives (Allen, 1992)

77.  Beyond the Sea (Spacey, 2004) – no matter what anyone says, Kevin Spacey completely transforms into Bobby Darin.

78.  Burn After Reading (Coens, 2008)

79. The Front (Ritt, 1976)

80.  The Picture of Dorian Gray (Lewin, 1945)

81.  Key Largo (Huston, 1948)

82.  Black Orpheus (Camus, 1959)

83.  The Blair Witch Project (Myrick, Sanchez, 1999)

84.  The Cabinet of Dr. Caligari (Weine, 1920)

85.  The New Age (Tolken, 1994)

86.  Rocaterrania (Ingram, 2009?)

87.  God’s Country (Malle, 1985)

88.  Happiness (Solondz, 1998)

89.  Life During Wartime (Solondz. 2009)

90.  Dog Day Afternoon (Lumet, 1975)

91.  The Endless Summer (Brown, 1966)

92.  Grizzly Man (Herzog, 2005)

93.  Ghost World (Zwigoff, 2001)

94.  The Shining (Kubrick, 1980)

95.  Glengarry Glen Ross (Mamet, 1992)

96.  Encounters at the End of the World (Herzog, 2007)

98.  Heavy Metal (Potterton, 1981)

99. The Out-0f-Towners (Kellerman, 1970)

100.  Cabaret (Fosse, 1972)

101.  And because I named one of yours, Clayton, I’m gonna have to go with Clambake (Nadel, 1967) for the opening credits and font alone.

I can’t possibly rationalize and say these are the best films ever made.  I’m surprised I could even name 100 that I’ve seen, and a good 70% were introduced to me by Claude.  So I’ll just stick with, these would be the 100 films I would recommend.  Clayton, I hope you are proud of me for one thing:  the only chick flick that shows up is Funny Girl.  Congratulations on your Criterion win, dude.

Advertisements
h1

Bigger Than Life by Nicholas Ray and James Mason

March 26, 2010

Ever since I met Claude, I’ve been hearing about Bigger than Life, directed by Nicholas Ray, the same man who directed Rebel Without a Cause.   Strangely enough, Claude, and his friend Steve, always describe this movie as very comedic, when it was intended clearly to be a serious film about a serious matter.  Well, finally, after nearly four years, the good folks at Criterion Collection decided to put Bigger than Life out on DVD with tons of extras.  Claude nearly eja…fainted when he heard the news, and to come off what he terms “double secret probation”, I ordered it and had it delivered on the same day as it was released.  Again, Claude nearly eja…fainted.  So we watched it.  Like the Zapruder film.  And ladies and gentlemen, I’m here to tell you that this is an incredible film.  It has its black comedy in spades, no doubt, but this is clearly a horror movie as well.  Having been around people that turned into Mr. Hyde and I could not reach them, this movie gave me the dual effect of laughter and shivers and sick feelings in my stomach at the same time.  Nicholas Ray is brilliant in his shot selection – we stopped the DVD several times to look, zoom in, and it’s visually gorgeous in its use of lighting and high shots over the staircase.  James Mason, always brilliant, has never been better.  And Mason’s wife in the film, played by Barbara Rush, who was not well-known to me, gave a compelling performance as well.  And get this – (don’t tell Claude I told you) – it has a happy ending.  Which is rare for movies that we watch.

Briefly, the story is of a schoolteacher (Mason) who develops a serious cardiovascular problem and is put on cortisone.  He soon descends from kind schoolteacher, husband and father into strict, maniacal nutjob.  Our favorite scene involves him reading from the Bible to his wife, specifically the story of Abraham and Issac.  This occurs after he is angered by his son for some extremely minor infraction.  Mason also carries some sort of dagger – I wasn’t sure if it was a knife or a letter opener – as he reads.  He stops the story when Abraham puts Issac on the altar and raises the knife.  His wife pleads with him, knowing that he’s contemplating harming his son, that God intervened and Issac was spared.  Mason roars to her, “GOD WAS WRONG!”  Claude is on the floor laughing.  (atheist, you know)  It is a masterful scene and Mason’s face and Rush’s horror are so compelling that you can’t possibly look away.  We had to rewind it (as you can imagine) several hundred times.

It lives up to all the hype that Claude and Steve gave it.  I’d watch it again and again.  Hopefully it will be on Netflix or some rentable source soon, because if you have seen Rebel and liked it, this is a must-see by the same director, and easily one of the great James Mason’s finest performances as both actor and producer.  Most highly recommended, six out of five stars.  Actually, this one goes to eleven.

Oh, yeah, and I love you, Claude.