15 Directors Meme

I got tagged. This time, by Sebastian over at Films from the Supermassive Black Hole, who was thoughtful enough to pass this Meme along to me. The task? Easy enough. Come up with 15 filmmakers that helped shape the way I look at motion pictures. These are the directors that go to the top of my list – prolific directors who have made, in my estimation, some of the most profound, thought-provoking, and entertaining films in the history of cinema. They are, in no particular order:

 

1. Francis Ford Coppola (The Godfather trilogy)
2. Elia Kazan (On the Waterfront)
3. Sidney Lumet (Network)
4. Stanley Kubrick (A Clockwork Orange)
5. John Cassavetes (A Woman Under the Influence)
6. Vittorio De Sica (Umberto D.)
7. Charles Chaplin (Limelight)
8. Ingmar Bergman (Scenes from A Marriage)
      my blog’s name is in homage to him so he better be on this list!
9. Woody Allen (Crimes and Misdemeanors)
10. David Lynch (Blue Velvet)
11. Joel and Ethan Coen (Barton Fink)
12. Martin Scorsese (Raging Bull)
13. Oliver Stone (JFK)
14. Billy Wilder (Witness for the Prosecution)
15. Clint Eastwood (Unforgiven)

And now to do some tagging of my own (pinky finger to my lips accompanied by a deep, menacing laugh). I will try and select some of my favorite film bloggers who I don’t think have participated just yet. All awesome blogs that I frequent quite often. Time to give these thoughtful film gurus some homework…Plus, I’d love to see what directors are on their personal lists.

“Films That Defined Us!” Blog Event

Marc — who writes for one of my favorite film blogs Go, See, Talk! — is hosting a Blog Event that will post on his site this Friday, August 13th and he was kind enough to invite me to participate. The event is called Films That Defined Us and film writers from all over are taking part to list those movies that we saw at a relatively young age and helped to define our movie tastes. These are movies that, to quote Marc, really “set the bar” for us and made a lasting impression in our lives.

I came up with my own personal list of 5 films (in no particular order here) that have surely been essential works of art for me as a movie lover and have certainly been proud staples of any movie collection I have ever had. For those who know me, I’m afraid none of these will come as much of a surprise to you. For my film blogging amigos, hopefully this will achieve Marc’s objective in letting us see what makes each of us tick. After much thought and deliberation, here are 5 Movies That Surely Have Defined Me:

#1. Annie Hall (dir. Woody Allen)

I didn’t get into Woody Allen until later on…around high school. Then I began to devour all of his prose with friends at a local diner, see all of his movies, read film analysis on him. In doing so, this film sadly became my life’s anthem, through no fault of my own. Whenever someone needs to “understand me” better, I tell them to just watch this classic dramedy and they always come back lamentably with, “Oh…now I get it.” This is the consummate Woody Allen film — the colossal turning point for him as a filmmaker. It features Diane Keaton who is heavenly in this movie; she created one of film’s most memorable characters here. It is a profound movie in terms of how it addresses relationships – it makes you laugh out loud one moment and feel sadness the next. I have seen this movie more times than I care to admit over the past 20 years and it never gets dull for me. As far as comedies go, this one stands the test of time and truly set the bar for all of the newer comedies being released this past decade — all films that pale in comparison to Woody when he was at his peak.

#2. The Godfather (dir. Francis Ford Coppola)

My family never really raised me on movies or got me into watching films, though I wish they had. But one film that I do remember watching with my parents when I was younger was Coppola’s seminal tour de force whenever it would play on TV. I come from an Italian-American family, so I think that certainly played a part in their excitement in watching this film and explaining it to me when I was too young to actually absorb it all. To this day, so many years later, the first two Godfather films are my two favorite films of all-time and I think my early memories of watching them with my parents play a small part in that. To me, this is a perfect film with unbelievable performances across the board. Knowing all of the background information on how Coppola set out to make this masterpiece and his many battles with Paramount make it all the more inspiring for me. As a result of watching this film at a young age, Marlon Brando quickly became my favorite actor (still is). Watching his towering performance here, I made sure to watch every one of his films as often as I could (even the many stinkers) and research as much as I could on the complex man. Throughout the trilogy, the character of Michael Corleone, I think, is one of the very best ever put on film and I can envision no one better to do it than Al Pacino. I just watched it a few weeks ago and it brought back a few memories for me from years ago — and I was still in awe with each passing scene.

#3. Rocky (dir. John G. Avildsen)

The original “Best Picture” winner, as well as the subsequent Rocky II and Rocky III (both directed by Sylvester Stallone). I was 5-years old when the first film came out and did not see the film in the theatres, but I do remember playing the old vinyl record that my parents bought and loving the entire soundtrack. Bill Conti’s score is truly one for the ages. I listened to it often back then, and a few years later was hooked on Rocky Balboa. To me, this is the quintessential underdog story — in more ways than just sports — though it is, for me, the very best of all the sports movies. He came from nowhere…and rose from the ghetto streets of Philly to become the heavyweight champion of the world! Again, I think the whole Italian thing comes into play here…fuggedaboutit! Isn’t it a law that every Italian guy has to love Rocky? Perhaps every Italian guy secretly wants to be Rocky. I know I did when I was a kid. I do recall seeing Rocky II a few years later and then my parents took me to see the third one in a drive-in movie theatre. Rocky Balboa was an inspirational figure to me then and still is today. He is a hero and positive role model that always does the right thing; he has a strict moral compass, he loves his woman, he has tremendous heart and fortitude — and he even ended the Cold war single-handedly in the dismal Rocky IV. Thankfully, he rebounded nicely in the last installment, but those first three films for me always get my heart pounding and my blood racing.

#4. A Clockwork Orange (dir. Stanley Kubrick)

I remember seeing this flick and the profound effect it had on me as a kid when I first watched it. In many ways, Kubrick’s ultra-violent futuristic film was the catalyst for me looking to re-define what my taste in movies was. I wanted to see more films like this one! I hadn’t seen many like it at all and looked into more works from this maverick filmmaker and others like him. I sought out films from other auteurs such as Malick, Forman, Cassavetes, Polanski, and Altman. I even remember having A Clockwork Orange T-shirt in my younger days. At the time, I didn’t consider myself much of a film buff, but I believe this film started that journey for me as I realized what film, as an art form, can do…the weighty impact it can make on a viewer. This film haunted me in the very best of ways and I loved Burgess’ overall message in the “rehabilitation” of the classic character, Alex DeLarge (wonderfully portrayed by Malcolm McDowell). When I think of movies that helped to sculpt my more refined palette in my latter teen years, this is the one that always comes to mind first.

#5. Raiders of the Lost Ark (dir. Steven Spielberg)

I was 10 years old when this film was released (when movies actually played for months at a time in the theatres) and remember coming home thinking I just watched the most awesome movie ever! I mean, really…what kid didn’t flip out over this movie?! To me, it seemed to have everything — amazing action sequences, terrific special effects, a love story, an intelligent and valiant hero, a malevolent villain, and humorous one-liners. I couldn’t wait to see it again. It was pure entertainment. For my money, it is still one of the very best blockbuster films ever made. Nowadays, with CGI and more high-tech special effects, everything seems possible and it takes away from the experience a bit. Of course, there are special effects in “Raiders”, but it’s not so unbelievable here where it removes you from the emotion of the scene. The hat, the whip, the classic gun scene, the snakes….it is all classic Spielberg in one of his finest efforts as a filmmaker. Sadly, the franchise has taken terrible blows in the years that followed (aliens — really??!!) with three sub-par sequels; none even come close to sniffing the boots of the original and I think its writer, Lawrence Kasdan, has a lot to do with that. This one always takes me back to 10 years old and the excitement I felt when I came home that day — the testament to a timeless movie.

The Top 10 Greatest Movies to Win the ‘Best Picture’ Oscar

A few weeks ago, I created a Top 10 List of what I think are the worst films to “win” the Academy Award for “Best Picture.” The terrific website ListVerse was kind enough to pick it up and what followed was a barrage of comments (over 400+ in less than 48 hours) that was great fun to read. Comments ranged from highly complimentary to others that were, well…not so nice and aimed at yours truly. No matter. That is what is such fun about these lists and what I was hoping for when I began my Magic Lantern Film Blog — a place for film lovers to speak passionately about the films that they love and hate, a place where people can have healthy debates with one another…quite simply, a place for movie geeks like me to communicate. A handful of those commenters suggested that rather than be so negative, that I create a Top 10 List of those “Best Picture” winners that I found to be the most deserving. I thought that was a fair point and that is what you see here – The Top 10 Greatest Movies to Win the “Best Picture” Oscar!

This list was a bit easier for me to compile, especially the Top 3. What I found to be most difficult was trying to squeeze in so many wonderful films that took home the award in just ten slots. Sadly, a few of them didn’t make the cut, though I wish there was more room. My criteria? Well, first it has to be a superb, timeless movie; a film that, looking back, you can still tell that it was the best in that respective year. A movie that if it didn’t win “Best Picture,” you’d say, “Really? That didn’t win?” Second, it had to be (in my opinion) the best of the films nominated in that year. If I thought another film was better, then it didn’t make the list (i.e. I think “JFK” is far superior to the victorious “Silence of the Lambs“). Finally, I looked at the competition each winning film faced and what the movie had to beat out (have you ever looked at all fantastic films battling it out in 1939?). When all was said and done, I came up with these 10 magnificent Oscar-winning films. I hope this brings just as much reaction and discussion as the prior list. 

10. The Best Years of Our Lives (dir. William Wyler, 1946)

Wyler made some truly unbelievable films (“Mrs. Miniver,” “The Heiress,” “Jezebel” and the Oscar-winning “Ben-Hur” which could have easily made this list), but for some reason, few cite this one as being one of his greatest. I first saw this film only three years ago and was completely blown away by it — and the war-film genre is not one of my favorites. Winner of 7 Academy Awards, this is the film that beat out “The Yearling” and the classic “It’s A Wonderful Life” and in my mind, deservedly so. The movie centers on three WW II veterans who come home to Smalltown, America from the war only to find that everything has drastically changed. Wyler and screenwriter Robert E. Sherwood aren’t concerned with showing us any scenes of the men in battle, but are wholly invested in showing us the crisis that each man faces upon his return. Sixty years later, the movie leaves a lasting impact on its audience and the cast is stellar. Frederic March won an Oscar for “Best Actor” here and Harold Russell, who plays Homer, a man who lost both hands during the war, won “Best Supporting Actor” — both great to watch. Teresa Wright and Myrna Loy also give heartfelt, riveting performances here. I was so impressed with how real everything seemed to feel and, like another film on this list, did such a beautiful and poetic job at showing the psyche of a post-war nation. All three stories blend so brilliantly together, I wish it had continued even longer than its 160+ minutes. For some reason, I am under the impression that many have not experienced this American classic. If you are one of those, you should put this in your queue right away.

9. Annie Hall (dir. Woody Allen, 1977)

You can count the number of comedic films to win “Best Picture” on two hands and this one is arguably the best of the lot (unless you want to debate “The Apartment,” which I could understand). I look at it like this – people bitch and complain that Stanley Kubrick, Charles Chaplin, Alfred Hitchcock, Howard Hawks, & Robert Altman never won an Oscar. Fine. The same would be said for Woody Allen if one of his movies never took home the golden statue. “Really? How could that be possible?! He never one after all those great movies?” Now of course if you’re not a Woody fan, you won’t like this selection. I had to find room for it. It is one of the all-time greatest comedies and stands as the seminal turning point in the filmmaker’s career. Diane Keaton created one of film’s greatest screen characters here (“Lah-di-dah”) and the chemistry between the two is a marvel and tremendous fun to watch. A classic love story filled with some of Woody’s greatest one-liners (“I don’t want to move to a city where the only cultural advantage is being able to make a right turn on a red light”), there are also moments of great drama and depth. I know “Star Wars” nuts think that their film got robbed. I understand that it was a ground-breaking film and changed the way movies were made. When a comedy wins, most don’t find it deserving. I like “Star Wars” very much, but to me, it looks a bit dated now and perhaps that’s because special effects has grown by leaps and bounds. I just know “Annie Hall” (which I believe is his 2nd greatest movie) will be looked at as one of cinema’s greatest comedies decades from now. It also doesn’t sell out at the end and gives a realistic portrayal of a relationship gone sour. I can watch this anytime, anywhere…so it makes the list.

8. Terms of Endearment (dir. James L. Brooks, 1983)

I think James L. Brooks is one of the finest, most clever screenwriters we have and there are usually about 10 classic lines in each of his best works. Here, after years of writing successfully for television, he made his directorial debut and, after winning 5 Oscars, has become a modern-day classic. I know many poo-poo this movie, though I am not sure why. Perhaps because it is overly sentimental and falls under the genre of “tear-jerker,” but I think that’s just silly. It’s a beautifully woven story with rich and fascinating characters. I love that it always makes me cry when Emma (Debra Winger) has to say good-bye to her two sons or when her mother Aurora (Shirley MacLaine) is screaming for someone to help medicate her daughter. The chemistry between Jack Nicholson (as the vain ex-astronaut turned playboy, Garrett) and MacLaine is so strong and they are simply a delight to watch. Their first date is one of the great screen dates and Jack gets to do his thing throughout, which is enjoyable to watch. But even he goes through a maturation process that leaves the viewer quite moved. The core of this film however, rests in the mother-daughter relationship, which is funny, conflicting, heart-breaking…the stuff of real life. Brooks gets top supporting performances from a young Jeff Daniels (what a cad!), Danny DeVito, and John Lithgow. The movie strikes the ideal balance between comedy and drama and flows into one another so effortlessly. I find this to be such a charming, slice-of-life film. You’ve heard the old adage, “I laughed, I cried.” Each time I watch this movie, I find it to be the epitome of that very saying.

7. Schindler’s List (dir. Steven Spielberg, 1993)

Simply put, a glorious piece of filmmaking. Splendid cinematography by Janusz Kaminski, a stirring score by John Williams and Michael Kahn’s adept editing help create this engaging and important work of art. I have not read the Keneally book (though most of my students have), but Steven Zaillian’s screenplay brings this chilling and inspiring true story to life in such a skilled, crafted way. There are many films focused on the Holocaust, and though this may not be my favorite one, it is surely the one that most people point to as being the quintessential “Holocaust film.” Liam Neeson plays Oskar Schindler, who starts off as a vain and avaricious businessman who uses the Jews as cheap labor to start a factory in Poland during WW II. Slowly, he begins to see first-hand, the horrors endured by the Jews and begins a quest in trying to save as many lives as possible. In the end, he composes a list of over 1,100 Jewish people who he rescued from death. I know there is a lot of praise & glorification being thrown around throughout this list, but that is because these are 10 magnificent films that stand out among literally thousands. Here is one statement though that is in no way hyperbole — Ralph Fiennes, in bringing to life Amon Goeth, created (in my estimation) the most vile screen villain ever put on film. In Goeth, we witness the true evil a human being is capable of. He is terrifying, unpredictable and oh-so genuine. He wants so desperately to be admired and liked as Schindler is; the way he looks at himself in the mirror, the clumsy manner in which he tries to “pardon” a Jew that he so desperately wants to kill, the blunt manner in which he shoots another human being…Fiennes does it all with impeccable authenticity. The film didn’t have much competition that year, but I don’t think it really matters. No matter what movies were released that year, Spielberg’s movie (winner of 7 Oscars) was taking home the grand prize…it’s that remarkable an achievement.

6. The Deer Hunter (dir. Michael Cimino, 1978)

One of the great war films ever made, Cimino’s epic examines the lives of three close friends, all working-class factory workers in Pennsylvania, who decide to enlist in the Army during the Vietnam War. Before they go, Steven (John Savage) marries his pregnant girlfriend and the first act of the film shows us the wedding, which also serves as a farewell party for the bridegroom and his friends Michael (Robert DeNiro) and Nick (Christopher Walken). I know many people to find this part of the film to be a bit slow and lengthy, but I take the glass-half-full approach and say that Cimino and screenwriter Deric Washburn do an incredible job in developing their 3-dimensional characters. Plus, a lot of what is here is essential when you get further into the movie. The second act picks up and we are thrust into a prisoner-of-war camp where the three friends are detained in nightmarish conditions. The final act shows the horrific effects that war has on people and their surroundings. The film is graphic, daring, sincere and deeply affecting. Wonderful performances all around. A young Meryl Streep is so good here (a real shock, right?); sometimes she doesn’t even speak a line and we know exactly what she is thinking. This is also when DeNiro and Walken weren’t just cashing in checks and really immersed themselves in their craft — and both are spectacular here. A shell-shocked Walken in the hospital trying to answer what his name is — or those haunting Russian roulette scenes are images that I have yet to forget since I first watched this film. “The Deer Hunter” shows us a quaint small town in America, the merciless horrors of war and the daunting effects that it has on the people who served and those who are close to them. A 5-time Oscar winner (beating out “Midnight Express“), it remains one of the most powerful films ever made.

5. On the Waterfront (dir. Elia Kazan, 1954)

Winner of 8 Academy Awards, “On the Waterfront” is one of the great American film ever made. Having been nominated for “Best Actor” the previous three years, Marlon Brando finally won his first Oscar in his fourth consecutive year being nominated playing Terry Malloy, an ex-prizefighter turned longshoreman who witnesses a murder and struggles with himself to stand up to a corrupt union boss (a terrific Lee J. Cobb). Watching Brando’s transformation of this character is something to behold. Like something out of an Arthur Miller play, Budd Schulberg’s screenplay is authentic, powerful and enduring. On top of the flawless performance by Brando, Rod Steiger, Karl Malden and Eva Marie Saint turn in moving performances as well. The controversial film does not seem to have aged at all either, though the politics of the time may not be the same as today, especially in the aftermath of HUAC and Kazan’s highly publicized “naming of names. It has been said that Brando didn’t even want to work with Kazan after he named names of some of his close friends. Thank God he did do this. Close friends and collaborators, Miller and Kazan always wanted to do a film together covering the corruption on the docks – but never got to after HUAC. Miller did “The Crucible” and here, Kazan answers back with a statement of his own in this brilliant piece of filmmaking.

4. One Flew Over the Cuckoo’s Nest (dir. Milos Forman, 1975)

Milos Forman’s powerful, disturbing and, at times, humorous film is a brilliant adaptation of the Ken Kesey novel.  Jack Nicholson has been outstanding in so many roles, but this may be his very best work to date. Here, he plays the rebellious Randle P. McMurphy who is serving time at a state mental hospital and instantly tries to challenge all authority. In doing so, he tries to recruit the other patients to take on the dictatorial rule of Nurse Ratched (Louise Fletcher) who is more despot than nurse. Every time he tries to have a little harmless fun (playing cards, watching the World Series), he is stopped by this oppressive woman. This film is a modern classic, featuring great supporting performances by Danny DeVito, Christopher Lloyd, Ted Markland, and Vincent Schiavelli. Brad Dourif is painful to watch as Billy Bibbit who is terrified of Nurse Ratched and the haunting image of his mother (who we never see). Fletcher is perfect in this role and creates one of cinema’s most despicable characters ever. Every note she hits is just right and her toe-to-toe scenes with Nicholson are akin to watching two heavyweights battle it out. McMurphy’s scenes with Chief Bromdom are also a treat to watch. The symbolism of McMurphy as a Christ-like figure, though more perceptible in the novel, are still quite evident here, albeit in more subtle fashion. What starts out as McMurphy trying to get out of work and prison by pretending to be insane, slowly morphs into something dark, perverse and terribly unsettling as he begins to win over the patients one by one. Forman manages to hit so many notes here, and just when things seem to be jubilant and hopeful, it all crashes down and your stomach is in knots. The film had pretty fierce competition for the “Best Picture” prize and was the first to win the 5 ‘major’ Oscar awards since 1934 and in viewing it, you can easily see why.

3. The Godfather (dir. Francis Ford Coppola, 1972)

This could just as easily be #1 on this list as I find it the second best film ever made. Coppola’s masterpiece lost out to “Cabaret” in a number of categories, but thankfully, it took home the one Oscar that mattered. Marlon Brando, back at the top of his game. Exceptional performances by Robert Duvall, Diane Keaton, James Caan, and Talia Shire. The coming out of Al Pacino, playing one of the most complex characters in movie history in Michael Corleone, the dutiful war-hero son turn immoral Don. I have seen this film more times than I care to mention and it never gets dull to me for a second. A young Coppola handles this film with such subtlety and such grace, showing audiences the inner workings of a mafia family before “The Sopranos” and others of its ilk romanticized it to the point of being cartoonish and false. The Corleone family, on the other hand, rings quite authentic. The transformation of Michael is mesmerizing to watch; Brando meeting with the heads of the five families after declaring that the war stops here; the infamous horse head under the sheets; Carlo finally paying for Sonny…I can go on and on with another thirty or forty moments and it won’t be enough. An iconic film score, a great screenplay adaptation and glorious cinematography by the legendary Gordon Willis help make this a film you simply can’t refuse.

2. Gone With the Wind (dir. Victor Fleming, 1939)

I watch this film and cannot believe that this was made 71 years ago. What a gorgeous piece of filmmaking this is – a grand achievement on such an epic scale. When you think of “classic” films, this must surely be one of them. And still, to this day, it remains the #1 box-office success when you adjust for inflation (besting “Star Wars,” “E.T.,” and “Titanic” among others). Here, we are given Vivien Leigh in one of film’s most iconic roles, doing a masterful job as Scarlett O’Hara. We witness her epic tale through one of the most turbulent periods in this nation’s history. She is truly one of cinema’s most enduring characters, as she goes through so many transformations in her life – and Leigh pulls it all off seamlessly. On top of her duties to the Tara plantation, we watch the love story between her and Rhett Butler (Clark Gable), an immortal story in itself. The film gives us so many classic lines that we all know by heart and never ceases to feel new and timely. Many would probably put this as #1, and I couldn’t call them crazy. On top of being such a fantastic film, look at the competition it beat out in 1939! I don’t think there has been a stronger list of nominees since: “Stagecoach,” “The Wizard of Oz,” “Dark Victory, “Mr. Smith Goes to Washington” and “Of Mice and Men” are just a few and these are all unbelievably great movies. What do they say? “They don’t make ’em like they used to.” Sometimes I think they’re right.

1. The Godfather: Part II (dir. Francis Ford Coppola, 1974)

For my money, the finest American film ever made. How many sequels can you say are just-as-good if not better than the first? Not many at all. I believe this one actually outdoes the masterpiece released in 1972 (though by only a very slim margin). It also beat out stiff competition that year with terrific films such as “Chinatown,” “Lenny” and “The Conversation.” I love the backstory of young Vito Andolini coming to Ellis Island and his rise to becoming Don Corleone which includes the assassination of Don Fanucci. The Little Italy scenes showing us a mesmerizing Robert DeNiro (as the young Don) taking on all of the subtle nuances of Brando are a pleasure to watch. Meanwhile, we watch as the character of Michael (Al Pacino in perhaps his greatest performance) sinks deeper and deeper into the bowels of evil, while tightening the grip on his crime family in Las Vegas. Coppola had so much to lose here, but more than delivers and the performances again, are extraordinary. The late John Cazale gets more screen-time as Fredo (poor Fredo – “I know it was you, Fredo. You broke my heart”), the legendary acting teacher Lee Strasberg makes his screen debut as Hyman Roth, and we are also given terrific supporting performances from Michael Gazzo and Bruno Kirby. A wonderful job of storytelling here and I catch something new each time I watch it. This was a no-brainer #1 for me because I haven’t seen a better film so far and thankfully, it took home 6 Oscars, including “Best Picture.”

P.S. — My apologies to “Midnight Cowboy,” “All About Eve,” “Braveheart” and “From Here to Eternity” — all remarkable 4-star films in my book and all deserving of winning the coveted Best Picture Oscar. As I said in my intro, I wish there was room for all of them. I just couldn’t omit the ten that you see above.

Peter Eramo Ranks: The Top 5 Performances of Marlon Brando

For my money, Marlon Brando was the greatest actor the silver screen has ever seen. A student of the famous Stella Adler Studio, there was simply no one better. Before James Dean and the method actors that would later follow, Brando brought a completely new style of naturalistic and instinctive acting to film. With his debut performance in “The Men” (1950), he was the very first of his kind…a forefather, a godfather of method acting in cinema. As a high school student, I was an obsessive fan of his, taking in as much of his performances as I could. As a theatre major in college, Brando was the epitome of everything I looked up to in an actor. To me, he could do anything he set his mind to; look and sound and play any part whatsoever. I remember feeling devastated when he passed away at the age of 80 in 2004, but I always have his films that I can pop in at anytime and relish in the viewing of watching a true actor at work. His resume is not as vast as most as he never seemed to love what he did, which is a shame. Many consider him to be a tremendous waste of talent because of this and I can understand that. Brando was a complex man with many passions. Sadly, for all his God-given talent, it didn’t seem like acting was ever one of them.

I have of course seen every Marlon Brando film, some of them many times. Even in the “stinker” movies he was involved in (and there were a few), he still managed to shine and give a wonderful performance. This is a list of what I believe to be Brando’s Top 5 screen performances of all-time. It is NOT his Top 5 movies, because then I would surely put “The Godfather” at #1. This is simply judging what I think were his greatest achievements as an actor in his too few 39 film roles.

#5. Col. Walter E. Kurtz in “Apocalypse Now” (1979)

“We must kill them. We must incinerate them. Pig after pig… cow after cow… village after village… army after army…”

I was tempted to put another here (like “Sayonara” or “Mutiny on the Bounty“) for a number of reasons. One is his short amount of screen time, but more importantly, Brando’s approach throughout seems less than stellar: he came late, he came grossly overweight, he never read the book, he didn’t know his lines, he had Francis Ford Coppola read the book aloud to him and was a bane in his director’s side during the entire process. Having said that, he does give one of the most memorable performances in screen history here. Coppola managed to get around the weight issue in how he shot all of his scenes. Captain Willard (Martin Sheen) is given the assignment of finding and killing Col. Kurtz on his remote compound and to “terminate with extreme prejudice.” So the entire film is building up to Willard finally meeting this enigmatic, psychotic Colonel. The character resonates within the viewer’s psyche before we even meet him. And when we do finally see him, Brando does not disappoint. He is a madman, a philosopher, a war hero, an intellect, a God among his people. He commands your attention in each scene he is in and creates a haunting, complex figure in Col. Kurtz.

#4. Stanley Kowalski in “A Streetcar Named Desire” (1951)

“You think I’m gonna interfere with you?… You know, maybe you wouldn’t be bad to interfere with.”

He was the talk of Broadway when he created the role in 1947 (under the direction of Elia Kazan) and blew audiences away with his animal-like ferocity and fresh approach to the craft of acting. With Kazan directing the film and a stellar cast around him (all 3 won Oscars), Brando stars in only his 2nd film and now becomes the new Hollywood sensation. His iconic cry of “STELLA!!!” is now embedded in the most memorable moments in film. His brutal taunting towards (and rape) of his unbalanced sister-in-law, Blanche (Vivien Leigh) is a fascinating watch. You’ve never seen a dinner table cleared in this fashion before. Here, his huge presence is tormenting throughout and you never know what Stanley’s next move is going to be. What Brando does is amazing though — he manages to bring some tenderness and helplessness to this seemingly despicable man. His love for his wife is clear to see, even though he sometimes has a funny way of showing it. I never get tired of this film and can watch him play this part anytime. This is one of those rare parts that, when a newer actor tries to re-create it on stage in some revival, he’s already got his first foot in a ditch as it can never measure up and will always be held up to comparisons of what Brando did here.

#3. Terry Malloy in “On the Waterfront” (1954)

“You think you’re God Almighty, but you know what you are? You’re a cheap, lousy, dirty, stinkin’ mug! And I’m glad what I done to you, ya hear that? I’m glad what I done!”

Many put this at #1 and I would have no problems with that as he is absolutely phenomenal here in his first Oscar-winning performance. Brando plays an ex-boxer here, a man who coulda been so much more, who coulda had a better life, who “coulda been a contender.” Instead, he is now a longshoreman who is struggling with his conscience to stand up to a corrupt union boss, Johnny Friendly (Lee J. Cobb) after witnessing a murder by Johnny’s men. He meets the dead man’s sister (Eva Marie Saint) and when he begins to fall for her, he begins to have second thoughts about everything he once thought. The scenes he has with Father Barry (Karl Malden) are terrific, as we get to watch two friends play off one another yet again. The scene in the car opposite Rod Steiger breaks your heart and is now properly viewed as being a scene for the ages. Terry Malloy is a complex character, with so many layers. Brando is so subtle and so brilliant that he manages to show us each and every one of those layers. If you have never seen this “Best Picture” winner and you consider yourself a student of film, then this is a must-see.

#2. Don Vito Corleone in “The Godfather” (1972)

“But I’m a superstitious man. And if some unlucky accident should befall him, if he should be shot in the head by a police officer, or if should hang himself in his jail cell, or if he’s struck by a bolt of lightning…then I’m going to blame some of the people in this room. And that, I do not forgive.”

I don’t even think I need to write anything here. Brando. Godfather. Done!  The man was only 47 when he filmed this. No one at Paramount wanted him involved with this project. Thank God Coppola got his way. It is not only one of the top 3 best pictures ever made, but Brando is nothing short of sensational here as the patriarch of the Corleone crime family. He rightfully wins his 2nd ‘Best Actor’ Oscar here and creates a character that will be well-remembered for as long as there is such a thing called movies. The way he looks down Santino’s body and tells the undertaker, “Look how they massacred my boy” gives me chills. The way he feebly waves his hand at Tom when he learns that it was Michael who did the killings; the way he tells Tom that “this war ends now”; the beautiful scene he has outdoors with Michael; his improvised scene with the orange peel in his mouth; how he scolds Sonny for airing his thoughts out loud…you want me to keep going??? There’s about 50 more! It’s all ingenious, all exceptional and done by a virtuoso of the craft of acting.

#1. Paul in “Last Tango in Paris” (1973)

“Even if a husband lives 200 hundred fucking years, he’ll never discover his wife’s true nature. I may be able to understand the secrets of the universe, but… I’ll never understand the truth about you. Never.”

I look at this film as the greatest film actor giving his greatest screen performance — it is raw, uninhibited, courageous, multifaceted, daring, and vulnerable. Director Bernardo Bertolucci helps in letting Brando strip himself of everything but his emotions in this superb film. There is no hiding here, and it is in this performance that we see Brando the person most clearly. He brings everything of himself into the difficult role of Paul, the American expatriate who meets the beautiful young Parisian, Jeanne. His wife has just committed suicide and his insides are now swarming with rage and grief. He begins a sordid, dark and mysterious love affair with Jeanne where names are forbidden and sexual pleasures are the only fare on the menu. Brando’s monologue towards his dead wife is genuine and masterful. When he does open up to Jeanne for a brief moment with an anecdote about his childhood, it is riveting to watch. I can watch this film anytime because (1) I just love the movie and (2) I get such a thrill out of just watching Brando do his thing. It’s a spellbinding watch and one of the greatest performances ever put to film. Just watch this entrancing monologue and look at the myriad of emotions this guy goes through so seemlessly, so effortlessly. It’s a wonder to watch…

The Godfather vs. Goodfellas — Cast Your Vote!

No doubt there have been some brilliant gangster films made over the years. “Casino,” “Miller’s Crossing,” “White Heat,” “Scarface,” “Donnie Brasco“…and I could go on and on. For this week’s “Movie Poll” I could have easily come up with 10 truly awesome gangster flicks for you to pick from. But I’m not going to do that. What’s the point? I’m just going to get right down to the two films it always comes down to anyway, and if you think otherwise, well, then….maybe you better come take a ride…you know what I mean?!

This has always been a source of great debate with me and my film buddies. The question? Which is the better gangster movie: Francis Ford Coppola’s “The Godfather” (1972) or Martin Scorsese’s “Goodfellas” (1990)? I have my own very strong opinions on the matter, but for now, I want to see what you think.

So this week is real easy — you get two choices and two choices only…if you’ve never seen them — shame on you. If you like another film better, simply pick which film you enjoy more. Fuhgeddaboudit…it’s that easy.

Which is the Better Gangster Flick?
The Godfather
Goodfellas

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