TSPDT's 1,000 Greatest Films - Pt. 1

"Are you sure you're a woman? You look more like an artichoke."


Classic Federico Fellini film from 1954 starring Giulietta Masina, Anthony Quinn, and Richard Basehart.
This was my first Fellini (although I've seen pieces of La Dolce Vita) film and I loved it. I found it to be deceptively simple in its storytelling until a certain tragic event happens toward the latter part of the film. Once this event occurs, the tone becomes progressively darker and sadder.

Masina really owns the movie and is both adorable and heartbreaking. She was so unique. I know I'll be seeking out more of her work in the future. Quinn gives a good performance playing a rather horrid character. His final scene at the end of the film is very moving, to say the least.

Also worth mentioning is the film's famous music. The melody that plays throughout the film (and is played by Masina on her trumpet) is haunting, melancholy, and beautiful at the same time. Just like the film itself.
It's a touching, special film deserving of its place among the pantheon of truly great works. Highly recommended.

"As far back as I can remember, I always wanted to be a gangster."


I finally got around to seeing this critically-acclaimed, beloved film. And I was happy to find that it's worthy of all the praise that is lavished upon it. It's a fantastic film from beginning to end and truly a masterpiece of the gangster genre. Fast-moving, stylish, and violent, it's possibly the quickest 2 1/2 hour movie I've seen.

Much could deservedly be said about the brilliant screenplay and acting but there were several other things that also stood out to me. I loved Scorsese's '60s French New Wave-inspired camera movements, especially the freeze frames. Possibly my favorite camera sequence might have to be the long, unbroken walk from the back entrance of a crowded club, through its hallways and kitchens, and out into the front row where Henry (Ray Liotta) and Karen (Lorraine Bracco) are then very quickly seated. The bold editing during the scenes of Henry's last cocaine-fueled day on the job really helps to create a feeling of paranoia and agitation in the viewer, paralleling Henry's own paranoia and agitation. And I also must mention the soundtrack - each song was so well-chosen and fit its scene perfectly, helping to create a specific feeling and mood that continued throughout the entire course of the film.

"The Spirit of Beauty breaks her blossoms all about his chamber."

This is an exquisitely poetic silent film. Lillian Gish is luminous and heartbreaking as a sad, abused young girl. Its gorgeous images and tragic story will stay with me for some time.

I have seen some of this movie and was blown away by its beauty. I need to see the rest of it.

"I have a confession to make to you: Baron, you are a crook. You robbed the gentleman in 253, 5, 7 and 9. May I have the salt?"


Trouble in Paradise is a sly, sophisticated pre-Code comedy from 1932. It was directed by Ernst Lubitsch and stars Miriam Hopkins, Kay Francis, and Herbert Marshall, with comedians Edward Everett Horton and Charles Ruggles in supporting roles. The film is about two jewel thieves/con artists and their attempted scheme to rob a wealthy widow. Unfortunately, that widow happens to be Kay Francis in all her slouching sensuality and she proves to be hard for Herbert Marshall to resist. But his partner-in-crime and in love is Miriam Hopkins and she's not so bad herself. A looker and quite the spitfire, Hopkins steals practically every scene she is in.

Lubitsch is a very celebrated director today and for good reason. He practically pioneered this genre. He served as a mentor to Billy Wilder (Some Like It Hot, The Apartment), who had these words framed and hanging on the wall of his office: "How would Lubitsch do it?" George Cukor (The Philadelphia Story, Adam's Rib) also followed in Lubitsch's footsteps. Supposedly, this film is the best place to see the famed "Lubitsch touch" in action. It was actually his favorite of all of the films he made.

This movie is like a fine chocolate truffle wrapped in sparkling sterling silver, just waiting for the viewer to discover and unwrap, savoring its sheer deliciousness. It is the very epitome of sophistication. Stylish. Witty. Classy. Elegant. Divine. These mere words cannot do it justice.

There was one camera montage in particular that really wowed me. Francis is describing her and Marshall's possible future together as they are locked in an embrace. She says "we have weeks..." and you see a shot of the couple reflected in her round Art Deco boudoir mirror. Then she says "months..." and it's another shot from a different mirror but this time a close-up of the couple is reflected back. And then she finally says "years..." and it shows this amazing shot of her stylish bed complete with satin sheets and a shadow of the couple embracing in silhouette is framed in the center of the bed. It was gorgeous and uniquely creative. Awe-inspiring even.

A sense of unrepentant mischief pervades throughout the film. This is pre-Code, yes but it's not as overtly salacious as other pre-codes I've seen. It's more about witty banter and highly sophisticated sexual innuendos. Robert Osborne on Turner Classic Movies informed me that Paramount wanted to re-release this a few years later but couldn't do so because of the new rules put in place by the strict enforcement of the Production Code, which began in 1934. So sadly, this film basically sat in a vault for about 30 years until the code was finally lifted in the 1960s. I would imagine that its unapologetic amoral tone overall is what got it into trouble the most. Luckily, that same tone helps to make it all the more enjoyable and modern today.

For someone like me who is in love with Old Hollywood glamour, this film is a treasure trove indeed. This is the charm of the 1930s (or at least a stereotypical Hollywood artifice version) distilled into one picture. A good example of this is the Art Deco goodness that can be seen throughout. Little things such as clocks (which play a prominent role), phones, overall decor, clothes, staircases, and signs are all sleek, stunning, and presented in high style.

Sparkling visually and verbally, this is a charming delight from start to finish. It's a true masterpiece of sophisticated romantic comedy that is not likely to be equaled. A must-see for all who enjoy a touch of class to go with their chuckles. Highly recommended.

I've seen the first part of this movie and was transfixed by it.

I've seen this in bits and pieces but I really want to watch it all in one viewing before I rate it.

"I've seen your picture in the paper and wondered what you looked like."


A classic screwball comedy from 1937 starring Cary Grant and Irene Dunne. This film is regarded today as one of the best screwball comedies ever made. It helped to set an archetype for many other screwball comedies that followed it. Every thing about it just works. Though I'm having a hard time putting my finger exactly on what it is that makes it work so well. It's hilarious, charming, delightful, and a lot of fun to watch. It's a very nice way to spend a hour and a half.

Cary Grant and Irene Dunne are both so terrific in their roles. But when isn't Cary Grant terrific? I haven't seen a bad performance from him yet. Irene Dunne should be more well-known today. She is talented, funny, beautiful, and has a very lovely singing voice. The combination of Grant and Dunne together is dynamite! They play off each other very well, tossing lines back and forth with ease and precision. And oh those clothes that Dunne wears in the movie! Wow! She always (except for one very comical scene) looked so stylish and sophisticated.
Wonderful. Highly recommended.

I need to see this again. It's been so many years since I've seen it, I hardly remember it at all!