My Favorite Movies

Watanabe (Takashi Shimura) is a long time servant of City Hall; he spends his day rubber stamping departmental papers and keeping his head down, avoiding making any decisions that will create more work for him. He then discovers he is dying from stomach cancer (tellingly this comes not directly from a doctor but rather indirectly from a waiting patient who deciphers the medical speak) and it slowly dawns on him that he has let life slip through his fingers. At first he throws caution to the wind and begins to gamble, drink and party away his remaining days. However it soon dawns on him that maybe he should make the most of his fading life and give something back to the people he so poorly served.

If there was any director deserved the accolade of Master of Cinema then surely Akira Kurosawa would be a prime candidate. From his sweeping military epics to his small-scale humanistic efforts, one can not help be mesmerised by the great man's talent for crafting such beautifully powerful pieces of film. Ikiru focuses on a drone-like bureaucrat, a man who is barely audible when he speaks and leads a life so staid, so uninteresting that his only achievement is not to have missed a day's work for 25 years. Yet he is the film's hero. The fact that you will be close to tears by the end of the film over such an unremarkable figure is tribute to the remarkable directorial skill Kurosawa possesses.

Of course one man a film does not make and one should also heap praise on the film's other key players, in particular the performance given by Takashi Shimura. Despite the apparent lack of any discernable personality, Shimura is able bring a great deal of warmth and compassion to his character, even when he does not speak he is able express an array of emotion just through subtle facial expressions. The scene when he is singing in the park will bring a lump to the throat and a tear to the eye of even the most hardened of cineophile.

On top of this you have some fantastic cinematography provided by Asakazu Nakai (although the current prints available are unfortunately a little on the worn side), a wonderful score by Fumio Hayasaka and a powerhouse of a script provided by Kurosawa, Hideo Oguni and Shinobu Hashimoto. The last segment of the film is unfurled cleverly by a series of flashbacks which actually adds weight to the film's ending rather than detracting from it which it can so often do.

I highly recommend this film and urge you to do so if you have not. Perhaps this film has more resonance with me as I too am a Civil Servant drifting through life. I would be lying if I said the film changed my life but it damn well give me a good kick. Watch this film and immerse yourself in 2 and a half hours of cinematic gold.

A fantastic drama from a director that never fails to impress

Jon Voight stars as the Texan stud Joe Buck who arrives in New York City, hoping to hire out his "services" to neglected wives of businessmen. After failing to make an impact he stumbles upon Rizzo (Hoffman) a street urchin who offers to be his pimp. We follow the pair as they travel through the decaying, drug addled remnants of the "love generation" in an attempt to find the good life.

In awarding Midnight Cowboy the Oscar for Best Picture in 1970, mainstream cinema paid respect to an innovative style of film making that would go on to shape the "new wave" American Cinema of the 1970s. With its experimental camera techniques and gritty documentary style, the film contains an undeniable air of urban realism. Wistfully underscored by Nilsson and John Barry, the film is lifted by Schlesinger's raw energy and fantastic performances from the leads.

This was one of he films that kicked off my love of late 60s/early 70s American cinema and it remains one of my all time favourites. Some may be put-off by the underlying gay sub-text (Schlesinger was gay and desperate to make it public but feared the consequences on his career) but this is a remarkable piece of film making and one, I believe, that stands the test of time.

Once again Lang pulls out all the stops and the result is nothing short of remarkable.

Flrorya is eager to fight the invading German Army sweeping across his Russian homeland and, after finding a disused weapon amongst battlefield debris, he enrols with a local division. With rifle in hand he sets out to find valour and glory but instead discovers a world of twisted humanity, where hatred and brutality devours the innocence of his childhood.

Many directors have attempted to capture the horrors of war on celluloid but very few have succeeded in conveying the trauma suffered by its victims. With Come and See Klimov not only delivers the goods but he does so with such intensity, such potency that the film lingers with you long after the end credits roll. Its impact is due in no small part to the powerful performances given by the two young leads, who it seems were pushed to the limit both physically and mentally by the director. You only have to watch the swamp scene to appreciate the stresses and strains the pair must have endured.

Not content with stirring the emotions of his audience, Klimov also bombards the viewer both visually and aurally in an attempt to confuse and shock. From high pitched sounds reverberating out of the speakers to casual glimpses of committed atrocities, the viewer is continually drawn into the terrifying world of the two protagonists. Add to this a number of surrealistic touches and you have a film beguiling in its ambience yet utterly terrifying in its realism.

Yet amid these positives it must be noted there are some minor negatives, although these are open to personal interpretation. Some, for example, question the portrayal of German soldiers, in particular during the barn scene, and the heavy bias in favour of the Russians. Whilst it is true the film was utilised for propaganda purposes by the Communist leadership, Klimov lived through the German invasion and witnessed the horrors of Stalingrad so one can excuse him for not having a rose-tainted view of the Nazis. That said at times I did question the rather gross caricature of the German soldiers and whilst I don't doubt they committed these crimes, the need to stress how "evil" they were somehow lessened the intended impact. The ending has also its detractors but again this very much open to interpretation and for me personally I think it just about works.
Overall this a powerful piece of cinema which benefits from some superb acting, creative framing, mesmerising cinematography and raw energy that makes this a truly remarkable film.

A fantastic performance by Nicholson is the main driving force for this under-appreciated comedy. Hal Ashby at his best.

A visually stunning film whose influence can be found in countless Science Fiction films that followed. Despite being cut, restored and generally mishandled over its 80 year history, the presentation in the R2 Eureka disc is simply sublime. The crisp picture quality and restored musical score allow the viewer to revel in the film's superb production values. Supporting this visual element is an engaging plot and strong performances from the main characters and supporting cast.

Whilst the appeal of a two hour silent film may not be to everyone's taste, any self-respecting fan of cinema should at least rent this truly visionary piece of art.

For those of you familiar with the work of Hal Ashby (Being There, The Last Detail, Coming Home) you'll know that he was something of an idealist, a maverick director who brushed aside the staid cinematic conventions to produce intelligent, human scaled dramas. And in Harold & Maude he produced arguably one of his most creative pieces of work, weaving black comedy with social satire and in turn creating one of the most memorable on-screen romances that ever graced celluoid.

The clever script is accentuated by some top class acting and is accompained by a fantastic Cat Steven's soundtrack. However, I'm sure not everyone will share the same enthusiasm for this film this film as me. Firstly the black comedy (were suicide is a prevalent theme) may offend and secondly some may view the film as offering nothing more than naïve sentimentality. And of course there's the unconventional relationship between the two main protagonists...

If you are a fan of the 70s American counter-culture cinema the this is a must. But even if you are not, this film will appeal to those who enjoy original and uncoventional cinema.

If you were to ask people to choose their favourite Michael Caine film most would probably pick his more popular titles like The Italian Job or Zulu. This, in my opinion, is a shame because undoubtedly his best performance was delivered as Jack Carter, the underworld heavy who delivered his sarcastic one-liners as hard as his punches.

Set amongst the working class population of the industrial North, Carter returns to his hometown to find out who killed his brother. As he probes deeper he begins to entangled in a dark family secret and encounters a number of unsavory characters along the way.

Get Carter is probably one of my all-time favourite British films, with everything from the opening bars of Roy Budd's jazz-lounge score to the "gritty" plot clicking into place with ease. If you are looking for a solid, low-key thriller then I highly recommend this.

During a picnic trip to Hanging Rock three girls and their teacher disappear without trace, leaving a mystery that refuses to be solved. Based on the 1967 novel by Joan Linday, Weir delivers a film that relies more on ambiance than traditional, rigid narrative. Awash with haunting imagery, a wistful score and strong central performances, Picnic' is a delicate blend of supernatural melodrama and repressed adolescent sexuality. The slow pace and deliberate vagueness of the plot may frustrate some viewers but if you enjoy films that utilize mood rather than rely on overt action then is a must.

Fitzgerald (Kinski) plans to sail a huge steamboat up the Amazon and then drag it over a very large hill. Why I hear you ask? Well firstly, due to its geographical isolation, the area contains a large reserve of untapped rubber trees which he hopes to exploit. Secondly, as a lover of opera he plans to bring the sounds of the stage to the wild and untamed jungle territories. Thirdly, and probably the most attributing factor, he is a borderline psychotic and won't let anyone or anything stand in his way.

Driven by an immense performance by Kinksi and stunning cinematography from Thomas Mauch, Fitzcarraldo builds on the insanity of Herzog's earlier films like "Aguirre, The Wrath of God". The exploits of the director and leading actor are well documented and this intense, ego driven rivalry transfers directly to the screen. Fans of Herzog will no doubt lap up the film's sheer eccentricity and outrageous plot but those of a more mainstream disposition will no doubt be bored to tears by the slow pace and heavy emphasis on visual narrative. I highly recommend viewing this unique cinematic feat.

If you are looking for a film that epitomizes the strength and depth of American cinema during the 1970s the Network would certainly be near the top of your list. With its solid script, a plethora of powerhouse performances (try saying that after a few beers!) and its somewhat unnerving vision of modern day TV, this film never fails to entertain.

The plot focuses around the exploitation of news presenter Beale's (Finch) nervous breakdown by TV corporate executives (Dunaway & Duvall) and highlights the savage nature of globalisation (some 30 years ahead of its time). The script is tight and contains some biting satire that highlights the hypocrisy of "TV morality". There are a number of memorable scenes to savour which include the screaming storm sequence and the "no countries only companies" speech in the boardroom. Admittedly the film wears Lumet's liberal politics on its sleeve (which may lessen its impact for some viewers) but with strong performances from Finch, Holden, Duvall and Dunaway this is worth watching irrespective of your personal political opinions.

So if you are looking for a solid drama built on fascinating characters and plot, then this is definitely worth watching.

After the breakdown of an apparent incestuous relationship, siblings Ester (Thulin) and Anna (Lindlom) find they are no longer to tolerate one and other. Caught between the pair is Anna's son Johan (Lindström) whom, oblivious to the battle for his affection, roams around the mysterious hotel they are staying in and encounters some very strange characters.

Dark, brooding and typically vague, this is a superb film from Bergman in what was his final entry in his "Faith Trilogy". Here he allows long periods of silence to be punctuated with natural noises which can prove both startling and soothing depending on the scene.

As with Persona the film is tinged with surrealism and it feeds off the strong central leads who ratchet up the levels of animosity and despair to unparalleled heights. This is then topped off by some wonderful cinematography and precise framing (just watch how the sisters are kept in shot whilst being in two different rooms).

Whilst the film may not stir up the same levels of controversy as on its release (there's off screen female masturbation and a brief flash of flesh), its impact on viewers still remains as strong as ever. If you are a Bergman fan then this is a must.