24. Citizen Kane (1941)
Directed by Orson Welles
Screenplay by Orson Welles and Herman J. Mankiewicz
Starring Orson Welles, Joseph Cotten, Dorothy Comingore, Everett Sloane, and Ray Collins
Oscar Nominations: 9 Oscar Wins: 1 (Best Original Screenplay)
This movie appears on every top 10 list in creation if not the top pick, it is taught in almost all college film classes, and it has one of the first big surprise endings of all time. It only ranks 24 and that's only because of the huge plot hole but that's beside the point. It is a genuinely great film. The film is the retelling of one man's life, a thinly veiled critique of William Randolf Hearst, and a mystery all tied into one. A great film can be many things all at the same time. Great writing helps that along and makes sure that the audience can follow a multi-tiered story like this one.
My problem does come down to the huge plot hole which is that the titular character dies in a room alone, is described as dying alone, and yet everyone knows his dying words. It's kinda unforgivable but I let it slide for the fact that it does set up one of the first and greatest twist endings in film history. The thing most people know of this film is the line Rosebud. The mystery of the film what Rosebud truly meant. Most people by now know that, just like they know the big secret of Psycho. That said though, I still won't be giving it away and when you do find out in the context of the film, it's brilliant. Really, a good ending is built to while a crappy ending will sputter out and die.
23. Double Indemnity (1944)
Directed by Billy Wilder
Screenplay by Billy Wilder and Raymond Chandler from the novel by James M. Cain
Starring Fred MacMurray, Barbara Stanwyck, and Edward G. Robinson
Oscar Nominations: 7
Best. Film Noir. EVER! Seriously, this is what noir is. A dark story, people who's morals are kinda lax to say the least, some kick-ass music, perfect use of darkness. The best part is, it's all about insurance fraud. They make insurance fraud interesting! Dammit that's awesome. Anyway, the acting is top notch and Billy Wilder, like always, is one of my favorite directors. The man knows how to set up his shots so they get the maximum amount of shadow with a minimum amount of distractions.
I want to take notice of Barbara Stanwyck. She fills a trope of the Femme Fatale so perfectly. The character really is the definition of it and she fills her role so nicely. She is pure ex, manipulates people into doing things for her, and she never gets her hands dirty. Of course, she does pay for her sins, this is 1940s Hollywood after all, but she still gets away with them in such a way that it works for awhile.
Next Time: "My God! It's enough to drive a girl into a convent! Do they have Jewish nuns?" "We're not just an uncle and a niece. It's something else. I know you. I know you don't tell people a lot of things. I don't either. I have a feeling that inside you there's something nobody knows about... something secret and wonderful. I'll find it out."
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