Tag Archives: Best Film of the Year

1962 Films, Best Film of the Year, Bette Davis, Horror, Joan Crawford, Robert Aldrich, Scott's Top 100 Films, Scott's Top 20 Horror Films

What Ever Happened to Baby Jane?-1962

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What Ever Happened to Baby Jane? -1962

Director Robert Aldrich

Starring Bette Davis, Joan Crawford

Top 100 Films #71     Top 20 Horror Films #18

Scott’s Review #193

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Reviewed November 14, 2014

Grade: A

Kicking off a trend, prominent throughout the 1960s, of aging Hollywood actresses starring in horror films (interestingly Bette Davis and Joan Crawford each did two- the others being Dead Ringer and Strait-Jacket), with varying degrees of success, Baby Jane is top of the heap.

What Ever Happened to Baby Jane, directed by Robert Aldrich, stars aforementioned Davis and Crawford as, ironically enough, two aging Hollywood actresses, Jane and Blanche Hudson.

Jane (Davis), a child star in the 1920s nicknamed Baby Jane, with an adorable signature song, “I’ve Written a Letter to Daddy”, has long since faded from the spotlight, but continues to dress in her Baby Jane costume, consisting of a little girl dress with hair in curls and ribbons.

Blanche, however, garnered her success as an adult in the 1930s and until a tragic accident, which left her wheelchair-bound and subsequently ruined her career, was a popular film star- much more popular than Jane.

Blanche and Jane now wither the years away in a crumbling mansion in Los Angeles. Blanche is completely dependent on her unbalanced sister for care. Jane, resentful of Blanche’s success and popularity, plans to re-launch her career in her once-famous alter ego.

The film certainly has macabre comedic elements but never veers too far over the edge as to reach camp or foolishness. It is also a very psychological film as Jane mentally abuses Blanche and plays mind games with her to achieve the upper hand.

Davis had a ball with this role as her appearance alone is frightful- a grown woman of a certain age in blonde curls, pancake makeup, and a baby doll dress- she looks positively hideous!

What Ever Happened to Baby Jane reminds me quite a bit of Billy Wilder’s masterpiece Sunset Boulevard in several ways- both feature successful stars of years past with delusions of returning to their former fame, both feature older women more than a tinge unbalanced, and both films are set in sunny Los Angeles.

Two of the film’s supporting actors are well cast, adding much to this film and simply must be given recognition- Victor Buono, later made famous for his role of King Tut in the popular late 1960’s television series Batman, is highly effective as the opportunist sloth, Edwin Flagg, who aids Jane in her comeback attempt.

Maidie Norman as the Hudson sisters’ black housekeeper, Elvira, loyal to Blanche, but never a fan of Jane’s, slowly becomes wise to Jane’s sinister plot and does a wonderful acting job when she stands up to the manipulative sister- for 1962, a black maid verbally assaulting a white woman employer was still rather taboo and kudos to the film for bravely going there is a highly effective scene.

The fact that Davis and Crawford famously despised each other in real life adds an edge that does wonders for the audience during scenes where the two women fight and claw at each other, both physically and verbally.

The film has wonderfully quotable dialogue- “We got rats in the cellar”, Jane utters matter-of-factly, as she serves Blanche a cooked rat on a bed of lettuce for lunch one day and cackles fiendishly when she hears Blanche screams of disgust.

One aspect of the film that has taken me three viewings to become aware of and that I simply love is the musical score throughout the film- it features multiple and creepy versions of Jane’s signature song “I’ve Written a Letter to Daddy” with varying tempos.

Suspension of disbelief must be used in this film- why couldn’t Blanche pound and scream at her bedroom window to alert the neighbor of trouble instead of casually tossing a note out the window?

Blanche struggling to descend steps by sliding down them and then is unable to slide across the floor to escape the mansion is silly, but alas, the film is so gripping that I happily overlook these errors and instead enjoy the suspenseful film with two actresses, rivals onscreen and off-screen, that make this film a bit too realistic, a realism that makes for delightful film watching.

Oscar Nominations: 1 win-Best Actress-Bette Davis, Best Supporting Actress-Victor Buono, Best Sound, Best Cinematography, Black-and-White, Best Costume Design, Black-and-White (won)

2014 Films, Art, Best Feature- Independent Spirit Award Winners, Best Film of the Year, Best Picture Oscar Winners, Dark Comedy, Drama, Independent, Independent Drama

Birdman-2014

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Birdman-2014

Director-Alejandro G. Inarritu

Starring-Michael Keaton, Edward Norton

Scott’s Review #190

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Reviewed November 6, 2014

Grade: A

Birdman is a very unique art film, which happily, has garnered major exposure and publicity because a movie like this runs the risk of receiving praise and notice only from the art-house crowd itself.

The film’s star-Michael Keaton, portrays Riggan Thomson, a former action hero superstar from the 1990s, who was made famous for the “Birdman” character he created. Having made sequels to the film, his career has since dried up and he hopes to establish credibility and prove himself a real actor by writing, directing, and starring in his play.

The film is set in and around the Broadway theater in New York City.

As opening night approaches, he struggles to pull everything together and emit a successful production while faced with an injured terrible actor, a difficult actor, his insecurities, and a miserable theatre critic destined to ruin his big chance.

To make matters worse, his daughter Sam, played by Emma Stone is a recovering drug addict who hangs around the theatre distracting actors with her charm and good looks.

Naomi Watts and Edward Norton play Leslie and Mike, other cast members in the production. Watts is sympathetic as the emotional actress with the heart of gold who finally has her dream of performing on Broadway realized. Norton, outstanding as Mike, is blunt yet socially awkward and can only perform truthfully on the stage.

Keaton is simply a marvel as he plays a dark and vulnerable man-hating and wishing to shed his ridiculous movie persona of yesteryear and secretly cringes when recognized by fans. He communicates with a voice inside his head, the voice he used when he played “Birdman” years earlier.

The uniqueness of the film is the use of what seems like one long take as the action rarely stops and seems to be ongoing. In my opinion, the film belongs to Keaton- he wonderfully relays vulnerability, pain, and fear within with an outward persona of bravery and masculinity.

Throughout the film I wondered, is Riggan suicidal? What is real and what is imagined? Are certain scenes foreshadowing for later events?

The film has much depth.

One marvel at how art imitates life- Is Keaton portraying himself? Keep in mind that Keaton was the original Batman in the successful superhero franchise beginning in 1989 and his career tanked shortly thereafter.

Birdman is a comeback film for him and he is devastatingly good.

Norton’s character Mike impressed me- blunt and honest he is also flawed and scared and in some ways addicted to the stage.

Stone has one particularly brilliant scene as she lambasts her father and with regret, later on, tells him that the world has moved on without him and that he is irrelevant just like everyone else- it is a powerful scene.

In another, Riggan is locked outside of the theater during the performance, clad only in his underwear- how on earth will he return to the stage and complete the show? The quick slights at current Hollywood superstars playing superheroes, specifically Robert Downey Jr. are deliciously naughty.

A dark comedy for sure, it is impossible to predict what will come next and the film is very New York theater style. Keaton’s run-in with a theater critic in a cocktail bar is the best scene in the film as the critic’s vicious critique of “You’re a celebrity, not an actor” resonates with both pain and tremendous anger for Riggan.

Riggan is a sensitive, struggling man and Keaton so wonderfully shows his vulnerability in every scene.

Bravo!

Oscar Nominations: Best Picture (won), Best Director-Alejandro G. Inarritu (won), Best Actor-Michael Keaton, Best Supporting Actor-Edward Norton, Best Supporting Actress-Emma Stone, Best Original Screenplay (won), Best Sound Editing, Best Sound Mixing, Best Cinematography (won)

Independent Spirit Award Nominations: Best Feature (won), Best Director-Alejandro G. Inarritu, Best Male Lead-Michael Keaton (won), Best Supporting Male-Edward Norton, Best Supporting Female-Emma Stone, Best Cinematography (won)

1961 Films, Best Film of the Year, Best Picture Oscar Winners, Musical, Natalie Wood, Rita Moreno, Robert Wise, Russ Tamblyn, Scott's Top 100 Films

West Side Story-1961

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West Side Story-1961

Director Robert Wise, Jerome Robbins

Starring Richard Beymer, Natalie Wood

Top 100 Films #64

Scott’s Review #188

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Reviewed November 3, 2014

Grade: A

West Side Story is a musical from 1961 (based on the Broadway stage production from the 1950s), during a period in Hollywood where every other film released seemed to be a version of an enchanting musical.

This particular film version is much darker than most contemporaries within this genre. The dreary ending, fantastic and compelling in its dramatic elements, does not dour the rest of the musical and its hum-along tunes.

West Side Story was crowned the 1961 Best Picture Oscar winner.

West Side Story is certainly based on the Shakespearean tragedy of Romeo and Juliet- the Capulets and Montagues becoming rival teen street gangs of the Puerto Rican “Sharks” and the Polish”Jets”, with the lovesick teens Tony and Maria serving as Romeo and Juliet.

And yes, spoiler alert, the story does not end happily ever after fashion.

Loads of suspension of disbelief must be taken- How many gangs sing and dance to each other, snapping their fingers in unison to perfectly choreographed beats?

Additionally, some of the gang characters are not so authentic looking- either in clearly dyed hair, bronzed with tan, or some other phony-looking get-up, but the film is a cherished friend and these can be overlooked for my enjoyment of the film.

The story, set in 1950s New York City, pits the Sharks (a gang led by Bernardo) against the Jets (led by Riff), who have been bitter rivals for the turfs of the rough streets of Manhattan’s west side for many years.

In tow are the gang’s girlfriends, along with one female, named “Anybodys”- who longs for the day when she will be allowed to join the Jets and fight alongside the boys.

The other supporting characters largely include various policemen (Lieutenant Schrank and Officer Krupke) attempting to keep the gangs apart, as well as a local shopkeeper, Doc, who is the moral compass of the story, encouraging the gangs to get along with each other and questioning the logic of gang fights.

After a scuffle, the gangs decide to have at it after an upcoming dance and the Jets elect Tony to square off against Bernardo.

The story is surprisingly dark- especially in the inevitable final act. Amid all this darkness, however, lies a musical with cheery and catchy numbers (I Feel Pretty, Jet Song) as well as love-struck tunes (Maria and Somewhere).

A musical about diversity and rivalry, the story centers on lovesick Maria and Tony, a la Romeo and Juliet, and their struggle to be together despite adversity from their friends and family due to their extremely different backgrounds.

Throughout the film we get to know other characters well- Anita, the girlfriend of Bernardo, for example, played by Rita Moreno, is the stubborn yet likable, best friend of Maria, who thinks that Maria and Tony are wrong for each other and that things just are not supposed to be that way when you mix cultural diversity.

The film moves along at a quick pace with standoffs, fights, and plots to get the other gang, a failed attempt at a dance to co-mingle the two groups and girlfriends, and Tony and Maria sneaking off to meet together.

The lack of chemistry between Natalie Wood (Maria) and Richard Beymer (Tony) is quite noticeable, especially upon multiple viewings, but all of these decades later it is also tough to imagine anyone else in either role- so ingrained are the duo in film culture.

The cultural diversity of much of the cast (Rita Moreno was the only Puerto Rican) is interesting, as is the fact that most of the singing was dubbed by other singers.

Yet, the film still somehow works very well.

Oscar Nominations: 10 wins-Best Motion Picture (won), Best Director-Robert Wise and Jerome Robbins (won), Best Supporting Actor-George Chakiris (won), Best Supporting Actress-Rita Moreno (won), Best Screenplay Based on Material from Another Medium, Best Scoring of a Musical Picture (won), Best Sound (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing (won)

1999 Films, Best Film of the Year, Bruce Willis, Donnie Wahlberg, Haley Joel Osment, Horror, M. Night Shyamalan, Scott's Top 100 Films, Scott's Top 20 Horror Films, Thriller, Toni Collette

The Sixth Sense-1999

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The Sixth Sense-1999

Director M. Night Shyamalan

Starring Bruce Willis, Haley Joel Osment

Top 100 Films #56     Top 20 Horror Films #15

Scott’s Review #182

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Reviewed October 8, 2014

Grade: A

The Sixth Sense is a psychological thriller/horror film directed by M. Night Shyamalan, made in 1999, about ghosts, that was an incredible box-office and critical success at its time of release and made the line, “I see dead people” universally imitated.

Bruce Willis stars as Dr. Malcolm Crowe, a successful and admired child psychologist, who lives a perfect life with his wife Anna in Philadelphia.

Enjoying a romantic night at home, Malcolm and Anna are interrupted by a deranged former patient- played by an unrecognizable Donnie Walhberg.

Malcolm is shot by the patient, who also shoots himself, and the story picks up a year later as Malcolm takes an interest in Cole, a troubled 9-year-old boy, played by Haley Joel Osment. Cole is a peculiar boy- an outcast taunted at school, who can see the dead.

He’s worried, over-worked mother, Lynn, is played by Toni Collette. Meanwhile, Malcolm and Anna appear to be going through marital problems and lack any meaningful communication with each other.

Anna begins to be pursued by a new beau much to Malcolm’s chagrin. Malcolm and Cole develop a special bond as Malcolm convinces Cole to speak to and help the ghosts that he sees rather than be terrified of them.

As the plot slowly unfolds, Cole helps a recently deceased girl named Kyra Collins, who is around his age. Kyra gives Cole a videotape that reveals she was murdered and proves who killed her.

The subsequent scene is my favorite- there is a haunting quality to it and the camera follows the events interestingly- slowly and sedately.

The setting is a service at Kyra’s house where family and friends are gathered to pay respects and support Kyra’s parents. Malcolm and Cole arrive and present Kyra’s father with the plain videotape.

The entire scene is powerful in its simplicity yet high emotional value. It is slow, but devastating in its climax and reveals. Small nuances are revealed- why is Kyra’s mother wearing bright red when the other guests are all wearing black? Will Kyra’s younger sister be the next victim?

Superlative filmmaking.

A scene involving Cole’s teacher is riveting- being able to sense aspects of people’s pasts Cole realizes his teacher had a stuttering problem as a child. When his teacher is condescending towards Cole, the young boy explodes with rage and begins a chant of “Stuttering Stanley” which reduces the teacher to childhood traumas.

Yet another powerful scene involves Cole and his mother sitting in a car caught in traffic- Cole admits the truth of his skill of seeing dead people to her and introduces an emotional story to her as proof.

This is a scene where Toni Collette shines brightly.

Well over a decade since The Sixth Sense was released, most people know the twist and subsequent surprise ending and it is such a joy to go back, see the manipulations in the story and individual scenes, add them all up, and revel in the clever way that Shyamalan puts them all together.

The Sixth Sense is not dated and is quite fresh, holding up tremendously, and I personally still get chills during the big reveal all these years later.

But more than this pleasure, the film is written beautifully. Somewhere between horror and psychological thriller, it successfully tells a ghost story with interesting characters and jumps-out-of-your-seat thrills that are not contrived and predictable in the traditional horror film way.

From an acting perspective, Bruce Willis is amazing and under-appreciated as Malcolm- he is calm, cool, and collected and his performance is quite understated as the inquisitive and pensive psychologist.

More praise should have been reaped on Willis.

Haley Joel Osment gives an astounding performance of a lifetime- he emits an image to the audience of being strange yet sympathetic and he relays his very frightening fear of the ghosts so well that the pain and conflict he endures is evident on his face.

Toni Collette is effective as the scared, concerned, haggard mother. Collette and Osment were rewarded with Academy award nominations- sadly Willis was not.

Shyamalan was subsequently ridiculed for his later films (The Village-2001, and Unbreakable-2001) – perhaps the manipulation and trickery from The Sixth Sense angered some people.

The Sixth Sense (1999) is a film that remains with you for days, weeks, even years and can be revisited and rediscovered for an intelligent, chilling good time.

Oscar Nominations: Best Picture, Best Director-M. Night Shyamalan, Best Supporting Actor-Haley Joel Osment, Best Supporting Actress-Toni Collette, Best Screenplay Written Directly for the Screen, Best Film Editing

1956 Films, Alfred Hitchcock, Best Film of the Year, Doris Day, James Stewart, Scott's Top 100 Films, Thriller

The Man Who Knew Too Much-1956

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The Man Who Knew Too Much-1956

Director Alfred Hitchcock

Starring James Stewart, Doris Day

Top 100 Films #38

Scott’s Review #176

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Reviewed September 26, 2014

Grade: A

The Man Who Knew Too Much is a classic Alfred Hitchcock film from 1956 starring James Stewart and Doris Day, who share tremendous chemistry.

They play a successful married couple- Ben and Jo McKenna, he a Doctor, she a well-known singer, who travels on a lovely trip to Morocco, with their young son Hank in tow.

They are a traditional American family on vacation abroad that the viewer trusts and believes in from the onset of the film.

Suddenly, they are approached by a Frenchman named Louis Bernard, who seems a bit too curious about Ben and his work. Jo is immediately suspicious of the mysterious man and thus begins a series of events involving mistaken identity, an assassination attempt on England’s Prime Minister, and the couple traversing to London in an attempt to locate Hank, who has been kidnapped by criminals.

As with other Hitchcock films- think North by Northwest, the motivations of the assassins are unclear and one might argue, unnecessary. Why are they attempting to assassinate a political figure? Is there money to gain? Is there power to be obtained?

These questions are never answered- the film is not about that, but rather about Ben and Jo’s predicaments. The villains- primarily an innocent-seeming English couple and a sneering, rat-like assassin, are one-dimensional characters as their motivations are not revealed.

A remake of a 1934 version with the same title, but far superior, the film is a suspense/ political thriller.

Some interesting comparisons to other Hitchcock films released around the same time that I continue to notice with each passing viewing-

North by Northwest– the ordinary man falling into international intrigue and Vertigo– Jo is dressed in almost identical fashion to Madeleine/Judy- a classic, sophisticated grey suit with a pulled-up bun hairstyle; the musical scores are extremely similar- almost identical in instances; Vertigo’s bell tower is reminiscent of Ambrose Chappel in The Man Who Knew Too Much. Stewart’s Ben climbs up the bell tower in The Man Who Knew Too Much whereas in Vertigo is terrified of heights, let alone climbing.

These are fascinating tidbits to note for any Hitchcock fan.

Impressive to me is Doris Day’s performance, which is her greatest. Known for the lightweight, romantic comedy, and fluff roles, she turns in a wonderfully emotional and dramatic role and is quite effective in her own right.

The six-minute climactic final sequence, set at a musical concert at the Royal Albert Hall, is among the best in film history and uses no dialogue. This technique is jaw-dropping as one realizes just how much transpires within the six minutes, solely on physical activity and facial expressions alone- the entire plot of the film reaches a searing crescendo- quite literally.

Day is particularly strong in this sequence.

James Stewart, in his fourth turn in a Hitchcock film, is charismatic as always playing the everyman tangled in a web of deceit and espionage.  He takes charge, but is identifying to the audience- he can be your friend or neighbor and we trust his character- he is a successful doctor after all.

The now-legendary song from the film “Que Sera, Sera (Whatever Will Be, Will Be)” is an important part of the finale and remains with the audience in a happy yet terrifying way long after the curtain closes on the film.

The Man Who Knew Too Much (1956) is exciting, suspenseful, interesting, and fun- just what a Hitchcock film should be.

Oscar Nominations: 1 win-Best Song-” Que Sera, Sera (Whatever Will Be, Will Be)” (won)

1963 Films, Alfred Hitchcock, Best Film of the Year, Horror, Jessica Tandy, Rod Taylor, Scott's Top 100 Films, Scott's Top 20 Horror Films, Tippi Hedren

The Birds-1963

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The Birds-1963

Director Alfred Hitchcock

Starring Tippi Hedren, Rod Taylor

Top 100 Films #2     Top 20 Horror Films #2     

Scott’s Review #173

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Reviewed September 22, 2014

Grade: A

The Birds is one of director Alfred Hitchcock’s finest works.

Made in 1963, following Psycho, it continues Hitchcock’s run of successes, both commercially and critically.

Set in northern California (in both San Francisco and Bodega Bay) it tells the story of unexplained bird attacks in a peaceful small bay town.

Tippi Hedren plays Melanie Daniels, a wealthy socialite from San Francisco, who drives to Bodega Bay to romantically pursue a love interest, Mitch Brenner.

Mitch, played by Rod Taylor, is a successful attorney who meets and shares a flirtation with Melanie the day before at a San Francisco pet store. He regularly visits his mother (Jessica Tandy) and sister (Veronica Cartwright) in Bodega Bay.

Once Melanie arrives in town birds begin periodically attacking the locals living in the sleepy community.

The Birds is a film that holds up incredibly well and is as exciting and horrifying today as it has ever been in the past.

One intriguing aspect of the film is that it offers no rhyme or reason for the bird attacks, which keeps the viewer guessing from the moment a gull swoops down and attacks innocent Melanie.

It is completely mysterious and open to interpretation- are birds fed up with being caged?

Are the love birds that Melanie purchased the cause of the attacks? Do the birds hate humans? Why do they attack the children? Why do they peck the eyes of their victims out?

One could spend hours debating these questions.

A major creative success of the film is its elimination of a musical score. The eerie silence mixed in with the loud sounds of the birds attacking is a haunting dynamic.

My favorite scene of The Birds features Melanie sitting on a wooden bench in the schoolyard enjoying a cigarette. Behind her is a deserted jungle gym. She barely notices a tiny bird innocently fly past her and land on the jungle gym.

She continues smoking her cigarette. The viewer sees what Melanie cannot- as slowly hundreds of birds land on the jungle gym behind her.

Without music, this scene is deadly silent and very dramatic as it switches from close-ups of Melanie to long shots of the birds gravitating behind her.

Another interesting aspect of The Birds is the character relationships- Mitch’s mother Lydia is afraid of losing her son so she initially despises Melanie; Mitch’s ex-girlfriend, schoolteacher Annie Hayworth strikes up a close friendship with Melanie- one might expect them to be rivals.

A hysterical mother lashes out at Melanie, calling her evil, and blaming her for the attacks.

One wonders, amid the long periods of calm, when the next attack will occur- and we know it will. We look for clues as to what triggers the attacks and we find none.

This makes for brilliant and suspenseful filmmaking. They hardly come better than the masterpiece that is The Birds (1963).

Oscar Nominations: Best Special Effects

1960 Films, Alfred Hitchcock, Anthony Perkins, Best Film of the Year, Horror, Janet Leigh, Martin Balsam, Pat Hitchcock, Scott's Top 100 Films, Scott's Top 20 Horror Films, Vera Miles

Psycho-1960

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Psycho-1960

Director Alfred Hitchcock

Starring Janet Leigh, Anthony Perkins

Top 100 Films #1     Top 20 Horror Films #1

Scott’s Review #165

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Reviewed September 6, 2015

Grade: A

Psycho (1960) is the film to end all films and not just within the horror genre- at the time of release it transcended the art of film to a new level and has influenced generations of films since, and still holds up incredibly well today.

It is certainly one of the greatest Alfred Hitchcock films and one of the greatest films ever made, in my opinion.

Hitchcock took a huge risk and dove from the thriller genre to the horror genre with Psycho.

The story involves a young woman named Marion Crane, superbly played by Janet Leigh. Marion lives in Phoenix, Arizona, and sees her boyfriend (the dashing John Gavin) for frequent afternoon rendezvous at cheap motels when he is in town because they are both struggling financially.

She is presented with an opportunity, via her job, to steal $40,000 and flee the state to start a new life with her beau. She seizes the opportunity.

On the run, she stops at a run-down Bates motel where she meets owner Norman Bates, hauntingly played by Anthony Perkins.

Perkins and Leigh have amazing chemistry together and the audience picks up on it- is it romantic? Is there mysteriousness to it? Something is odd about Norman. They bond over a quiet meal of sandwiches at the motel while discussing life and his ailing mother.

The famous shower scene and the shocking twist after the film are now almost taken for granted since most people know about them already, but I can only imagine the shock when viewers were first treated to these two delights.

To this day both are still suspenseful to watch.

When I saw this film for the first time I, fortunately, did NOT know the ending and I am glad I didn’t because my breath was taken away.

To kill off the main actor at the start of the film halfway through was a novel idea and mind-blowing at the time of release (1960).

This act had the audience’s mouths hanging open in disbelief and saying, “What now”? “How can this be followed”? This act would later influence the original Scream (1996) film and surprise audiences all over again.

Per Hitchcock, no one could enter the film after it had started and viewers were persuaded not to reveal the ending- oh how I wish that occurred these days.

A very important aspect of the success and longevity of Psycho is the chemistry between Perkins and Leigh who got along famously while shooting Psycho, and more importantly, the likability of Norman Bates. There is a rooting value for him even though he is the villain.

When Marion’s car is only half-submerged in a lake containing her dead body, we root for the car to completely sink because Norman does and the concerned look on Norman’s face has a sincerity to it that affects the audience. Norman is troubled and wounded and the audience does not know why at this point in the story.

Let’s not forget the likability of Janet Leigh. The audience sympathizes with her predicament. She is hopelessly in love with her man, steals money, is conflicted, and at her core is a nice, decent, kind woman.

Halfway through the film Marion’s sister Lila, played by Vera Miles, is introduced as well as a detective and the film becomes more of a suspense/mystery as they search for Marion and investigate the Bates Hotel and Norman Bates himself.

Miles then takes center stage as the lead in the film, which is intriguing in itself.

The film then returns to horror at the terrific and terrifying conclusion, which will shock first-time viewers.

The musical score (especially the shrill strings) is incredibly effective and was a huge influence on horror films to come (Friday the 13th immediately comes to mind).

Psycho is a film that can certainly be enjoyed and studied over and over again.

Oscar Nominations: Best Director-Alfred Hitchcock, Best Supporting Actress-Janet Leigh, Best Art Direction, Black-and-White, Best Cinematography, Black-and-White

1969 Films, Action, Bernard Lee, Best Film of the Year, Diana Rigg, George Lazenby, James Bond, Joanna Lumley, John Glen, Lois Maxwell, Scott's Top 100 Films, Telly Savalas

On Her Majesty’s Secret Service-1969

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On Her Majesty’s Secret Service-1969

Director Peter Hunt

Starring George Lazenby, Diana Rigg 

Top 100 Films #25

Scott’s Review #156

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Reviewed August 19, 2014

Grade: A

On Her Majesty’s Secret Service (1969) is often shamefully derided by fans of the James Bond franchise, which is sad since artistically and story-wise it is top of the heap and is my personal favorite from the series.

Bond, now played by George Lazenby, is on the hunt for arch-nemesis Blofeld, played by Telly Savalas. Blofeld is intent on securing amnesty for his past deeds and is threatening to ruin the world’s food supply if his demands are not met.

Often known among Bond historians as “the one with George Lazenby”, who, if not for Sean Connery returning to the series in the next film, could have lasted much longer in the role, is a breath of fresh air and wonderfully cast.

Lazenby brings his form of charisma, great looks, and charm to the role and Sean Connery is a tough act to follow, but Lazenby succeeds in spades.

Diana Rigg is one of the best Bond girls of all time as she is intelligent, sophisticated, confident, and beautiful, a great counterpart to Bond- she is more his equal, rather than simply just a conquest for him, and the two actors have real chemistry.

Telly Savalas is effective as the Blofeld, though not my all-time favorite Bond villain by any stretch- something is missing in his performance.

In typical Bond fashion, the film begins in sunny Portugal, side steps to London, and finishes in cold Switzerland. I love the icy, snowy Switzerland locales in the film and the ski chase, downhill bobsled chase, car chase on ice, and subsequent blizzard, which are brilliantly atmospheric.- a perfect film to view on a cold winter’s night!

I love the inside quips in this one especially when Lazenby says “I bet this never happened to the other fellow” and “He had lots of guts” both are laugh-out-loud clever.

The shocking and tragic ending is uncharacteristic of a Bond film and a brilliant change from many of the films as Bond is humanized.

On Her Majesty’s Secret Service (1969) is more character-driven than the other films in the franchise while still providing lots of adventure, and should be revered as a more layered Bond offering.

1958 Films, Alfred Hitchcock, Best Film of the Year, James Stewart, Kim Novak, Scott's Top 100 Films, Thriller

Vertigo-1958

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Vertigo-1958

Director Alfred Hitchcock

Starring James Stewart, Kim Novak

Top 100 Films #6

Scott’s Review #151

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Reviewed August 7, 2014

Grade: A

Over the years Vertigo has easily become one of my favorite Alfred Hitchcock films and I learn, appreciate, or see something new with each repeated viewing.

It is an absolute masterpiece.

The primary appeal to Vertigo is its mystique and dream-like quality which provides a beautiful cinematic experience. It is ominous, psychological, and gloriously complex, even confusing at times, but that makes it wonderful.

The colorful opening visuals are dynamic and groundbreaking.

The story involves a retired detective, Scottie, played by Hitchcock stalwart Jimmy Stewart. Scottie suffers from vertigo, which hinders his daily life. After an incident in which a police officer is killed and Scottie blames himself and his vertigo for causing the death, he whiles away the days brooding and keeping companionship with Midge- a college friend whom he was once engaged to.

One day he is hired by another college friend to follow his wife, played tremendously by Kim Novak, who is acting strangely and periodically disappearing, having an obsession with a painting of a woman from years past.

From this point, the plot twists and turns in a great mysterious fashion, and mixed in is a romantic, bizarre, obsessive, love story.

Is Scottie in his right mind? Will his vertigo continue to haunt him? What is the secret to Madeleine and Judy? Is Midge as sweet as she appears?

The score to Vertigo is haunting and unforgettable and adds so much mood and ambiance to the film.

Set in San Francisco, several location shots are featured- Golden Gate Bridge, downhill streets, the Mission, and Red Wood forest.

As with all Hitchcock films, all sets and details in the film are perfect from paintbrushes, coffee mugs, curtains, and furniture, to the gorgeous bright red décor of the restaurant heavily featured in the film.

How exquisite does Kim Novak look in the film??

Originally critically panned upon its release it is now considered one of the greatest films of all time, deservedly so, and has influenced countless other films with its unique camera angles and slow, methodical pacing.

The film is not always an easy watch as it is complex, to be fair, but like a fine wine, it gets better and better.

Vertigo is a layered psychological thriller that is appreciated more and more with each viewing.

Oscar Nominations: Best Sound, Best Art Direction

1943 Films, Alfred Hitchcock, Best Film of the Year, Henry Travers, Hume Cronyn, Joseph Cotten, Macdonald Carey, Patricia Collinge, Scott's Top 100 Films, Teresa Wright, Thriller

Shadow of a Doubt-1943

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Shadow of a Doubt-1943

Director Alfred Hitchcock

Starring Joseph Cotten, Teresa Wright

Top 100 Films #40

Scott’s Review #117

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Reviewed July 17, 2014

Grade: A

Shadow of a Doubt (1943) is an Alfred Hitchcock film from 1943, made in black and white, that tells the story of a quaint California town with a killer in its midst. The town is idyllic and wonderful- folks go to church on Sunday and meet at the drug store for ice cream sodas.

The film was shot on location in a small town in California rather than on a sound stage, adding much authenticity.

The Newton family is at the center of the thriller, led by Charlie (Teresa Wright), a young woman who idolizes her recently visiting Uncle, also named Charlie (Joseph Cotton). They are very close- almost like father and daughter.

When Uncle Charlie is suspected of being the notorious Merry Widow Murderer, Charlie is conflicted. Could her Uncle be the murderer?

Shadow of a Doubt is one of Hitchcock’s simpler films and a huge plus is the town itself. It’s quiet, and family-oriented- what could go wrong? But evil embodies the town, and events slowly start turning dark.

A scene in which the family sits down for a quiet meal that turns into a conversation about death is famous and powerful. The train sequence is nicely shot. There is also a wonderful side plot involving two friends playing an innocent game of “how would I murder you?”, unaware of the irony of the game itself.

The film is not as flashy or complex as other Hitchcock films, specifically Vertigo, but that aspect works to its credit.

Hitchcock adored the idea of a small town with foreboding secrets and this film is quite the gem.

Shadow of a Doubt (1943) is a good, old-fashioned thriller and a must-see for Hitchcock fans.

1978 Films, Best Film of the Year, Charles Cyphers, Donald Pleasance, Horror, Independent, Independent Horror, Jamie Lee Curtis, John Carpenter, Kyle Richards, Michael Meyers, Nancy Loomis, Nancy Stephens, P.J. Soles, Scott's Top 100 Films, Scott's Top 20 Horror Films, Slasher

Halloween-1978

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Halloween-1978

Director John Carpenter

Starring Jamie Lee Curtis, Donald Pleasence

Top 100 Films #4     Top 20 Horror Films #3

Scott’s Review #114

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Reviewed July 16, 2014

Grade: A

 Halloween is an iconic horror film from 1978 that set the tone for the barrage of slasher films to follow throughout the 1980s and into the 1990s.

Today, the film continues to hold up incredibly well and I am proud to list it as, not only one of my favorite horror films (which I religiously watch every Halloween) but one of my favorite films of all time.

The focus is on style and substance over gore (the film contains little) and the score is one of the scariest and most effective in cinema history.

The premise of the film is simple- a homicidal maniac is on the loose in a sleepy little town named Haddonfield, Illinois, and is targeting three female babysitters one crisp Halloween night.

The audience knows that the six-year-old little boy dressed as a clown on a dark Halloween night years ago, and who butchered his older sister to death, is the now grown-up culprit.

What we do not know, nor should we, is what his (Michael Meyers) motivation is.  This confusion only adds to the impact of the story.

Subsequent remakes have added complexities to the character, needlessly so, but in the original, we see a seemingly happy child with stable parents and a good life.

Similar stories have been told over time in film history. But Halloween is simply one of the greatest horror films ever made.

As simple as the story is, it is the way the film is made that makes it a masterpiece. Everything about Halloween is mesmerizing- the lighting is perfect, the ambiance, the incredibly scary musical score brilliant, the battle between good and evil, and the perfect feeling of a chilly Halloween night.

Highly unusual for its time, the point of view of the killer and heavy breathing are prevalent throughout the film, which will startle and scare the viewer. The opening shot is through the eyes of a masked six-year-old kid wearing a clown mask.

The unique technical aspects go on and on.

Director John Carpenter had a vision for this film and thankfully no studio influence ruined it since it was an independent film on a shoestring budget.

The Hitchcock influences are evident in the character names- Sam Loomis and many scenes involving someone watching the action or peeking around a corner, through a window, which makes the viewer anxious and nervous.

Set in the small-town USA, a frightening element of the film is that it could happen anywhere and the location is ingenious. There is very little blood, let alone gore. It is needless. It is the creepiness that makes the film brilliant.

The three teenagers are perfectly cast- Jamie Lee Curtis is the serious bookworm, P.J. Soles and Nancy Keyes are the flirtatious bad girls, but the chemistry between them is great and the audience buys them as best friends.

The jump-out- of- your seat moments are incredibly well-timed and it is one of the few genuinely scary films.

Forget solely the horror genre- Halloween (1978) is one of the greatest films ever made.

1959 Films, Alfred Hitchcock, Best Film of the Year, Cary Grant, Eva Marie Saint, Leo G. Carroll, Martin Landau, Scott's Top 100 Films, Thriller

North by Northwest-1959

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North by Northwest-1959

Director Alfred Hitchcock

Starring Cary Grant, Eva Marie Saint

Top 100 Films #26

Scott’s Review #90

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Reviewed July 3, 2014

Grade: A

North by Northwest is a 1959 Alfred Hitchcock film, released during the heyday of its famous director (1950s and 1960s).

It is considered one of his most commercially successful films and is the mainstream fare that contains all the elements of a great Hitchcock film- adventure, intrigue, romance, and suspense.

Unlike some of his other films, his characters are straightforward and not psychologically wounded as are some of his others, and this is not a slight, but merely makes the film “for the masses”.

Charismatic Cary Grant plays successful advertising executive Roger Thornhill. He works in bustling New York City, has a secretary, and is well respected in his circle.

While enjoying drinks at the club on the evening before a planned trip to the theater, he becomes a victim of mistaken identity- thought to be George Kaplan-and accosted by henchmen to a lavish mansion on Glen Cove Long Island.

After a botched attempt on his life, he is arrested and ultimately must race across the United States on the lam to find the real George Kaplan.

The wonderful locales go from New York City to Long Island to Indiana, to Chicago, to Mount Rushmore.

The film is exciting from start to finish, never letting up, and features a common theme of Hitchcock’s- an “everyman” falsely accused of a crime attempts to prove his innocence.

Slightly different from some Hitchcock films in that there is not as much psychological analysis of the characters, but rather a good, old-fashioned adventure story with many twists and turns along the way.

In many ways, North by Northwest is a precursor to the enormously popular James Bond films as Grant brought style, sexiness, and charisma to this sleek feature.

The set style and design look just perfect. The lush Long Island estate set is flawless with a grand staircase and a well-constructed library used- not to mention the exterior shot of the enormous house.

The house in Mount Rushmore is sleek, quite trendy, and reeks of high sophistication. Propped on an incline and containing its airplane runway, it is quite grand.

The chemistry between Grant and Eva Marie Saint is apparent and oozes from the screen from the moment they bump into each other on a train traveling from New York to Chicago. As they dine in the dining car a flirtatious scene-the landscape whizzes by in the background, the comforting train whistle and background noise work well.

Their relationship is established, and the characters are intrigued and slightly mistrustful of each other, which gives the scene an edge and complexities that work.

The film features a cutting-edge graphic design in the opening credits as Vertigo also did around the same period. The green colors and the sophisticated advertising style of the graphics kick the film off in a creative, ultra-cool, modern way.

Interesting to note is the implied homosexuality of Martin Landau in the role of Leonard, henchman to the main villain Phillip Vandamm, and this is exactly how Landau played the role.  During Hitchcock’s time, homosexuality was strictly prohibited in the film but subtly shone through.

Leonard’s fascination and jealousy towards Vandamm have levels of flirtation and vengefulness intertwined.

Scene after scene of North By Northwest is filled with suspense- the crop duster scene is my ultimate favorite. Shot without music, and on location in a dreary, clear, middle-of-nowhere field, somewhere in Indiana, it is layered with suspense that keeps going in this very long scene.

Thornhill is scheduled to meet Kaplan at a designated spot. A lonely bus stop, random passing cars thought to be the intended, a deadly airplane, and an explosion all transpire. The scene is fraught with tension.

New fans of Hitchcock should begin with this one- mainstream and one of his finest, containing all the traditional Hitchcock elements where all the pieces come together perfectly.

North By Northwest (1959) is a masterpiece.

Oscar Nominations: Best Story and Screenplay Written Directly for the Screen, Best Art Direction, Color, Best Film Editing

1965 Films, Best Film of the Year, Best Picture Oscar Winners, Christopher Plummer, Julie Andrews, Musical, Robert Wise, Scott's Top 100 Films

The Sound of Music-1965

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The Sound of Music-1965

Director Robert Wise

Starring Julie Andrews, Christopher Plummer

Top 100 Films #29

Scott’s Review #49

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Reviewed June 20, 2014

Grade: A

The Sound of Music (1965) is a film that almost everyone has seen over and over again- undoubtedly ingrained in most people’s childhood memories and, especially, around the holiday season, it is a treasure to watch.

It is tough to be objective as I’ve probably seen the film dozens of times and continue to appreciate and love it with each repeated viewing.

Maria (Julie Andrews) is a pretty, young free-spirited woman living in the gorgeous hills of Austria. We first meet her on a lush hilltop where she sings with the birds and enjoys life.

While very popular with other nuns, she does not quite fit in at the Nonnberg Abbey where she studies to become a nun. She is sent to discover herself as the governess to seven children living nearby. They are the children of well-known, and now-retired, Georg von Trapp (played by Christopher Plumber).

Since his wife died, no life or music exists inside the house. Maria brings life and music to all and transforms everyone into a happier existence. The threat of the powerful Nazis, wishing to recruit a disapproving von Trapp adds tension.

In the midst of it all, Maria and von Trapp fall madly in love.

As a musical, it is top-notch and is the hallmark of all musicals. The songs are tough to get out of one’s head (“The Sound of Music”, “Climb Ev’ry Mountain”, and “My Favorite Things” are personal favorites), but the list of gems goes on and on.

The political/Nazi story was lost on me as a child, but now I see the film does have a darker tone in the second half and becomes quite serious.  Surely, since it is a family film details are glossed over a bit, but so what? It is more the wonderful music that makes The Sound of Music so great and memorable.

The first half, of course, is wholesomely sugary sweet, and safe and, from what I’ve read, extremely loosely based on the real von Trapp family, but this hardly matters as it is escapism galore and that is needed sometimes.

I hate to dissect and overanalyze a film like this when it is a fantasy/musical extravaganza meant to be enjoyed. Lighthearted and fun for everyone.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Robert Wise (won), Best Actress-Julie Andrews, Best Supporting Actress-Peggy Wood, Best Scoring of Music-Adaptation or Treatment (won), Best Sound (won), Best Art Direction, Color, Best Cinematography, Color, Best Costume Design, Color, Best Film Editing (won)

1975 Films, Best Film of the Year, Drama, Elliott Gould, Geraldine Chaplin, Jeff Goldblum, Julie Christie, Karen Black, Keith Carradine, Lily Tomlin, Ned Beatty, Robert Altman, Ronee Blakley, Satire, Scott Glenn, Scott's Top 100 Films, Shelley Duvall

Nashville-1975

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Nashville-1975

Director Robert Altman

Starring Lily Tomlin, Keith Carradine, Karen Black

Top 100 Films #7

Scott’s Review #47

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Reviewed June 19, 2014

Grade: A

Nashville (1975)  is a brilliant film.

I have found that with each subsequent viewing, it creeps higher and higher on my list of favorite movies of all time.

The style is unique (largely improvised) and epitomizes creative freedom in the film during the 1970s.

Director Robert Altman lets his actors express themselves, even allowing them to write their songs, the dialogue overlaps at times, which results in a natural feeling as the viewer watches the cast of twenty-four principles intersect over five days at a political rally/country music festival.

It is pure Robert Altman at his finest.

Nashville is a satire of the political arena of the early 1970s and the Vietnam conflict and politicians, specifically.

The film certainly questions and challenges the government with an ironic patriotic setting (Nashville).

The country music industry was in an uproar upon the initial release of the film. It is a layered film that can be discussed and appreciated and every character is cared about.

I cannot adequately describe the multitude of nuances in each scene that are noticed over time.

Each character- even some with limited screen time is important to the story as are the political elements- the questions of wars, policies, etc. abound.

The chaotic bits and individual storylines come together at the end and many background happenings are incredibly interesting to watch and take note of throughout each viewing.

With each experience, the audience will notice more and more. I certainly do.

Lily Tomlin, for example, plays Linnea, a haggard mother of deaf children with a supportive husband, a woman who on the surface is heroic, yet she is a complex character; she is bored with her life and falls in love with a young musician despite the guilt and repercussions.

The musician in question is Tom Frank, played by Keith Carradine. Handsome, and self-absorbed, he arrives in Nashville to dump his bandmates in hopes of a solo career and beds many willing females.

He also lashes out at a soldier at the airport, saying, “Kill anyone lately?”

Despite his unlikeable character, Carradine gives one of the most beautiful performances in the film when he sings “I’m Easy”.

Several of the female characters assume he is singing the song for them, but who is he truly singing it for…if anyone?

Another character to analyze is Barbara Jean, played by Ronee Blakley. A frail yet very successful country singer, she is in and out of hospitals as she frets about her replacement singer stealing her thunder.

Her insecurities rise to the surface.

Insecurity is a common theme among the characters. Many of them are either unsure, afraid, or not confident about their musical talent, their relationships, or even themselves.

These are only three examples of the twenty-four richly layered characters- some ambitious, some falling apart, others meandering through life.

Many songs throughout were created by the actors themselves.

Nashville (1975) is storytelling and filmmaking at its best. A creation by Altman that is deservedly admired, revered, and heralded as a major influence.

It is studied in film schools as it should be.

Oscar Nominations: 1 win-Best Picture, Best Director-Robert Altman, Best Supporting Actress-Ronee Blakley, Lily Tomlin, Best Original Song-“I’m Easy” (won)

1939 Films, Bert Lahr, Best Film of the Year, Billie Burke, Charley Grapewin, Children, Clara Blandick, Fantasy, Frank Morgan, Herman J. Mankiewicz, Jack Haley, Judy Garland, Margaret Hamilton, Musical, Ray Bolger, Scott's Top 100 Films, Victor Fleming

The Wizard of Oz-1939

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The Wizard of Oz-1939

Director Victor Fleming

Starring Judy Garland, Ray Bolger, Frank Morgan

Top 100 Films #11

Scott’s Review #34

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Reviewed June 17, 2014

Grade: A

The Wizard of Oz is a magical film and one of my all-time favorites- made in 1939 it still holds up amazingly well and the nuances continue to be admired- especially given the time in which it was made. 1939 belongs to this film and Gone With the Wind- as both were and are true classics.

This film is so embedded in people’s minds that it can be tough to look at from an objective point of view. I fondly recall watching this gem annually as it aired on television each holiday season- traditionally around Thanksgiving if memory serves.

It’s a marvel from start to finish and masterfully artistic. How creative to show the first portion in black and white with dusty muted colors, not to mention the astounding twister sequence- done using a stocking.

Then, we are introduced to a magical world filled with luscious colors and art direction still mind-blowing in depth. Munchkin-land, Glinda the Good Witch, and Emerald City are beautiful, lavish, and treats.

Who does not become teary-eyed during Judy Garland’s rendition of “Somewhere Over the Rainbow”? The poignancy is becoming given the tragic (yet successful) life the star would lead.

Margaret Hamilton as The Wicked Witch/Elmira Gulch is delicious in her nastiness. As she mocks Dorothy, who whimpers in tears while missing Auntie Em, she almost sneers at the camera. One can tell she had a ball with this role.

And The Wizard of Oz is not simply a pop culture hit- it has merit and creativity. The special effects hold up tremendously well and were simplistic back then, no CGI in those days, but many ways better than the CGI of today.

Audiences of all ages must see this film at least once, preferably on Blu-Ray. Judy Garland, later a tragic, troubled, lost figure, captured an innocence that was so sadly lost through the years.

All of the characters (The Cowardly Lion, Scarecrow, and Tin Man) are perfectly cast and are uniquely created without being too over-the-top.

Very few films are timeless and this is one of them.

Oscar Nominations: 1 win-Outstanding Production, Best Song-“Over the Rainbow” (won), Best Art Direction, Best Special Effects

1998 Films, Best Film of the Year, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films, Lisa Cholodenko, Patricia Clarkson, Radha Mitchell

High Art-1998

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High Art-1998

Director Lisa Cholodenko

Starring Ally Sheedy, Radha Mitchell

Scott’s Review #21

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Reviewed June 17, 2014

Grade: A

Superlative indie drama by acclaimed director Lisa Cholodenko (The Kids Are All Right) and an incredible performance by Ally Sheedy, who makes viewers forget all her past, forgettable “80’s roles”. She portrays a lonely, drug-abusing, star photographer enamored with a new neighbor in her New York City apartment building.

Her life is spiraling out of control and she is inspired by her new friend, who is on an upward career path.

The film is a dark love story and has a raw, moodiness to it. It’s a raw, emotional, mesmerizing film.

Patricia Clarkson is her usual awesome self as Sheedy’s even more drugged-out, unhappy partner. The love triangle is interesting and painful.

The three leads (Sheedy, Clarkson, and Radha Mitchell) all give knockout performances, but the film belongs solely to Ally Sheedy, who is spectacular.

Independent Spirit Award Nominations: 1 win-Best Female Lead-Ally Sheedy (won), Best Supporting Female-Patricia Clarkson, Best First Screenplay, Best First Feature, Best Cinematography