A Century of Film: The Top 1000 Films (#500-451)

This is the 11th part of the countdown of the Top 1000 Films of the first Century of Film (1912-2011).  The introduction can be found here.  Just click here to find the other parts.

All 50 of these films earns a 92 which is mid ****.

 

A Century of Film: Film History (1930-1939)

A Century of Film

1930-1939

So, I originally planned to have one long post that covered both film history through 1939 as well as film history during the decade but decided it was long enough just being a single decade; as a result, the film history through 1939 will be posted soon after this and that is how it will work with future decades as well (for the 20’s it was irrelevant since I covered all of film history up to that point in one post).

 

Century of Film: The Top 1000 Films (#900-851)

This is the next batch of 50 films counting down my Top 1000 Films of All-Time.  The films down through Footlight Parade all earn an 86 while the rest of them earn an 87, which is high ***.5.  I recommend reading the introduction first.  For the previous installments, click on the Top 1000 among the tags at the top of the post.

 

A Century of Film: Film History Through 1929

A Century of Film

Film History Through 1929

I’m certainly not going to discuss all of film history through 1929.  That has been done in numerous books in far more detail than I could ever discuss here.  There are some important dates that should not be ignored like 1912 (the release of Richard III, the oldest surviving feature-length film), 1915 (the release of The Birth of a Nation), the formation of the major studios (remember that what you think of as major may not meet that definition – it’s the five studios that both distributed films and owned theaters to which they could distribute the films and those were Fox, MGM, Warners, Paramount and RKO Radio, the last of which began releasing films in 1929, thus cementing the status of the five majors) and the double whammy of the introduction of sound with The Jazz Singer and the inception of the Academy Awards.

 

A Century of Film: Suspense Films

A Century of Film

 

Suspense Films

The Genre

What is a Suspense film, anyway?  What makes it different from other genres?  I think I first started thinking about that with the release of The Hunt for Red October.  It was still early in my days of being serious about films but I realized it was a bit unclassifiable.  It wasn’t an Action film.  There was too much suspense to be a Drama.  I got a film guide (called the Video Movie Guide – I had the 1990 edition and later gave that to my mother who still has it when I got the 1993 edition which I eventually got rid of, feeling I no longer needed it) not long afterwards that classified films by genre and had Action-Adventure-Thriller as one of them.  I realized that was where Hunt for Red October belonged.  But eventually I would decide that Mysteries really were their own sub-genre.

Almost all Mysteries could be pushed into this Genre which is why Mystery will be the next genre covered in this series (it was originally going to be first but it was easier to find a list of Mysteries and go through that than it was for Suspense, so I am watching a bunch more Mysteries before that post).  But Mysteries are tied up in a specific Mystery and solving that Mystery while Suspense is often more about the feeling in the film.  There is often a Mystery as well and I would not quibble with any person who keeps any of these films in Mystery.  A lot of them could also be classified as Action, but Action films, for the most part, focus more on the actual action and less on the feeling of suspense (for instance, most Spy films are here, but the Bond films are in Action).  Crime films could also be classified here (Crime films are often described as “crime thriller”).

 

A Century of Film: Crime Films

The Genre:

There seems to be an idea that Gangster Films and Crime Films are interchangeable.  But to me, a Crime film is more than just a Gangster Film and the latter is just a sub-genre of the former.  The Rough Guide to Gangster Movies kind of sums up the idea right away even if they are just talking about Gangster films and not Crime films:

“Every book about gangster movies has to have a working definition of what a gangster movie actually is.  And each will disagree with the other.  For the purposes of the Rough Guide to Gangster Movies, it is one in which the gangster is the protagonist, not the supporting player or bête noir of the long-suffering cop hero.” (p 3)

 

Best Adapted Screenplay: 1953

“The crowd milled indignantly in the small Dayroom, everybody talking excitedly. Stark posted himself huskily in the doorway with Pete and the Chief flanking him. Warden gulped off the rest of the coffee and set the cop on the magazine rack and pushed his way down to the other end and climbed up on the pingpong table.” (p 731)

My Top 7:

1. From Here to Eternity
2. Stalag 17
3. The Big Heat
4. The Moon is Blue
5. The Actress
6. Peter Pan
7. Hondo

Note:  After a few years with more than 10 screenplays on my list, I can’t do more than seven in this year.
Note:  This is the earliest year where significant records exist at oscars.org (there are a few for 1952 and even this year is incomplete in strange waves).  One of the great things about oscars.org is that it lists original sources (you can actually look up everything in a particular year with a source author) and it makes it much easier to distinguish between original and adapted scripts.

 

Best Adapted Screenplay: 1944

“A-15. UPPER LANDING OF STAIRCASE (FROM BELOW). Phyllis Dietrichson stands looking down. She is in her early thirties. She holds a large bath-towel around her very appetizing torso, down to about two inches above her knees. She wears no stockings, no nothing. On her feet a pair of high-heeled bedroom slippers with pom-poms. On her left ankle a gold anklet.”

My Top 5:

1. Double Indemnity
2. Gaslight
3. Arsenic and Old Lace
4. Laura
5. Ministry of Fear

Note:  That’s it.  My whole list for the year.  But it’s also a year where only 8 films rank above *** and the other three are original.  Not a good year for film.

 

Great Read: La Bête humaine

The Penguin Classics edition of the novel that first got me to read it.

La Bête humaine

• Author:  Émile Zola
• Published:  1890
• Publisher:  Charpentier
• Pages:  366
• First Line:  “Roubaud came into the room and put the pound loaf, pâté and bottle of white wine on the table.”
• Last Line:  “With no human hand to guide it through the night, it roared on and on, a blind and deaf beast let loose amid death and destruction, laden with cannon-fodder, these soldiers already silly with fatigue, drunk and bawling.”
• Film Version:  1920 (possibly lost), 1938 (**** – dir. Jean Renoir), 1954 (***.5 – dir. Fritz Lang), 1957
• First Read:  2010

 

The Nighthawk Awards: 1937

My Best Actor and Actress winner in my Best Picture winner – before things go bad.

You can read more about this year in film here.  The Best Picture race is discussed here, with reviews of all the nominees.  First there are the categories, followed by all the films with their nominations, then the Globes, where I split the major awards by Drama and Comedy, followed by a few lists at the very end.  If there’s a film you expected to see and didn’t, check the very bottom – it might be eligible in a different year.  Films in red won the Oscar in that category.  Films in blue were nominated.  This is the last year of two of the strangest categories in Oscar history: Assistant Director and Dance Direction, neither of which do I use.

Nighthawk Awards:

• Best Picture

1. A Star is Born
2. You Only Live Once
3. The Awful Truth
4. Snow White and the Seven Dwarfs
5. The Lower Depths