Best of the Letter "F:" Fiddler on the Roof (1971)

Charming, somber, grand and fun and full of greatness.  Fiddler on the Roof is one of the best musicals of all time, and a perfect adaption of a play for the silver screen.  Carried by the singularly brilliant and enormously entertaining performance of Topol as main character Tevye,  Fiddler is a great example of what can be done in the musical genre.

Depicting the plight of Jews in early 20th century Russia, Fiddler addresses the question of how the distinctive, chosen people maintain their identity in a changing world.  In one word?  "Tradition!"  "Without our traditions, we would be a shaky as a fiddler on the roof!"

Some of the best musical numbers of all time are found here: "If I Were a Rich Man," "Sunrise, Sunset," "Matchmaker," "To Life," "Do You Love Me?," and of course "Tradition!"  Combine these great musical pieces with great dancing, acting, and meaning, and you have the stuff of memories.

Even the part I can't stand is fitting.  Ever since my first viewing I have hated the song "Wonder of Wonders," as sung by the geeky tailor Motel.  Musically the song is a wreck, the choreography basically has him scampering through the woods in a completely awkward manner, even the cinematography changes style to something more jerky, so that everything adds up to a giant, glaring cancer of discomfort in the middle of an otherwise healthy and beautiful film.  And yet on further consideration, I have to admit that the song absolutely suits the character, and in his joy at that moment he doesn't care what I think of him.  That in itself is kinda beautiful, even if I still fast forward through the scene when I watch the movie.

The characters are memorable, the plot is full of beauty and heartache, the sets are wonderfully dirty, and the lighthearted moments are as frequent as the somber ones.  Fiddler is a film for the ages, a great performance by Topol, with some of the most iconic moments in musical history.

Watch it and enjoy.  It's the best film that begins with the letter "F."

Entertainment: 8/10
Artistic Value: 9/10
Technical Merit: 7/10

Overall: 8.5/10

Honorable Mentions for the letter "F:" (and there are many)

• The French Connection
• Fight Club
• Fargo
• A Few Good Men
• Finding Nemo
• The Fugitive
• First Blood
• The Fifth Element  (for you, Dave)
• Fantastic Mr. Fox

Best of the Letter "E:" The Empire Strikes Back (1980)

Here's just a bit of trivia about me: by the time I was 9 years old I could quote every line of the Star Wars trilogy.  I still can quote every line of all three Star Wars movies!  (And yes, there are only 3.  There are also a few hideous usurpers that deserve not the name, but there are only 3 Star Wars movies.)

Star Wars is why I originally fell in love with movies.  I had the toys, and I still play the video games.  I have so many fond memories about these films that re-watching one of the movies is like revisiting childhood lane.
But of course, films do not always age well.  Something you love as a child may not be as sparkling awesome as an adult.  Star Wars is really no exception.  What I thought was flawless as a child shows cracks when I grew up -cracks like bad acting, some examples of poor writing, and Ewoks.

Does it get more iconic than this?

And yet The Empire Strikes Back is different.  Episode V took the world of Episode IV and expanded on it and perfected it.  Somehow actors who had somewhat wooden deliveries in Episode IV became much better actors.  Somehow the writing became much more polished and smooth.  Things that were fun became phenomenal.  Special effects were kicked up a notch.  Icons became, well, more iconic.  Even the music improved with the addition of the Imperial March.  (It's might be noted that perhaps the reason it is the best of the series is that Lucas had the least control over it...)

Star Wars has never been better than The Empire Strikes Back.  Darth Vader has never been more ultimately evil, and his character still remains one of the best villains of all time.  Han Solo is the most lovable, heroic scoundrel of all time.  Yoda is the greatest bad-grammar-makes-you-seem-smarter pseudo philosophers of all time.  The action is fantastic, the themes are timeless, the story is somber, and the scope is epic.

Sure, the movies is not perfect.  But it does everything it needs to do perfectly.  It sparks the imagination, is undeniably entertaining, and develops a universe that fans still love to inhabit.

And it is the best movie you can watch that starts with the letter "E."

Entertainment: 9/10
Artistic Value: 5/10
Technical Merit: 7/10

Overall: 8/10


Runners Up for the Letter "E:"

• Eternal Sunshine of the Spotless Mind
• Elf
• The Exorcist
• The Emperor's New Groove
• Extremely Loud and Incredibly Close

Best Movies from #-D

In case you missed them, here's a round-up of the best films from #-D:

Best Number:
12 Angry Men (1957)

Best "A:"
Alien (1979)

Best "B:"
Ben-Hur (1957)

Best "C:"
Casablanca (1942)

Best "D:"
Das Boot (1981)

So what's next?  What's the best film that starts with "E?"

Here's a hint: It's a sequel.

Best of the Letter "D:" Das Boot (1981)

Submarine movies tend to have a clausterphobic tenseness that is simply unlike other kinds of movies.  And of all submarine movies, Das Boot is king.  There had been submarine movies before, and lots since, but Das Boot was and remains the best.  And on top of it all, it is also a fantastic overall film

Director Wolfgang Peterson weaves together a magnificent tale of a German U-boat  and its adventures on a mission during world war 2.  What is immediately noticeable is that these are not evil men, nor Nazi robots.  They are not faceless or nameless or without basic qualities of human life.  They are men, no more so or less so than any of us.  For me this represents a "humanization" of the enemy.  I was raised a red-white-and-blue blooded American, and most of the movies about WW2 that I've seen present Germans as more or less stereotypical bad guys.  Germans of the 30's and 40's in film are typically wicked or simple nameless uniforms -an obstacle for the hero to overcome but certainly not people in their own right.  I mean, the Germans of WW2 couldn't have been caring or capable of heroics, could they?

We need movies like Das Boot to remind us what war makes us often forget: that people on the "other side" are still people.  And there is nobility and goodness possible in them.

Ok, let's get this out of the way: Das Boot is filmed entirely in German, which means I need English subtitles to understand it.  And I like it that way.  It means it is much more authentic and real.  Don't let the subtitles put you off or you will miss out on one of the most human war tales of all time.

And the realism stands out.  Other movies have imitated that tense wait for depth charges and the harrowing, violent chaos as the explosions come.  Yet none have ever done that experience as well.  Das Boot will bring the viewer into that confined space with those crewmen, and even for only a minute we feel part of that terror.

After a while we feel like we know these men.  We share with them the terror of the depth charge bombardment, the frustration of trying to make difficult repairs, the joys of wind in the face and the thrill of the hunt.  And we share in their humanity as they weep over having to leave stranded sailors from a torpedoed ship, knowing they will drown.  That scene is one of the most effective anti-war war scenes of all time.  They have rejoiced over hitting the ship with a torpedo a few hours previous, yet weep when they realize that the sailors on the now sinking ship will not be rescued and are doomed.  They killed them, yet did not want them to die.  It's an amazing and effective scene.

Anyway, watch Das Boot.  You'll cheer for the crew, then feel conflicted.  You'll see a great example of action film making.  And you'll be watching the best movie ever that begins with "D."

Entertainment: 10/10
Artistic Value: 8/10
Technical Merit: 10/10

Overall: 10/10


Runners up for the letter "D:"

• Die Hard
• District 9
• The Day the Earth Stood Still (1951)

And films worthy of mention: Deliverance, Dawn of the Dead, The Departed 

Gravity (2013)

Currently doing great at the box office, generating fantastic word of mouth, pleasing critics and crowds alike, and generating not a little pre-Oscar buzz, Gravity is the current "it" movie.  Telling a harrowing tale of astronauts stranded in space, Gravity is exciting and tense, an action packed tale of trying to survive in a quite inhospitable place.

And it works.  In so many ways, Gravity is a great movie.  It pushes the envelope of what can be accomplished in making a movie, to the point where you might be forgiven for thinking they really had filmed this movie in space.

It's the action, visuals, and special effects that shine the brightest in Gravity.  Everything looks absolutely stunning.  In some shots so much is happening at once on screen that it is impossible to keep track of everything in the chaos.  There are long character point-of-view sequences (where the audience sees out of the eyes of our protagonist) that are brilliantly done.  And there is a technically flawless shot that takes us from observing an astronaut tumbling through space, zoom in and into the helmet, shows us what she is seeing, then pulls outside again in one unbroken shot (stunning).  But what works better in some cases is the small stuff -the way fire behaves in zero gravity,  or the way a tear floats out from an eye rather than down the face.  Truly, Gravity makes all the space stuff in Apollo 13 seem crude and unpolished.  It just looks that good.

There are a few other things that stand out.  When Ryan (Sandra Bullock) establishes some contact after long radio silence she (and we) are elated to hear another voice.  The way she latches onto the smallest familiar sounds help us understand just how isolated and lonely she must be.

I also loved how space is treated the way space actually is -silent and completely hazardous.  If there is no air, no radio, and no physical contact, then there is no sound.  So space stations can explode only meters from Ryan, but there is no noise.  And if she is using a drill, we only hear a noise that travels through her glove and into the air of her suit.  It's all subtle and marvelous.  Honestly, there can be no other serious contender for Best Sound Mixing.  Come to think of it, Gravity should run the tables on most of the technical Oscar categories.  The only sad thing is that the movie had to open with a wall of text explaining that space is silent -I assume the average audience just wouldn't know this basic fact.

But let me tell you, all the good only heightens for me the unrealized possibilities (and downright drawbacks).  There are really only two characters in the film, played by Bullock and George Clooney.  Bullock plays her character with drive and some subtlety, leading many to think this might be her second Oscar performance.  However, her character simply isn't really developed all that much.  And George Clooney plays George Clooney.  Ok, SPOILER ALERT!!  SKIP TO THE NEXT PARAGRAPH IF YOU DON'T WANT TO KNOW A RATHER BIG PLOT POINT!  Clooney's character is played as a professional, but rather self-absorbed.  But the self-absorption angle plays against the completely selfless sacrifice he makes to help Ryan.  His character is so flat, so nearly emotionless that it is hard to feel anything for him either.
SPOILERS END.

I didn't like the abundance of action.  In itself, action is not a bad thing.  However, Gravity tries to be reflective as well, attempting to address the big issues like "why try to live when everyone dies eventually?" and the precariousness of life as we tumble through space.  The action is so unrelenting that it tends to work against such reflections; spectacle substitutes for substance.  Eventually whatever points the movie is trying to make just feel shoehorned in and underdeveloped.

SPOILER ALERT AGAIN!  SKIP TO NEXT PARAGRAPH AGAIN TO KEEP AWAY FROM SPOILERS!  The way that things only blew up when Ryan was around also tended to frustrate me.  I mean, the debris plays havoc with the international space station, but there is hull integrity and such when she arrives.  But give it a few minutes and WHAMMO, everything's blowing up.  Then she gets to the Chinese station, it's rather intact still, then WHAMMO, everything's blowing up again.  Ryan is either serious bad luck to be around, or stuff was just waiting to explode until she got there.  Actually, it's all done in the name of plot convenience, a device I don't particularly like.
SPOILERS END.  IT'S THE LAST TIME, I PROMISE.

So yeah, there are things that definitely could have been improved.  But on the whole Gravity is fresh and fun.  It deals with space better than any movie since 2001: A Space Odyssey.  Though it fails to become the intellectual equal of 2001, still I found myself drawn to compare the two movies -which itself should tell you how good Gravity is.

Entertainment: 8/10
Artistic Value: 6/10
Technical Merit: 9/10

Overall: 7.5/10

P.S. I'm conflicted about "artistic value."  I think Gravity opens the door on a number of good themes and artistic statements.  I'm just not convinced that it deals with them in any meaningful way.

A Short Thought on Something Wrong with Movies Today

Ok, so there's plenty wrong with "movies today."  Not enough brains.  Actors are not as good as they once were.  No singing and dancing.  They are too much "not Casablanca."

But there is one thing that needs to change.  Now.

I went to see a movie today.  I showed up 15 minutes late for the showing.  And I still got to see 3 previews.

Enough Hollywood!  The sheer number of previews before a movie is overwhelming!  There were at least 25 minutes of previews before the film started!

And you know what?  I'd already seen them all online!  So let's scale it back a bit, shall we?  Perhaps you could limit things to 2-3 previews.  Perhaps you could start showing them prior to the start time, and people who wish to see them could come early.  Perhaps you could simply stop saying "Thanks for coming to the movie!  COME SEE THESE OTHER 10!"

That's all.  Thanks for listening.

Oh, and Hollywood?  Lower ticket prices too, eh?

Best of the Letter "C:" Casablanca (1942)

Casablanca is the best movie that has ever been made.  There, I said it.  Films simply do not get more iconic, more influential, more perfect, nor more beloved than this.

I love movies and books that are written with wit, so it is natural that I should love this one.  Practically every line is quotable, yet none of the lines (aside from perhaps "Looks like destiny has taken a hand.") are delivered like they intend to be quoted.  The dialogue is sharp, yet natural.  The people act like people should, yet each one begins to symbolize large segments of humanity.  This is a masterfully written film.

By the way, Casablanca contains my favorite put-down of all time: Ugarte: "You despise me, don't you?" Rick: "If I gave you any thought I probably would."  (ouch!)

Never has a film had a better cast: Humphrey Bogart, Ingrid Bergman, Claude Rains, Paul Henreid, Sydney Greenstreet, Peter Lorre -we're talking an extravagance of acting riches here!  

The cinematography is perfection in black and white.  All black and white films should look to Casablanca for instruction on how to frame a shot, how to showcase an actor, and how to contrast shadow with light.

The story is perfection in simplicity.  Sure, there are the bad guys and good guys.  But in the midst and confusing everything are the politics of love and the question of remaining morally neutral.  Will Rick do what is right, or will he try to get revenge on the girl who jilted him -or will he try to steal her from her husband?  Will Louis carry out the evil desires of the Nazis by trying to keep somewhat neutral?  Or will he finally stand up for what is right?  By the end everything turns out the only way it can and truly be called a happy ending.  "We'll always have Paris," and "the beginning of a beautiful friendship."

How does a movie get better than this (aside from better model plan special effects)?  Equal parts charming, sweet, earnest, and important, Casablanca is the best movie you can see that starts with "C."

Entertainment: 10/10
Artistic Value: 10/10
Technical Merit: 10/10

Overall: 10/10

Runners up for the letter "C:"

• Chariots of Fire
• Citizen Kane
• The Civil War -by Ken Burns (yes, a documentary)
• Chinatown

Best of the Letter "B:" Ben-Hur (1959)

One of the most celebrated films of all time, Ben-Hur is an epic masterpiece.  Charlton Heston stars as Judah Ben-Hur in this classic tale of friendship, betrayal, and revenge.  Betrayed by a close friend, Judah finds himself no longer rich and privileged in Jerusalem, but condemned and enslaved on a Roman galley.  But this is a hero's journey, so when Judah saves the Roman commander during a battle he gains wealth, status, and everything he needs to pursue his revenge upon his betrayer.

And that's the theme on which things get special.  You see, the subtitle of the film is "A Tale of the Christ."  The movie opens with the nativity, and Judah encounters Jesus on several occasions.  Never once do we see the face of Christ, nor do we hear his voice.  Yet the stamp of Christ is all over the course of Judah's life.  This film is as Christian as they come, and it is also one of the greatest stories written.  Judah is given every reason to hate, reason to strike out in war against his enemies.  Yet the person of Jesus calls to him, and the voice of Jesus instructs him.  There, on the hill of calvary, Judah witnesses the crucifixion and returns to his home a different man.  He speaks to Esther with wonder, telling her how even on the Cross Jesus prayed "Father forgive them, for they know not what they do."  And then Judah tells her, "and I felt his voice take the sword out of my hand."

It is in forgiveness that Judah gains true victory over his enemies, and he also learns how God works in both subtle and miraculous ways.  It is a beautiful, wonderful story fully worthy of every accolade that might be given.

When it comes to production values, Ben-Hur still ranks among the top best movies ever made.  Granted, there are a few points where things break down a bit -the rather sad looking naval battle is the low point.  But overall there is no mistaking the grandeur of everything you see.  And in particular, the famed chariot race is still one of the most exciting and spectacularly filmed action sequences of all time.  The stunt work, camera work, and (of course) horsemanship, are all fantastic.

Listen, movies just do not get much bigger or better than this.  Ben-Hur is one for the ages, fully deserving the 11 Oscars it won.  And for the record, the other films that have since won 11 Oscars could not claim to deserve all of them.  Ben-Hur is in a league of its own.

Entertainment: 9/10
Artistic Value: 10/10
Technical Merit: 9.5/10

Overall: 10/10

Runners up for the letter "B:"

• Blade Runner
• Babette's Feast
• Brazil
• Braveheart