186. Nights of Cabiria

Nights of Cabiria (1957)

Director: Frederico Fellini

Starring: Giulietta Masina

Francois Perier

Amedeo Nazzari

IMDb Rating: 8

My Rating: 8.5

"Guess there's some justice in the world. You suffer, you go through hell. Then happiness comes along for everyone."

During the first few months of this project, one director's work I have come to anticipate every time I see his name is Frederico Fellini. With the exception of 8 1/2 and La Dolce Vita, I had seen very few of his films. I am happy to see that this is changing. He has a unique ability to find beauty in tragic situations, often giving the aura of a dream to his art. The next film on the list, Nights of Cabiria, comes from this amazing filmmaker.

Nights of Cabiria tells the story of a prostitute named Cabiria, played by Fellini's wife Giulietta Masina, who's life is consistently full of misfortune. Even though most of her days are troubled, Cabiria remains surprisingly optimistic. At the beginning of the film, we see Cabiria's boyfriend throw her in a river and steal her purse. She is saved from drowning from some local children. Once she comes to, she immediately leaves her heroes behind to search out the man who left her not so high and dry.

When it's obvious that her boyfriend has left for good, Cabiria continues on with her life trying to make the best of it all. Although burnt from her past loves, Cabiria still tries to find some sense of love in all of her interactions. When she finally meets a guy that she thinks could provide her with love, she is cautious, but jumps in whole heartily. Her bold move could come at a cost though, since it is not apparent if this new man is using her as well.

This film stands as the benchmark in Giulietta Masina's acting career. Rarely does an actress give us such an optimistic performance in a world that seems to be crumbling around her. Then again, that is what Masina was amazing at. She takes her audience and makes them fall in love with her instantly. Similar to her heart felt performance in La Strada, it is impossible to not root for her true happiness. Her turn in the film's final minutes leaves your feeling nothing short of inspired and generally happy.

Whether it be Fellini's masterful direction or Masina's endearing performance, there is much to admire with this film. This was the last film that Fellini would direct his wife. Although she continued to act, albeit rarely, well into her seventies. Also it stands as the first Fellini film to inspire a Broadway musical. Although the musical Sweet Charity turned the character into a dancer instead of a prostitute. Overall, this film does an amazing job at connecting with it's hope filled message. It's not difficult to see why a film like this is held in such high regard.

187. The Best Years of Our Lives

The Best Years of Our Lives (1946)

Director: William Wyler

Starring: Fredrich March

Myrna Loy

Theresa Wright

Dana Andrews

Harold Russell

IMDb Rating: 8

My Rating: 7

"You know. I had a dream. I dreamt I was home. I've had that same dream hundreds of times before. This time, I wanted to find out if it's really true. Am I really home?"

Three men returning from World War II, head home to Boone City (a fictional city that is patterned after Cincinnati, Ohio) to continue their lives where they left off. The first night home, all three men end up meeting at a local bar. It becomes very prevalent that family man Al Stephenson (Fredrich March) has an alcohol problem. His wife Milly (Myrna Loy) takes the caretaker role, where she appears to be patient, yet slightly embarrassed. Al's daughter Peggy (Theresa Wright) is also along for the evening, and she immediately takes a liking to Army Captain Fred Derry (Dana Andrews). Derry is having trouble adjusting to being home with his rather shallow wife Marie (Virginia Mayo). The third serviceman Homer (Harold Russell) has lost both of his hands in the war. While he has adjusted well to his disability, his family around him is just learning how to deal with it. Added to Homer's stress is the insecurities he feels when around his girlfriend. The rest of the film progresses to show to trials and tribulations of returning to civilian life after war.

The Best Years of Our Lives highest points come from two of it's story lines. Homer's struggle with self confidence due to his disability and the budding romance between married Fred Derry and Peggy Stephenson. These two aspects are really what makes this film watchable. While they are good, they at times seem very dragged out. I am usually a fan of getting the complete story from my films, but it did feel a little too extensive. Otherwise, these two stories, along with it's performances, really anchor this film.

As you could probably guess, I was actually not a huge fan of this film. I don't feel that it has held up well over the years, as some of the films from it's time have. Although, there are issues that you can relate to today's society with alcoholism and the struggle with a new disability. I just found the film to be more of a time piece, than an excellent film. It also drags on much longer than it really should. It feels almost like an episode of Father Knows Best with just a little more edge. It's not the worst film I have watched so far on the list, but it's very far from the best. Overall, I really wouldn't recommend spending your time on this film.

188. The Hustler

The Hustler (1961)

Director: Robert Rossen

Starring: Paul Newman

George C. Scott

Myron McCormick

Piper Laurie

and Jackie Gleason

IMDb Rating: 8

My Rating: 9

"You can't see it, can you Charlie? I mean, you've never been able to see it. I came after him. And I'm gonna get him. I'm going with him all the way. The pool game is not over until Minnesota Fats says it's over. Is it over Fats?"

"Fast Eddie" Felson (Paul Newman) is one of the best pool players in the country, with one giant ego to match. Along with his partner Charlie Burns (Myron McCormick), the two travel around pool halls and hustle their way into thousands of dollars. No longer content with just hustling for money, Eddie decides to take his talents and match them up against the best of the best. Eddie challenges Minnesota Fats (Jackie Gleason) at Fats' home pool room. The two fall into a marathon forty hour pool match. At one point Eddie is up on Fats by $11,000, but refuses to quit until Fats says that they are done. Many drinks later, Eddie finds himself with only two hundred dollars and horribly drunk. Eddie leaves the pool room defeated and heads back to his motel room, where he leaves half of the two hundred dollars with Charlie.

Eddie meets Sarah Packard (Piper Laurie) at the bus station and the two soon seem to find a mutual attraction. It isn't too long until Eddie finds himself living with Sarah in her apartment. Charlie attempts to reconcile with Eddie, but is turned away when Eddie realizes that Charlie kept a percentage of the money from the match with Minnesota Fats. Charlie can see that Eddie's only desire is a rematch with Fats, and that he will stop at nothing in his path. Eddie soon forms a dangerous partnership with Bert Gordon (George C. Scott), who offers to help Eddie collect enough money for his rematch with Fats. Soon Eddie realizes that the road back to the rematch with Fats could come with great consequences.

There is much to love with The Hustler, most notably for myself being the first encounter between Minnesota Fats and Fast Eddie. This scene stands as my favorite of the film, and is by far one of my favorite showdowns in the history of film. What you have in this scene is two men not only playing against each other in a game of pool, but two men locked in a virtual stand-off of stamina and mental superiority. It is this scene that sets the film's tone and only builds the anticipation for the inevitable rematch. Most films would kill for a scene like this one, let alone in the first ten minutes.

The performances in The Hustler are all excellent, but Jackie Gleason as Minnesota Fats is in a class all his own. He may only be in the film for two short scenes, but his larger than life presence instantly grabs your attention and gains your respect. For most, Gleason was seen as the comedic driving force in the television program The Honeymooners. His dark turn in The Hustler added a dimension to the actor that many, myself included, had no idea existed. His movements are perfectly timed, with each word and phrase purposely placed. I've seen this film numerous times, and his performance is always what resonates the most after the credits have rolled.

This film for me is really about growth and maturity. Early in the film, Fast Eddie is an arrogant young man who really only seems to care about his money and being top dog. As the film progresses, we watch Eddie mold and grow from cocky and self indulgent to calmly confident and patient. The film uses tragic events very effectively to really define the qualities of Eddie at the film's finale. His rough road throughout the film leads him to this point, but stands as an amazing example of character progression.

When great sports films are mentioned The Hustler is rarely left out of the conversation. After watching this film again, it's quite obvious to see why. In the sports genre we tend to find favor with the lovable loser or underdog. Paul Newman does an amazing job in delivering us one in "Fast Eddie". With every new new revelation in his life, we find ourselves pulling for him more. It's the classic element to a film of it's kind, but structured much better than most in this film. Overall, The Hustler stands as not only an amazing film about an often overlooked sport, but a story about the events and decisions in life that define us.

Additional Material: Even though Paul Newman won an Oscar for 1986's Martin Scorsese directed The Color of Money, it's often overlooked. The film marks the return of Fast Eddie as he mentors young up and coming pool player Vincent Lauria played by Tom Cruise and is an excellent film in it's own right.

189. Harvey

Harvey (1950)

Director: Henry Koster

Starring: James Stewart

Josephine Hull

Victoria Horne

IMDb Rating: 8

My Rating: 9

"Years ago my mother used to say to me, she'd say, "In this world Elwood, you must be" - she always called me Elwood- "In this world, Elwood, you must be oh so smart or oh so pleasant." Well for years I was smart. I recommend pleasant."

Elwood P. Dowd (James Stewart) is one of the most genuine and polite people you will ever meet. If you pass him walking down the street you will be acknowledged with at the very least a smile and tip of the hat. At first everything seems completely normal about Elwood, well that is until you meet his best friend Harvey (Himself), an imaginary six foot rabbit. Elwood's sister Veta (Josephine Hull) and niece Myrtle (Victoria Horne) have grown tired of his antics and decide to take him to a mental institution. When Veta arrives with her brother, the doctor makes a mistake and believes that Veta is the one that is insane and they commit her instead of Elwood. With Elwood on the loose, it's up to the hospital's staff to find him and get him back to the clinic.

Harvey is one of those films that just leaves you feeling genuinely happy. The film was adapted from the stage by it's original writer Mary Chase. It's story is one of tolerance and acceptance. The people surrounding Elwood constantly question his sanity, but it is these people who act like they are insane. Each character is very well developed. The few side stories that are present, are just as interesting as the focus on Elwood. There are of course the laughs as well. Josephine Hull's neurotic sister character is a source of many of them. You would be hard pressed to not find something in this film that you could enjoy.

Elwood P. Dowd serves as one of my all-time favorite role for James Stewart. He plays the role with perfect timing, especially in his scenes where he is miming that Harvey is there with him. There is one particular scene that resonates with me every time I see the film. In a dark alley Elwood tells one of the hospital's doctors how Harvey and he first met. The way he tells the story captures the entire heart and imagination of the film in one brief moment. There are a dozen films of Stewart's that you could say have his greatest performance, Harvey just so happens to be right near the top of my list.

Harvey was my grandfather's all-time favorite film. I remember as a kid him showing it to me, and always being upset that I never got to see the rabbit. Watching the film now, the physical absence of Harvey only adds to the film. Was he really there, or was it all in his mind? Either way, this film holds up just as well today as it did when it first came out. With James Stewart leading the pack, Harvey is a classic comedy with all the heart you could ever ask for in a film.

Just for fun: If you have seen Harvey and happen to be looking for a similar film, check out 2007's Lars and the Real Girl.

190. Sunrise : A Song of Two Humans

Sunrise : A Song of Two Humans (1927)

Director: F.W. Murnau

Starring: George O'Brien

Janet Gaynor

Margaret Livingston

IMDb Rating: 8

My Rating: 8.5

"For wherever the sun rises and sets, in the city's turmoil or under the open sky on the farm, life is much the same; sometimes bitter, sometimes sweet."

It's the summer time and love, rather lust, is in full bloom. A woman from the city (Margaret Livingston) and a local country-side farmer (George O'Brien) are having an affair. The woman desperately wants the farmer to leave his wife and run away with her. So she proposes that he murder his wife (Janet Gaynor). The farmer and his mistress work out a plan to make the murder look like an accidental drowning. The next day the farmer informs the wife that they are going to go on a date across the river. When the man gets the opportunity to push her overboard, he backs out, and his wife senses that something is wrong. When they arrive on shore the wife attempts to escape into the city, but her husband catches up to her. As the day progresses their love for each other starts to resonate again and their day in the city gets grander and more romantic with every new stop. While they are heading home in the boat, a terrible storm comes upon them and could ruin the two's newly found love.

Sunrise actually caught me by surprise. The silent film genre is not one of my favorites to be honest. I love great dialogue in film, and silent films of course do not have that. However, this film succeeds in my book even with no vocal dialogue. The feature that was most apparent for me was the gorgeous imagery. The best example of this being the scene where the farmer and his wife go to the fair on their day out. It was not your typical fair as it felt like it was nine hundred feet tall and could only exist in your imagination. Also the music by Willy Schmidt-Gentner gives this film a lyrical voice. The score never appears overbearing, but serves as an almost guide for the characters actions and expressions. The cinematography and score come together to bring us a very good technical film, especially by 1927's standards.

I also really enjoyed the story. It's remarkably well structured and never once heads down the avenue's of cliche or predictable. I found myself actually never really trusting the husband, and being very much in the same mindset of his bride. As the farmer earns back his wife's trust, he does so with the viewer as well. Without giving anything away, the film's conclusion is rather poetic as sometimes changing your actions can still bring up original intentions. Just as much as the visuals pull you into the film, so will it's story.

One of the things that is great about this little project of mine is instances like these. If it hadn't been on the list, I probably would have never seen this film on my own. It was nice to enjoy a simple story, that when reflected upon at the end, had quite a great deal to say about love. Overall, I can't really say anything negative about the film. It's beautiful music and visuals make this film an absolute joy. It's easy to see why Sunrise : A Song of Two Humans is regarded as one of the greatest silent films of it's and any era.

IMDb Link to Sunrise: A Song of Two Humans

191. King Kong

King Kong (1933)

Director: Merian C. Cooper & Ernest B. Schoedsack

Starring: Fay Wray

Robert Armstrong

Bruce Cabot

IMDb Rating: 8

My Rating: 8.5

"Oh no, it wasn't the airplanes. It was beauty killed the beast."

Filmmaker Carl Denham (Robert Armstrong) needs a few things to finish his latest project. One of those things being a leading lady, whom he discovers quite by accident in Ann Darrow (Fay Wray). Denham convinces Darrow to be his next star and they soon find themselves on a boat headed to the film's shooting location, Skull Island. Once on the boat, Anne meets First Mate Jack Driscoll (Bruce Cabot) and soon the two become quite smitten with one another. When the film crew finally arrives to the island, they attempt to make peace with the natives, but are chased off. Later that night the island natives sneak onto the crew's ship and kidnap Ann. They intend to deliver her as a sacrifice to Kong (Marlon Brando... kidding), a giant gorilla who inhabits the island. When Kong arrives, he discovers Ann tied to an alter and takes her back into the jungle.

The crew set out to rescue Ann from the island and along the way encounter a lost world filled with dinosaurs. They eventually find Ann and attempt to make their escape, but with Kong close on their tail. They eventually make it back to the boat and capture Kong while he is wrecking the natives' village in search of Ann. They knock Kong out with some gas bombs and bring him back to New York City, where Denham plans on displaying Kong on the Broadway stage. The opening night of the show, things do not go as planned and Kong escapes into New York City and searches for Ann. This all leads up to the classic showdown where Kong must fight off an aeriel assault atop the Empire State Building.

King Kong is the iconic "giant monster movie" that has been referenced in countless films, and has inspired just as many. It's been remade a total of four times, but nothing really compares to the 1933 version. I actually loved the 2005 effort from Peter Jackson, but the characters are so far removed from this original, it's difficult to even compare them. Even though the film is seventy-seven years old this year, it still entertains as much as it did the day it came out. The special effects might be a very dated, but the story remains just as strong. When watching the film, it does feel like you are not only watching a science fiction classic, but a piece of history.

The performances are all solid in this film. There is not really a stand out performance from the actors, as the focus really is set dead on Kong. Although, Fay Wray is endearing as Ann Darrow. For the most part Kong is as ferocious as you would expect. The only criticism I might have is when Kong first sees Ann, his expression mirrors that of a drunk man drooling over a pretty woman. It's really our first view of Kong and it's met with a bit of a chuckle. Otherwise, everything plays exactly out how you feel it should.

Skip to the next paragraph if you are unaware of how the film ends. I have always been a believer that Kong was just very misunderstood. While some movie monsters were hell bent on killing and destruction, Kong did it all for love. From the moment he set eyes on Ann, there was something there for him. So when he escapes from his chains in New York, what is the first thing he does? He goes looking for Ann. Atop the Empire State Building, he fights off the planes not only in protection of himself, but of Ann too. He falls to his death, and the film is summed up in one of it's final lines, "it wasn't the airplanes. It was beauty killed the beast." We've all done stupid things for love, Kong just happened to destroy a city for his love.

This is another one of those films that my grandfather showed me when I was younger. I remember his rants about how Godzilla was a joke compared to Kong. About a week after my viewing, he took my cousin and I to Universal Studios to go on the Kongfrontation ride. We were absolutely terrified, or at least I was. So based on another scaring moment from my childhood, I whole heartily agree. Kong could beat up Godzilla any day of the week. Overall, King Kong is your classic monster movie with a little bit of heart mixed in. You owe it to yourself to take the time to see this cinema classic.

just for fun: the universal studios KONGFRONTATION ride that is now out of operation.

192. The Curious Case of Benjamin Button

The Curious Case of Benjamin Button

Director: David Fincher

Starring: Brad Pitt

Cate Blanchett

Taraji P. Henson

IMDb Rating: 8

My Rating: 5.5

"It's a funny thing about comin' home. Looks the same, smells the same, feels the same. You'll realize what's changed is you."

Instead of being born with the soft skin baby and good health that most of us were, Benjamin Button (Brad Pitt) was brought into the world resembling a man well into his eighties. His mother died in child birth, leaving his father Thomas Button terrified and confused. Thomas leaves Benjamin on the doorstep of a local nursing home caretaker Queenie (Taraji P. Henson), who takes Benjamin in without hesitation. This is the home that Benjamin will grow up in as he ages backwards. Every day his appearance grows younger and his health improves.

Early on in his life, Benjamin meets the love of his life Daisy (played by Elle Fanning and Madisen Beaty as a young girl and Cate Blanchett from her late teenage years on). She is the granddaughter of a resident at the nursing home where he lives. The two spend much of their younger years pining and missing each and every opportunity to be with each other. Through out Benjamin's life he goes on many adventures including getting a job on a tugboat with grizzled Captain named Mike (Jared Harris) and aiding the Allied Forces in World War II. Benjamin's story might seem unusual, but when looked at has something that we can all identify with.

The Curious Case of Benjamin Button is the film on the list that I was most looking forward to watching again. The previous and only other time I had seen the film, I did not care for it in the least. After my second viewing I can honestly say that my feelings have changed, although not by much. I will say that David Fincher's vision for the film is absolutely incredible. The cinematography is very visually appealing. Fincher's usual film noir style lends wonderfully to this film, but that is pretty much where the good things end for this film. It must be said though that the film does look amazing.

The majority of my problem with this film lies in Eric Roth's screenplay. He should sue himself for plagiarism. For myself, this screenplay is far too similar to Roth's previous Academy Award Winning screenplay for Forrest Gump. In my description of the film, I tried to stay away from all similar themes to Gump, and even that was virtually impossible to do. I'll spare my usual rant at all of things the two films share, but it's safe to say that the only thing that they don't have in common is a football scholarship. Roth is indeed a talented screen writer with films like Munich, The Insider, and The Good Shepherd on his resume. Sadly for myself, this film's story and structure was far too similar to Forrest Gump for me to enjoy it at all.

Overall, I look at this film much the way I do with films like James Cameron's Avatar. Intentional or not, the stunning visuals distract from a recycled story. At least in the case of The Curious Case of Benjamin Button, Roth borrowed from his own work. Even though I particularly did not enjoy the film, I can still appreciate it's high points. Brad Pitt as Button gives a marathon performance, which did deserve it's numerous nominations. Also as previously stated, David Fincher gives us another visual benchmark on his already sterling resume. With a better screenplay, I know I would have absolutely loved this film. I would only recommend seeing this movie if you were say a technical arts student and needed inspiration for a project.