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PSThe problem with calling something “the greatest film ever made” is that it begins to sound like homework. Nestor Almendros’s astounding magic-hour photography rightly won an Oscar, and Linda Manz supplies heartbreaking, plainspoken narration as Gere’s younger sister. Richard Gere and Brooke Adams are the lovers who pose as brother and sister to fool a rich, dying farmer (Sam Shepard). HOTerrence Malick’s second, and for many, greatest film is a mesmerising, gorgeous love triangle set in the Texas Panhandle in 1916, loosely based on an Old Testament parable.
Every gesture and glance is flawless he carries entire scenes without a word. While the entire cast is stellar and Shirley MacLaine was never better, it’s worth ignoring them all and just watching Jack Lemmon’s meek office worker CC Baxter. PSThis blistering Billy Wilder and IAL Diamond script is a demonstration of just how dark a love story can get without tipping entirely into bitterness, a standing rebuke to every lazy, schmaltzy comedy going. The Academy’s documentary branch will never quite live down failing to nominate it. For these portraits of inner-city poverty, gliding between frustration and triumph, Steve James’s epic of ghetto realities has been influential on every sports doc that has come in its wake. PSThe trials of young black basketball hopefuls in Chicago tell us volumes, from their upbringing to all-or-nothing career rimshots, about the opportunities otherwise denied them.
PSThere’s a deep contradiction at the heart of this acid-bright portrait of the violence in Rio’s favelas. It’s one of the most delirious thrillers of the 1980s, with a bitterly ironic pay-off that’s played for keeps. Brian De Palma hit peak ingenuity and gut-punch profundity with this stunning conspiracy thriller, mounted with a showman’s élan but also harrowing emotional voltage from its star. HOJohn Travolta’s Z-movie sound man, out recording one night, accidentally tapes what turns out to be a political assassination. Cary Grant and Rosalind Russell, as the warring editor and star reporter trying to work together long enough to land the story of the year, remain the standard by which all on-screen chemistry should be judged. Yet it works because the machine-gun dialogue is so quick that there’s never a moment to question what’s happening (the great screenwriter Ben Hecht, who co-wrote the original Broadway play, worked on it uncredited).
Nicolas Cage and Holly Hunter are the unlikely couple whose abduction of a spare newborn quintuplet, Nathan Jr, causes all hell to break loose. HOThe Coen Brothers had already established a ghoulish signature style with Blood Simple, but here they showed us how funny they could be, in a zig-zagging kidnap farce which manages the difficult feat of being both zany and adorable. Director Fernando Meirelles and co-director Kátia Lund cast a talented band of local kids to give it authenticity and then punctuated their story with Scorsese-esque violence that still shocks.
You’ll come out wondering if movies even need sound. Ignore the dodgy politics and focus on the sublime physical comedy of Keaton’s beautifully composed routines. HOOrson Welles suggested that Buster Keaton’s silent Civil War comedy might be the greatest film ever made, and who are we to argue? Keaton’s Johnny Gray is a key figure on the railroads of the Confederacy, but he and his engine, The General, must go above and beyond to defeat a Union spy. As a subversion of genre and viewer expectation, there are few to match it. A well-to-do Parisian family are tormented by the arrival of surveillance tapes of their lives, but it’s not clear who could be sending them or why, leading patriarch Georges (Daniel Auteuil, never better) to confront his own past sins.
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