One night, when wasted of course, I composed an epic list for my friend of the most beautifully shot films by decade beginning with the 1930s. I really don't know why I did this. He simply mentioned the word "film" in a text and it sent me off on a diatribe that ended only because I was in the midst of consuming my sixth Weyerbacher Verboten of the night. Anyway, I would like to share this list with you right now because a) the list still intrigues me and b) I probably think this line of conversation is way more intellectually stimulating than it actually is.
1930s - Gone with the Wind: There isn't a lot of competition here. Maybe The Wizard of Oz? The temptation is to give it to Judy Garland's film because of the sheer awesomeness of those flying monkey dudes, but GWTW wins for that massive crane shot at the train station alone. The one that ends with the shot of the Confederate flag in tatters. When that flag pops in and the solemn music comes in to accompany it, it is almost enough to make you feel for those slave-owning crackers. Nah, just kidding. I'm glad all those a-holes got iced.
1940s - The Red Shoes: There is a reason why Martin Scorsese is always on about this flick being the best of all time or whatever. It is absolutely gorgeous. Gorgeous enough to make you forget that you are a dude sitting home on a Friday night watching a movie about ballet. And yes, I realize Citizen Kane came out in this decade. If we were talking about artistry, Citizen Kane would win hands down. But I'm just talking about how great it looks. And The Red Shoes is a visual orgy.
1950s - Rebel Without a Cause: Being that I am an absolute Alfred Hitchcock fanatic, part of me wants to make sure to include one of his films on this list. If so, I would have plenty to choose from this decade; Vertigo, North by Northwest, and even the slightly trivial To Catch a Thief being the ones that jump quickest to mind. But I can't do it. This is because Rebel Without a Cause is clearly one of the greatest widescreen films ever shot. There's the showdown at the conservatory, the opening shot with the toy monkey, any shot showing Natalie Wood in a sweater. Hell, even the scene where James Dean kicks the shit out of Thurston Howell III for being a useless cuckold is beautifully executed.
1960s - Lawrence of Arabia: This one hurts. Every fiber in my body wants to take 2001: A Space Odyssey. I saw it one time at the IFC Center in New York, and it sort of felt like a religious experience (minus the annoying dudes trying to hit me up for money). However, I have to take Larry of Arabia. Something tells me that if I ever get to see this one on the big-screen, it will surpass the level of a religious experience, and move in to the arena of "Oops, I accidentally fell into bed with the hootchie who is currently on the cover of Sports Illustrated."
1970s - Apocalypse Now: When I think "films of the 70s," I don't really think "beauty." The films made in this decade seemed to be shooting for more of a gritty realism. I don't know. Maybe I am full of it. I mean, Manhattan was beautiful in black-and-white. Days of Heaven had some pretty spectacular stuff going on. Still, when it comes to pure ocular splendor, I think I would have to go with Apocalypse Now here. There are three reasons for this. One, the bravura work of cinematographer Vittorio Storaro. Two, the haunting setting deep in the jungles of the Phillipines (sitting in for Vietnam). And, third, and probably most important, the fact that everyone involved in the film was wacked out of their mind on drugs for the duration of its seemingly decade-long filming.
1980s - Raging Bull: No doubt. The 80s were a barren wasteland for film. Everybody was busy trying to jump on the bandwagon and make the next blockbuster to be advertised on a Happy Meal box. Still, there are contenders for this slot. There's...well...OK, well....right, so there's...oh whatever, Raging Bull, with its brutal black-and-white photography and balletic violence wins this by a landslide.
1990s - The Thin Red Line: Enigmatic filmmaker Terrence Malick waited 20 years to follow up his 1978 migrant worker masterpiece Days of Heaven, and when he did he seemed to employ every brilliant idea he had accumulated in those idle hours. Dialogue-free cutaways to soldier's lives before World War II. Random shots of violated nature. The sun emerging from a cloud mid-shot to signify God's acceptance of a recently eviscerated soldier into his gated community in the clouds. John Travolta in a five-minute cameo while wearing a completely ridiculous pencil mustache. Basically, the film is stuffed to the gills with shots that will cause your jaw to head toward the carpeting. Then again, maybe I am just in the bag for Terence Malick. (I cried during the opening five minutes of The New World and I had to change my pants after watching the trailer of his upcoming The Tree of Life.)
2000s - There Will Be Blood: I have to go watch that George Clooney flick The American, plus I have been incredibly distracted from my main task tonight, which is to drink two more bottles of Stoudts Triple, so I will make this one short. I recently bought a 46-inch plasma HDTV since the onset of fatherhood has driven me indoors more than a brown bear in hibernation mode. The first flick I watched upon hooking the telly up was Paul Thomas Anderson's 2007 crown jewel. There really isn't anything close during this decade. Maybe Amelie? After all, it does give you an excuse to look at Audrey Tautou for two consecutive hours. One of those Lord of the Rings joints? All fifteen endings of Return of the King looked splendid! But seriously: Pop in TWBB, go to the scene where the oil derrick explodes, turn off the lights, and enjoy. It's majestic.
1930s - Gone with the Wind: There isn't a lot of competition here. Maybe The Wizard of Oz? The temptation is to give it to Judy Garland's film because of the sheer awesomeness of those flying monkey dudes, but GWTW wins for that massive crane shot at the train station alone. The one that ends with the shot of the Confederate flag in tatters. When that flag pops in and the solemn music comes in to accompany it, it is almost enough to make you feel for those slave-owning crackers. Nah, just kidding. I'm glad all those a-holes got iced.
1940s - The Red Shoes: There is a reason why Martin Scorsese is always on about this flick being the best of all time or whatever. It is absolutely gorgeous. Gorgeous enough to make you forget that you are a dude sitting home on a Friday night watching a movie about ballet. And yes, I realize Citizen Kane came out in this decade. If we were talking about artistry, Citizen Kane would win hands down. But I'm just talking about how great it looks. And The Red Shoes is a visual orgy.
1950s - Rebel Without a Cause: Being that I am an absolute Alfred Hitchcock fanatic, part of me wants to make sure to include one of his films on this list. If so, I would have plenty to choose from this decade; Vertigo, North by Northwest, and even the slightly trivial To Catch a Thief being the ones that jump quickest to mind. But I can't do it. This is because Rebel Without a Cause is clearly one of the greatest widescreen films ever shot. There's the showdown at the conservatory, the opening shot with the toy monkey, any shot showing Natalie Wood in a sweater. Hell, even the scene where James Dean kicks the shit out of Thurston Howell III for being a useless cuckold is beautifully executed.
1960s - Lawrence of Arabia: This one hurts. Every fiber in my body wants to take 2001: A Space Odyssey. I saw it one time at the IFC Center in New York, and it sort of felt like a religious experience (minus the annoying dudes trying to hit me up for money). However, I have to take Larry of Arabia. Something tells me that if I ever get to see this one on the big-screen, it will surpass the level of a religious experience, and move in to the arena of "Oops, I accidentally fell into bed with the hootchie who is currently on the cover of Sports Illustrated."
1970s - Apocalypse Now: When I think "films of the 70s," I don't really think "beauty." The films made in this decade seemed to be shooting for more of a gritty realism. I don't know. Maybe I am full of it. I mean, Manhattan was beautiful in black-and-white. Days of Heaven had some pretty spectacular stuff going on. Still, when it comes to pure ocular splendor, I think I would have to go with Apocalypse Now here. There are three reasons for this. One, the bravura work of cinematographer Vittorio Storaro. Two, the haunting setting deep in the jungles of the Phillipines (sitting in for Vietnam). And, third, and probably most important, the fact that everyone involved in the film was wacked out of their mind on drugs for the duration of its seemingly decade-long filming.
1980s - Raging Bull: No doubt. The 80s were a barren wasteland for film. Everybody was busy trying to jump on the bandwagon and make the next blockbuster to be advertised on a Happy Meal box. Still, there are contenders for this slot. There's...well...OK, well....right, so there's...oh whatever, Raging Bull, with its brutal black-and-white photography and balletic violence wins this by a landslide.
1990s - The Thin Red Line: Enigmatic filmmaker Terrence Malick waited 20 years to follow up his 1978 migrant worker masterpiece Days of Heaven, and when he did he seemed to employ every brilliant idea he had accumulated in those idle hours. Dialogue-free cutaways to soldier's lives before World War II. Random shots of violated nature. The sun emerging from a cloud mid-shot to signify God's acceptance of a recently eviscerated soldier into his gated community in the clouds. John Travolta in a five-minute cameo while wearing a completely ridiculous pencil mustache. Basically, the film is stuffed to the gills with shots that will cause your jaw to head toward the carpeting. Then again, maybe I am just in the bag for Terence Malick. (I cried during the opening five minutes of The New World and I had to change my pants after watching the trailer of his upcoming The Tree of Life.)
2000s - There Will Be Blood: I have to go watch that George Clooney flick The American, plus I have been incredibly distracted from my main task tonight, which is to drink two more bottles of Stoudts Triple, so I will make this one short. I recently bought a 46-inch plasma HDTV since the onset of fatherhood has driven me indoors more than a brown bear in hibernation mode. The first flick I watched upon hooking the telly up was Paul Thomas Anderson's 2007 crown jewel. There really isn't anything close during this decade. Maybe Amelie? After all, it does give you an excuse to look at Audrey Tautou for two consecutive hours. One of those Lord of the Rings joints? All fifteen endings of Return of the King looked splendid! But seriously: Pop in TWBB, go to the scene where the oil derrick explodes, turn off the lights, and enjoy. It's majestic.
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