Someone's gotta do it...

Moving your stuff from one computer to another is always a daunting task; however, when you move things from a PC to a Mac things become increasingly difficult...especially when external hard-drives are involved. A couple of summers ago I went out and got myself a nice Terabyte hard-drive to put all of my movies on. For the record that was painstaking enough. However, when I switched computers files and folders were lost along the way, and at some point I deleted my entire Martin Scorsese catalogue.

This may not seem like much of a big deal; however, that is over 20 films, most of which come in over 2 hours, and several come close to 3 hours to rip onto the new computer to place back onto the hard-drive. But then, I discover that the program I use to rip my movies onto my Mac results in a much higher quality digital copy than did the old program. So, now I am currently re-ripping everything, or nearly everything I own. I suppose that's what happens when A) Better Quality B) Cinephilia and C) Lots of time combine to create a perfect storm.

So, after several days off the "Favorite Films" series, I have decided that I do not know enough about 1930s cinema to continue the series as it was being run. So, as for now I don't know what to tell you to expect over the next few weeks, maybe I'll start posting some reviews here again (that's a novel idea). So, maybe we can start getting some quality reviews up again instead of little 150-300 word blurbs that one can find on imdb.

Favorite Films: The 1940's

Casablanca (1942) Michael Curtiz - Let the record show that choosing a "number one" film for the 1940s was the hardest of the decades yet because there were two films that easily could have been chosen. But, when all was said and done, how could I go against Humphrey and Ingrid? Is there really any doubt that this film about two war-torn lovers who meet in Paris and meet again in Casablanca is the most romantic film ever. At least the most romantic ever made about World War II. The film was adapted from a little-known stage play and was originally supposed to be another cheaply made mass produced picture by Warner Bros. Studio and star future president Ronald Reagan. As luck would have it, however, Bogart ended up taking the lead role in the film sharing the headline with Swedish beauty, Ingrid Bergman. The film would go on to win three Academy Awards for Best Picture, Director and Screenplay, and in 2006 the Writers Guild of America named it the greatest screenplay ever written, and the American Film Institute has it currently ranked as the 3rd greatest American film ever made. I have my doubts its because the scenario is truly relatable for a large majority of people, but I also have my suspicions that most people have experienced love-lost or had a "We'll always have Paris"-type moment in their personal story. Humphrey Bogart and Ingrid Bergman would both star in several of the pictures to be listed below, but in 1942, they captured the hearts of thousands when they starred together for the only time in both of their outstanding careers.

The Rest:

Citizen Kane (1941) Orson Welles

Detour (1945) Edgar G. Ulmer

Double Indemnity (1944) Billy Wilder

Its a Wonderful Life (1946) Frank Capra

The Life and Death of Colonel Blimp (1943) Michael Powell and Emeric Pressburger

The Maltese Falcon (1941) John Huston

Notorious (1946) Alfred Hitchcock

Spellbound (1945) Alfred Hitchcock

The Thief of Bagdad (1940) Michael Powell and Emeric Pressburger

The Third Man (1949) Carol Reed

Honorable Mentions: The Best Years of Our Lives, The Grapes of Wrath, The Red Shoes, Treasure of Sierra Madre.

Favorite Films: The 1950's

Rear Window (1954) Alfred Hitchcock - Jimmy Stewart may be the most lovable leading man in the history of Hollywood. Alfred Hitchcock may be the greatest suspense director in the history of cinema. The two teamed up several times and made several great films. But 1954's Rear Window is the mother of them all. The film takes place, almost exclusively, in one room and from one vantage point. This can be maddening, and I have a nagging suspicion that that is the point. Why should we as the audience get any better view than the leading man? After all, it is his story, and it is his camera lens that we're seeing the picture through. Hitchcock once said that it is the director's job to "play the audience like a piano," and there is not a better example of his doing so than in Rear Window. Many say that Vertigo is the master's opus and some may add Psycho, It seems to me, however, that this gem is his most overlooked, with the possible exception of one a little further down the list.

The Rest:

12 Angry Men (1957) Sidney Lumet

400 Blows (1959) François Truffaut

Beat the Devil (1953) John Huston

Dial M for Murder (1954) Alfred Hitchcock

Rashomon (1950) Akira Kurosawa

Seven Samurai (1954) Akira Kurosawa

Seventh Seal (1957) Ingmar Bergman

Strangers on a Train (1951) Alfred Hitchcock

Sunset Blvd. (1950) Billy Wilder

Wild Strawberries (1957) Ingmar Bergman

Honorable Mention: Bob Le Flambeau, Elevator to the Gallows, I Confess, Ikiru, North by Northwest, On the Waterfront, Rebel Without a Cause, The River, Smiles of a Summer Night, Vertigo

Favorite Films: The 1960's

Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (1964) Stanley Kubrick - Let it be known that Stanley Kubrick is one of the greatest filmmakers ever. Period. Even those who do not enjoy his pictures can recognize the skill and care of the craft. Kubrick was nothing if he weren't a technical master. That said, this is his masterpiece. Dr. Strangelove, is quite possibly the funniest film ever made. If it is not, I'd be hard pressed to think of any better. But This film is more than hysterical, it is also incredibly smart and nearly perfectly crafted. The film is a satire of the Nuclear threat that was on constant red alert in the United States and in the Soviet Union. At the center of this "hot line suspense comedy" is a triad of performances by the vastly under appreciated, Peter Sellers. His portrayal of the US President was so funny and irreverent that the film was due to come out in November 1963, but after the assassination of John F. Kennedy, Kubrick decided that it wouldn't be appropriate for release and personally held it back until February 1964. Which is the kind of man and filmmaker Kubrick was, as we was quoted as saying, "One man writes a novel. One man composes a symphony. It is necessary for one man to make a film."

The Rest:

2001: A Space Odyssey (1968) Stanley Kubrick

Bonnie and Clyde (1967) Arthur Penn

The Faith Trilogy (1961-63) Ingmar Bergman

The Good, The Bad and The Ugly (1966) Sergio Leone

The Graduate (1967) Mike Nichols

A Hard Days Night (1964) Richard Lesster

Persona (1966) Ingmar Bergman

Psycho (1960) Alfred Hitchcock

The Virgin Spring (1960) Ingmar Bergman

Who's That Knocking At My Door (1968) Martin Scorsese

*Apologies to 8 1/2, Battle of Algiers, Breathless, Jules and Jim, Band of Outsiders, La Dolce Vita and Ivan's Childhood for forgetting you on this list. Probably only 2 of you had a real chance of getting on anyway. Consider this an Honorable Mention for the French New Wave and Italian Neo-Realists.

Favorite Films: The 1970's

The Godfather pts I & II (1972/1974) Francis Ford Coppola - This may seem like, and may be a cop out. But I don't care. The fact of the matter is that these two films are one story, follow one arc, are perfect and belong to the greatest decade in the history of cinema, and as it is the greatest decade in the history of cinema it deserves to have double the pictures (totaling nearly 6 1/2 hours) than the other decades have had. As I have already stated, these two films are completely perfect. There is little that I can say that can add to the endless literature on these two pictures, the arc of a man's life from young idealist that wants nothing to do with the "family business" to running it. Al Pacino delivers two of the great performances of his career, if not of all time as Michael Corleone and Marlon Brando and Robert de Niro both give knock out performances as Michael's father, Vito 'Don' Corleone. The constant tragedy that envelopes this family are incredible, the way that they're able to wade through it and get passed it...or become it. However, despite both of these films being as great as they are, there is one scene that goes beyond the point of perfection at the end of the first film wherein Coppola shows the baptism of a child and the end of a bloody gang war, and the juxtaposition of the scene may be the greatest scene I have ever seen on celluloid.

The Rest:

3 Women (1977) Robert Altman

Cries and Whispers (1973) Ingmar Bergman

Jaws (1975) Steven Spielberg

McCabe & Mrs. Miller (1971) Robert Altman

Nashville (1975) Robert Altman

Network (1976) Sidney Lumet

One Flew Over the Cuckoo's Nest (1975) Milos Foreman

Scenes From a Marriage (1974) Ingmar Bergman

Stroszek (1978) Werner Herzog

Taxi Driver (1976) Martin Scorsese

And here's where my self-imposed cutoff is killing me. But I will resist naming any other films from the 1970s.

Honorable Mentions: Alice Doesn't Live Here Anymore, Agguire: The Wrath of God, Annie Hall, Autumn Sonata, Chinatown, Dog Day Afternoon, Five Easy Pieces, Manhattan, M*A*S*H, Mean Streets

Favorite Films: The 1980's

1. Fanny and Alexander (1982) Ingmar Bergman - Ingmar Bergman is one of my favorite filmmakers to ever take a breathe of air. His films are stark, spiritual, searching, existential, human. From the 1950s through Fanny and Alexander, his last film, until his real last film, Saraband, in 2003, Bergman represented all that was beautiful and difficult in world cinema. It was Bergman in The Seventh Seal that gave us the iconic image of death playing a game of chess for a young knight's life after the crusades, during the plague years in Europe. It is, however, this film, Fanny and Alexander, that is his magnum opus. The film combines the best attributes of his humanist pictures of the 70s and his spiritual/existential pictures of the 50s and 60s. It is a gigantic film that clocks in at either 3 hours or 5 hours, depending on the version of the film you watch; the three hour version plays very fast for a film that length, the five hour version fills in the blanks and takes a little more time (obviously) but if one has the allotted time, it is a beautiful film, and was Bergman's preferred version. Ingmar Bergman died in July, 2006, and left behind him an extensive, prolific, but masterful catalogue of films that have been loved and devoured by cinephiles throughout the world for decades, and will continue to be among the names at the top of the auteurs list forever.

The Rest:

After Hours (1985) Martin Scorsese

Crimes and Misdemeanors (1989) Woody Allen

Do the Right Thing (1989) Spike Lee

Fitzcarraldo (1982) Werner Herzog

Hannah and Her Sisters (1986) Woody Allen

Raging Bull (1980) Martin Scorsese

Raiders of the Lost Ark (1982) Steven Spielberg

Ran (1985) Akira Kurosawa

Secret Honor (1984) Robert Altman

Wings of Desire (1988) Wim Wenders

Favorite Films: The 1990's

This following group of posts will not be as extensive in categories, or analysis as the Decade in Review post was for 2000-2009; it will however give a breakdown of some of my favorite films of the decade between 1990-1999. Contrary to the previous post, I will limit these posts to 10 films per decade, I will not try to limit it to the five or six I had previously said. I will, however, try to give one favorite film with some analysis followed by nine to ten other films in alphabetical order.

1. Shawshank Redemption (1994) Frank Darabont - In 1994 a young filmmaker took two of the great American actors to an out-of-commision prison in Mansfield, Ohio with a script based off of an uncharacteristic novella by the king of horror, Stephen King. The novella was "Rita Hayworth and the Shawshank Redemption." The story follows a man convicted with the murder of his wife and how he stays positive through the crucible and brings life back to the institutionalized men. The film condenses some of the novella's characters, specifically, the warden, who remains the same man throughout the film and is three men in the novella. The protagonist is played by an inspired Tim Robbins fresh off of two brilliant collaborations with American master, Robert Altman, and a successful political satire of his own, Bob Roberts. Robbins is perfect through the film, but the heart of the film comes from Morgan Freeman, the man Pauline Kael said was the greatest working American actor: after his first picture. The films tells a story of unlikely friendship through trying circumstances and 20 years of rejections, new friends, and old friends dying off. Darabont's film is a beautiful film that captures the best of friendship in the worst of circumstances.

The Rest:

Being John Malkavich (1999) Spike Jonze

Bringing Out the Dead (1999) Martin Scorsese

Fargo (1996) Joel Coen

Goodfellas (1990) Martin Scorsese

L. A. Confidential (1997) Curtis Hanson

Magnolia (1999) Paul Thomas Anderson

The Player (1992) Robert Altman

Pulp Fiction (1994) Quentin Tarantino

Saving Private Ryan (1998) Steven Spielberg

Three Colors Trilogy (1993-94) Krzysztof Kieslowski