The new list is largely based on the previous one, with some simple rules: obviously only movies which I have not already seen will be added to the list. Additionally, there can only be a single film from a particular director represented on the list (this made for some very difficult choices).
Finally and this turned out to be a very important rule, the list is a mixture of aspiration and personal pleasure. In other words, this list in part represents films that are definitive, critically acclaimed, and otherwise essential works which I feel is vital to my film 'education', but tempered by the simple rule that I have to want to watch them. We often feel compelled to watch or read things which are recommended by critics, on the supposition that they are supposed to be good because some superior authority has decided it to be so. Part of turning 30 is the realization that life is too short to slavishly follow critical opinion and must see lists. Trust informed judgment but in the end, watch what you really want to. It is in this spirit that the following selections were made.
The list (with short explanations where appropriate) can be found below, followed by a section detailing some discarded choices and the rationale behind them:
- 81/2
- 400 Blows
- Apu Trilogy, The
- Apocalypse Now
- Bicycle Thief, The
- Big Sleep, The
- Blade Runner
- Blue Velvet
- Bonnie and Clyde
- Brazil
- Breathless
- Brief Encounter
- Chinatown
- Chunking Express
- Clockwork Orange, A
- Donnie Darko
- Fight Club
- Great Dictator, The
- On the Waterfront
- Roman Holiday
- Rules of the Game
- Seventh Samurai, The
- Seventh Seal, The
- Shoah
- Taxi Driver
- Touch of Evil
- Tokyo Story
- Umbrellas of Cherbourg
- Unforgiven
- Vertigo
More interesting are some very well known films that I have chosen not to include because they fail my acid test rule (I just don't feel like watching it):
First, All About Eve. Screwball comedies or even intelligent comedies have just never been my thing, besides which I find I am much more attuned to British as opposed to American humour. Besides, Wilder, despite being famous as a comedic director, also made Double Indemnity, which I consider to be one of the greatest of film noirs, and of course Sunset Blvd. another noir masterpiece whose cynicism I can relate to far more than his later comedic works.
Some Like It Hot is probably considered to be the greatest American comedic film of all time. Tony Curtis and Jack Lemmon are supposed to be one of the greatest comedic duos on film. It has Marilyn Monroe in one of her strongest performances, where she transcends her dumb blonde persona. Sadly it just doesn't appeal.
One Flew Over the Cuckoo's Nest was a huge academy favourite. It did the grand slam of big five Oscars (only It Happened One Night and Silence of the Lambs can match that feat), it has Jack, well being Jack. A good friend, Jake, who knows more about movies than most people I know, loathed it, saying it was completely over the top (then again Jake also disliked Shawshank for being fake, and sentimental). Still, based on what I saw of Amadeus, I could see how this criticism of Milos Forman might be accurate. Also, I already have Jack in Chinatown. If anything, I would be more curious to see another Forman film - the adaptation of the notorious 70s musical Hair featuring hippies, LSD, marijuana and unusual sex practices.
American Graffiti is a cult movie. It shows a different side of George Lucas before he went megabucks. But do you really want to be watching a coming of age in 60s America movie when you're going to be turning 30? Forget the post WWII boomer generation optimism. You're supposed to be far too close to a mid-life crisis to be watching stuff like this. If you feel nostalgic you could at least put on a re-run of Grease. And realise that John Travolta is now fifty. And Olivia Newton John has sagging breasts.
Easy Rider - yet another cult movie movie involving Jack. Two men riding around on motorcycles going against the establishment. You know what they say about mid life crisis - you know you are having one when you buy a Harley, and a motorcycle jacket to go with it. Do I really want to see a movie about two men riding on motorbikes exploring "freedom"? On the one hand it is cliched; on the other, it might just cause me to wonder what the hell I am doing with my life and quit my job and move to Tijuana. Better not push my luck.
E.T: The Extra Terrestrial - I know this is supposed to be brilliant. But I just could not bear a film that was liable to be far too sentimental (an early Spielberg trait). The thought of watching a little alien that looks like a shriveled prune riding in a bicycle basket is vomit inducing enough, worse is me remembering that when I was five and on a visit to Universal Studios, I was chosen to stand in for Elliot in showing how the shot was created (the magic of cinema!). Ergh, no.
The Exorcist: probably the greatest horror movie ever made. Problem is, I have never seen a point to horror movies, period. Except campy Zombie ones. Go George Romero.
Early silent classics: The Battleship Potemkin, Metropolis, Intolerance, Birth of a Nation, early works of Luis Bunuel. Sound is an essential part of the cinematic experience. That is why movies have been shot in sound since The Jazz Singer. I've made one exception - a Charlie Chaplin film, given the man's endlessly acclaimed genius, and out of sheer curiousity. Besides, physical humour I can see transcending the need for speech or sound (there is a reason why one of the most popular comedies of recent times is Mr Bean).
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