MY MOVIE LIST

Here at last is my full top 365 movie list, with links to every post. It’s been a long year (or rather 416 days), and I’m amazed at how much writing I’ve accomplished in that time. Including the trilogies and instances of doubling up, I wrote reviews and verse summaries for 396 films, ranging from 1939 to 2013. (I found that 2008 was the most represented year, with 16 films total, and 2004 and 2012 not far behind with 14.) Looking back, I’m gratified to see how my writing has improved. This has been quite the exercise but one well worth the effort. I’m particularly proud of certain poems, such as the heartfelt verses for Grave of the Fireflies and Joyeux Noël and the detailed descriptions of The Hunger Games, The Dark Knight, and The Lord of the Rings trilogies.

For any newcomers to this site, I will warn that I wrote most of these reviews for those who have seen the film and thus did not shy away from spoilers, particularly in my earlier posts. I think that’s one thing I’ve improved on over time, choosing better wording so as to avoid outright spoilers. Still, I’m proud of this blog, however simple it may still appear, and I thank all those who have liked and followed it over the last year.

I do intend to continue blogging, though at a much more relaxed pace. I’ll be adding on other reviews, such as list-worthy films that were either forgotten or seen in the last year, films picked by my Viewing Companion (VC), and even films that I actively despise, what I call “bottom-dwellers.” There are plenty more movies out there to enjoy and expound upon, and I’ll get to them, while also writing a book idea of mine and looking into getting published. Thanks again to all likers and followers and movie lovers out there; may there always be new favorite films to be found.  –S.G.

1.     The Lord of the Rings Trilogy (2001, 2002, 2003)

2.     Mr. Holland’s Opus (1995)

3.     Forrest Gump (1994)

4.     It’s a Wonderful Life (1946)

5.     The Sound of Music (1965)

6.     Star Wars Trilogy (1977, 1980, 1983)

7.     Finding Nemo (2003)

8.     Titanic (1997)

9.     Toy Story Trilogy (1995, 1999, 2010)

10.    Indiana Jones and the Last Crusade (1989)

11.    The Princess Bride (1987)

12.    Beauty and the Beast (1991)

13.    Groundhog Day (1993)

14.    The Shawshank Redemption (1994)

15.    The Prince of Egypt (1998)

16.    You’ve Got Mail (1998)

17.    The Wizard of Oz (1939)

18.    Raiders of the Lost Ark (1981)

19.    War Horse (2011)

20.    The Incredibles (2004)

21.    Cast Away (2000)

22.    Heart and Souls (1993)

23.    Pirates of the Caribbean (2003, 2006, 2007)

24.    Tarzan (1999)

25.    Les Miserables (2012)

26.    The Avengers (2012)

27.    Ben-Hur (1959)

28.    Star Trek (2009)

29.    The Chronicles of Narnia (2005, 2008, 2010)

30.    The Family Man (2000)

31.    The Mummy (1999) and The Mummy Returns (2001)

32.    Driving Miss Daisy (1989)

33.    Oliver! (1968)

34.    Whisper of the Heart (1995)

35.    Spider-Man Trilogy (2002, 2004, 2007)

36.    The Five People You Meet in Heaven (2004)

37.    Doctor Zhivago (1965)

38.    Chariots of Fire (1981)

39.    The Blind Side (2009)

40.    Babe (1995)

41.    The Blues Brothers (1980)

42.    Jurassic Park (1993)

43.    84 Charing Cross Road (1987)

44.    National Treasure (2004)

45.    Ratatouille (2007)

46.    The Fugitive (1993)

47.    True Grit (1969, 2010)

48.    Evita (1996)

49.    The Lion King (1994)

50.    Inception (2010)

51.    When Harry Met Sally… (1989)

52.    Elizabethtown (2005)

53.    Lilies of the Field (1963)

54.    Life of Pi (2012)

55.    Mary Poppins (1964)

56.    Star Trek: First Contact (1996)

57.    Glory (1989)

58.    Singin’ in the Rain (1952)

59.    The Sixth Sense (1999)

60.    Back to the Future Trilogy (1985, 1989, 1990)

61.    Life Is Beautiful (1997)

62.    Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011)

63.    The Phantom of the Opera (2004)

64.    Awakenings (1990)

65.    Fantasia (1940)

66.    Willy Wonka and the Chocolate Factory (1971)

67.    Paulie (1998)

68.    Home Alone (1990)

69.    The Hunchback of Notre Dame (1996)

70.    Big (1988)

71.    Jumanji (1995)

72.    Somewhere in Time (1980)

73.    Star Trek II: The Wrath of Khan (1982)

74.    A Christmas Story (1983)

75.    Speed (1994)

76.    Ferris Bueller’s Day Off (1986)

77.    1776 (1972)

78.    The Color Purple (1985)

79.    High School Musical Trilogy (2006, 2007, 2008)

80.    Miracle on 34^th Street (1947)

81.    Gone with the Wind (1939)

82.    Aladdin (1992)

83.    Saints and Soldiers (2003)

84.    Aliens (1986)

85.    Shadowlands (1993)

86.    Hook (1991)

87.    Young Frankenstein (1974)

88.    The Ten Commandments (1956)

89.    Star Wars Prequel Trilogy (1999, 2002, 2005)

90.    Star Trek into Darkness (2013)

91.    October Sky (1999)

92.    Saving Mr. Banks (2013)

93.    Holes (2003)

94.    The Pursuit of Happyness (2006)

95.    Signs (2002)

96.    Star Trek: Generations (1994)

97.    Star Trek VI: The Undiscovered Country (1991)

98.    The Santa Clause (1994)

99.    Starman (1984)

100.   My Fair Lady (1964)

101.   The Passion of the Christ (2004)

102.   On Golden Pond (1981)

103.   Brother Bear (2003)

104.   WALL-E (2008)

105.   The Green Mile (1999)

106.   Air Force One (1997)

107.   Captain America: The First Avenger (2011)

108.   Shrek 2 (2004)

109.   Iron Man Trilogy (2008, 2010, 2013)

110.   To Kill a Mockingbird (1962)

111.   The Matrix (1999)

112.   Ghostbusters II (1989)

113.   The Untouchables (1987)

114.   The Right Stuff (1983)

115.   The Hunger Games (2012) and Catching Fire (2013)

116.   Terminator 2: Judgment Day (1991)

117.   The Mask of Zorro (1998)

118.   E.T. the Extra-Terrestrial (1982)

119.   Coal Miner’s Daughter (1980)

120.   Jesus Christ Superstar (1973)

121.   Shrek (2001)

122.   The King’s Speech (2010)

123.   Yentl (1983)

124.   Ghost (1990)

125.   Men in Black Trilogy (1997, 2002, 2012)

126.   The Music Man (1962)

127.   Ghostbusters (1984)

128.   The Autobiography of Miss Jane Pittman (1974)

129.   Regarding Henry (1991)

130.   Alien (1979)

131.   National Treasure: Book of Secrets (2007)

132.   The Polar Express (2004)

133.   Sleepless in Seattle (1993)

134.   Rocky (1976)

135.   Home Alone 2: Lost in New York (1992)

136.   Julie and Julia (2009)

137.   Airplane! (1980)

138.   Extraordinary Measures (2010)

139.   Secondhand Lions (2003)

140.   A Christmas Carol

141.   Grave of the Fireflies (1988)

142.   Star Trek IV: The Voyage Home (1986)

143.   Mrs. Doubtfire (1993) / Robin Williams Tribute

144.   Gifted Hands: The Ben Carson Story (2009)

145.   The Little Mermaid (1989)

146.   Out of Africa (1985)

147.   Die Hard (1988)

148.   Kramer vs. Kramer (1979)

149.   Overboard (1987)

150.   The Nativity Story (2006)

151.   Cinderella (1950)

152.   Les Miserables (1998)

153.   A League of Their Own (1992)

154.   The Homecoming: A Christmas Story (1971)

155.   Tangled (2010)

156.   As Good As It Gets (1997)

157.   Spirit: Stallion of the Cimarron (2002)

158.   Ella Enchanted (2004)

159.   Splash (1984)

160.   Monsters, Inc. (2001)

161.   Chitty Chitty Bang Bang (1968)

162.   Rain Man (1988)

163.   Enchanted (2007)

164.   Up (2009)

165.   What’s Up, Doc? (1972)

166.   The Dark Knight Trilogy (2005, 2008, 2012)

167.   Extremely Loud and Incredibly Close (2011)

168.   Cars (2006)

169.   Wreck-It Ralph (2012)

170.   Foul Play (1978)

171.   Pocahontas (1995)

172.   Bill and Ted’s Excellent Adventure (1989)

173.   Rudy (1993)

174.   Mulan (1998)

175.   How to Train Your Dragon (2010)

176.   Butch Cassidy and the Sundance Kid (1969)

177.   Castle in the Sky (1986)

178.   The Terminal (2004)

179.  The Hobbit: An Unexpected Journey (2012) and The Desolation of Smaug (2013)

180.   The Curious Case of Benjamin Button (2008)

181.   Something the Lord Made (2004)

182.   Funny Girl (1968)

183.   Have a Little Faith (2011)

184.   The Ultimate Gift (2006)

185.   Spaceballs (1987)

186.   The Way (2010)

187.   Frozen (2013)

188.   Twister (1996)

189.   Rocky III (1982)

190.   Hello, Dolly! (1969)

191.   Joyeux Noël (2005)

192.   Indiana Jones and the Temple of Doom (1984)

193.   To Sir, with Love (1967)

194.   Hoosiers (1986)

195.   Gravity (2013)

196.   Swiss Family Robinson (1960)

197.   The Great Escape (1963)

198.   Doc Hollywood (1991)

199.   Philadelphia (1993)

200.   My Girl (1991)

201.   Murphy’s Romance (1985)

202.   Nausicaä of the Valley of the Wind (1984)

203.   The Iron Lady (2011)

204.   Peter Pan (1953)

205.   Superman (1978)

206.   Crouching Tiger, Hidden Dragon (2000)

207.   Jane Eyre (1970)

208.   Casablanca (1942)

209.   Phineas and Ferb the Movie: Across the 2^nd Dimension (2011)

210.   The Poseidon Adventure (1972)

211.   Annie (1999)

212.   The Elephant Man (1980)

213.   Anastasia (1997)

214.   Memphis Belle (1990)

215.   Dances with Wolves (1990)

216.   Spy Kids 2: The Island of Lost Dreams (2002)

217.   The Terminator (1984)

218.   Superman II (1980)

219.   Journey to the Center of the Earth (2008)

220.   Pinocchio (1940)

221.   City Slickers (1991)

222.   Steel Magnolias (1989)

223.   Fiddler on the Roof (1971)

224.   Remember the Titans (2000)

225.   Scrooged (1988)

226.   Forget Paris (1995)

227.   The Legend of Zorro (2005)

228.   Rocky II (1979)

229.   The Brave Little Toaster (1987)

230.   X2: X-Men United (2003)

231.   Surrogates (2009)

232.   Indiana Jones and the Kingdom of the Crystal Skull (2008)

233.   Shenandoah (1965)

234.   The Artist (2011)

235.   The River Wild (1994)

236.   Wuthering Heights (1970)

237.   Unbreakable (2000)

238.   The Spiderwick Chronicles (2008)

239.   Star Trek III: The Search for Spock (1984)

240.   Robin Hood: Prince of Thieves (1991)

241.   Sister Act (1992)

242.   The Abyss (1989)

243.   The Girl Who Leapt through Time (2006)

244.   Sheffey (1977)

245.   X-Men (2000)

246.   Lady and the Tramp (1955)

247.   Cloudy with a Chance of Meatballs (2009)

248.   X-Men: First Class (2011)

249.   Places in the Heart (1984)

250.   Citizen Kane (1941)

251.   Brave (2012)

252.   Homeward Bound: The Incredible Journey (1993)

253.   Jumpin’ Jack Flash (1986)

254.   Gettysburg (1993)

255.   Silverado (1985)

256.   Treasure Planet (2002)

257.   Trading Places (1983)

258.   The Great Mouse Detective (1986)

259.   Spy Kids (2001)

260.   Galaxy Quest (1999)

261.   Joseph: King of Dreams (2000)

262.   Won’t Back Down (2012)

263.   Baby Boom (1987)

264.   Amazing Grace (2006)

265.   Cloak and Dagger (1984)

266.   The Hunt for Red October (1990)

267.   Hercules (1997)

268.   Kiki’s Delivery Service (1989)

269.   The Boy in the Striped Pajamas (2008)

270.   Atlantis: The Lost Empire (2001)

271.   The Rocketeer (1991)

272.   U. S. Marshals (1998)

273.   Bambi (1942)

274.   Hugo (2011)

275.   The Emperor’s New Groove (2000)

276.   Dave (1993)

277.   The Jungle Book (1967)

278.   Innerspace (1987)

279.   The Muppets (2011)

280.   A Bug’s Life (1998)

281.   We Are Marshall (2006)

282.   Fireproof (2008)

283.   Puss in Boots (2011)

284.   Raising Arizona (1987)

285.   Stuart Little 2 (2002)

286.   “Crocodile” Dundee (1986)

287.   Terminator 3: Rise of the Machines (2003)

288.   Kung Fu Panda 2 (2011)

289.   Kung Fu Panda (2008)

290.   The Quick and the Dead (1987)

291.   The Secret World of Arrietty (2010)

292.   The Impossible (2012)

293.   Sinbad: Legend of the Seven Seas (2003)

294.   Apollo 13 (1995)

295.   The Iron Giant (1999)

296.   The Day after Tomorrow (2004)

297.   Dr. Seuss’ Horton Hears a Who! (2008)

298.   I Am Legend (2007) / World War Z (2013)

299.   The Time Traveler’s Wife (2009)

300.   The Godfather (1972)

301.   Independence Day (1996)

302.   A Walk to Remember (2002)

303.   Stuart Little (1999)

304.   The Castle of Cagliostro (1979)

305.   The Greatest Game Ever Played (2005)

306.   King Kong (2005)

307.   The Horse Whisperer (1998)

308.   The African Queen (1951)

309.   Moonstruck (1987)

310.   The Karate Kid (1984)

311.   The Sword in the Stone (1963)

312.   Where the Wild Things Are (2009)

313.   War of the Worlds (2005)

314.   The Secret of Kells (2009)

315.   American Graffiti (1973)

316.   Chicken Run (2000)

317.   Charlie and the Chocolate Factory (2005)

318.   Planet of the Apes (1968)

319.   Sneakers (1992)

320.   The Killing Fields (1984)

321.   Hitchcock (2012)

322.   Ice Age (2002) and Ice Age: The Meltdown (2006)

323.   The Road to El Dorado (2000)

324.   The Lost World: Jurassic Park (1997)

325.   Doctor Dolittle (1967)

326.   Rise of the Guardians (2012)

327.   Cats Don’t Dance (1997)

328.   No Way Out (1987)

329.   The Pagemaster (1994)

330.   A Goofy Movie (1995)

331.   WarGames (1983)

332.   Balto (1995)

333.   Good Will Hunting (1997)

334.   An Extremely Goofy Movie (2000)

335.   Nine to Five (1980)

336.   The Perfect Storm (2000)

337.   Psycho (1960)

338.   Summer Wars (2009)

339.   Gaslight (1944)

340.   Flightplan (2005)

341.   Monsters vs. Aliens (2009)

342.   The Incredible Hulk (2008)

343.   Lars and the Real Girl (2007)

344.   Working Girl (1988)

345.   Entrapment (1999)

346.   City of Ember (2008)

347.   Despicable Me (2010)

348.   Prometheus (2012)

349.   Dinosaur (2000)

350.   12 Angry Men (1957)

351.   Witness (1985)

352.   Meet the Robinsons (2007)

353.   Inkheart (2008)

354.   The SpongeBob SquarePants Movie (2004)

355.   Howl’s Moving Castle (2004)

356.   One Hundred and One Dalmatians (1961)

357.   Mr. Smith Goes to Washington (1939)

358.   Panic Room (2002)

359.   Sgt. Pepper’s Lonely Hearts Club Band (1978)

360.   Eragon (2006)

361.   Megamind (2010)

362.   Willow (1988)

363.   Millennium Actress (2001)

364.   The Devil Wears Prada (2006)

365.   Thor (2011)

P.S.  Sorry for the wait; I found out that 365 links can be very time-consuming.

#1: The Lord of the Rings Trilogy (2001, 2002, 2003)

Tags

Action, Drama, Fantasy, Meet 'em and Move on, War

(Major spoilers ahead)

 

Three films to rule them all,

Three films to top them,

Three films to contests call

And effortlessly stop them.

 

In ages long past, there were forged mighty rings,

And one was the greatest, to rule over kings.

‘Twas forged by the Dark Lord, one Sauron by name,

Who barely was beaten when men and elves came.

Isildur, however, retained the One Ring,

Which went on to spend centuries poisoning

The mind of poor Gollum, obsessed with his prize,

Until it was picked up by one of small size.

This hobbit named Bilbo returned to the Shire

And kept the Ring, growing in secret desire.

 

On Bilbo’s birthday, he intends to depart,

Although nephew Frodo is close to his heart.

The wizard Gandalf bids the hobbit farewell

But, wishing old Bilbo’s temptation to quell,

Insists that the Ring stay behind at Bag End,

For Frodo to keep safe, if not comprehend.

When Gandalf discerns that the Ring is the One,

He sends Frodo off since the hunt has begun.

With friends Samwise Gamgee and Pippin and Merry,

The hobbit seeks Bree on a life-saving ferry,

For nine fallen kings known as Ringwraiths now ride

To claim Frodo’s ring, knowing he cannot hide.

 

As Gandalf must deal with the sudden betrayal

Of white wizard Saruman, Frodo’s travail

Is still far from over, but he is defended

By Strider (or Aragorn), who’s well-descended.

When Frodo is wounded by one of the Nine,

The elf maiden Arwen assists him in time.

In Rivendell, Frodo finds rest with his friends,

Until a new journey Elrond recommends.

With Aragorn, Gandalf, Sam, Pippin, and Merry,

Plus Boromir, Legolas, and Gimli hairy,

Frodo heads to Mordor to end the Ring’s power,

As Sauron looks on from Barad-dûr’s tower.

 

When one mountain blocks them with avalanche thunder,

The Fellowship hesitantly passes under.

Through Moria’s mines and dark dangers galore

They dare, since they cannot turn back anymore.

A battle and balrog claim Gandalf, alas!

The others get out since the foe cannot pass.

Then on to Lothlórien they make their way,

Where Lady Galadriel lets the group stay.

A vision lets Frodo know what he must do,

And soon they depart down the river anew.

 

The wiles of the Ring come to tempt Boromir,

Who menaces Frodo when no one is near.

When Saruman’s fierce Uruk-hai then attack,

The men, elf, and dwarf prove that courage none lack.

Yet Boromir falls to his comrades’ dismay,

And Merry and Pippin are taken away.

As Aragorn, Legolas, Gimli, all three,

Go after the hobbits in captivity,

Both Frodo and Sam head to Mordor alone

To finish the quest in the wilds unknown.

__________________

 

As Frodo and Sam wander on with their quest,

The creature called Gollum proves more than a pest.

They catch and convince him to act as their guide;

Though Gollum assists, Sam is quick to deride.

Through labyrinths of stone and a haunted marshland,

The trio continue with threats close at hand.

They find Mordor’s entrance, the dreaded Black Gate,

Much too well-defended to now infiltrate,

So Gollum (or Sméagol as he was once known)

Suggests a dark way through a tunnel of stone.

As Frodo starts trusting him, Gollum must face

An identity crisis, one half to erase.

While traveling further through Gondor’s frontier,

They’re captured by Boromir’s kin, Faramir.

 

Meanwhile, the elf and the dwarf and the man

Are chasing the Uruks as fast as they can.

In Rohan, the creatures are slaughtered that night

By banished Rohirrim while making their flight.

While Merry and Pippin take shelter with Ents,

The shepherds of trees who ignore world events,

The others find Gandalf, alive, clad in white,

And join him to set Rohan’s monarchy right.

King Théoden sags under Saruman’s sway,

But Gandalf will not let the rogue wizard stay.

With Théoden now in his right mind once more,

He does as was done with past dangers before,

Vacating the city through mountain paths steep

And biding behind the great walls of Helm’s Deep.

 

As Saruman’s army arrives seeking blood,

The men and elves battle the sword-wielding flood.

While Merry and Pippin are sad and upset

By ponderous Ents still unmoved by the threat,

King Théoden, Aragorn, and all the rest

Defend for their lives from the Uruks, hard-pressed.

For when the foe blasts through impregnable walls,

Despair enters in as their brave defense falls.

 

While Frodo and Sam are held captive by men,

Who mishandle Sméagol, made bitter again,

The Ring allures Faramir’s inner desire

To prove himself to his unpleasable sire.

In Osgiliath, as the Nazgûl attack,

A change of heart shows strength that many men lack.

 

King Théoden rallies his warriors then

To ride out proclaiming the valor of men,

And Gandalf arrives with Rohirrim in tow

To charge with the sun and thus finish the foe.

As Helm’s Deep is won, the Ents see for themselves

That Saruman’s crimes harm not just men and elves.

They storm Isengard with a most righteous rage,

And ancients prevail in their last war to wage.

The good and the free have thus won battles twain,

But darkness will strengthen before it must wane.

The hope of all Middle-earth rests in a pair

Of hobbits whom Gollum intends to ensnare.

_________________

 

While Frodo and Sam follow Gollum, whose past

Reveals the corruption the Ring can work fast,

The rest of the Fellowship soon reunite

To celebrate triumph in their recent fight.

Yet Pippin is tempted to study a sphere,

A dangerous seeing stone called Palantir,

Which gives them a glimpse into Sauron’s next plan,

To crush Minas Tirith, the threat posed by Man.

 

When Gandalf takes Pippin to outrun the foe

And warn Gondor’s capital of coming woe,

The steward of Gondor, the Lord Denethor,

The father of Boromir, knows of the war.

He’s losing his mind and deplores Faramir

In mourning his brother, both cruel and severe.

Insisting his son display loyalty vain,

He sends him to fight where he’ll surely be slain.

Though Faramir sadly submits to his will,

The wizard Gandalf has a plan to fulfill

And sends word to Rohan to come to their aid,

Through beacon fires magnificently displayed.

 

While Merry’s preparing to fight for the peace,

Assisted by Éowyn, Théoden’s niece,

Both Frodo and Sam have a difficult time

In mounting stone stairs Sméagol says they must climb.

His influence turns Frodo’s mind against Sam,

Who’s forced to turn back by a Sméagol-y scam.

Within a dark tunnel of webbing and murk,

A monstrous spider called Shelob does lurk;

Though Gollum had hoped she would earn him the Ring,

His master escapes and sends him plummeting.

As Frodo continues, the spider surprises

Till Samwise the brave takes her down a few sizes.

 

When Elrond reforges a sword legendary

For Aragorn ever to wield and to carry,

The Grey Company leaves King Théoden’s side

To seek the assistance of traitors who died.

To grand Minas Tirith, Rohan’s armies ride

To aid the beleaguered of Gondor inside.

While Denethor’s sanity cracks from the strain

Of Faramir’s loss, though he isn’t yet slain,

The men and the wizard defend the White City

From hideous hordes that refuse to show pity.

When Théoden’s forces arrive with the sun,

The battle’s tide turns, though it isn’t yet won.

When great oliphaunts join this most epic fray,

It takes a ghost army to carry the day.

 

As Gandalf saves Faramir from Denethor,

Sam rescues poor Frodo from orcs of Mordor.

With much heroism and losses endured,

The victors, to keep Frodo’s mission obscured,

March on to the Black Gate, diverting the gaze

Of Sauron’s great eye, ever watching ablaze.

Through barren wastelands, Sam and Frodo proceed,

Weighed down by the Ring from which all must be freed.

Though Gollum attacks, Frodo reaches Mount Doom

But falls to temptation that tends to consume;

It’s not until Gollum, for his Precious’ sake,

Bites off Frodo’s finger, a deadly mistake,

That Sauron’s One Ring in the fire is cast

And evil is unmade and vanquished at last.

 

It looks like the end for the two hobbits spent,

But Gandalf retrieves the small heroes he sent.

In Rivendell, Frodo is thrilled to once more

Embrace his old Fellowship left long before.

In Minas Tirith, grateful free peoples bow down,

And Aragorn humbly accepts Gondor’s crown.

Though years of peace follow, for Frodo it seems

The scars of his quest are still haunting his dreams.

When elves take their leave of mankind’s Middle-earth,

They give final passage to heroes of worth.

As Bilbo and Gandalf depart from these shores,

It’s Frodo’s time too, and the journey restores.

Farewell to his friends, ever faithful and true;

Farewell for a time until all is made new.

_________________

 

This is it, the top of my list and, in my opinion, the greatest trilogy ever made. I know that is a tall claim, but no other film series matches the emotional power, memorable characterization, and epic scope of Peter Jackson’s original cinematic tour de force. Before their release, I had never read the books or had any exposure to J.R.R. Tolkien’s classic magnum opus, so these films came as a total surprise to my family and me; what we expected to be “just another movie” turned out to be something truly magnificent.

The Fellowship of the Ring has been acclaimed as the greatest fantasy film of all time; even with the detractions of literary purists, the film certainly succeeds in crafting a wholly convincing Middle-earth and capturing the spirit of its diverse inhabitants: the curly-haired tranquility of Hobbiton; the Stygian menace of the Nazgûl; the luminous nobility of the elves; and the repulsive terror of orcs, balrogs, and the Kraken’s second cousin. The hobbits especially are among the series’ most endearing creations, bucolic folk fond of peace, pubs, and pipes but capable of unexpected heroism.

Fellowship is more episodic than the other two films, as the travelers grow in number and pass from city to wilderness to caves to forest to river, yet amid all the walking, we get to know these characters more deeply than one would expect: hesitant Frodo, faithful Sam, the comic relief duo of Merry and Pippin, sapient Gandalf, conflicted lover Aragorn, awesome Legolas, untossable dwarf Gimli, corruptible Boromir, and so on. The film also features my favorite sequence of the entire trilogy, the tense and visually stunning journey through Moria, full of colossal architecture, subtle wisdom, fearsome creatures, and a climactic sacrifice. The showdown with the troll and the Khazad-dûm collapse were the turning point that convinced me of the immensity of this story, and Frodo’s world-weary gaze once they escape confirmed its emotional punch. By the end of the film, I’m always eager for more.

Being bookended by even greater films, The Two Towers is understandably the least of the trilogy, but it nonetheless includes some essential additions to an already exceptional cast. While the sudden introduction of Rohan’s horsemasters (with similar names like Éowyn, Éomer, Théoden, Théodred, etc.) might be confusing for the uninitiated, they add another texture to this captivating land. Though the flesh-and-blood characters are engaging enough, the special effects team outdid themselves with two brilliantly rendered eccentrics. Andy Serkis’s motion-capture performance as Gollum/Sméagol is among the film’s highlights, his raspy voice and spindling physicality perfectly capturing the creature’s tragic state and inner turmoil. Likewise, Treebeard’s lumbering presence is as convincing a living tree as one can imagine, and the deep, protracted voice of John Rhys-Davies (doubling as Gimli) fits him to a tree…I mean, tee. Again, there is no shortage of riveting action sequences, including a skirmish between riders of horses and wargs, the prodigious siege of Helm’s Deep which surpasses any other depiction of medieval warfare, and my second favorite battle sequence of all, the attack of the Ents on Isengard. The latter two battles converge in the climax for a truly epic conclusion, even as Sam delivers a heartfelt speech setting the noble yet very human stakes.

My VC was especially eager for The Return of the King and, not being familiar with the books, was constantly terrified for the beloved characters, especially Frodo. She was pretty much in tears for the entire latter half of the film, from concern and happiness and from the sheer epic scale of the images before her. While it didn’t have quite the same effect on me, I wholeheartedly agree that this third film is the greatest ever made, as the culmination of the trilogy and a monumental depiction of the triumph of good over evil. Along with Titanic and Ben-Hur, it won the most Oscars ever, eleven total, and holds the record for the greatest Oscar sweep since it won everything for which it was nominated; it’s also the only fantasy film to win Best Picture and deservedly so. After journeying through two already admired films with these characters, the emotions are in high gear, devastated grief at Faramir’s sacrifice and Frodo’s rejection of Sam, heartache at Théoden’s final moments and Shelob’s stabbing of Frodo, bittersweet joy at the quest’s success and Frodo’s relieved parting glance. Like the previous two films, there are moments of unbridled awesomeness worthy of sudden cheering, like Legolas and Éomer’s single-handedly taking down enormous oliphaunts, Éowyn’s feat of female empowerment, or Aragorn’s employing an undead ace up his sleeve. The two greatest sequences are the lighting of the beacons, a perfect combination of jaw-dropping New Zealand scenery and Howard Shore’s legendary score, which is my VC’s favorite part of the whole trilogy, and the battle of the Pelennor Fields, particularly Théoden’s charge; the looks of fear on the orcs’ faces are what I imagine will be seen when the Lord returns and evil is finally stamped out. Though the multiple endings have drawn some criticism and even mockery, none of them are needless, and all serve as most satisfying closure, perhaps just with a bit too much fading in and out. Every time the credits start to roll, I feel that I’ve watched something magnificent.

Since I first saw The Lord of the Rings trilogy, my family and I have become fast fans, buying enough merchandise to probably finance one of The Hobbit films. We’ve purchased the original books, guide books, books about the films, a documentary about the films, calendars, CDs of the score, action figure playsets, and both the original films and the extended edition box set. The extended edition is now our preferred version, contributing nearly two hours of fascinating additions that complement rather than detract from the original. It’s become a tradition for my family to watch all three films in a row, usually around Christmas, as an annual reminder of how much we love this story.

While I typically shy away from violent films, and The Lord of the Rings does contain plenty of hacking and even decapitations, the battle scenes still show considerable restraint for the most part, especially for a director known for gory horror movies; plus, the film’s fantasy setting precludes any instances of profanity or foul language, which isn’t even missed. Instead, the language carries a memorable nobility foreign to modern-set films, such as the monologues of encouragement from Gandalf or from various warriors before battle (“Ride for ruin and the world’s ending!”; “It is not this day!”) The music is also particularly marvelous, and Fellowship’s “May It Be” by Enya and The Return of the King’s “Into the West,” performed by Annie Lennox, easily make my End Credits Song Hall of Fame. (“Gollum’s Song” at the end of The Two Towers isn’t quite in the same league.) In addition, it occurred to me that one more reason I enjoy the films is that Frodo’s journey at least could be considered a “meet-‘em-and-move-on” story, since he encounters several others on his quest and is ultimately reunited with many of them. By the way, (Lost alert) I must mention Dominic Monaghan, who plays Merry as well as troubled rocker Charlie on my favorite TV show and who turned out to be a major draw for me to check out Lost, which started the year after The Return of the King was released.

(On a side note, I do want to explain my wholehearted embracing of this franchise in contrast with my dislike of the Harry Potter series. While both feature magic, however fantastical, Tolkien’s tales do not employ magic as a focus and ongoing interest for his characters, and they are set in an untouchable fantasy realm as opposed to a setting and time recognizably similar to our own. In some ways, it’s a fine line, but one that Rowling’s stories cross enough to warrant caution, to my mind. My opinions match those further expanded in this long article by film critic Steven Greydanus: http://www.decentfilms.com/articles/magic.)

The Lord of the Rings will forever stand as a landmark of cinema, especially impressive coming from an only mildly esteemed horror director like Peter Jackson, who certainly earned a name for himself. No other film can match the blend of utterly beautiful scenery, memorable music, realistic effects of every kind, Oscar-winning makeup, detailed armor and weaponry, brilliant ensemble acting, impressive artistry, unparalleled thrills, heart-wrenching pathos, and tear-worthy gratification. Some films rival or even surpass certain such aspects, but not all of them. All the awards won by the third film were undoubtedly meant for the trilogy as a whole, for no other director has shot a trilogy back to back like Jackson did, an achievement he repeated with The Hobbit and one that I don’t think is appreciated enough. George Lucas took three years between each of the Star Wars films, and James Cameron recently had to postpone his planned Avatar sequel trilogy because of the massive effort involved in shooting back-to-back films. It’s obviously harder than it seems. The Hobbit trilogy may not measure up to Jackson’s original achievement, but nothing really could. They are untouchable, masterpieces of fantasy to match their literary counterparts, despite certain alterations.

This film list of mine has been a long road, but its end is one worth revisiting again and again. I’m glad to be with you, Samwise Gamgee, here at the end of this list.

Best lines from The Fellowship of the Ring: (Gandalf, catching Sam after talking with Frodo) “Confound it all, Samwise Gamgee. Have you been eavesdropping?”

(Sam) “I ain’t been droppin’ no eaves, sir, honest. I was just cutting the grass under the window there, if you’ll follow me.”

(Gandalf) “A little late for trimming the verge, don’t you think?”

(Sam) “I heard raised voices.”

(Gandalf) “What did you hear? Speak.”

(Sam) “N-nothing important. That is, I heard a good deal about a ring, and a Dark Lord, and something about the end of the world, but… please, Mr. Gandalf, sir, don’t hurt me. Don’t turn me into anything… unnatural.”    and

 

(Frodo) “I wish the Ring had never come to me. I wish none of this had happened.”   (Gandalf) “So do all who live to see such times, but that is not for them to decide. All we have to decide is what to do with the time that is given to us. There are other forces at work in this world, Frodo, besides the will of evil. Bilbo was meant to find the Ring. In which case, you were also meant to have it. And that is an encouraging thought.”

 

Best lines from The Two Towers: (Treebeard) “I always like going south. Somehow, it feels like going downhill.”    and

 

(Sam) “Those were the stories that stayed with you, that meant something, even if you were too small to understand why. But I think, Mr. Frodo, I do understand. I know now. Folk in those stories had lots of chances of turning back, only they didn’t. They kept going. Because they were holding on to something.”   (Frodo) “What are we holding onto, Sam?”   (Sam) “That there’s some good in this world, Mr. Frodo… and it’s worth fighting for.”

 

Best lines from The Return of the King: (Gimli, after Legolas’s oliphaunt takedown) “That still only counts as one!”    and

 

(Frodo, after the success of their quest) “I’m glad to be with you, Samwise Gamgee, here at the end of all things.”

 

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

286 Followers and Counting

And My Number One Movie Is…

Coming Soon! Just making the final touches. Stay tuned.

#2: Mr. Holland’s Opus (1995)

Tags

Drama, Meet 'em and Move on

Teacher of mine, do you doubt your own worth?

Are all of your years in your mind but a waste?

Passion in school is too rare to unearth

For you to consider your talent misplaced.

 

You started halfhearted, not giving your all,

Just placing the facts and the music before us,

But you adapted and heeded the call

And played to our interests to rouse and not bore us.

 

Class after class entered your music room,

Your hall venerating the eminent notes;

Students found counsel and guidance to bloom

And glee from the time a musician devotes.

 

Somehow you managed a family to raise,

Demanding, but higher for all of the lows.

Even to this day your influence stays,

As noble and grand as the works you compose.

 

Music meant more after your music class,

In ways at the time you and I could not guess.

Now hear your great masterpiece come to pass,

Listen to woodwinds, percussion, and brass,

And know that your impact is what they profess.

Mr. Holland, you are a success.

____________________

 

I doubt many people would share my #2 film. It didn’t generate much Oscar buzz, aside from a well-deserved Best Actor nomination for Richard Dreyfuss. It’s not The Godfather or Citizen Kane or Schindler’s List, but what it lacks in stylish camerawork or innovative storytelling, it makes up for in passion and the elevation of unsung heroes. In many cases, the film was my first introduction to certain music, like Beethoven and John Lennon, and it serves as a testament to the power and purpose of the arts in our lives.

Once again, Mr. Holland’s Opus, which is not about a comic strip penguin, is a “meet-‘em-and-move-on” film, but instead of the title teacher “moving on,” he stays put as decades of students pass under his tutelage. In many ways, it’s a combination of my previous two movies. Like Forrest Gump, it follows the triumphs and heartaches of one man through the 1960s, 70s, and beyond, employing archive footage and a well-chosen period soundtrack. Like It’s a Wonderful Life, it features a man whose restricting job comes before his preferred vocation and who, by the end, feels like a failure until an overwhelmingly supportive display of appreciation from his friends. As a fusion of these two stories and a familiar “good teacher” narrative, it becomes a musical journey of the most satisfying kind.

Richard Dreyfuss gives the best performance of his career as Glenn Holland, a composer dreaming of greatness until life gets in the way. He reminds us that teachers are humans like all of us; he deals with the difficulty of starting a marching band, the excitement of childbirth, the disappointment at learning his son is deaf, the unconscious distancing of said son due to said disappointment, and the constant struggle to keep people invested in the arts. Glenne Headley is lovely as his supportive wife Iris, who also feels the strain of having a handicapped child. Olympia Dukakis as Principal Jacobs, W. H. Macy as Vice Principal Wolters, and Jay Thomas as football coach and amateur dancer Bill Meister also give memorable performances, as well as Terrence Howard in his first significant film role as drum-wielding pupil Lou Russ.

The film is full of moments worthy of an admiring sigh. The subplot involving Mr. Holland’s temptation to run off with an aspiring young singer could have gone horribly wrong, yet the film eschews Hollywood risk-taking in favor of marital fidelity. Mr. Holland knows it’s no sin to be tempted but refuses to yield to unrealistic romantic notions. Likewise, his relationship with his deaf son is brilliantly grown over time. His bond with Cole remains undeveloped for the most part, taking a back seat to Glenn’s school and musical endeavors, until Cole himself snaps his father out of his tunnel vision, convincing him that a lack of hearing need not mean a lack of music. This builds to a rare instance of Richard Dreyfuss singing, in a heartfelt concert that makes parents hold their kids a little closer. John Lennon would be proud.

It’s a Wonderful Life always gets my dad wiping his eyes at key scenes, and I’ve told him that Mr. Holland’s Opus is my It’s a Wonderful Life. The ending, featuring Michael Kamen’s glorious “An American Symphony,” inevitably causes a profound joy and satisfaction to well up inside of me, with or without tears. As “meet-‘em-and-move-on” films go, this and The Five People You Meet in Heaven have the best reunion endings, the kind that acts as the culmination of a lifetime, as well as the film.

One more reason to love Mr. Holland’s Opus is that, except for two or three words, it is completely clean, making it a poignant music lesson for the entire family. Perhaps that’s why it didn’t receive more award attention, but I definitely think it deserved further accolades than one Oscar nomination. Even if no one else ranks it as high as I do, Mr. Holland’s Opus is definitely worthy of my #2 spot.

Best line (which sums up this “meet-‘em-and-move-on”): (adult Gertrude Lang) “Look around you. There is not a life in this room that you have not touched, and each one of us is a better person because of you. We are your symphony, Mr. Holland. We are the melodies and the notes of your opus, and we are the music of your life.”

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

285 Followers and Counting

#3: Forrest Gump (1994)

Tags

Comedy, Drama, History, Meet 'em and Move on, Romance

His name is Forrest, Forrest Gump,

And he has quite a tale to tell,

A decade-spanning epic life

That no one else could tell as well.

 

Although he never has been smart,

His mother told him from his youth

That he could still do anything,

Which he took as God’s honest truth.

 

He didn’t have too many friends,

Just lovely Jenny by his side.

He loved her dearly from the start,

But college kept her occupied.

 

Their paths diverged as Forrest Gump

Enlisted in the Army corps

And told his girl he soon would go

To Vietnam to fight a war.

 

His heroism rescued lives,

Including his Lieutenant Dan.

As Forrest met with Ping-Pong fame,

His friend was left as half a man.

 

When Army life was done with him,

Gump bought himself a shrimping boat

To celebrate a fallen friend

Whose life to shrimp he would devote.

 

Assisted by Lieutenant Dan,

He built himself a shrimp empire,

But a loss returned him home

To Alabama to retire.

 

Beloved Jenny’s wayward path

Of drugs, abuse, and love thought free

At last brings her to Forrest’s house

To milk his hospitality.

 

A lengthy run across the land

Brings fame to Forrest once again,

But what more strongly speeds his step

Is Jenny’s now inviting pen.

 

Though soon he loses one he loves,

He gains another suddenly,

For Forrest Gump is talented

At drifting to his destiny.

________________

 

While not the first, Robert Zemeckis’s Forrest Gump is the greatest example of the “meet-‘em-and-move-on” film, following one character throughout his life as he touches and is touched by countless others, often in ways he doesn’t even comprehend. In this case, it’s set against the backdrop of late 20^th-century America, and even if Forrest doesn’t fathom the influence of his adventures, we the audience do, laughing, crying, and remembering along the way.

Tom Hanks most definitely deserved his Best Actor Academy Award for his simple yet profound portrayal of Forrest, Forrest Gump. Rather than being some caricature of the mentally handicapped, his folksy candor creates a memorable paragon of innocent observation. His unbiased impressions of some painfully turbulent years in US history act as a neutral lens through which we can view events like the Vietnam War, the Watergate scandal, and the hippie movement without any potentially alienating political opinions. They just were, and Forrest was there. It’s a simple idea, but much care and effort were made in pulling it off successfully. The Oscar-winning effects team placed Forrest into archive footage, allowing him to seamlessly interact with Presidents and celebrities. Yet through all of his adventures, he remains the same lovable mama’s boy, harboring (as the writer Eric Roth has stated) an unshakeable faith in only three things: God, his wise mother (Sally Field), and his sweetheart Jenny (Robin Wright). It’s funny, though, that Field plays Hanks’s mother here when she played his love interest in Punchline just six years earlier.

Jenny chooses the opposite approach of Forrest’s clean-cut journey through the decades. Whereas his homespun values preserve Forrest unsullied for the most part, in the world but not of the world, Jenny embraces the sex, drugs, and destructive lifestyle that captured so many in the 1960s, all the while keeping her would-be suitor at a distance. Her “spoiled goods” mentality is frustrating because of her own foolish choices, and tragic because of Forrest’s unrequited love for her, at least until the end. Forrest Gump is a prime example of how an opinion can make a 360 over time; my VC disliked the film’s ending at first, mainly due to how Jenny used Forrest’s affection for her to sneak a one-night stand and then did not contact him again until she was dying. Over time, she’s come to love the film as much as I do and to recognize more authenticity in Jenny’s deathbed declaration of love. As disheartening as their degrading lifestyles became, the eventual turnaround for Jenny and for Lieutenant Dan (a fantastic Gary Sinise) is what provides the satisfying, tear-worthy conclusion that “meet-‘em-and-move-on” films do so well. (By the way, did anyone else notice that Jenny’s abusive boyfriend in Washington, D.C., was named Wesley? Robin Wright must love that name.)

Despite the language and some sexual awakenings for Forrest, the film is a redemptive and unforgettable odyssey in which the good and decent are proven more prosperous than the edgy and bitter. The soundtrack is one of the best, providing pitch-perfect musical accompaniment for every decade Forrest encounters (the Doors are well represented), and the three-year running sequence features a spectacular blend of rocking road anthems and stunning cinematography. The quirky narration is one of my favorite elements, with sentences often being repeated by an actor right after they’ve been spoken. Sometimes narration is an unnecessary distraction, but for “meet-‘em-and-move-on” films, it often strengthens the effect of the story, as with Life of Pi and The Shawshank Redemption. Many people doubtless consider Shawshank a better film, which was overshadowed by the popularity of Tom Hanks’ best role in 1994, but though Shawshank is more mature in tone and subject, and I still love it, Forrest Gump holds a greater variety of incident, special effects, and storytelling and is just more appealing in general. It’s a special film that some may dismiss as glossing over history, but I find more reasons to love it on every viewing. (Did you notice that Forrest’s eyes are closed in every picture he takes? I didn’t till this latest time.)

Best line (a less obvious one):  (Bubba) “Anyway, like I was sayin’, shrimp is the fruit of the sea. You can barbecue it, boil it, broil it, bake it, sauté it. Dey’s uh, shrimp-kabobs, shrimp creole, shrimp gumbo. Pan fried, deep fried, stir-fried. There’s pineapple shrimp, lemon shrimp, coconut shrimp, pepper shrimp, shrimp soup, shrimp stew, shrimp salad, shrimp and potatoes, shrimp burger, shrimp sandwich. That- that’s about it.”

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

284 Followers and Counting

#4: It’s a Wonderful Life (1946)

Tags

Christmas, Classics, Drama, Family, Fantasy

George Bailey lives in Bedford Falls

But does not wish to stay.

“This crummy little town” just palls

Against lands far away.

 

His father barely keeps afloat

The ol’ Building and Loan,

Which causes George to miss his boat,

Or simply to postpone.

 

Young Mary Hatch has always had

A crush on George; the two

Soon hit it off, and Mary’s glad

That wishes do come true.

 

When George’s plans are shot once more

Because of the depression,

His business doesn’t close its door,

Through Mary’s intercession.

 

For years in little Bedford Falls,

George serves the friendly poor,

While stopping greedy Potter’s calls

To yield what George stands for.

 

But then one day, some carelessness

Misplaces needed cash,

And desperation’s stressful press

Tempts George to make a splash.

 

An angel staves off suicide,

And Clarence tries to warn

By giving George a glimpse untried

Of if he’d not been born.

 

This other world without George Bailey

Is dark and forlorn;

He sees the difference he made daily

Since he had been born.

 

He begs his life back, no more dull,

And finds to his delight

The life he sees is wonderful

And friends that aid his plight.

________________

 

My mom and I share my #1 film, but my dad’s personal favorite at least made it to my #4. My highest black-and-white film, It’s a Wonderful Life stands out as Frank Capra’s best film, sentimental in the best sense of the word, full of moments that inevitably bring my dad to tears. My mom loves it too, having first seen it after learning it was Roger Ebert’s favorite film back in the 80s. Though not successful upon release, it has grown in esteem over the years to become one of those perennial Christmas traditions, a reminder of all that can be good in this world.

In addition to a splendid screenplay, the casting is excellent. Jimmy Stewart is the ideal everyman, whether as a decent Joe Schmo in a world of dirty politics or a selfless son/brother/husband/father that changes his town in ways he never could have imagined. Here his acting talent is at its most diverse, evoking a wide range of deeply felt emotions, from disappointment to helpless despair to rebounding joy that tugs effortlessly on every viewer’s heartstrings. Other examples of exceptional casting include a glowing Donna Reed as Mary Bailey, Thomas Mitchell as forgetful Uncle Billy, child-like Henry Travers as guardian angel Clarence Odbody, and Lionel Barrymore as Mr. Potter, an utterly despicable villain in a town of otherwise pleasant folk.

Watching the film now, after so many prior viewings, it’s hard to believe that George Bailey could consider himself a failure, after saving a couple of lives and personally presiding over happy homecomings (most people don’t even do that). Yet the microscope of anxiety leads him to cruel panic, and a series of hardships, one after the other, plausibly drives him to consider suicide. While the film implies that guardian angels are deceased humans (which isn’t true), the intervention of Clarence is more charming and divinely sent than, say, the ghosts in A Christmas Carol. In trying to convince George of his own worth, the film serves as encouragement for its audience. Who hasn’t felt like a failure at some point in his/her life? Who hasn’t wondered if it was all for naught? Yet, like the tapestry argument about how focusing on one thread does not comprehend the full pattern, we never know how and how often our lives touch others’. By now, the interconnection of lives has become a well-worn lesson, from Liberty Mutual commercials to countless films, but It’s a Wonderful Life does it best, giving a full sense of just how essential one man can be to the happiness of an entire town.

My VC and I had a brief debate over whether the film could be considered a “meet-‘em-and-move-on” movie. I at first thought so because of the many people with whom George interacts throughout his life and the infinitely feel-good reunion of an ending. Yet she pointed out that, even if George doesn’t fully appreciate all his friends until the end, nobody really moves on. It all takes place in the same quiet little New York town, a place George at first views as a cage but, like nostalgic viewers, eventually comes to appreciate it as his home. (By the way, the entire town of Bedford Falls was one long outdoor set.) Thus, while It’s a Wonderful Life isn’t technically a “meet-‘em-and-move-on,” it does bear certain similarities, especially by the jubilant end. (Again by the way, as wonderful as it is for everyone in town to donate to George, it probably wasn’t enough to make up for the missing $8,000; it really all came down to his friendship with wealthy Sam Wainwright. Hee-haw!)

Though his films were often derided as “Capra-corn,” Frank Capra was certainly one of the great early Hollywood directors, simply choosing to focus on the good, the charming, and the uplifting rather than the more cynical stuff some critics prefer. His personal favorite of his films, It’s a Wonderful Life exemplifies simple, feel-good messages in an entertaining package sure to break and warm the heart.

Best line: (Clarence) “Strange, isn’t it? Each man’s life touches so many other lives. When he isn’t around, he leaves an awful hole, doesn’t he?”

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

284 Followers and Counting

#5: The Sound of Music (1965)

Tags

Classics, Drama, Family, Musical, Romance

(Best sung to “My Favorite Things”)

 

Austria’s hills hold a thrill for Maria;

Her fellow nuns simply have no idea

Just how to manage this angel of stress,

So she’s sent off as a new governess.

 

The children of Captain von Trapp, lucky seven,

Are quite a handful and no seventh heaven.

Though Captain formally keeps them in line,

Governesses find them less than benign.

 

Fraulein Maria is warm and kindhearted,

And soon her musical love is imparted.

Captain’s away so the children will play,

Learning to sing in the happiest way.

 

When the day ends,

Captain is mad,

But the children sing.

Reminded of music, he’s suddenly glad,

And soon they have him crooning.

 

Baroness Schraeder, whom Captain is dating,

Causes Maria to leave just by stating

That he’s in love with Maria, a fact

That brings her back in the next-to-last act.

 

After Maria and Captain are married,

Problems arise from the views he has carried.

Told by the Nazis that he’s to report,

Captain realizes that their time is short.

 

Leaving the country to keep from conforming,

They buy some time by that evening performing.

As they escape to the convent nearby,

Nazis close in to prevent their goodbye.

 

To the mountains,

The von Trapps flee

Into Switzerland.

Barely escaping, the family now free

Continue through vistas grand.

___________________

 

The musical genre is one of my favorites, presumably because I enjoy music itself so much. I love how stories can be told succinctly through song, and the music of whatever I watch typically gets stuck in my head for some time afterward. The most recent favorite I found is a 2009 musical of The Count of Monte Cristo (hasn’t been filmed yet); before that, it was Frozen; before that, the discovery of Les Miserables. Yet as fun as it is to unearth exceptional new musicals, I always return to the greatest of them all: The Sound of Music.

After her Oscar-winning performance as Mary Poppins the previous year, Julie Andrews outdid herself as beloved nun-turned-governess-turned-wife Maria. She has both the voice and the charisma to make Maria genuinely endearing even while everyone else grouses about her. I particularly liked how the life of a nun was not derided as less worthy than married life but simply not for her, a fact that the Mother Superior recognized before Maria. On the opposite end of the spectrum, Christopher Plummer found his most famous role as Captain Georg von Trapp, the icy father who just needs a headache of a governess to reawaken his love of music and his own children.

I will admit that I find many of Hollywood’s Golden Age musicals rather boring, particularly straight dramatic adaptations like West Side Story, but The Sound of Music sidesteps that concern with its classic Rodgers and Hammerstein soundtrack, peppered with much humor and delightful character moments. Whenever it threatens to drag, a well-spaced musical number livens things up, or we get a laugh from the endearingly candid Maria or the “charming sponge” Max Detweiler (Richard Haydn). By the end, “fuzzy camera” romance gives way to a nail-biting thriller finale that shouldn’t leave anyone bored.

Along the way are stunning mountain vistas and some of the finest show tunes this side of Salzburg. Nowhere are these so well-combined as in “Do-Re-Mi,” a song about singing that brims with joie de vivre and ends on an unrivalled high note that always gives my VC goosebumps. The rest of the songs are equally marvelous, with not a dud in the bunch. “My Favorite Things” is always a joy, and the puppeteered “The Lonely Goatherd” is possibly the most exuberant and fun musical number that Hollywood ever offered. Even the slower songs range from intimate to inspirational and are the kind of hummable music that effortlessly ingrains itself into the listener’s ears and heart.

My family has always enjoyed The Sound of Music. My mom was Gretl’s age when it came out, and Maria’s wedding dress and veil stuck in her mind to influence her own wedding train. She even enjoyed the recent live television version with Carrie Underwood, a production that couldn’t compare with the original in any way but was a respectable effort nonetheless. Even if the film is not historically accurate about the real von Trapp family and thus none too popular in Austria, The Sound of Music is my favorite musical and Julie Andrews’ finest hour, a feast for the ears from start to finish.

Best lines: (Captain von Trapp) “It’s the dress. You’ll have to put on another one before you meet the children.”   (Maria) “But I don’t have another one. When we entered the abbey, our worldly clothes were given to the poor.”   (Captain) “What about this one?”   (Maria) “The poor didn’t want this one.”

(“Uncle” Max) “I like rich people. I like the way they live. I like the way I live when I’m with them.”

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

284 Followers and Counting

#6: Star Wars Trilogy (1977, 1980, 1983)

Tags

Action, Drama, Sci-fi

(Well-known spoilers ahead)

 

In a galaxy far, far away,

The evil Empire holds sway.

As Darth Vader attacks,

Two robots make tracks

With plans, while the princess falls prey.

 

The humorous droids land unseen

On the desert world of Tatooine,

Where they are sold soon

To a boy of this dune,

Luke Skywalker, only nineteen.

 

A message on R2-D2

Sends Luke on a quick rendezvous.

Ben Kenobi tells him

Of his father’s fate grim,

Of the Jedi and lightsabers too.

 

When the Empire’s search has begun,

He and Ben and the droids have to run.

They arrange for a flight

With Han Solo, who might

Owe a crime lord a difficult sum.

 

The Millennium Falcon evades

The Empire’s fighter blockades

And heads for a sphere

That is no longer here;

The Death Star destroyed it in spades.

 

The Empire’s weapon surprises

The Falcon, which misjudges sizes.

From out of this mess,

They all save the princess,

Who helps as the group improvises.

 

Though Vader fells Ben with one blow,

The others escape even so.

The rebels afar

Plan to kill the Death Star

With a weakness, of which they now know.

 

Luke joins all the fighters’ attack

And shakes off the villain in black.

With a shot to the core,

The Death Star is no more,

And all rebels welcome them back.

_________________

 

On Hoth, Luke is met by a vision

Of Ben and is faced with decision.

On this planet of ice,

Rebels pay a dear price

As troopers attack with precision.

 

While most flee with Leia and Han,

Luke heads for where few men have gone;

A bog planet hides

Where old Yoda resides,

A great Jedi Master withdrawn.

 

As Yoda and Skywalker train,

The Falcon is running in vain.

At last, Han seeks out

An old friend with some clout;

This Lando seems suave and urbane.

 

When Vader appears to reveal

That he and Lando had a deal,

Luke’s friends are now bait,

And refusing to wait,

Luke disregards Yoda’s appeal.

 

In Cloud City, Solo is set

In carbonite for Boba Fett,

Who heads for the Hutt

To acquire his cut,

While Luke by Darth Vader is met.

 

Their duel ends when Vader unveils

That Luke is his son and prevails.

Confused in disgrace,

With a hand to replace,

Luke flees with his friends from his fails.

_______________

 

On Tatooine, Luke plans to save

Solo from a carbonite grave,

But Jabba intends

To watch both of their ends

And make Princess Leia his slave.

 

With Lando and Chewie’s assistance,

Our heroes escape and make distance.

Ere Yoda’s demise,

Luke then learns as he dies

Of another Skywalker’s existence.

 

His sister is Leia, he knows,

Who’s back with the Empire’s foes.

They learn a Death Star,

Though not finished so far,

Will soon be too great to oppose.

 

With Luke, they all land on Endor

To nix the shield, but not before

They’re caught unawares

By some wild teddy bears,

Ewoks, who help them with the war.

 

Luke faces his father, as well

As the Emperor, keen to compel

The boy to collide

With the Force’s Dark Side

And to watch them all die who rebel.

 

The battle below on the moon

Goes well for the rebels, who soon

Disable the shield

Ere their doom has been sealed

And find the moment opportune.

 

Both father and son fight once more,

But Luke has improved since before.

The Emperor pays

When his servant betrays,

And Vader’s no threat anymore.

 

The Death Star’s destroyed not too late,

And rebels at last celebrate.

Jedi will increase,

And, his father at peace,

Luke now has fulfilled his own fate.

__________________

 

In reviewing the original Star Wars trilogy, one of the most popular franchises of all time, I will do my best to avoid overusage of the words “iconic” and “classic,” even though nearly everything in these films fits those descriptions. Few movies have such a perfect blend of comedy, action, romance, and imagination, which have yielded such a widespread and devoted following and a universal appeal.

The first film was a bolt from the blue in 1977. My mom remembers seeing it on a recommendation, being surprised at a jam-packed theater, and being so captivated by this new level of cool that she returned to watch it 7½ more times (yes, she once paid to see only half of it; that’s all she had time for one afternoon, and that was better than not seeing it at all). Every aspect of George Lucas’s brainchild exemplifies those two words I mentioned earlier: the commanding presence and deep voice of Darth Vader (surprisingly, James Earl Jones was not credited on the first two films’ initial release), the endearing companionship of R2-D2 and C-3PO, Kenobi’s wise introduction of various mythic elements like the Force and lightsabers, the astounding size and power of the Death Star, the roguish appeal of Han Solo (the role that made Harrison Ford a true movie star), the danger and humor of their rescue of Leia, the trigger-happy escape that makes one wish for an arcade, and the explosive finale. Plot points and individual scenes have become so ingrained in popular culture that their parodies and homages are more ubiquitous than even those of The Wizard of Oz and other films that have been around much longer. Among the film’s most arresting aspects was John Williams’s music, the greatest movie score of all time. Without it (as well as the groundbreaking visual effects and Ben Burtt’s ingenious sound effects), Star Wars might have been simply a cute little sci-fi film, but the bombastic score is what truly earns it the title of space opera. By today’s standards, the characters and their interactions might be considered a tad cheesy, but like Indiana Jones, they tap into their creator’s love of pulpy adventures and are so much fun that viewers today merely enjoy the ride and quote the film verbatim. It made household names of Mark Hamill, Harrison Ford, and Carrie Fisher, and in my opinion, the original remains the best film in the entire saga.

Rarely are middle films the most popular, but The Empire Strikes Back has grown over the years to be the most esteemed of all the Star Wars films. It featured the memorable battle on Hoth, the introduction of wise outcast Yoda and dashing Lando Calrissian, the deepening of Han and Leia’s romance, and that classic shocker involving Luke’s parentage, a revelation so iconic that children today will be lucky if they can see the original surprise before some all-too-common spoof (there, I used them just once). As lauded as Empire Strikes Back is, I hold an unpopular opinion: it’s my least favorite of the original trilogy. Perhaps it is carryover from my mom recounting how she was disappointed when she first saw it, with the cliffhanger ending followed by three years of waiting, but I prefer the first and third films. Its darker tone doesn’t carry quite as much humor as its predecessor, and Luke’s training with Yoda slows everything down, even if it’s a necessary step in his progress as a Jedi. Plus, not once, not twice, but three times does the hyperdrive fail to work, a fact that allows for a great climax but a less-than-pleasing middle. I know practically everyone else disagrees, but that’s my opinion. It’s still a fantastic film that thickens the epic plot and relationships to unparalleled new levels; I just like Episodes IV and VI a bit better.

Why is Return of the Jedi just a little better? It’s not simply because of the presence of the satisfying conclusion, but the absence of any inner dislike on my part. Just as I didn’t mind Jar Jar Binks in The Phantom Menace, I don’t mind the Ewoks of Endor, who, compared with Binks, actually serve a purpose and manage to be more than just cutesy sidekicks. With all the weird and quirky aliens seen in Mos Eisley and Jabba’s palace (some of which are admittedly silly), I don’t understand why the Ewoks supposedly detract from the picture. Their primitive warfare with the Empire’s walkers creates some cheer-worthy victories; so what if they’re cute too? The slowness on Dagobah is kept to a minimum, and the film as a whole seems much more exciting than Empire. The battle on Jabba’s sail barge is one of the best, while the speeder chase through the forest is the most thrilling sequence of the whole film. (That chase also features an old-fashioned film technique at its best; the high-speed race through the trees was filmed by a camera just slowly advancing through the woods, which was then sped up for the finished product.) In the end, what this film and basically the whole saga is about is the fall and redemption of Anakin Skywalker, and, even though he had been solely villainous before Episode VI, even disregarding his depicted fall in the prequels, I actually felt sorry for Darth Vader. That’s one aspect that George Lucas definitely succeeded in; Luke’s confrontation with the Emperor and Vader’s subsequent salvation are what all the other films prepare and anticipate, a sad yet satisfying climax for one of the best trilogies of all time.

Who would have guessed that a cool idea in the mind of a young filmmaker would blossom into such a monumental success of a franchise? It’s not yet over too; by the end of this year, we’ll have the beginning of the next chapter in the Star Wars cinematic universe, courtesy of J. J. Abrams. Based on his work with Lost and Star Trek, I have high hopes for The Force Awakens this December. There’s nothing quite like the original films, though, with Luke Skywalker, Han Solo, Princess Leia, R2-D2, Darth Vader, characters as endlessly watchable as they are iconic (I couldn’t help myself).

Best line from Star Wars (could have been the whole script): (Han Solo and a general) “May the Force be with you.”

 

Best line from The Empire Strikes Back (could have been most of the script): (Darth Vader) “If you only knew the power of the Dark Side. Obi-Wan never told you what happened to your father.”   (Luke) “He told me enough! He told me you killed him!”   (Vader) “No. I am your father.”

 

Best line from Return of the Jedi: (Han Solo, captured by Jabba) “How we doin’?”   (Luke) “Same as always.”   (Han) “That bad, huh?”

 

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

284 Followers and Counting

#7: Finding Nemo (2003)

Tags

Animation, Comedy, Drama, Family, Meet 'em and Move on, Pixar

Though Marlin was once a free-spirited fish,

A tragedy filled him with fears.

For Nemo, his son, he has one simple wish,

To save him from risky frontiers.

 

One overprotective trip out from the reef

Sees Nemo abducted by men,

And Marlin is stricken with panic and grief

At sudden disaster again.

 

He’s met by a very forgetful blue tang

Named Dory, who joins Marlin’s quest.

After fish-loving sharks and an overdue bang,

They head out for Sydney southwest.

 

While Nemo is ushered to life in a tank

With fish-killing nieces expected,

His father and Dory, still drawing a blank,

Are challenged and helped and respected.

 

At last, they reach Sydney (from inside a whale)

And find Nemo after a flight.

Though Marlin considers his rescue a fail,

Both father and son reunite.

 

Employing the newest of fish common sense,

They save fellow fishes nearby,

And Marlin can now be less worried and tense

About his beloved small fry.

_________________

 

Pixar made a name for itself with the Toy Story films, but Finding Nemo truly solidified it as the premier animation studio. DreamWorks, Blue Sky, and even Studio Ghibli can’t compare with the consistent high quality of Pixar, which has only had one real dud (Cars 2), but out of an abundance of hits, my personal favorite animated film has to be Finding Nemo, for multiple reasons.

First of all, as a kid, I always insisted I’d be a marine biologist, and though my goals have changed over time, I still harbor affection for the fascinating denizens of the deep. The film also holds the record for bringing me to tears the fastest. Sure, I was under twelve when I first saw it, but I was deeply touched and invested within the first five minutes, an example of loss from a parent’s perspective rather than the usual child’s point of view.

Despite the heartbreaking beginning, Finding Nemo is arguably Pixar’s funniest film too, thanks to Ellen DeGeneres’s hilariously scatterbrained Dory, who suffers from short-term memory loss. That speaking-whale scene cracks my family up every time. Albert Brooks as Marlin is the perfect straight man to Dory’s lunacy, as well as a loving father, whose overprotective concern is revealed as true devotion in his quest to find Nemo. One more reason for me to love this film: it’s a meet-‘em-and-move-on, as many “quest” movies are. The myriad fish that Marlin and Dory encounter range from misunderstood to genuinely helpful to downright frightening, and it’s amazing how many sea creatures Pixar packed into this film, many of them with unique and comical personalities. Pixar has always excelled at introducing a large number of memorable characters in a way that seems rich and prolific rather than overstuffed, whether the toys in Andy’s room, the residents of Radiator Springs, or the colorful inmates of P. Sherman’s fish tank. (Note how the fish sound off where they were each bought, just as Andy’s toys named their respective manufacturers in Toy Story; also, I noticed that both this film and Disney’s Brother Bear that same year featured a similar joke involving a very limited game of “I Spy.” In addition, I wonder if a SpongeBob reference was intended in the naming of Sandy Plankton or Sheldon.)

The characters truly are brought to life with some of the most visually beautiful animation I’ve seen. The world of the coral reef teems with life and color, and the expressive character designs display deeply felt emotions without making them into cartoony human-fish (like DreamWorks’ paltry Shark Tale, released the following year). Most animated films take for granted the air around the characters, but Pixar outdid themselves with the underwater environment. Everything is moving, from the plants and dust around the sea floor to the realistic light and shadows filtering down from above.

With the heartfelt father-son relationship at its core, Finding Nemo is among the best animated films ever. Rather than an undeveloped dictatorial patriarch, Marlin is given clear motivation to protect his son, as well as clear reason to let go of his extreme caution in favor of trust. Before Toy Story 3, it was Pixar’s highest-grossing masterpiece, of course earning the Best Animated Feature Academy Award. With exceptional visuals and humor, Finding Nemo finds a well-deserved spot in my top ten; I’ve got my fins crossed for Finding Dory next year.

Best line: (Crush the sea turtle, voiced by director Andrew Stanton, after Marlin’s escape from the jellyfish) “Saw the whole thing, dude. First, you were all like, “Whoa”, and then we were like, “WHOA” and then you were like, “whoa….” (It’s better heard than read.)

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

283 Followers and Counting

#8: Titanic (1997)

Tags

Disaster, Drama, History, Romance

The RMS Titanic plowed the icy North Atlantic

And made headlines and history when swallowed by the sea.

It served as quite a backdrop for a rendezvous romantic

Between an aimless artist and a fiancée set free.

 

When Rose is brought aboard the ship, she sees her future set,

A world of wealthy well-to-dos and proper parties planned,

But when the lass is rescued from a self-delivered threat,

Jack Dawson introduces her to his own world firsthand.

 

Although her mother and her haughty, cold fiancé Cal

Insist she stay away from Jack and keep to codes and class,

Her heart and hopes have superseded moneyed rationale,

For love is theirs until an iceberg makes a fatal pass.

 

As water floods into the ship, there’s order up on deck,

But when that deck begins to lean, anxiety begins.

With nowhere near enough lifeboats, this monumental wreck

Will claim the lives of most who panic to the violins.

 

The grand Titanic sinks beneath the frigid ocean waves,

And only six are rescued by the lone returning boat.

Though 1,500 fell below to dark and unmarked graves,

A sworn survivor strove to live, not just remain afloat.

_____________________

 

One of the greatest film achievements belongs to James Cameron and his historic Titanic, tied winner of the most Academy Awards, eleven in total. While the film’s prestige seems to have waned since the director’s cheesy “I’m king of the world” speech at the Oscars, it remains a moving romance and an unparalleled spectacle of magnificence brought low.

While it didn’t win any acting Oscars, both Roses were nominated, the lovely Kate Winslet as young Rose and the trauma-wearied Gloria Stuart as elderly Rose. Though not outstanding, the acting is uniformly good, from Kathy Bates as the unsinkable Molly Brown, Billy Zane as Rose’s arrogant husband-to-be Cal Hockley, Bill Paxton as modern-day treasure seeker Brock Lovett, and Bernard Hill and Victor Garber as the ship’s captain and designer, respectively, both overwhelmed with the grief and guilt of helming a deathtrap. Leonardo DiCaprio found his first big budget role here, and though he’s gone on to ever greater fame, it wasn’t until Inception that I saw him as anything but artist/lover Jack Dawson.

It’s a sad fact that, just as The Hunger Games is most entertaining when the blood sport commences, the best part is the massive ship’s epic floundering, both realistically tragic and awesome to behold. The couple’s wandering through the dying vessel allows multiple perspectives, from the gradually slanting upper deck to the water-logged lower levels, the desperate passengers behind locked gates and the former splendor of state rooms being swallowed from below. The Oscar-winning visual effects are indeed wondrous, giving a sense of the astounding size of this vanquished metal beast. Even so, I find it almost humorous how many times Jack and Rose trade each other’s names; from when Rose finds Jack below to her rescue, I counted 48 Jacks and 32 Roses.

In addition to winning Best Picture, Director, Visual Effects, Cinematography, Art Direction, Film Editing, Costume Design, Sound, and Sound Effects Editing, it truly deserved wins for James Horner’s majestic Celtic-infused score and for the song “My Heart Will Go On,” sung by Celine Dion over the end credits (earning a place in my Hall of Fame). The music adds much to the film’s beauty and grandeur and deepens the characters’ emotions. The romance itself is not the very best, so perhaps it was the music that put it over the edge for me. Titanic holds special meaning to me because I probably saw it too young; I cried harder at this film’s finale than at any other movie before or since, to the point that I swore I would never again watch it. While that oath obviously didn’t stick and the film doesn’t touch me quite as deeply, it’s still sublimely sad, with a final scene worthy of a meet-‘em-and-move-on reunion, even if the film doesn’t fit into that mold.

Though not the first film about the Titanic (which was 1912’s Saved from the Titanic, starring an actress who survived the sinking) nor the last (the recent 2012 miniseries Titanic featured quite a good ensemble), James Cameron’s Titanic will forever be the film version for the ages, against which all others are compared. With real underwater footage of the wreck and an epic depiction of the film’s floundering, its flaws are easily overlooked (among them the unnecessary language and nudity and the absence of any heroism among the wealthy passengers; also my VC feels the throwing away of the diamond was pointless). Even so, it deserved every one of its accolades and is still a truly spectacular experience.

Best line: (Jack, after they’re in the water) “I don’t know about you, but I intend to write a strongly worded letter to the White Star Line about all of this.”

VC’s best line: (Jack) “I figure life’s a gift, and I don’t intend on wasting it. You don’t know what hand you’re gonna get dealt next. You learn to take life as it comes at you… to make each day count.”

  

Rank: 60 out of 60

 

© 2015 S. G. Liput

283 Followers and Counting