Best Films of 2013

It's the time of year when the critics have to sum up a year of film watching by producing their lists of Best Films.  Peter Bradshaw has come up with a suitable eclectic list: 

http://www.theguardian.com/film/filmblog/2013/dec/06/peter-bradshaws-favourite-films-2013-braddies?CMP=ema_1046

I'm pleased to see that we have already screened some of his selections (Lincoln and A Late Quartet) and plan to screen others later on in the season (Blue Jasmine, Captain Phillips and Before Midnight).

I've decided to present an award for the best demolition job by a critic, and the following review of A Christmas Candle by Peter Bradshaw is a sure fire winner:

http://www.theguardian.com/film/2013/dec/12/christmas-candle-review

Cinema Paridiso: Silver Anniversary

This is a fascinating article about the various versions of Cinema Paradiso:

http://www.theguardian.com/film/filmblog/2013/dec/09/cinema-paradiso-25th-anniversary

For many years it was just one of those films on my ever-growing "must see" list - until two years ago when we screened it at out film society.  Many of our regulars had seen it several times and a number of strangers travelled from far and wide to see it. When it was over I could understand why they were so keen to see it, and it's now on my "must see again" list.

I particularly liked the following quote from Stephen Woolley who originally distributed the film in the UK:

"Cinema Paradiso is a movie about memory, and for our generation cinema was a place to congregate, a magical place to let your imagination run free. The character of the cinemas of my childhood and youth were all different and special. Now it's all boxes, little long rooms, every cinema is the same, they smell the same, they have the same character, the sameness is the central quality. It's like air travel, it used to be an occasion, now it's a fast-food experience."
 

As a taster, here's the trailer:

Christmas Books: a Letter to Santa

This was on my Christmas list for last year:

http://www.theguardian.com/books/2012/oct/12/big-screen-movies-david-thomson-review

Clearly I had been good, as my copy duly arrived and it was jut as good as John Banville's review had suggested.

This year I've dropped some none-too-subtle hints for David Thomson's most recent book, this time reviewed by the brilliant Philip French:

http://www.theguardian.com/books/2013/nov/18/moments-movies-david-thomson-review

I will keep all my fingers crossed for the next few weeks...

A Late Quartet

This is a late post too - as we screened the film last night.

I'd wanted to see this as soon as I read the reviews and I was not disappointed: it was definitely one of the highlights of the season.  It also made me order a recording of Beethoven's String Quartets, and I'm currently working my way through these.

Here are my notes:

A Late Quartet

USA 2012                    105 minutes

Director:                      Yaron Zilberman

Starring:                        Catherine Keener, Christopher Walken, Mark Ivanir and Philip Seymour Hoffman

“A subtle, intelligent picture with a suitably resonant title, it quietly observes the internal dynamics of the Fugue String Quartet, an internationally acclaimed musical group founded and based in New York that has been playing around the world for 25 years. We encounter them as an entity, working together thoughtfully, a trifle self-regarding perhaps, and then we get to know them as individuals...  A Late Quartet is visually and musically rich. But above all there are the performances, individually and as an ensemble, and they're pitch perfect.”

Philip French

When cellist Peter Mitchell (Christopher Walken) discovers that he is in the early stage of Parkinson’s disease he breaks the news to the other members of the Fugue String Quartet.  This devastating announcement throws the quartet into confusion and they begin to consider their own careers as musicians in the face of an uncertain future.

The film, a first feature by documentary maker Yaron Zilberman, includes a great deal of chamber music, including Beethoven’s Opus 131, the String Quartet No 14 in C sharp minor, one of his Late String Quartets.  These were the composer’s last major completed compositions and are widely considered to be among the greatest musical pieces of all time.  In the film Peter gives a lecture on this string quartet to his students: he points out that the quartet has seven movements instead of the usual five and that Beethoven specified that it should be played attacca, i.e. with no pause between the movements.  He links the passing of time in both music and life by quoting the first ten lines of another quartet: Burnt Norton, the first part of TS Eliot’s Four Quartets:

Time present and time past
Are both perhaps present in time future
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.

Opus 131 then becomes a key element in the dramatic structure of the film as the characters react to the news of Peter’s illness and rehearse for a concert that will include this piece.

The characters and the New York setting suggest that the territory of the film is close to that mapped so many times and so brilliantly by Woody Allen, but in its focus on classical music and mortality A Late Quartet is far closer to Michael Haneke’s award-winning Amour (2012) or Quartet (2012), Dustin Hoffman’s debut as a director set in a retirement home for musicians.

Here's the trailer:

Beautiful Lies

I've struggled a little to find out too much about this week's screening.  It's a French film, and to celebrate this we're serving cheese and wine, so hopefully no one will really notice.

Here are my - abbrevaited - notes:

Beautiful Lies / De vrais mensonges

France 2010                 105 minutes

Director:                      Pierre Salvadori

Starring:                        Audrey Tautou, Nathalie Baye and Sami Bouajila

 
When Emile (Audrey Tautou) receives an anonymous love letter from Jean (Sami Bouajila), she thinks it comes from an elderly admirer and so sends it on to her mother Maddy (Nathalie Baye).  Eventually Maddy learns that Jean is her secret admirer, and Emile has to play up to this to keep her mother happy.  But finally Emile has to tell them both the truth.

Pierre Salvadori made his name in France as a writer and director of romantic comedies, and had previously worked with Audrey Tautou in his 2006 film Priceless (Hors de prix), which he claimed had been inspired by Blake Edwards’ film Breakfast at Tiffany’s (1961).  In his review of Beautiful Lies in The Guardian Xan Brooks noted the plot’s echoes of Jane Austen’s Emma.

After initially working as a model Audrey Tautou became an actress, and after receiving critical acclaim for her first roles she gained international recognition for her lead role in Amelie (2001).  She has subsequently worked internationally in films as diverse as the British thriller Dirty Pretty Things (2002) and the Hollywood blockbuster The Da Vinci Code (2006) as well as appearing in major French films that included A Very Long Engagement (2004) and playing Coco Chanel in Coco avant Chanel (2009).

Here's the trailer:

Hitchcock

Here are my notes for this week's screening:

Hitchcock

USA 2012                    98 minutes

Director:                      Sacha Gervasi

Starring:                        Anthony Hopkins, Helen Mirren, James D'Arcy, Jessica Biel, Michael Stuhlbarg, Scarlett Johansson, Toni Collette

Awards and Nominations

• BAFTA,  Golden Globe and Screen Actors Guild Best Actress Nominations for Helen Mirren
• 12 other nominations

 “Many people, including his studio, Paramount, had warned against this project [Psycho]: the material threatened to be nasty and gruesome, without Hitchcock’s urbane and attractive people – you couldn’t cast Cary Grant as Norman Bates (and I doubt Hitch could have brought himself to murder Grace Kelly).  The shower killing and the looming mother seemed like exploitation, or Grand Guignol, as well as trouble with the censor.  With his agent, Lew Wasserman, Hitchcock persevered.  So long as he worked cheaply, using the crew from his television show, and staying in black and white, Psycho could be set up in a deal to make more money for Hitch than he had ever known before.”

David Thomson: The Big Screen

After the great popular success of North By Northwest (1959) many critics claimed that Hitchock (Antony Hopkins) was losing his edge and growing old.  Determined to prove them wrong he decides to make Psycho and his wife Alma (Helen Mirren) acts as his chief adviser, censor and muse.

The film, with a script by John McLaughlin, is based on Stephen Rebello’s Alfred Hitchcock and the Making of Psycho, a fascinating factual study of the film’s creation, with both Hopkins and Mirren having great fun with their roles.  However for legal reasons the film shows no footage from the completed film and the director was even forbidden to shoot any footage at the location of the Bates Motel, which still exists on a Hollywood back lot.

Psycho was an immediate international success, and despite the critical acclaim for Hitchcock’s other films (with Vertigo (1958) being voted first place in Sight & Sound’s 2012 poll of the greatest films of all times,  when it displaced Citizen Kane from the position it had occupied since 1962) it is arguably his best known film.  To date it has generated three sequels plus the pilot for a failed TV series in the 1980s.  More recently in 1998 Gus Van Sant made a version of Psycho in colour that was an almost shot-for-shot remake of Hitchcock’s original, and in 2012 a series called Bates Motel, set in contemporary Oregon and thus re-booting Hitchcock’s original story, was successfully screened in the US.

 

Here's one of the trailers:

 

 

 

 

And another one:

 

 

Gothic

With Halloween approaching The Observer has published a Top Ten List of Gothic films:

http://www.theguardian.com/culture/gallery/2013/oct/25/10-best-gothic-films-mark-kermode

We're getting into the spirit of it later this week by screening Hichcock.  To get into the mood, here's the trailer for Psycho:

Les Miserables

We screened this last week and I haven't been able to get the songs out of my head since then!!!

Here are my notes:

Les Misérables

UK 2012                      158 minutes

Director:                      Tom Hooper

Starring:                       Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Helena Bonham Carter and Sacha Baron Cohen

Awards and Nominations

• Won three Oscars, including Best Supporting Actress (Anne Hathaway) and a further five nominations including Best Film and Best Actor (Hugh Jackman)
• Won three Golden Globes (Best Film (Musical or Comedy), Best Actor (Hugh Jackman) and Best Supporting Actress (Anne Hathaway))
• Won four BAFTAs, including Best Actor (Hugh Jackman) and Best Supporting Actress (Anne Hathaway), plus five further nominations

“Like a diabolically potent combination of Lionel Bart and Leni Riefenstahl, the movie version of Les Misérables has arrived, based on the hit stage show adaptation of Victor Hugo's novel set among the deserving poor in 19th-century France, which climaxes with the anti-monarchist Paris uprising of 1832.  Even as a non-believer in this kind of "sung-through" musical, I was battered into submission by this mesmeric and sometimes compelling film, featuring a performance of dignity and intelligence from Hugh Jackman, and an unexpectedly vulnerable singing turn from that great, big, grumpy old bear, Russell Crowe.”

Peter Bradshaw

 The global success of the stage production of Les Misérables, which has been running in London since October 1985, quickly led to plans for a filmed version, with reports in 1988 that Alan Parker would direct the film, although by 1992 the production had been abandoned.  In was only after the twentieth anniversary celebrations of the show in 2005 that Cameron Mackintosh finally resurrected the idea of a film, and in 2011 it was announced that Tom Hooper, fresh from the global success of The King’s Speech, would direct from a script by William Nicholson. 

Tom Hooper brought production designer Eve Stewart and cinematographer Danny Cohen with him from The King’s Speech and also appointed Chris Dickens, who had won an Oscar and a BAFTA for his work on Slumdog Millionaire, as film editor.  The resulting look of the film, which combined both stylised and realistic views of Paris, drew its inspiration from nineteenth century French painters such as David, Delacroix and Gustav Doré, and secured BAFTA and Oscar nominations for both Costume and Production Design.

Hooper’s major innovation in filming the musical numbers was to have all the singing recorded live on set, with the performers listening to a pianist via earpieces and with the orchestration added later.  Most of the leading performers are able to sing well, with Hugh Jackman in particular having played leading roles in musical theatre.  Minor roles are played by performers who had played in various stage productions and include Colm Wilkinson (who created the role of Jean Valjean) and Samantha Barks who had performed the role of Eponine both in the West End and the Twentieth Anniversary Concert.  With almost all the dialogue set to music Hooper’s action allowed the entire cast to bring dramatic vitality to their performances.

In 2005 a BBC Radio 2 listener poll of Number One Essential Musicals placed Les Misérables at number one: in fact it took more than 40% of the vote.

 Here's te trailer:

Top Ten Romantic Movies

The Guardian has publishe a list of the top ten romantic movies:

http://www.theguardian.com/film/filmblog/2013/oct/07/top-10-romantic-movies

Casablanca, A Room with a View and  and Brief Encounter definitely get my vote. 

I'm not so sure about Hannah and her Sisters, but I suppose that not all Woody Allen's best films are romantic...

A Modest Proposal

If any film producers wish to use quotes from this blog to promote their films then I'm happy to agree subject to payment of a nominal fee.

In an extract from his new book on the role of the film critic Marc Kermode has picked up on the novel use of non-professional critics to puff a film:

http://www.theguardian.com/film/2013/sep/29/hatchet-jobs-anonymity-internet-kermode?guni=Keyword:news-grid

In the world of books I think the providers of such puffs are known as "quote whores".  The world of arts journalism is a rough and dangerous place.

Twelve Best Soundtracks

The Guardian has followed up the recent BBC series on soundtracks by nominating 12 of the best soundtracks:

http://www.theguardian.com/music/filmblog/2013/sep/18/twelve-best-film-soundtracks

It's good to see Howard Shore's soundtrack for The Lord of the Rings trilogy on the list, as it is music that I return to on a regular basis. 

However I was disppopinted not see see some of my other favourites on the list, particularly Michael Nyman for his early work with Peter Greenaway and Philip Glass for films such as The Hours and Notes on a Scandal.

Here are a few reminders:

 

Lincoln

This week we are screening a real historical epic: Lincoln.

Here are my notes:

Lincoln

USA 2012                    150 minutes

Director:                      Steven Spielberg

Starring:                        Daniel Day-Lewis, Tommy Lee Jones, Sally Field, Joseph Gordon-Levett and James Spader

Awards and Nominations

• Won two Oscars (including Best Actor for Daniel Day-Lewis) plus 10 nominations (including Best Film, Best Director, Best Adapted Screenplay, Best Supporting Actress (Sally Field), Best Supporting Actor (Tommy Lee Jones) and Best Music (John Williams)
• Won one BAFTA (Best Actor for Daniel Day-Lewis) plus nine nominations (including Best Film, Best Director, Best Adapted Screenplay)
• A further 57 wins and 95 nominations

 “Steven Spielberg has made more obviously entertaining and more emotionally seductive movies than Lincoln, but this is for him the most brave and, for the audience, most demanding picture in the 40 years since his emergence as a major director.  It's a film about statesmanship, politics, the creation of the world's greatest democracy, and it's concerned with what we can learn from the study and contemplation of history.  Spielberg and his eloquent screenwriter, the playwright Tony Kushner, handle these themes with flair, imagination and vitality, and Daniel Day-Lewis embodies them with an indelible intelligence as the 16th president of the United States.”

Philip French

 In January 1865 Abraham Lincoln is fighting to get the Thirteenth Amendment, which will abolish slavery once and for all, through Congress.  It is the final months of the Civil War and the passage of the Amendment will free all slaves, not just those freed under his 1863 Emancipation Proclamation.

The film is based on Team of Rivals: The Political Genius of Abraham Lincoln by Doris Kearns Goodwin, and Spielberg had been considering a film about Lincoln since 1999 when Goodwin first told him what she was about to write.  Spielberg commissioned an initial script from John Logan with Liam Neeson (who had worked with Spielberg on Schindler’s List) to be cast in the title role.  However the project was delayed and when work began again in 2010 it was announced that Daniel Day Lewis had replaced Neeson and that Tony Kushner had taken over as screenwriter.

Tony Kushner considered Lincoln "the greatest democratic leader in the world" and found the writing assignment daunting because "I have no idea [what made him great]; I don't understand what he did any more than I understand how William Shakespeare wrote Hamlet or Mozart wrote Così fan tutte”.  Kushner struggled with his material and after producing an initial 500 page draft which covered four months of Lincoln’s life he finally decided to concentrate on just the two months during which Lincoln was focussed on the passage of the Thirteenth Amendment.

In a typically perceptive essay on History and Cinema Simon Schama speculates about films with historical subjects:

“If movie history is to get produced as box office with a conscience, it must serve one of two purposes: explain the Origins of Us or act as Augury of What Is to Come.  But this kind of history, whether designed as the genealogy of identity politics or a prudential political-investment service, seldom escapes the contemporary world that it claims to transcend.”

The chronology of the release of Lincoln clarifies its purpose.  It received its world premiere at the New York Film Festival on 8^th October 2012: a story of a lawyer who had adopted Illinois as his home state and who was elected president despite his lack of experience at a national level.  On 6^th November 2012 Americans re-elected Barack Obama as President:  another lawyer who had chosen Illinois as his home state, who had been criticised when he first campaigned for his lack of experience at a national level, and who had consciously launched his first presidential campaign at the Old Illinois State Capitol in Springfield where Lincoln had made one of his famous speeches.  

Here is the trailer:

 

 

Song for Marion

It's the opening night of our new season tonight.  Traditionally we have chosen something popular to pull in the punters and persaude them to sign up to the rest of the season and tonight we are screening Song for Marion.

I know the film received good reviews, but it did not appear too high on my "to see" list - unlike Cloud Atlas which I cannot wait to see - but I'm prepared to be open-minded.

Here are my notes:

Song for Marion

UK 2012                      93 minutes

Director:                      Paul Andrew Williams

Starring:                        Vanessa Redgrave, Terence Stamp, Anne Reid, Christopher Ecclestone, Gemma Arterton

Awards and Nominations

• Three nominations at the British Independent Film Awards for Screenplay (Paul Andrew Williams), Best Actor (Stamp) and Best Supporting Actress (Redgrave)
• Winner of Audience Choice Award at the Nashville Film Festival

“This is a sweet-natured, charming, if modestly conceived picture, which is much better than Dustin Hoffman's recent oldie-song drama Quartet – more relaxed, more persuasive, and it actually delivers the all-important musical climax that Hoffman somehow managed to omit.”

Peter Bradshaw

Marion (Vanessa Redgrave) and Arthur (Terence Stamp) are a long-married lower-middle-class couple.  Although she is terminally ill she is an outgoing member of a local choir (“the OAPz”) run by a young music teacher (Gemma Arterton ), while he refuses to join the choir and is alienated from their son (Christopher Ecclestone).

Both Redgrave and Stamp started their film careers in the early 1960s and starred in some of the most iconic films of the era including A Man for All Seasons (1966) Blow-Up (1966) and Camelot (1967) for Redgrave and Billy Budd (1962), The Collector (1965) and Far from the Madding Crowd (1967) for Stamp although since then it has been Redgrave who has had by far the more illustrious career both in terms of the films she has made and the quantity of nominations and awards she has received. 

 Paul Andrew Williams made his name with London to Brighton (2006) a brutal thriller that Peter Bradshaw regarded as one of the best British films of the last decade and for which he received a BAFTA nomination for the Most Promising Newcomer in 2007.  He followed this by The Cottage (2008) and Cherry Tree Lane (2010), both of which were also thrillers.  Thus Song for Marion reflects quite a change to his work to date, and is the result of a new joint development programme funded by Pathe and BBC Films.

Here's the trailer:

Top Ten Most Pretentious Films

Anne Billson lists her top ten most pretentious films in The Daily Telegraph:

http://www.telegraph.co.uk/culture/film/film-blog/10283912/The-Top-10-Most-Pretentious-Films.html

I haven't see any of them, but I'm not sure if this is a good thing or a bad thing - although one or two do look quite interesting....

Film Posters

This is a fascinating article in The Daily Telegraph about film posters

http://www.telegraph.co.uk/culture/film/film-blog/10276992/What-a-film-poster-says-about-you.html

Once upon a time a poster could change the meaning of a quotation by the simple expedient of missing out the word "not" (as in "...not as good as his best films..).  Now the challenge is to identify the author/website/blogpost that offers the glowing review.

How to Write a Film Review

In an interview following his appointment as chief film critic for The Observer Mark outlines his approach:

http://www.theguardian.com/media/2013/aug/17/mark-kermode-film-critic-observer

I particularly like his description of the role of the critic:

For Kermode, a critic should first "accurately describe a film and then ascribe it to the right school of film, before mentioning its tangential connections to other films. Beyond that, your opinion is opinion and my feeling is that you should be honest about that. I don't think the reader has to agree with you and I don't think a critic is there to tell you what to see. They are there to contextualise, to describe, to be passionately honest and entertaining."

New Film Critic for The Observer

The soon to be legendary Mark Kermode is to take over as film critic for The Observer when the legendary Philip French retires:

http://www.theguardian.com/media/2013/aug/17/mark-kermode-film-critic-observer

Hooray!

Our New Season

I spent an enjoyable evening with the Film Club (aka Community Cinema) Committee selecting films for our new season.

Between us all we came up with a list that would enable us to schedule a screening every night (well until Doctor Who and Sherlock return there is nothing much to see on TV).  However we finally cam up with the following:

Song For Marion

Lincoln

 

 

 

Les Miserables

 



Hitchcock

Beautiful Lies

A Late Quartet

It looks like it's going to be a good Autumn...

The Persisting Vision: Reading the Language of Cinema

This is a brilliant article by Martin Scorsese:

http://www.nybooks.com/articles/archives/2013/aug/15/persisting-vision-reading-language-cinema/?pagination=false

I particularly enjoyed his comments about what makes cinema (not film - or the movies) special:

What was it about cinema? What was so special about it? I think I’ve discovered some of my own answers to that question a little bit at a time over the years.

First of all, there’s light.

And then, there’s movement…

 

The 20 Best Films of all Time chosen by me - Part 4

For this final selection I'm moving into new territory: the best adaptions (of novels or plays).

In order to play fair I've only included films where I have also read or seen the original source material.

1. The Company of Wolves - Neil Jordan
Neil Jordan worked with Angela Cater to produce a wonderful adaptation of two of her short stories from The Bloody Chamber that is brilliantly evocative of the Hammer Horror films that used to be on late night TV at the weekend.

2. The Remains of the Day - James Ivory
I'd read and enjoyed the novel by Kazuo Ishiguro and was slightly apprehensive about how anyone could adapt such a complex novel.   But James Ivory had cornered the market in up-market literary adaptations, the screenplay by Ruth Prawer Jhabvala is brilliant and both Anthony Hopkins and Emma Thompson give the performances of their lives.

3. The French Lieutenant's Woman - Karel Reisz
Another superb film from a novel which many people considered unfilmable.  Harold Pinter's adaptation solves the problem brilliantly, although the final section is far more Pinter than Fowles. Meryl Streep captures the character of Sarah brilliantly and there is an early cameo from Penelope Wilton in the final section

4. The Lord of the Rings - Peter Jackson
I'd loved the books from the moment I read them and had sat though both the Ralph Backshi part adaptation that was partly animated plus (honest) a one man version on the Edinburgh Fringe.  But from the first moments of The Fellowship of the Ring I knew that this was the real thing. 

I've even been to a screening where a live orchestra performed Howard Shore's magnificent soundtrack live.

5. Atonement - Joe Wright
Another potentially unfilmable novel which David Hare adapted brilliantly and which was one of the high spots in the first season of our Film Society:

Honourable mentions:

I've read the book and cannot wait to see Cloud Atlas: from what I've read about the film it is magnificent.

I'd read about Adaptation and finally managed to track down and enjoy a copy.  this is a film about the writing of a film, with a superb late period performance by Meryl Streep in what must have been a gift of a role.

The 20 Best Films of all Time chosen by me - Part 3

And now we move on to thrillers.  Once again this is my own selection, and the only criterion is that I have to have seen any film I nominate.

1. The Lady Vanishes
I read some time last year that you could not consider yourself a serious film fan unless you had seen The Lady Vanishes.  I'd read about it many times but had never seen it - at least no consciously.  Fortunately a quick internet order remedied the deficiency: I really enjoyed it and it has an amazing vitality that belies its 1938 release date.

2. The Long Good Friday
I'd been a fan of Helen Mirren ever since O Lucky Man - I'd even watched her on Jackanory reading a story in an amazingly low cut Jacobethen dress - but this was the first time I'd seen her in a role that did justice to her talent.  Bob Hoskins is pretty good too (understatement) and the whole film really caught the zeitgeist.

3. Casablanca
I'm not sure if this is a thriller or a lovely story, but who cares.  It's a film I could see forever, and it was the film that my wife and I went to on our first date: a double bill with Play It Again Sam. We'll always have Casablanca.

4. Fargo
In our film society we try t show the best of releases, but several years ago we made an exception for Fargo - still one of the best films in a very strong field from the Coen brothers.  since I'd first seen it I'd actually visited Minnesota several times for work and recognised the accent, but fortunately all my trips were in the Spring or the Autumn.  And now I even have my own wood chipper.

5. Chinatown
I first saw this in my first year at university when I suddenly became aware of the big world of films that opened up around me. It's a brilliant homage to Hollywood of the 1940s as well as a key film of the 1970s - and several of the characters play key roles in David Thomson's brilliantly unsettling novel Suspects.

The 20 Best Films of all Time chosen by me - Part 2

It's been difficult to limit myself to just five films, but this is a list which I could happily watch on a regular basis:

1. Duck Soup - The Marx Brothers
While growing up I'd seen A Night at the Opera, A Day at the Races, A Night in Casablanca and The Big Store on TV as a regular bass as my father was a great fan.  But when I read up about the Marx Brothers saw that there were several early films that never seemed to make it to TV.  And then one wet Sunday afternoon BBC2 screened Duck Soup and I was hooked.

2. Notting Hill

I'd always regarded Four Weddings and a Funeral as a piece of cinema verite as  saw it at the time that most of my college contemporaries were getting married, and so far only one has died.  However Notting Hill has a more complex plot, a wonderful role for a beautiful Julia Roberts, and Elvis Costello singing She over the credits.  Need I say more?

 

 

3. Manhattan
It's a bit of a cliche to choose Manhattan as it regularly appears on Best Of Lists, but it is pretty good and I do like Rhapsody in Blue...  I've seen all the films that Woody Allen directed in the 10 years after Annie Hall and many of those from the later period, although only his recent Midnight in Paris comes close to his legendary brilliance.

4. Kind Hearts and Coronets
I had to choose an Ealing comedy and to me this is by far the best.  Apart from the virtuoso series of character parts from Alec Guinness the plot is razor sharp with a brilliant twist at the end.

 

 

 

5. Best in Show

This comes from the same team that produced This is Spinal Tap and is set in the world of competitive dog shows.  Against my better judgement I once went to Crufts to accompany my wife, who is a confirmed dog-aholic and it confirmed all my worst nightmares.  However Best in Show is a very funny satire - in the form of a dog-umentary.



The 20 Best Films of all Time chosen by me - Part 1

The various film critics on The Daily Telegraph have all been busy listing their favourite films of all time: 

http://www.telegraph.co.uk/culture/film/classic-movies/9995693/20-greatest-films-of-all-time-selected-by-Robbie-Collin.html

http://www.telegraph.co.uk/culture/film/classic-movies/10000742/20-best-films-of-all-time-chosen-by-Tim-Robey.html

http://www.telegraph.co.uk/culture/film/classic-movies/10025946/20-best-films-of-all-time-chosen-by-Jenny-McCartney.html

http://www.telegraph.co.uk/culture/film/classic-movies/10004264/20-best-films-of-all-time-chosen-by-David-Gritten.html

I thought it was time I joined the party and produce my own list: it may not be definitive, but these are all films that I have seen and enjoyed:

Part 1 - Foreign Language

Day for Night (1973) - Francois Truffaut
When I was in school the local amateur theatre doubled as a film theatre.  I used to help on the bar and one quiet night I wandered into the auditorium to see what was being screened and got hooked.  This was the beginning of my life long fascination with film:

Cries and Whispers - Ingmar Bergman
This is another memory of my schooldays.  I was absolutely stunned when I saw this as a callow 17 year old and it reinforced my desire to see more by Bergman:

The Leopard - Visconti
Believe it or not, we were taken to see this as part of our A Level History course - which included the reunification of Italy.  It was also the first time I'd ever seen a major Hollywood star in a non English language film.

 

Downfall - Hirschbiegel
We screened this at our film club several years ago.  The film was brilliant but utterly relentless and totally exhausting.  More recently it has become the source of thousands of parodies - of varying levels of sophistication and amusement.

 

Throne of Blood - Kurosawa
I finally saw this about thirty years ago in my mid film society phase.  I've seen some excellent productions of Macbeth and thought this captured the essence of the play totally.  I was initially tempted to include Ran, but finally opted for Throne of Blood.

The Ten Best Horror Films

Here's another list from The Daily Telegraph to argue with:

http://www.telegraph.co.uk/culture/film/classic-movies/10001332/10-best-horror-films-chosen-by-Tim-Robey.html

I can accept most of the choices (especially Night of the Demon), and have seen eight of them, but where is the Bride of Frankenstein?

And, more recently, where is Let the Right One In (original version)?

 

Here's the trailer for Night of the Demon: