The Manchurian Candidate (1962) - IMDB TOP 250

The Manchurian Candidate (1962)

http://www.imdb.com/title/tt0056218/

Synopsis:

In Korea in 1952, a US Army patrol is ambushed by Communist soldiers. A year later the squad, having escaped, returns to the US, where Staff Sergeant Raymond Shaw is to receive the Medal of Honor for single-handedly saving the lives of the squad. Shaw is the son of Elanor Iselin, wife of US Senator John Yerkes Iselin, and Mrs. Iselin turns the return of Raymond into a political rally that brings out building hostility between son and mother over the ambitions of Johnny Iselin. But there is more involved, for the actions of Raymond Shaw are not what everyone believes they are, and the nightmares of a US Army officer, Bennett Marco, leads to investigation of Raymond that unlocks a stunning political conspiracy that sweeps up Johnny and Elanor Iselin, and which only Bennett Marco can possibly stop.

Movie Review:

Based on the novel by Richard Condon, The Manchurian Candidate was first brought to the big screen in 1962 by director John Frankenheimer. The film is a political tale that revolves around the ambitions of the Iselin family - an ultra conservative husband and wife duo (James Gregory and Angela Lansbury) - who strive for political power. Their son (stepson to Mr. Iselin), Raymond Shaw (Laurence Harvey), and his Korean War infantry are captured and brainwashed by Communists. Upon their return to the States, the infantrymen explain their disappearance with a fictitious tale, preprogrammed by the Communists, of battle field heroics that earns Raymond the Medal of Honor. But when some of Raymond's company (most notably Major Bennett Marco, played by Frank Sinatra) begin having recurring dreams about the brainwashing process, it becomes clear that Raymond is an unwilling pawn of the Communists. Marco must somehow make the military believe his story and determine the intent behind Raymond's subconscious Communist agenda.

This film was admitted into the National Film Archive in 1994 for having "cultural significance." I'm not sure why it didn't happen sooner. The Manchurian Candidate is just as poignant today as it must have been when it was released during the peak of the Cuban Missile Crisis and age of McCarthyism. The plot is engaging and well told. Those familiar with the source work say that the movie follows very closely to Condon's original novel, even to the extent that entire conversations are lifted verbatim from the text...a formula Hollywood rarely follows these days, as most new releases sourced from novels tend to be "based on" or "adapted from" the source material and usually provoke criticism from disappointed fans. Point in case: The Manchurian Candidate was remade in 2004, and many of the characters' roles were condensed or completely reimagined, though in my opinion the re-make was also a very entertaining film.

A few mis-steps worth mentioning in Frankenheimer's original film: Frank Sinatra was strong in a leading role, at least as far as the acting was concerned. But even though his character of Major Marco was necessary to drive the plot, it seemed a bit overblown...as if many scenes were just "face-time" for Sinatra. It is interesting to note that his name appears at the top of any casting list you may see, including the original movie posters, but that his character is very much secondary to those portrayed by Laurence Harvey and Angela Lansbury and should be viewed more as a supporting character rather than a lead. Also, Sinatra's love interest in the film, Eugenie Chaney (Janet Leigh), seemed totally out of place and unnecessary, yet the actress receives the same overblown billing as Sinatra.

Also, the "dream" sequences, which show the infantry men under Communist control, seem to drag out longer than necessary. After the first time, we get the idea, but it seems that the director is uncertain of our ability to understand this easy-to-grasp, yet significant, element of the story line and keeps coming back in an attempt drive the point home. Unfortunately, it has the opposite effect, at points making the plot unnecessarily confusing.

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The Prestige (2006) - IMDB TOP 250

The Prestige (2006)

http://imdb.com/title/tt0482571/

Synopsis:

A mysterious story of two magicians whose intense rivalry leads them on a life-long battle for supremacy -- full of obsession, deceit and jealousy with dangerous and deadly consequences. From the time that they first met as young magicians on the rise, Robert Angier and Alfred Borden were competitors. However, their friendly competition evolves into a bitter rivalry making them fierce enemies-for-life and consequently jeopardizing the lives of everyone around them. Set against the backdrop of turn-of-the-century London.

Movie Review:

What "The Prestige" does very well is recreate a period of show business history near the turn of the century in which competition between magicians was serious and intense. The workings of the complicated illusions are gorgeously brought to life via smartly detailed apparatus that replicate the actual mechanics of Victorian legerdemain.

Much of the film rings very true, such as the all-consuming obsessions of the lead characters to be the best and outdo all others. It's an easy step to accept that such unwavering determination spills over into deadly territory, as rival magicians suave Rupert Angier (a riveting performance by Hugh Jackman) and audacious Alfred Borden (Christian Bale effortlessly playing a brooding lower-class Brit) each seek to wreak continuing revenge upon the other.

The story, though adapted from a novel, feels like a perfect fit for director Nolan's sensibilities, as the machinations of the two men become increasingly convoluted during a back-and-forth tug of wits that keeps you guessing in the style of Nolan's "Memento." As the game grows increasingly deadly, and threatens to consume all they love, the film becomes a fascinating study in single-mindedness.

The work is epic in sweep, beautifully filmed, and strongly acted. The only odd note in casting is David Bowie as Nikola Tesla (he looks nothing like the actual Tesla, if you care about these sort of things, and his appearance calls attention to itself as superstar casting often does), but Mr. Bowie holds his own. Solid performances are all around, with Michael Caine adding dignity and depth as the old master, Scarlett Johanssen as the as the lovely stage assistant who becomes the third point in a twisted love triangle, and even Andy Serkis (Gollum!) in a memorable supporting role.

The introduction of Tesla adds yet another twist, as the film shifts from real-but-possible stage illusion to steam-punkish sci-fi. This transition is a hard note to pull off, since the beginning of the film doesn't quite suggest such a direction, but if you're willing to let Nolan lead you on the journey into increasingly fantastic realms, the narrative rewards you with thought-provoking moral and dramatic exploration of the issues raised.

A truly entertaining movie, and an original, unusual, dark ride -- well worth seeing in a theater for its grand scope and vision.

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The Elephant Man (1980) - IMDB TOP 250

The Elephant Man (1980)

http://imdb.com/title/tt0080678/

Synopsis:

Based on the true story of Joseph Merrick, a 19th-century Englishman afflicted with a disfiguring congenital disease. With the help of kindly Dr. Frederick Treves, Merrick attempts to regain the dignity he lost after years spent as a side-show freak.

Movie Review:

If one was to turn on David Lynch's The Elephant Man midway through, without knowing what it was, one might be startled at the appearance of the main character. One might even be tempted to make fun of the character. But if one was to watch the film from the beginning, one's sympathy with John Merrick (John Hurt), 'The Elephant Man,' would be strong enough to deny that the former situation was ever a possibility. Lynch does not allow his audience to glimpse Merrick sans mask until his appearance has been built up substantially. When we the audience are at our zenith of anticipation, we see him-no dramatic music, no slow motion; a simple cut and he's there. There he is. And it's no big deal.

This is the beauty of Lynch's direction. We are led through our morbid curiosity at the same rate the characters in the film are. We develop alongside them. More specifically, we develop alongside Frederick Treeves, played with an astounding sublimity of emotion by Anthony Hopkins. Next to Treeves we pity Merrick, respect him, pity him again, and then ask ourselves with him, 'is he just a spectacle to me? Am I a bad person?'

Lynch certainly doesn't let us bypass this question easily. Are we bad people for being intrigued or are we good people for pitying? Certainly there is a mix of intrigue and pity with every character who first meets John, and we are not excluded. However, as with almost every character who truly comes to know John and confer with him, we learn to respect him as a human being and not as a spectacle. Nonetheless, this issue never finds close in the film, nor do I feel it ever can be closed in actual life. Hopkin's Treeves is never fully sated in how he feels about this dilemma, and so, neither can we be.

Technically, The Elephant Man is a beautifully shot film. In crisp black and white, the film recalls the cinematic technique of American cinema circa the 1930's. The scenes dissolve into one another; there is no brisk editing. The lighting is kept low-key during dark scenes, balanced during daytime scenes-this is standard film-making of the era. The one digression from this form are the distinctly Lynchian surrealities-pseudo-dream-sequences of commendably original imagery that break up the film and serve as distinct mood-setters for the audience. These are, for the most part, fairly intimidating sidenotes. We as an audience are caught off-guard because in these tangents we are not identifying with Treeves, we are put instead into Merrick's shoes. It is unsettling.

But Lynch has never been a director to flinch at unsettling prospects. We must watch Merrick beaten, abused, harassed, humiliated, and tormented. We may feel a surge of happiness when he finally stands up for himself, but by that point we still have to cope with what we've already, what he's already, experienced. I suppose that is the greatest and most devastating aspect of the film-empathy. Every moment is heartbreaking. Yet no matter how hard it gets, and how much better it then turns, there is always the threat of another jab. And those jabs only get more and more painful.

The Elephant Man is a perfect film. It is sorrowful but it apologizes not at all for it. It is a film about where our empathy stems from, a film that asks you to feel sorry but rebukes you for your blind pity. It asks you to respect Merrick, not cry for him. But you can't help crying. The Elephant Man is a film that treks you through despair and asks for your hope in the end. It asks you to hate humanity but to love the humane. It asks you to look at a man who appears sad and know that inside, he's okay.

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Touch Of Evil (1958) - IMDB TOP 250

Touch Of Evil (1958)

http://imdb.com/title/tt0052311/

Synopsis:

An automobile is blown up as it crosses the Mexican border into the United States. Mike Vargas, a high ranking Mexican narcotics official on honeymoon with his bride Susie is drawn into the investigation because a Mexican national has been accused of the crime. The figurative and physical presence of Hank Quinlan as the 330 pound sheriff looms all over. Quinlan is a fanatic where "justice" is concerned, even if obtaining it involves planting evidence. Quinlan's reputation for law and order enables him to bend the law without question until Vargas confronts him. From that point on, it's a battle of wits between the two that, with an accelerating pace, rushes to a climax.

Movie Review:

Seldom have I seen so many comments with so little understanding. The movie is not about Heston's "Mexican-ness" or lack of it. The movie is not about the 5 or 8 or 10 minute opening shot. The movie is not even, god help us, about Welles' descent from the heights into "slumming it" in a "Grade B" flick.

The movie is about two things : film-making, and character. Every shot worth remembering (and there are few that aren't) is an exercise in the possibilities of film, particularly black and white film. Woody Allen makes movies in black and white that are all conversation. Welles made movies in black and white because that's where the colors of the characters, the location and ultimately the meaning of the movie are possible. Black and white film is about the infinite possibilities of shadow. Touch of Evil is about the infinite possibilities of human nature.

Heston, for those of you who just can't see past a "bad" accent is about rigidity and short-sightedness. What kind of idiot would leave his wife in all those threatening situations? The kind of idiot who can't imagine that anyone would harm HIS wife, simply because she IS his wife! Akim Tamiroff's Grandi is about flexibility to the point of breakage. Always playing ALL ends against the middle he is the essence of "harmless" corruption, that ultimately harms everyone.

And Welles' Hank Quinlan ... I just don't have the time or space to explain that Quinlan is about the true cost of police work when the humanity has gone out of it. Ultimately Quinlan would kill his best and only friend, the only one, as Dietrich has it, who really loves him. At one time, perhaps, Quinlan WAS the image that Pete Menzies saw. But the man behind that image was eaten up long ago with alcohol and frustrated grief. It's all about winning and losing now, and things he would never do. Until he does them.

There are so many other moments and characters that I'm afraid you'll just have to watch the film with your eyes and your mind open instead of shut to "get it". Pay attention to what's on the screen instead of the smart, cynical, hip comments you can make about an actual work of heart.

Well, what the hell. Joan Didion said it best. Film criticism is petit point on kleenex.

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On The Waterfront (1954) - IMDB TOP 250

On The Waterfront (1954)

http://imdb.com/title/tt0047296/

Synopsis:

The Waterfront Crime Commission is about to hold public hearings on union crime and underworld infiltration. As workers are turned against each other, Terry Malloy inadvertently participates in the murder of fellow longshoreman Joey Doyle. Union boss Johnny Friendly orchestrates the murder along with other illegal dockside activities, aided by Terry's brother Charley. Terry begins to feel pangs of conscience. When Joey's sister Edie sees more in Terry than he sees in himself and Father Barry urges him on, Terry reassesses his past and begins to regain responsibility for his actions.

Movie Review:

Back in the early 1950's, after a movie had run its course at the theaters, it did not go to video. Nor did it go on prime-time TV, as that concept came up many years later. Instead, they put it on afternoon TV, sometimes around dinner time. Well, that's when I'd come home from high school, and got to enjoy free black and white classics such as "High Noon" and "On the Waterfront".

It made a moviefan of me for life. I remember the effect of "On the Waterfront", as I remember thinking about Terry Malloy in that final scene, "Wow, that guy's got guts! I wish I could be like him." Being just a typical Midwestern teen, I didn't know who Marlon Brando was, but I just was fascinated by this life of these good and bad people, on the tops of buildings and in the cold, wet streets and alleys of this far-away place near the waterfront.

Now, every time I watch it, years later, I still love it. Yes, there is definitely an attempt to make Terry into a Christ-figure at the end. That's no coincidence that he stumbles from having been beaten to a pulp, to walk and carry a hook on his shoulders, to lead others to a better life. (In the book by Budd Schulberg, by the way, Terry disappears after testifying and what is thought to be his body is found floating in a barrel of lime. But he has become a legend on the waterfront.) I love the powerful Elmer Bernstein score (glaring for our present tastes, but back then, exactly what people expected to hear during a drama -- you've got to wonder what a future generation will say about the constant replays of fairly irrelevant pop and rap songs as themes during most movies today, dramatic or comedy).

And being raised in a Catholic home, I found Father Barry to be a great dramatic figure, one of the only times I saw a priest portrayed as a gritty, brave, heroic person, not afraid to mix it up with the common folks in the parish. He smoked, drank and slugged it out. And he was not afraid to die for the right reason. Folks, that's true Christianity at work. And that's powerful.

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Amadeus (1984) - IMDB TOP 250

Amadeus (1984)

http://imdb.com/title/tt0086879/

Synopsis:

Antonio Salieri believes that Mozart's music is divine. He wishes he was himself as good a musician as Mozart so that he can praise the Lord through composing. But he can't understand why God favored Mozart, such a vulgar creature, to be his instrument. Salieri's envy has made him an enemy of God whose greatness was evident in Mozart. He is set to take revenge.

Movie Review:

OH! This movie is WONDERFUL, this movie is BEAUTIFUL! I just love it, and not because of my fixation on Mozart, but because it is a beautifully made, completely moving work of art.

What many people do not seem to understand is that the film is entirely Salieri's--it is NOT in any way about Mozart himself, nor is it a biography about the composer. It is about Salieri's madness and obsession WITH Mozart, and yet because the character of Mozart is played so unforgettably by Tom Hulce in such an unconventional performance, the viewer takes most notice of him and will think him the central figure. The film chooses to highlight the comparison of mediocrity versus genius; Mozart is obviously the better of the two composers, and Salieri can see his own mediocrity and recognize his inferiority to Mozart so well that he is driven insane. Watch the film again; while it is true much biographical information about Mozart's life is given while telling us relatively little on Salieri's, you will see that the purpose of this is only to highlight Mozart's genius, his natural and uncanny abilities that come so easily to him. We see how his life affects Salieri's directly and we see Salieri old in his wheelchair, long after Mozart has died, still being affected by it.

One might say "Then WHY is it called 'Amadeus?'" as that is Mozart's middle name, and naming the film after him would certainly cause one to believe that the central figure would have the title (was not "Forrest Gump" about Forrest Gump?) But why, then, "Amadeus?" Why not "Mozart" or "Wolfgang," the only names he is referred to as in the movie? Look at the connotative meaning of the name "Amadeus:" In Latin it means "Loved by God." It's so perfect, so fitting that this should be the title; Peter Schaffer could not have asked for better! Not only does Salieri throughout the entirety of the movie express his disdain for Mozart, but he keeps coming back to God: "Why does God not give me talent? Why Mozart? Why does God love him, but not me?" Indeed, Mozart IS loved by God, if God's love is shown through gifts and abilities. "Amadeus" does not stand for Mozart himself, but for a major theme expressed throughout the film.

Oh, the themes, motifs, symbolism and hidden meanings! But what of the movie itself? The brilliant acting, the beautiful dresses and jackets, the unforgettable scenes? F. Murray Abraham is perfectly cast in this perfectly acted role; he grimaces and holds back hatred so perfectly, and nothing about his performance makes you think he is acting. Tom Hulce as Mozart is wonderful-most will remember his annoying laugh that bursts forth at the most inappropriate of times. The most memorable scene occurs at the end, when Mozart is on his deathbed, dictating his requiem to Salieri as Salieri struggles still to understand the brilliant notes flowing through Mozart's mind. The importance lies not in the fact that Mozart is dying (though his departure from the movie, for me, was quite traumatic) but in seeing how Salieri must have more of Mozart's work; he hates this man and yet he recognizes the brilliance of his music, a brilliance he will never posses. Some of the most enjoyable scenes depict productions of Mozart's operas; "The Abduction from the Seraglio" finale in the beginning is bright and joyous; "The Magic Flute" Queen of the Night aria scene is shown and contains of the most beautiful arias I have ever heard. Even if you don't like opera, you will be amazed at how high the soprano must sing.

This is just my absolute favorite movie, and I certainly did not analyze it like this the first time I saw it. I did not see everything either, the important themes and such, but every time I watched it I got more out of it. And it really is just so enjoyable, so funny, so perfect. The music, the actors-there is just something about them. Perhaps because none went on to be stars, and all you see is the movie, not the actors. I am basing everything on the original cut, not the new director's version, which I have seen, but I have entirely different things to say about it. The original is perfect as is. Watch it, you will see what I mean. You'll love it. I know I do!

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DVDRIP:

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The Great Escape (1963) - IMDB TOP 250

The Great Escape (1963)

http://imdb.com/title/tt0057115/

Synopsis:

Fictionalized account of the massive Allied escape from a German prisoner of war camp during World War II. The German Luftwaffe has decided to put all of their rotten apples - those that continually try to escape - into one camp. As the planner of the escape notes, there is madness in their method as they have put a great deal of expertise into one camp. The plan originally called for over 200 men to escape through three tunnels. All escapees would have appropriate clothing and papers and the ultimate goal of the breakout is to make the Germans use an excess of resources to try and locate them. After one of tunnels is discovered, they concentrate on completing only one of the remaining two and in the end, 76 men manage to escape, three make back to the Allied side. In one of the atrocities of the war, 50 men are shot while "trying to escape".

Movie Review:

This must be my favorite movie of all times. Having seen it for the first time,in I guess 1987,a BBC Christmas broadcast,I was captivated by this brilliant piece of work. In the years after,I probably have seen it a "million" times,owning it on VHS and DVD,and still watching,whenever it is broadcast,in the original language. Why is it so great? This is a movie that keeps you locked to the screen,because it has everything a great movie should have. A great story,a good length,tension,it is a WW2 movie and the actors give top performances.Not just Steve McQueen,although his performance is brilliant,but also James Garner,James Coburn,Richard Attenborough,Charles Bronson and in this film,one of the greatest roles Donald Pleasance,playing the forger. It isn't historically accurate,please read the book by Paul Brickhill,but that doesn't matter a bit. This film gives you an image of POW camp,the prisoners and their guards,the Germans are also played brilliantly by German actors. I will not repeat the story here,but I can tell you,this film will capture you,all the characters are portrayed brilliantly by the actors. There is excitement,humor,tension,drama and emotion. See it,you will not regret it.

Download Links:

DVDRIP:

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