#240 Dr. Strangelove (1964)

*****

Director: Stanley Kubrick

Cast: Peter Sellers, George C. Scott, Sterling Hayden, Slim Pickens, James Earl Jones, Keenan Wynn, Peter Bull, Shane Rimmer, Tracy Reed

#239 The Double Life of Veronique (1991)

***

Director: Krysztof Kieslowski

Cast: Iréne Jacob, Halina Gryglaszewska, Kalina Jedrusik, Aleksander Bardini, Wladyslaw Kowalski, Jerzy Gudjeko, Janusz Sterninski, Philippe Volter

The Doube Life of Veronique is the tale of two women, both played by Iréne Jacob, although two separate people, in two separate parts of Europe, living two separate lives. One woman is Weronika, a Polish singer, and the other is Veronique, a French music teacher. When Weronika has an unfortunate, unexpected death, Veronique feels an unexplainable and irreconcilable grief, as the two women--whom we know have never met, share an inexplicable strong emotional bond.

The film then follows the life of Veronique as she is courted by a unique stranger, a puppeteer living near her home. The dreamlike, elusive character of Alexandre serves as a jumping point for a series of quiet meditations on many of the things about life we cannot explain nor express. Dreams, hallucination, imagination, superstition, intuition... all realms of the personal which each human experiences entirely alone in their lifetime.

The film's feel reminded a lot of Amélie without the cheeky humor (and yes, I realize this one came first). The unusual romance is whimsical and fantasy, and the movie as a whole is a clever expression on some of the hardest things to capture about human nature. Very beautiful. Slow. Contemplative. This is what I consider to be a worthy-of-your-time romance. I wish more people were still making movies like this.

#238 The Awful Truth (1937)

***

Director: Leo McCarey

Cast: Cary Grant, Irene Dunne, Ralph Bellamy, Alexander D'Arcy, Cecil Cunningham, Molly Lamont, Esther Dale

A silly little comedic romance– again, wholly carried by the dynamic Cary Grant and his opposing leading lady's (whomever she may be at the time) charisma and likability as a couple. In the story, two sweethearts' jealousy and suspicions lead to a quickly-arrived-upon divorce. The real drama, however, is involved in the time leading up to the finalization of their arrangement: as the two begin dating others, bumping into one another at inopportune moments, and parade through a variety of uncomfortable, chuckle-worthy situations. The inevitable, however, does arrive... and on the night that their divorce is going to become official to boot. The two find themselves under very expected circumstances alone at a secluded cabin. Dot dot dot...

The charm of this film, again, is purely the dynamism that exists between the two lead actors. The script carries legend of being extremely improvised, and it shows. The laughs are in the subtleties, the timing, the facial expressions... some of the brilliant things about films (and real life) that can never be translated into writing. The role of dancing, songs, games, drinks, and even simple introductions all play a key role in bringing these two bickering lovebirds away from one another and simultaneously right back into each others' arms.

Although I often wonder how so many Cary Grant movies made the 1001 list since they are all so simplistic, silly, and sweet, but then I find myself enjoying each one as much as the last.

#237 The Birth of a Nation (1915)

**

Director: D.W. Griffith

Cast: Lillian Gish, Mae Marsh, Henry B. Walthall, Miriam Cooper, Mary Alden, Ralph Lewis, George Siegmann, Walter Long, Robert Harron, Wallace Reid

Appropriately described as one of the most revered and reviled films of all time, The Birth of a Nation is a film we simply wish to discard despite its groundbreaking stylistic and technical elements. Based on a rather racist play by Thomas Dixon entitled "The Clansman: An Historical Romance of the Ku Klux Klan," the film spans from a pre-Civil War era, through Lincoln's assassination, to a post-war age where racial rivalry is at its peak. Showing African Americans in the worst light with the most blaring racial stereotypes, the film dually functions as a piece of racist propaganda, suggesting that their rise to liberty was the downfall of Aryian civilization. Showing Klan members parading in on stallions to a song of victory, murdering "crazed" blacks all along the way, certainly makes the film's standpoint clear, and sickeningly so.

Despite the horrors that this film projects, it simultaneously offers some of the greatest leaps and advancements made by any film. It is often said that this is the pioneer motion picture to define modern cinema, being the first to include key shots such as match-on-action, shot-reverse-shot, and even camera techniques such as tracking.

The three hour long drama is widely-debated and of course rightfully controversial, and I by no means would suggest the film is any form of pleasant viewing. The sick feeling it will leave in your stomach is probably not worth its historical significance to the artistry of film. But nevertheless, if you are persistent on seeing where it all started (or are just pursuing a crazy goal of watching all 1001 like me), try to prepare yourself for what is sure to be, however relevant, a difficult viewing experience.

#236 Gold Diggers of 1933 (1933)

***

Director: Mervyn Leroy

Cast: Warren William, Joan Blondell, Aline MacMahon, Ruby Keeler, Dick Powell, Guy Kibbee, Ned Sparks, Ginger Rogers

An imaginative, comedic, and even politically-pointed musical comes in the form of Gold Diggers of 1933. The film is essentially the story of a few young showgirls who are struggling to keep food on the table by any means–stealing milk from the neighbor, begging for jobs, and even canoodling with wealthy men. When one of the girls, Polly Parker (Keeler), falls for the musician across the alley, Brad (Powell), the women are surprised to find he is not only talented and kind, but he also happens to conveniently be from an extremely wealthy Boston family (only in Hollywood, I swear!). Providing music for the girls' latest musical (and even volunteering to be a stand-in when the leading man hurts his back), Brad is able to formally court and become engaged to Polly. When Brad's family finds out about his relationship and on-stage escapades, his brother chooses to intervene.

However, when the brother mistakes Polly's roommate Carol for Polly, he offends the wrong person when he calls showgirls cheap and vulgar. To seek her revenge, Carol enlists their friend Trixie to continue to dupe the brother (and the family lawyer) into falling for their false affections and also into buying them tons of lavish gifts. With Brad and Polly in on the joke, they even trick the brother into thinking he has drunkenly made love with Carol, and to "pay her off," he writes a check for 10k. It's only when Carol's true identity is revealed that we find that these two characters have real affection for one another.

The film includes four extraordinary stage productions, all coordinated by Busby Berkeley. Highlights include a sparkling rendition of "We're in the Money," light-up violins playing "Shadow Waltz," and the sparked-with-politics "Remember My Forgotten Man." Forgotten Man demonstrates the difficulties for the men and women during the depression, taking into account the veteran's of WWI whose owed-admiration was already being tossed aside.

The film is short, funny, and takes drastic plot twists. The musical numbers are quite segregated from the film, though brilliantly directed and performed, and interesting as well for their strong hard-hitting political statements. A light, easy watch.

#235 Hearts of Darkness: A Filmmaker's Apocalypse (1991)

*****

Director: Fax Bahr, George Hickenlooper, Eleanor Coppola

Cast: Francis Ford Coppola, Eleanor Coppola, Marlon Brando, Martin Sheen, George Lucas, Dennis Hopper, Sam Bottoms, Robert Duvall, Laurence Fishburne

A brief look into the making of Apocalypse Now, Francis Ford Coppola's epic, ruinous masterpiece that immediately followed his success with parts I and II of the Godfather trilogy. This documentary includes footage, diary entries, and sound recordings collected by Coppola's wife, Eleanor, all chronicling the making of the film.

Filmed on location in the Philippines, Coppola brought his entire family along with an enormous Hollywood production team to shoot the film over the course of what was supposed to be only a few weeks. Instead, it turned into years of filming and editing, with endless disaster: financial, physical, and emotional. Dealing with typhoons, firing main actors, the jungle conditions, the Philippine army warding off rebels, a heart attack, an overweight, unprepared Brando, placing all of his personal assets up for collateral to cover the new budget, and Coppola and his wife seriously both teetering on the edge of total insanity, the documentary focuses on the overwhelming obstacles behind the final product.

Despite all these obvious hurdles, some of the most interesting moments of the film were the views into Coppola's struggle with his own faith in the film's outcome. Often staying awake for days on end, personally re-writing the script, making up new scenes, and basically winging it, Coppola's methods during the shoot can only be described as feverish intoxication. His wife was able to capture via sound byte (unbeknownst to Francis at the time) much of his insecurities about the project turning out. Footage of Francis obsessively working and smoking cigarettes over a typewriter, giving actors' inspiring character direction, along with general interviews about his "artistic vision" for the project brought me back to memories of my own creative fever in the past. It made me wonder why I ever stopped craving that, and at the same time, I felt relief to not have a life full of such anxiety anymore.

Regardless, it's a great documentary to go hand-in-hand with viewing Apocalypse Now, and I highly recommend it. If it does not, on some level, inspire you then I truly question your being alive at all. It's really that grand.

#234 The Red Shoes (1948)

****

Director: Michael Powell, Emeric Pressburger

Cast: Anton Walbrook, Marius Goring, Moira Shearer, Robert Helpmann, Léonide Massine, Albert Bassermann, Ludmilla Tchérina, Esmond Knight

This film chronicles the story of Victoria Page (Shearer), a girl discovered by a sharp-edged, stuffy ballet director for her raw passion for the art form. When his leading lady announces she plans to marry, Boris Lermontov (Walbrook), seeks his new star. Victoria's rise to stardom happens in tandom with a young composer who Boris also gives a chance, a young Julian Crasner (Goring). Together the trio put on one of the greatest ballets entitled "The Red Shoes,"which tells the story of a young girl's red dancing shoes which once put on, dance her to her death.

Unbeknownst to Boris, however, Page and Crasner fall in love, and it's then that Boris is forced to scheme a way to get back his star (with whom he is undeniably infatuated). The film slips off into a dreamy dance sequence of the ballet "The Red Shoes." It was this inner-film performance that set the stage for so many other films' long production numbers (think An American in Paris)! Beautifully performed, it not-so-surprisingly becomes a foreshadow of the real heroine's demise.

Recently having seen Black Swan in theatres, I can't help but draw a comparison between these two plot structures. Without the sex and special effects, we are taken on a similar ride through the ill-fated course of a great, recently-discovered dancer. Also, over the summer, I read Anna Karenina, which I, again, can't help but draw connections to from this film. The allusions and inspirations preceding and following this film seem endless, and it's not hard to understand why. A must-see for any dancer, but also well-worth anyone's time who can appreciate stage-style performance.