Kieran's 50 Favourite Films; No. 48

48. It's a Wonderful Life

My 48^th favourite film begins a series of more predictable choices on my list. It’s a Wonderful Life is revered by many as their favourite film of all-time, and it’s not difficult to understand why. It remains, arguably, the most iconic ‘feel-good film’; a celebration of friends, family, faith and, generally, life. Essentially a parable about the victory of Bailey over Potter, spirituality over superficiality, life over death, of good over evil, it is a monument to the spiritual reward of selflessness and patient perseverance, over materialistic and consumerist values. George Bailey, played by the legendary Jimmy Stewart, has had to deal with consistent failures and disappoints; he couldn’t travel the world, he couldn’t go to college, losing his firm’s entire savings, but his never-failing faith in humanity, even when he loses faith in himself he never loses it in us, inspires us, the viewers, to be better people. This is genuine inspiration, not some cheap sob-story. One of the modern criticisms levelled at It’s a Wonderful Life is that it encourages the traditionalist doctrines of the ‘American small-town lifestyle’, and that it offers nothing but brain-washing sentimentality, perhaps not helped by Frank Capra, the director, being renowned, and by some, resented, for his own, perhaps deluded, optimism over man’s qualities. I offer an antithesis; ‘there's never anything easy about making a film where the central character is seriously considering suicide... "It's a Wonderful Life" achieves a fine balancing act between pathos and feel-good that is delivered by an outstanding cast.’[1] The morals of Capra’s classic are traditionalist and old-fashioned, yes, but they are also extremely modern; they are absolutely timeless. In a world concerned with the next Ipad app entitled ‘YOLO’, it is never irrelevant to remind ourselves of the important things in life, such as, for example, actually living. Funny, entertaining, poignant and so, so moving, It’s a Wonderful Life is the charismatic old angel here to remind a modern cinema obsessed with exploiting our temptations and flaws, that man is inherently good.

'Woah. My handshh are huge Mary.'

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[1] http://www.bbc.co.uk/films/2000/12/12/its_a_wonderful_life_1946_review.shtml

Kieran's 50 Favourite Films; No. 49

49. The Long Good Friday

Get Carter has been referred to as the British version of The Godfather, and Layer Cake, the British Goodfellas. If these comparisons hold up, then I believe that The Long Good Friday is the British Once Upon a Time in America; often forgotten about, but superior to the rest of its gangster-movie associates. As with the best films, it’s difficult to articulate why exactly I love Long Good Friday so. For starters, the performances are sensational, and in some cases, really quite powerful. Bob Hoskins’ descent into a poisonous mixture of grief, regret and anger is one of the most chilling transformations in cinema, and Helen Mirren’s decline from the beautiful and charming trophy-wife into someone so shell-shocked and anxiety-ridden matches him. The soundtrack, too, is absolutely incredible, and is instrumental in the build up in tension and atmosphere which proves to be oh so important in the film making such a profound impact on the viewer. 

In all probability, my obsession with this film lies in its pacing. The film moves very, very quickly, with numerous scenes of shocking and unexpectedly brutal violence, and while confusing initially, it becomes clear that this was the intention. We discover what happens at the same time as Bob Hoskins’ gangster overlord, creating a far more relatable character in what is, essentially, an unempathetic scumbag. The sheer scale and circumstance is perhaps best hinted by the title. The film (mostly) takes place over a single day. This day, as suggested, by the title, is Good Friday, a day, of course, associated with the death of Jesus Christ. Hoskins believes himself to be untouchable; 'who would dare attack me!?' But if someone as powerful as Jesus can be defeated, anyone can, after all, he is only human. The choice of this day in particular is but one of the many uses of examples of black humour used by director John McKenzie throughout. Just as Jesus dies and has his fall, Hoskins will have his own; his decline, and he has no choice but to suffer as a witness to the collapse of his gangland empire around him, suffocating his pride. I don’t see it as a Christian message, but more of a simple, moral one. The veil of Hoskins’ hypothetical temple had been rent in two, from top to bottom. Hoskins has enjoyed his immoral hedonism, and the ending, possibly the most perfect ending in cinematic history, symbolises him receiving his overdue justice, in the most delightfully cruel fashion. And it is stunning. One of the few films which justify the term ‘masterpiece.’

Kieran's 50 Favourite Films; No. 50

Due to the existence, and necessity, of exams, I’m afraid I don’t have much time to quench the word lust of my readers. To atone for the SQA’s wrongdoings, I’ve decided to make up for this by posting a paragraph or two dedicated to each of my favourite 50 films, counting downwards, at least until my exams are over, by then my infantile attention span might drag me to pastures new. But don’t worry, those pastures will be as smugly sarcastic and narcissistically hate-spewing as ever. I’ll probably post one every other day, so keep a look out. Okay, are you ready? We’re off...

50. Raiders of the Lost Ark

Spielberg’s 2^nd greatest filmic achievement, (I say filmic, he might consider being a father his greatest achievement. Well, the man does enjoy his corniness) it’s very probably the best adventure film ever made. The adventure ‘genre’ is actually very particular, contrary to popular belief. The three components of this ‘genre’ consist of two major genres, and one sub-genre in their own right; comedy, action and romance. Other examples of this delicately defined field range from The Mummy to Pirates of the Caribbean. Raiders succeeds, where many others fail, because it absolutely nails each individual component, and they flow and interact seamlessly with one another. The comedy is light-hearted and genuinely funny, the action frequent and exciting, but never intrusive, and the romance unashamedly old-fashioned, (maybe a bit sexist, though) taking the form of the classic ‘reluctant damsel-in-distress eventually falls for Mr. Charismatic Sarcasm’. It has heroes and villains, romantic interests and comic relief characters, all staples of adventure. There are so many great scenes, which are now eternally branded onto the pop culture cattle; the rolling boulder, the fist fight at the aeroplane, the scene where he shoots crazy-sword-Arab-man, and, of course, that retreating shot of the Ark’s final home...

Here's Indy doing the Haka to impress a statue head.

I could go on and on about how innovative the special effects where, or how perfectly atmospheric John Williams’ score was, or how superb the pacing and characterisation was. Instead, I’ll lastly point out that Raiders is the pinnacle of escapism in film. We watch films for a variety of reasons; entertainment, education, attractive actresses in inappropriate clothing, but they are all a product of escapism; the idea that we can leave the drudgery of our own lives behind, and embrace another world; an immersive experience. Spielberg achieves the finest example of escapism with Raiders, in its purest, most unspoilt form. A blockbuster masterpiece. I leave you with the words of the greatest film critic of all time, Roger Ebert. He writes ‘It’s actually more than a movie; it’s a catalogue of adventure... it wants only to entertain. It succeeds.’[1]

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[1] http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19810101/REVIEWS/101010360/1023