Bideodromage
Dramatic moments abound in this iconic 1953 Western, directed by George Stevens. Certain scenes unfold almost ritualistically, as if pre-destined and inevitable. Alan Ladd, Jack Palance, and many others provide memorable performances.
More at The Bricolageure.
Based on the novel by the great Philip K. Dick, this Ridley Scott-directed film still stands today as a groundbreaking achievement. Blending noir-ish elements with the futuristic plotline/atmosphere, Scott ushered in an entirely new era in cinema. Über-Antagonist Nexus-6 Replicant Roy Batty {iconically portrayed by Rutger Hauer} provides the extra impetus of genius to propel us to the skies.
“Roy Batty is a very cryptic individual, as a replicant and combat unit. He carries an unnerving aura around him and inspires fear wherever he goes.
It is worth mentioning, that at the end of his life, Roy is shown to have a moment of empathy, saving Deckard from his death before giving a monologue about his memories, and passing away with a smile…”
{via Fandom}
Directed by the great Stanley Kubrick, this mighty film features memorable performances by Kirk Douglas, Peter Ustinov, Charles Laughton, Tony Curtis, and, of course: Laurence Olivier.
Léon, the Professional, is a brilliantly twisted and complex film focusing on the relationship between a good-hearted yet ruthless hitman, the young girl who comes under his guidance after her family is massacred, and the sociopathic DEA agent Stansfield, who performed said massacring. A certain houseplant also plays a significant role. Jean Reno and Natalie Portman are both exceptional, and Gary Oldman renders forth a truly iconic performance as the depraved, mercurial, cunning, pill-popping Stansfield. Each character has their own internally consistent moral code. Luc Besson directed this fascinating, haunting, offbeat, darkly comical film.
No Country for Old Men, a 2007 existential noir western thriller by Joel and Ethan Coen, examines the dilemma of Llewelyn Moss {Josh Brolin}, who somewhat inadvertently ends up in the crosshairs of, among others, sociopathic assassin/operative Anton Chigurh {Javier Bardem}, a most singular character with a ruthless code and nihilism to spare. Sheriff Ed Tom Bell {Tommy Lee Jones} wants to help Moss, but, though plenty savvy and resourceful, he realizes with the likes of Chigurh, whom he wryly and despairingly describes as a ghost, he’s in over his head; he’s dealing with a new kind of human. New, yet as old and implacable as the unforgiving landscape.
It is the uncanny accomplishment of the Coens to have rendered an extraordinarily nuanced environment where everything means something, yet nothing means anything. The interface of chance and inevitability is front and center.
Directed by a 28 year old Steven Spielberg, Jaws is a gripping, multi-faceted masterwork. This thriller/cult classic features resonant, memorable work by Roy Scheider and Richard Dreyfuss, and a mesmerizing, iconic performance by Robert Shaw. Also involved is a 20+ (25!) foot-long shark. One of the most perfectly realized films of the 20th century.
The 1987 film Withnail and I, written and directed by Bruce Robinson, and starring Richard E. Grant, Paul McGann, and Richard Griffiths, has come to be recognized as one of the great achievements of British film-making. Originally considered a “cult” movie, this poignant and amazingly humorous film is so very memorable. This happened to be Grant’s first film, as well, putting him firmly on the map of such things.
The extraordinary film Manhunter, filmed in 1986, features auteur-like vision by director Michael Mann, and memorable performances by Tom Noonan, Brian Cox, and William Petersen. Based on the novel Red Dragon by Thomas Harris, Manhunter possesses an eerie noir-ness, focuses often on the similarities between hunter and hunted, and resonates powerfully to this day.
“Car Lot“, from Psycho soundtrack. Composed by Bernard Herrmann.
The plot of Psycho, directed by Alfred Hitchcock, pivots on the fulcrum of a red herring. Janet Leigh’s character fears that she is in imminent legal danger, and suffers from a troubled conscience, when in fact something far, far worse, something having absolutely nothing even remotely to do with events up to that point, awaits her.
When he dines initially with Leigh, the reaction/mood of Norman Bates {portrayed iconically by Anthony Perkins} changes rather drastically, from chipper, to utterly incredulous, to overtly hostile, to a resigned world-weariness, to a last attempt at joviality. He appears to be friendly and caring, if a bit troubled and mercurial.
When the dogged, unswerving Milton Arbogast {Martin Balsam} calmly dissembles the slowly dissolving structural integrity of Norman’s version of events, he opts to trot out the heavy artillery, proclaiming “If it doesn’t gel, it isn’t aspic; and this ain’t gelling.” Stunned silence proceeds to take over the entire universe, and Norman Bates is clearly rattled. The two shall meet again, soon enough.
The great Christoph Waltz, Two-Time Academy Award winner, shows some of his inimitable what-have-you.
Bideodromage 