Anthony J. Merced

Number 4: The Godfather (1972) dir. Francis Coppola

To start talking about The Godfather is to talk about the perfect marriage between novel and screenplay. For the most part, films are notorious for butchering the literature that they’re based on. Creative license is taken more often than not, making the author’s head spin like Linda Blair’s in The Exorcist. Francis Coppola looked to avoid this by bringing the author into the screenwriting process. Many times, authors are asked questions for authenticity but were never considered capable of adapting their own works to the screen. Mario Puzo proved a lot of people wrong as he helped add legitimacy to a film that is known just as much for its heart as it is for its body count.

Francis Coppola originated from the theater. At an early age he wrote theatrical plays and later made an early career of screenwriting. It was this theatrical experience that saved The Godfather from being more than just another gangster film. To that point, such films had been pulp. Never to be taken seriously since the characterization was often cartoonish. Coppola, who was obsessed with making personal films, decided that it would be best to mix the Puzo novel with the work of William Shakespeare. It can be said that The Godfather is the most successful modern adaptation of Shakespeare ever seen. The story follows the same guidelines as the play King Lear. The parallels between the two are striking. Don Corleone as the king of organized crime. The quiet child that was seen as lesser than the others becomes the new king, however cannot lead with the same grace as his father.

There is too much to say about the film’s influence. It has soaked itself into the fabric of American culture, defined artistic careers and recreated an entire genre. While some have considered The Godfather II superior, it is hard to acknowledge the second without already knowing the massive impact of the first film.

Number 3: Metropolis (1927) dir. Fritz Lang

Before the Golden Age of Hollywood in the late 1930’s, American cinema was not considered the benchmark of artistic originality or expression. That distinction belonged to the amazing German filmmakers of the 1920’s. Many of whom revolutionized the medium and created techniques that were later duplicated countless times. Fritz Lang is one of those great German filmmakers and arguably his best film is Metropolis. It is a film heavily influenced by the post World War 1 climate. The film is riddled with social commentary about the working and upper class societies. The cloud of socialism and worker revolutions permeate a story that is masked with the most cutting edge special effects of its time.

The special effects of the 1920’s may seem archaic for its time but there is little argument that the final product was as imaginative as anything ever seen. Lang took his influence from the biblical Tower of Babel and mixed it with the imagination of new age science to create a look that has become the archetype of later science fiction. The angular sets and dark colors (signatures of the German Expressionist Era) add a sense of dread to an already desolate setting. The film also pulls its realism from the horrible nature of the German economy. The difference between The Have’s and The Have Not’s is expressed through contrast. The high contrast bowels of the great machine shows the struggle for survival. Conversely, the higher end of society lives and basks under the beauty of the sun.

One of the greatest tragedies of cinema was that the original cut of Metropolis was lost soon after its initial screening. Several cuts were made and the remaining film was discarded. Luckily, this mystery may have finally been solved. It seems that in 2008, pieces of the edited footage surfaced in a museum in Buenos Aires, Argentina. Hopefully, we’ll all be able to enjoy the Fritz Lang classic the way he had initially intended it to be seen.

To be concluded….

I apologize for leaving this list hanging over the last few days. I’ve been spending most of my writing time on my feature. I’ll write all about it early next week. There’s a big meeting going on later on tonight that will have a ton of news to spill afterward. Until then, lets continue the list.

Number 6: Seven Samurai (1954) dir. Akira Kurosawa

Akira Kurosawa and his influence on later cinema is truly a story of cultural diffusion. While western audiences have become accustomed to Kurosawa’s films as being a peek into the world of the Far East, his influences can be traced back to one of the most prolific western directors. Early on in his career, Kurosawa became enamored with the films of John Ford. Ford is known best for revolutionizing the “western” film genre. Films like Stagecoach helped to show the possibilities of small stories told through epic landscapes. One of the reasons for his success was his understanding of the unwavering human spirit. Ford’s films often showed his own confidence and occasionally his ignorance.

Kurosawa looked to borrow some of that confidence and blend it into something that Japan was not very accepting of. Seven Samurai is arguably the beginning of Kurosawa’s peak. The story follows seven masterless samurai who agree to help peasant farmers against a group of thieves. Just like Ford’s films, Kurosawa’s plots were normally very simple. It was in the details of each character that the film truly blossoms.

The film’s battle sequence is an unforgiving look at the effect war has on the common man. Toshiro Mifune’s reaction to the motherless toddler is not only one of the saddest moments in cinema but also one of truest in character development. The samurai waver in their beliefs but never crack. And all of this is shot beautifully through a sudden rainstorm (a common occurance in Kurosawa films). Kurosawa’s love of telephoto lenses also played into his directing style. Closeups are a rarity in Seven Samurai. The camera seemingly picks up the delicate movements of each character from a distance. This is also a compliment to the amazing cast that Kurosawa had assembled. Many of them would work with him for decades.

There are several other films on this list that would not be here if not for Seven Samurai. Kurosawa’s influence came back to the States several decades later. Filmmakers like George Lucas, Stephen Spielberg, Martin Scorsese and Francis Coppola were heavily influenced by his work.

They say that imitation is the most sincere form of flattery. If so, the next filmmaker has flattered Kurosawa immensely.

Number 5: Star Wars (1977) dir. George Lucas

I’ve already written, in great length, about both George Lucas and Star Wars. Therefore, I’ll keep this as short as possible. Along with Jaws, Star Wars helped to define what is now known as the Hollywood Blockbuster. It has had 5 sequels, countless books, several cartoon series and is now the bench mark for science fiction films.

Cinematically, the world would be a different place without it. While CGI was decades away, Star Wars created new ways of envisioning special effects. It was so successful that many films after looked to the same individuals for the same effects. The story itself is Greek Mythology and Buck Rodgers blended together into a delicious flavor of action and drama.

I could go on about it forever, so I’ll stop here. Needless to say, this film could have been a lot higher on the list but with all of my love for the greatest blockbuster of all time, it is at five for a reason. Keep reading to find out why…

to be continued…

The list continues:

Number 8: American Graffiti (1973) dir. George Lucas

Where would Happy Days be without American Graffiti? Would we have gotten to see Dazed and Confused?

If there’s a movie on this list that is horrifically underrated, this one is it. George Lucas is best known as the creator of Star Wars. His empire was built on the backs of robots, laser swords and special effects. However, what people don’t realize is how diverse of a filmmaker George Lucas can be. American Graffiti not only showed his versatility, but also showed a softer and more personal side to his work.

The film’s influence is as underrated as the film itself.  It was the driving force towards many cinematic innovations that have become common practice. The most important being the extensive use of popular music. George Lucas described it as “a wall of sound.” It is nearly impossible to find a scene in the film that does not have a popular song from the late 50’s or early 60’s. The soundtrack is completely diegetic. Each song emanates from either a car or local radio. Originally, the producers insisted on having Lucas hire an orchestra to simulate the songs. However, it would have cost the film its authenticity. That and its natural dialogue are the strongest points of the film. In the end, the authenticity would have suffered immensely without the natural performances and great music selection based heavily on the director’s own experiences.

At the time, the cast of actors may not have generated a tremendous amount of buzz. However, many of them would go on to play very iconic roles. Ron Howard, Richard Dreyfuss and Harrison Ford would become just a few of the recognizable faces on television and film in the following years.

The format of the film was also an original breath of fresh air. The image of the lost youth in the early sixties played a major role. It was a brief peek into the lives of several teenagers looking for their calling. Not only does it accomplish this, but it also gives us a vivid image of growing up in the early sixties on the west coast. The life of fast cars and rock & roll has an air of innocence about it. This is not long before the Vietnam War and racial turmoil of the mid-sixties. In a way, it speaks of a simpler time without denigrating what would later come.

This may not be the last George Lucas film on my list, but it is definitely one that most people have probably not seen. If there’s one movie on this list that is an absolute joy to watch, this one is it. After the opening credits, you’ll completely forget that this was a film directed by the creator of Star Wars.

(As a side note, this was one of only two films that George Lucas ever received an Oscar nomination for. It was nominated for Best Feature and Best Director)

Number 7: Casablanca (1942) dir. Michael Curtiz

If you think that war films can’t  be romantic, if you think that old black & white movies look old or antiquated, you’ve probably never experienced Casablanca. This movie is just as new now as it was the day of its release. It is sexy, dirty, romantic, tragic and almost any other adjective you could think of.

At first, this film did not receive any of the acclaim I’ve just expelled. It was released briefly on November 26th, 1942, the day the Allied Forces advanced on Northern Africa. By the time of the film’s national release in January of 1943, Casablanca was already in the news. It was the site of a high level meeting between Winston Churchill and Franklin Roosevelt. Needless to say, many of the critics panned it as an Allied propaganda film. The New Yorker went so far as to call the film “pretty tolerable.” It was a slow burn to success after its release. It wasn’t until it hit television screens in the seventies that it caught on and garnered the respect it deserved.

It is definitely a film that is carried by phenomenal acting. Humphrey Bogart as the tough but sensitive Rick Blaine jumps off of the screen. He masks his romantic tragedy with slick words and alcohol. Ingrid Bergman balances his New York harshness perfectly with a gentler performance. She bore a subtler beauty than that of many actresses of the time. Most importantly, she could distract you from her looks with decent acting ability.

The story itself is simple. A heartbroken man must help his lost love’s husband escape from German occupied Africa. It is the liner notes of the film that create the tapestry of this cinematic classic. The desperate attempts of people to escape through the black market, the never ending fight for freedom during a time of war, and the desire for something more than what we’ve been given speaks volumes for a film that was made at the tail end of the Great Depression.

Furthermore, Casablanca is a quote machine. “Here’s lookin’ at you, kid,” has been quoted and parodied more times than can be counted. The film’s major song “As Time Goes By” is iconic. There are people who recognize the film’s dialogue and music without ever knowing where its from. The fact that this film was not looked upon as a tremendous achievement upon its release, shows that Hollywood was truly in its Golden Age.

to be continued… (please leave a comment with your thoughts)

Everyone on the internet has a list of their top ten films. I figured I’d throw mine on top of the pile. The only thing that will differentiate between those and mine will be that I am freely saying that you will probably disagree with me. Every top ten list I’ve read treats itself as the holy grail of film lists. Its like if you haven’t seen the films on Bubba from Texas’ top ten list, you don’t know jack about film. I won’t be saying that at all. This is strictly a list of films that have influenced me as a filmmaker and hopefully will make you interested as well.

Before I dive straight into the list, I’d like to share some of my thoughts on how the list is compiled. I like to treat films like wine. This means that there probably won’t be many films on this list from the past 5 to 10 years. The reason for this is that my general feeling towards a film could change as I get older. It has happened many times. Had I made this list five years ago, it would have looked strikingly different. I also like to give credence to the entertainment value of a film. This isn’t going to be a list consisting of mostly foreign experimental films, although there may be one in there. I am a believer in the idea that art has to be entertaining as well as thought provoking. Leave one of those elements out and it isn’t quite cinema any longer.

So, without further hesitation, let the list begin!!!

Number 10: Almost Famous (2000) dir. Cameron Crowe

There are very few films that address the awkward periods of adolescence without treating them like the worst years of our lives. Yes we’re naive and still discovering who we are. However, most films like to treat this as hell on earth. Almost Famous treats this simply as a time of discovery, physically and emotionally. The film is loosely auto-biographical. The director, Cameron Crowe, has interviewed and traveled with  legendary bands of the 70’s such as Allman Brothers Band, Led Zeppelin, The Eagles and King Crimson. This was mainly due to the fact that many rock journalists of that era saw these bands as inferior. The main character of the film, William Miller, who in the same vein as Crowe is hired to interview the fictional 70’s band Still Water.

The movie deals heavily with hero worship and humanization. As we grow older we realize that those we thought were perfect are just as feeble as we are. William’s journey takes him deep into the  under belly of the rock & roll lifestyle. Sex, drugs and the illusion of double identities test young William’s developing characteristics. Unlike many films, we watch a teenager with enough blind confidence and naivety to pass through the belly of the beast and come back unharmed. Surprisingly, he’s better off after the fact.

From a technical standpoint, the subtleties in the cinematography helps to keep you involved in the story. There is nothing overly beautiful, and thus not distracting, about the way its shot. A softness in the lighting helps to keep the material from entering a more “adult” realm. We are constantly kept in the mindset of a young teenager. The writing and acting also delivers. Very rare is it possible to get a believable performance from a young actor. Many times, they are avoided for that very reason. However, Patrick Fugit is guided masterfully by both Kate Hudson and Billy Crudup. Not one performance over shadows the other, helping us to stay locked in to the imaginary world created for us.

Almost Famous pulls up the rear of the list primarily because of its sincerity. Sometimes its the little things you do on screen that makes the experience the most enjoyable.

Number 9: Lost in Translation (2003) dir. Sofia Coppola

In the preface to this list I said that there probably weren’t going to be many films from the last 10 years. This will be the last of them. To say that Sofia Coppola comes from cinematic royalty would be an understatement. Her father is arguably one of the greatest filmmakers of all time. At first, it seemed that she was destined for a mediocre career in acting. She never seemed to flourish as a performer. It wasn’t until 1999 that her talent as a director appeared. Four years later she made what may be her best film, Lost in Translation.

Lost in Translation is not your typical film. The story is experimental, loose, uneventful, and lacking in pure drama. “Why would this movie make my list,” you say? It makes the bottom half of the list for its cinematography and over all experience. I’ve been to Japan, Tokyo in particular, several times. Watching this movie is the closest I’ve ever seen to capturing that experience. At first, Tokyo is shown as dizzying, frustrating and robotic. It lacks any sense of romanticism. The flashing lights of Shinjuku in the  opening sequence is more overwhelming than stimulating. It takes the perspective of a first time foreigner in a land he doesn’t care to understand.

It isn’t until that foreigner meets a young woman sharing the same mindset as his own that the movie truly shows the type of experience Tokyo can be. I’m not trying to say that traveling alone is a horrible experience. One of the interpretations of the film can be that we never truly travel alone. Our worries and doubts travel with us. Bill Murray’s character, Bob Harris, is at the same point in his life as the much younger Charlotte, played by Scarlet Johansson. Say what you will about Scarlet’s acting career, this is one of the few times where her deadpan delivery actually worked well. She appeared lost and hopeless, looking towards an older man for the answers to the unknown questions of the future. Unfortunately, his years have not helped to provide any answers.

Together, and through the brilliant photography of Lance Acord, they succeed in not attempting to explore for answers. Instead, they enjoy the company of someone equally as lost and unsure as the other. The characters don’t come off as wimpy or emo. They seem more unfulfilled than anything else.

It could be said that this is a look at the formative years of Sofia Coppola’s directorial career. The characters are a physical representation of the turmoil in transition. The feelings that they express mirror a universal fear of transition and thus a fear of the unknown. This is something that Coppola herself has probably had a lot of time to think about and why it is definitely her best and most relatable film.

One of the common complaints about the film is its treatment of Japanese people as clownish. The moments of beauty and understanding seem to be lost in these complaints. It  can be argued that the foreign characters, especially Bob Harris, come off as more clownish. These moments of comedy sprinkled into an otherwise brooding film help to break the potential monotony.

In the end, we are left with an experimental film that balances entertainment with an unorthodox storytelling style. It makes the list more so for its cinematography and location than anything else.

To be continued… (tomorrow: #’s 8 & 7)

(Please leave a comment with your thoughts)