Tag Archives: Citizen Kane

Top 100 Films – Full List & Stats

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Top 100 Films – Full List

100. Rope (1948) (dir. Alfred Hitchcock)
99. The Jerk (1979) (dir. Carl Reiner)
98. Office Space (1999) (dir. Mike Judge)
97. American Movie (1999) (dir. Chris Smith)
96. Touch of Evil (1958) (dir. Orson Welles)
95. Zero Dark Thirty (2012) (dir. Kathryn Bigelow)
94. The Wrestler (2008) (dir. Darren Aronofsky)
93. The Virgin Spring (1960) (dir. Ingmar Bergman)
92. United 93 (2006) (dir. Paul Greengrass)
91. Brokeback Mountain (2003) (dir. Ang Lee)
90. Election (1999) (dir. Alexander Payne)
89. Close-Up (1990) (dir. Abbas Kiarostami)
88. Minnie and Moskowitz (1971) (dir. John Cassavetes)
87. Chungking Express (1994) (dir. Wong Kar-wai)
86. Stand By Me (1986) (dir. Rob Reiner)
85. Blazing Saddles (1974) (dir. Mel Brooks)
84. Metropolis (1927) (dir. Fritz Lang)
83. Boyz n the Hood (1991) (dir. John Singleton)
82. A Man Escaped (1956) (dir. Robert Bresson)
81. Manhattan (1979) (dir. Woody Allen)
80. Sunset Boulevard (1950) (dir. Billy Wilder)
79. All That Heaven Allows (1955) (dir. Douglas Sirk)
78. Sunrise: A Song of Two Humans (1927) (dir. F.W. Murnau)
77. No Country for Old Men (2007) (dir. Joel Coen, Ethan Coen)
76. The King of Comedy (1982) (dir. Martin Scorsese)
75. Short Term 12 (2013) (dir. Destin Daniel Cretton)
74. The Fighter (2010) (dir. David O. Russell)
73. Ben-Hur (1956) (dir. William Wyler)
72. There Will Be Blood (2007) (dir. Paul Thomas Anderson)
71. Playtime (1967) (dir. Jacques Tati)
70. My Darling Clementine (1946) (dir. John Ford)
69. The Assassination of Jesse James by the Coward Robert Ford (2007) (dir. Andrew Dominik)
68. The Sting (1973) (dir. George Roy Hill)
67. Sherlock Jr. (1924) (dir. Buster Keaton)
66. Eternal Sunshine of the Spotless Mind (2004) (dir. Michel Gondry)
65. Kagemusha (1980) (dir. Akira Kurosawa)
64. Citizen Kane (1941) (dir. Orson Welles)
63. Raging Bull (1980) (dir. Martin Scorsese)
62. Dog Day Afternoon (1975) (dir. Sidney Lumet)
61. The Life Aquatic with Steve Zissou (2004) (dir. Wes Anderson)
60. Some Like it Hot (1959) (dir. Billy Wilder)
59. Pulp Fiction (1994) (dir. Quentin Tarantino)
58. The Umbrellas of Cherbourg (1964) (dir. Jacques Demy)
57. It’s a Wonderful Life (1946) (dir. Frank Capra)
56. This is Spinal Tap (1984) (dir. Carl Reiner)
55. M (1931) (dir. Fritz Lang)
54. When We Were Kings (1996) (dir. Leon Gast)
53. The Gold Rush (1926) (dir. Charlie Chaplin)
52. Rosemary’s Baby (1968) (dir. Roman Polanski)
51. The Wages of Fear (1953) (dir. Henri-Georges Clouzot)
50. The Great White Silence (1924) (dir. Herbert Ponting)
49. Autumn Sonata (1978) (dir. Ingmar Bergman)
48. Withnail and I (1987) (dir. Bruce Robinson)
47. The Royal Tenenbaums (2001) (dir. Wes Anderson)
46. Before Sunrise (1995) (dir. Richard Linklater)
45. True Romance (1993) (dir. Tony Scott)
44. Before Sunset (2004) (dir. Richard Linklater)
43. Inglourious Basterds (2009) (dir. Quentin Tarantino)
42. 4 Months, 3 Weeks, and 2 Days (2007) (dir. Cristian Mungiu)
41. The African Queen (1951) (dir. John Huston)
40. A Matter of Life and Death (1946) (dir. Michael Powell, Emeric Pressburger)
39. Days of Heaven (1978) (dir. Terrence Malick)
38. Rushmore (1998) (dir. Wes Anderson)
37. What We Do in the Shadows (2014) (dir. Jemaine Clement, Taika Waititi)
36. 12 Angry Men (1957) (dir. Sidney Lumet)
35. It’s Such a Beautiful Day (2012) (dir. Don Hertzfeldt)
34. Casablanca (1942) (dir. Michael Curtiz)
33. Scenes from a Marriage (1973) (dir. Ingmar Bergman)
32. A Woman Under the Influence (1974) (dir. John Cassavetes)
31. Brief Encounter (1945) (dir. David Lean)
30. The Godfather Part II (1974) (dir. Francis Ford Coppola)
29. Do the Right Thing (1989) (dir. Spike Lee)
28. Meet Me in St. Louis (1944) (dir. Vincente Minnelli)
27. The Godfather (1972) (dir. Francis Ford Coppola)
26. Seven Brides for Seven Brothers (1954) (dir. Stanley Donen)
25. Wild Strawberries (1957) (dir. Ingmar Bergman)
24. Seven Samurai (1954) (dir. Akira Kurosawa)
23. All That Jazz (1979) (dir. Bob Fosse)
22. Fargo (1996) (dir. Joel Coen)
21. Dersu Uzala (1975) (dir. Akira Kurosawa)
20. Grizzly Man (2005) (dir. Werner Herzog)
19. The Thing (1982) (dir. John Carpenter)
18. A Serious Man (2009) (dir. Joel Coen, Ethan Coen)
17. The Searchers (1956) (dir. John Ford)
16. Dazed and Confused (1993) (dir. Richard Linklater)
15. The Social Network (2010) (dir. David Fincher)
14. The Apartment (1960) (dir. Billy Wilder)
13. Rear Window (1954) (dir. Alfred Hitchcock)
12. Winter Light (1963) (dir. Ingmar Bergman)
11. The Graduate (1967) (dir. Mike Nichols)
10. Harakiri (1962) (dir. Masaki Kobayashi)
9. The Night of the Hunter (1955) (dir. Charles Laughton)
8. Paris, Texas (1984) (dir. Wim Wenders)
7. Mr. Smith Goes to Washington (1939) (dir. Frank Capra)
6. Rocky (1976) (dir. John G. Avildsen)
5. Harold and Maude (1971) (dir. Hal Ashby)
4. The Exorcist (1973) (dir. William Friedkin)
3. Annie Hall (1977) (dir. Woody Allen)
2. City Lights (1931) (dir. Charlie Chaplin)
1. Punch-Drunk Love (2002) (dir. Paul Thomas Anderson)


Top 100 Films – Statistics

Movies by Decade:
2010’s: 6
2000’s: 15
1990’s: 13
1980’s: 9
1970’s: 18
1960’s: 8
1950’s: 15
1940’s: 8
1930’s: 3
1920’s: 5

Best Year:
2007 – 4 (No Country for Old Men, There Will Be Blood, The Assassination of Jesse James by the Coward Robert Ford, 4 Months, 3 Weeks, and 2 Days)

Most Popular Actors/Directors/Writers:
Ingmar Bergman5
Diane Keaton – 4
Wes Anderson – 3
John Cassavetes – 3
Seymour Cassel – 3
John Cazale – 3
Joel & Ethan Coen – 3
Robert De Niro – 3
Akira Kurosawa – 3
Richard Linklater – 3
Bill Murray – 3
Al Pacino – 3
Brad Pitt – 3
Talia Shire – 3
James Stewart – 3
Max von Sydow – 3
Quentin Tarantino – 3
Billy Wilder – 3
Owen Wilson – 3


Counting down 100 films in just 50 days was one heck of an adventure, and something I was fully prepared to give up on halfway through. The list got me through some tough times recently, and provided a nice goal and distraction for me to build towards. I’ve never been more proud of myself as a writer, and seeing #1 finally pop into my feed has been the most rewarding experience yet here at Sgt. Pepper’s Lonely Hearts Film Club! Thanks to everybody who joined me in the journey, liking, sharing, and commenting on posts, and to all those who read them in their spare time. Your support means the world to me, and I couldn’t have done it without you. Here’s to another great year of films and writing for everybody!

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Top 100 Films #15 – The Social Network (2010)

 

social-network-1920x1080#15. The Social Network (2010)
Directed by: David Fincher
Written by: Aaron Sorkin (based on The Accidental Billionaires by Ben Mezrich)
Starring: Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Max Minghella, Rooney Mara

On paper, David Fincher’s The Social Network should never been nearly as effective or compelling – it’s a movie about the founding of Facebook and the events that followed.  Even though it was a great modern director tackling the material with a talented young cast, I can’t say I ever expected to be floored in the way that I was back in 2010.  The Social Network chronicles the young life of Mark Zuckerberg (Jesse Eisenberg), as he creates what will eventually go on to be the most popular social network of all time – Facebook.  He partners with trusted friend Eduardo Saverin (Andrew Garfield), eccentric millionaire Sean Parker (Justin Timberlake), and the driven Winklevoss twins (Armie Hammer). Eventually the success of the platform goes to the head of young Zuckerberg, whose business and personal relationships begin to crumble all around him.  The Social Network pushed director David Fincher from being a very good director, to being one of the modern greats.  The director shot many takes for some of the film’s more dialogue-heavy scenes, pushing his young cast to the limits, but also getting some truly great performances out of them all. Fincher also begins to dabble in post-production additions, like digital snow and breath, and even duplicating a character (Cameron and Tyler Winklevoss).  Not only does David Fincher show his prowess as a technical camera, but here he also proved that he is a true visionary with the use of these methods.  Just as, if not more, important to The Social Network’s success is the screenplay by the great writer Aaron Sorkin – perhaps best known for his writing on TV’s The West Wing.  Sorkin’s writing has always been criticized for being too smarmy or “scripted”, but it really works with a character like Mark Zuckerberg.  Sorkin’s dialogue is lightning fast at times, pushing the film’s dramatic weight with only words and actions – he creates this believable universe where each and every character is fully-developed and has their own unique motivations and goals in the project.  Every character speaks and acts differently, but when they all interact with one another it feels fluid and effortless in the best way possible.  Maybe I’m blinded by my love for Sorkin’s screwball comedy-like dialogue and situational writing, but he did win an Academy Award for the screenplay – obviously somebody out there agrees with my sentiments.  On top of Fincher and Sorkin’s all important behind the scenes efforts, in front of the camera are some of the best performances of 2010.  Jesse Eisenberg’s Mark Zuckerberg comes off as a likable neurotic and awkward loner in the first half of the film, and quickly becomes one of the more unlikable characters in film history for his actions (or lack thereof). Andrew Garfield’s Eduardo Saverin is all-too naive and trusting in his friend, which leads to his eventual downfall and his being so easily dumped – when he finally grows a backbone, it’s a truly thrilling moment.  Also noteworthy are Justin Timberlake’s eccentric million Sean Parker, who is instantly cool, but deeply vain, Armie Hammer’s Winklevoss twins, who are so overloaded with testosterone it’s a wonder they never just beat Zuckerberg up, and Rooney Mara’s Erica Albright, who is intelligent, strong, and far too good for Mark Zuckerberg’s mind games. The Social Network is a modern masterpiece in my mind, and rivals a film like Citizen Kane as a poignant and intelligent look at the meteoric rise and eventually fall of a young prodigy.  If you never saw it and only think of it as “the Facebook movie”, do yourself a favor and see this – it’ll prove your perceptions wrong time and time again.

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Top 100 Films #64 – Citizen Kane (1941)

 

ORSON WELLES CITIZEN KANE (1941)#64. Citizen Kane (1941)
Directed by: Orson Welles
Written by: Herman J. Mankiewicz, Orson Welles
Starring: Orson Welles, Joseph Cotten, Dorothy Comingore, Everett Sloane, Ray Collins, George Coulouris, Agnes Moorehead, Paul Stewart

Citizen Kane, often regarded by critics and historians as the greatest film ever made, is certainly the most daunting film on my list to write about – even briefly. What can somebody of my experience say about Orson Welles’ magnum opus that hasn’t already been repeated ad nauseum?  Absolutely nothing, but I can at least give readers an idea of why it’s appearing on my list.  Citizen Kane tells the epic story of Charles Foster Kane (Orson Welles), a newspaper tycoon through the early to mid 1900’s.  The story takes place after the death of the controversial but important figure, transporting us between past events that lead to Kane’s rise and fall, and the present where those closest to the man give some insight into his character.  We learn of the building of his famous, but incomplete, Xanadu, his multiple failed marriages, and the effect that his modest upbringing had on his personality.  Citizen Kane weaves an impressive and poignant narrative with style and grace, laying the foundation for generations of filmmakers to come – its influence is still felt in the American movie scene.  Orson Welles was in his mid-20’s when he wrote, directed, and starred in Citizen Kane – an achievement that has gone unmatched in the decades since the film’s release.  Welles’ visionary approach to directing and storytelling cannot be understated – the director employs the use of newsreel footage, montages, flashbacks, and nonlinear storytelling to push the narrative along, and techniques like deep focus to give the film a stylistic flair.  Citizen Kane’s opening newsreel sequence is one of my favorite movie scenes ever – delivering the perfect amount of information and background to our main character and his achievement.  The film’s reveal of “Rosebud” is deeply moving, despite having been parodied for decades – it’s one of cinema’s greatest reveals.  Everything about the movie is graceful, meaningful, and deliberate – there’s no doubt in my mind that Citizen Kane is one of cinema’s all-time greatest achievements.  Without it, the majority of my list would never have been made, at least not on the ambitious artistic levels many of them achieve.  If you haven’t seen Citizen Kane solely because of its reputation, I urge you to do so immediately – it’s a thrilling exercise in the magic of film, full of wonderful moments, performances, and photography that will make your jaw drop.  

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Noirvember Feature #10 – Touch of Evil (1958)

TouchofevilTouch of Evil (1958)
Directed by: Orson Welles
Written by: Orson Welles (based on Badge of Evil by Whit Masterson)
Starring: Charlton Heston, Janet Leigh, Orson Welles, Joseph Calleia, Marlene Dietrich

Orson Welles is without a doubt one of the most stories directors in Hollywood history.  His feature length debut film, Citizen Kane, is known as one of the greatest films ever made, and even managed to completely re-define the way films were made.  His influence is felt to this very day, not only through Citizen Kane, but his other ambitious projects like Shakespeare adaptations Macbeth and Othello, the Academy Award nominated The Magnificent Ambersons, his documentary essay film F For Fake, and his film noirs like The Lady from Shanghai, The Stranger, and the final Noirvember feature, Touch of Evil.  Welles’ film noir is often regarded as one of his best films, and one of the last “true” film noirs of the era, and because of this it’s only fitting that I’ve picked it to close out this month’s festival.  The film was released in 1958, and would prove to be the final project that Orson would direct on American soil.  After the release of Touch of Evil, Welles would focus on strictly European productions, and would move onto more challenging projects than ever before, even tackling ambitious projects he had no hope to finish.  By the time Welles passed away in 1985, his list of incomplete films would rival his own finished filmography, many of these projects developed after the release of his last film noir.  Touch of Evil has been met with both wide amounts of praise and controversy over the years, mostly because of its whitewashing of non-white characters.  The biggest offense comes in the form of Charlton Heston, who in the film plays a Mexican man, but in real life is as American as they come.  His character wears dark-colored makeup to give him the appearance of a Mexican-born man, and critics and historians alike have questioned the choice of not just casting a real Hispanic actor.  Despite this questionable casting blunder (Heston is still incredible in the role), Touch of Evil has endured the test of time on most other fronts, and is now widely considered to be not only one of the best film noirs of all-time, but one of the great films of the 1950’s.

TouchOfEvil1

The film begins on a quite literally explosive note, seeing main characters Ramon Miguel (or Mike) Vargas (Charlton Heston) and his wife Susan Vargas (Janet Leigh) brush with death multiple times by strolling past a car containing a ticking time bomb.  When the car passes the over American border, it finally explodes. The sudden explosion kills those within the car, and quickly launches the drug enforcement officer Miguel Vargas into an investigation. The leader of said investigation is Captain Hank Quinlan (Orson Welles), a no-nonsense, disheveled, and clearly past his prime officer of the law.  Vargas unofficially joins the efforts by Captain Quinlan, and the team soon comes to suspect that the incident has been perpetrated by Sanchez (Victor Millan), the secret husband of the victim’s daughter.  After Vargas accidentally uncovers some very dirty police work by Quinlan and gang, he launches into a full independent investigation of the man’s previous detective work.  The investigation proves Vargas’ hunch correct, and he finds that Quinlan has been planting evidence and sentencing innocent men for years.  When Vargas and his wife suddenly become the targets of unwanted attention by the brother of a suspected bomber, they are moved into a small roadside motel in the middle of nowhere.  While Vargas is out trying to fight the corruption found in Captain Quinlan’s police force, his wife Susan is unknowingly being stalked and her motel room cased.  Will justice prevail over corruption, or will the efforts of Miguel Vargas prove to be fruitless?  Find out in Orson Welles’ incredible Touch of Evil.

Wow.  Even if Noirvember had somehow been a complete disappointment in my books, Touch of Evil is a film so good that its presence alone would have made the marathon a success!  Orson Welles is a filmmaker I’ve always admired greatly, and Touch of Evil only furthers my esteem for the great Hollywood mind.  Not only is his direction incredible throughout (especially the opening long-take, finally interrupted by a massive explosion), but his performance is one of the film’s many standouts.  His drunk, sleazy border sheriff character Captain Quinlan feels larger than life while never becoming hamfisted, and the whole thing is so perfectly believable in its execution.  Charlton Heston and the future Psycho star Janet Leigh have terrific chemistry throughout, and both performances capture ideal characters who believe in justice above all, and are blind enough to fail to see the danger lurking immediately before them.  Despite the role being unfortunately whitewashed, Heston’s on-screen presence makes you immediately forget about the injustice, and instead focus on and appreciate the subtlety in the actors performance.  Heston, who before this had largely starred in epics like Julius Caesar, The Greatest Show on Earth, and The Ten Commandments, showed restraint and talent that I had no idea the actor even had.  Touch of Evil is a film so well-realized and so atmospheric that it instantly makes you forgive its overly-complex and convoluted story, and instead focus almost entirely on the artistry at hand.  The film was originally released in a double bill as something of a B-movie, and would go on to crush the hopes Orson Welles held for a Hollywood relaunch.  The handling of the film by Universal was so unbelievably botched that it almost sounds like fiction.  Instead of releasing and embracing this great film noir directed by one of the all-time great directors, and starring a cast of A-list stars, the studio would feel ashamed of the effort and instead bury it in trash.  It makes me so incredible happy to see the public opinion of the film change to such a positive one, and it’s so incredibly deserved for a masterpiece like Touch of Evil.

touch_of_evil_4

Orson Welles’ final Hollywood production would prove to be a financial flop, but would fortunately be looked at historically as one of the best films ever made.  Touch of Evil is a beautiful, dark, and atmospheric noir that features incredible direction by Welles, terrific performances by the entire cast, and some incredibly tense moments that you’ll have to see to fully appreciate. It is a film I’m disappointed took me so long to finally see, but I know it’s one I’ll never forget.  Orson Welles’ Touch of Evil gets my highest recommendation.  

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