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I watched Casablanca again last evening in the the stunning new DVD
transfer that is part of the new two disc set. This is really a perfect film and never lets you down no matter how many times you see it.Are there any other candidates for a "perfect" rating?
Follow Ups:
'Dirty Pretty Things'
'The Secret Lives of Dentists'
'Anny Hall'Later
D
.., which I feel is one of Hitch's more underrated and/or ignored masterpieces. Hitch's vision here seems to have been to make a great, brooding mood piece that (perhaps) did not rely quite so much on symbolism for undercurrent effect. Instead, the feeling of relentless exasperation as the plot unfolds is due to the build-up of more easily recognizable anxieties, played up to the hilt. Trouble unfolds slowly but surely in the dark, cramped atmosphere, "where the worm never dies". It's Hitchcock painting with his low-keyed pallet, tonal rather than coloristic. It's not the type of movie to break box office records, but it's a complete statement and is meticulously crafted - my definition of a "perfect" movie. Henry Fonda was never so good as in this movie, thanks in large part to the way old Hitch mated Fonda's stringy features and measured steps to the storyline. Dark, gutty, nervous tones throughout. This work might be a "Suite For Solo Cello", if it had been a musical composition. Go and see what I mean, if you have not already.
I have always had trouble with this movie (appreciating it, that is). Based on these comments, I will seek it out and watch it againa and report back. Thanks.
The keynote (pardon the pun) of this story is set at the start of the film, as Fonda fingers the final chords on his cello at the holiday nightclub performance. Those taut ballons that cram the nightclub ceiling are like the bubbles that are about to burst in Henry's head.., I mean, Henry's life! Later on at home, when a mirror cracks so does his wife. And I love Hitchcock's use of those dark shadows that always seem to always hover down over the characters. Speaking of which, keep an eye on the photography - it's some of the most effective that you'll ever see in a Hitchcock film, and that is really saying something. Perhaps the consummate mastery of Hitchcock's production here is the very thing that will drive some of us away from this film. It truly is a dark chronicle of bad luck and exasperation, with only a tiny glimmer of hope at the end of the tunnel. Cheers!
...if there is such a thing as a perfect movie.Consider also:
The Passion of Joan of Arc
The Bicyle Thief
Sunrise
The Third Man
Rear WindowHmmmm I can't seem to find anything very recent.
.
x
Huston´s "The Dead" (please point to a single defect in this jewel, the only case I know of a film which is faithful to the original written story, and then surpasses, and enriches it).Another one which will never be bettered, is Tod Browning´s "Freaks", in which every imperfection (it has many) adds to make the whole film even more coherent, and one of the most affectionate and tender in the whole history of filmmaking: it is perfect, as it can´t be done any better.
And then, there is that risky, almost (while never really) cheesy Capra´s "It´s a Wonderful Life", which in its genre will never be surpassed...
And that most atemporal film, short in length, deep in reach, perfect in every sense, Welles´s "The Immortal Story"...
Regards
BF
The Dead. Every time I see it (every Epiphany) I marvel at its collection of small pleasures, each one more enjoyable. I am dying for a good DVD of this classic.
.., perhaps even better than "Seven Samurai", has everything the perfect movie should. And BTW, "High and Low" has a marvelous bar scene near the end of the film that fairly smokes the bar scene(s) in "Casablanca", in almost all ways cinematic, IMO. Bask in the details of this scene if you see it! A "must see" film.
.., I don't know about it being "perfect", but I am just so enraptured by the craft every time I see it! The characters all gleam like jewels! And, the memorable scenes are just too numerous: The arrival of the uncles train at the old Santa Rosa, California station when that billowing dark smokecloud pours forth from the train's stack just as he arrives, unfurling an ominous pall of shadows-of-things-to-come over the platform! The fluttering emotions of uncle's angelic but slightly idiotic sister at his announcement of leaving! The implications of anal-erotica in various scenes (seemingly representative of the pervading atmosphere of sublimated incest), such as when father hoists his youngest daughter piggy-back style up the stairs with his hands clasped behind her! The "Till Two" bar scene, with the deathly wan waitress who craves precious gems! The giddy, conniving widow at the bank! The ominous and gothic-looking old Santa Rosa library lit up at nighttime, with the cadaverous old librarian/keeper-of-the-tomb-of-dead-knowledge, inside! And oh, the blind madness of all - except for uncle, who definitely is not blind and who by virtue of eyesight has made himself deathly soul-sick! It just goes on and on... An Overly Enthusiastic Two Thumbs Up?
all time and a good case can be made that it is one of the very greatest.
"Beauty and the Beast" is also flawless.
Interestingly enough, every Brazilian I've met who has seen it feels it was pretty maudlin.
-----------
It's not I'm anti-social,
I'm only anti-work,
Glory Osky, that's why I'm a jerk!
The problem with some of my compatriots (and I have many that love the film) is that the definitive Carnaval film was made by a....Frenchman, who cast a French actress in the lead!
I've seen it twenty, thirty times. Obviously I'm in love.clark
Just kidding. I've only seen it about 12 or 15 times.
Hemmings character drives up to his studio, and as usual, there is nowhere to park
He eventually finds a spot half a mile from number 39 and the Rolls is promptly clamped by an eagled eyed policeman
5 minutes later, the convertible top is slashed, and his camera gear is gone
He is mugged on the walk back to his Studio
Gets there somewhat shaken to discovered the smart Card on the door wont recognise him and there is no way to get in as it was all sci-teched a decade earlier
Calls the freedial number from his mobile and the engineer comes out and defuses the locks 10 minutes after its started raining
Walks in to discover demand notices for overdue mortgage payments as the old pottery barn/studio is now worth over 2 million pounds, and he earns almost nothing as a photographer
Two pretty girls arrive on his doorstep, one with a Court Order demanding restitution and damages for his verbally abusing his photography models; the other is a detective with an arrest warrant for the attempted rape of Jane Birkin, a minor
The murder never happens in the Park because they arent allowed to walk on the grass
Eric
rico,There is something about "Seven Samurai" that makes it the most "complete" movie I can think of- humour, tragedy, adventure, action, both personal and social issues and all amazingly acted, photographed, edited and scored in a way that I can't conceive of improving.
The key to it's success is not only it's completeness in story, character, and movie craft, but the very high level of convincing atmosphere. This is a movie that makes me believe that life in a small village in 17th Century life must've have been exactly like that- it "rings" true and when I see other attempts to show it, I measure these apptempts against "Seven".
"Jojimbo" and "Throne of Blood" nhave many of the same charactersitics- Jojimbo as a metaphor for the Cold War is another interesting level and Throne of Blood as Macbeth is an added dimension, but these metaphors make these film a bit more removed form the realism of Samurai. Still "Throne" is almost perfect in it's way and perhaps even more beautifully photographed than Samurai.
Also, contrary to usual Hollywood techinique with a successful movie, Kurosawa wisely refrained from the sequel, "The Four Remaining Samurai." Of course, Samurai was so brilliant there was a Hollywood sequel "The Magnificant Seven" , but to me this is only a poor tribute.
Cheers,
Bambi B
nt
and it is called "A Bug's Life".
.
Victor,I need to see this one- though there were at least three or four versions weren't there?- again. Are you thinking of the mid-'50's one?
Aside: It appears though that all the Samurai have been run through. My stomach is already a little queasy after seeing the trailer for "The Last Samurai". Imitation may be the sincerest form of flattery or it may be the sincrest form of total obliviousness.
How about combining "Bad Santa" and "The Last Samurai" for a holiday blockbuster release "Bad Samurai Santa." I see John Goodman in the title role..
Cheers,
Bam
I believe that is the one, I would have to check the tape, it's the only one I have, it is the version recommended by TAFKA some time ago.I agree we have been over-samuried, but when it comes to Japanese movies fortunately there are so many fine alternatives... things like Woman in Dunes, Tampopo, Irezumi and many others... well, should I even mention In the Realm of Senses? :-))))))))))))))))))) and Steve is great source of information on all these.
Is not bad at it.
X
.
Nor to Merle...
(nt)
Please feel free to butt in on those guys anytime...
He's never been too shy about throwing me over the barrier.
.
;^)
.
I do watch two films (these two ONLY) in a colorized format (says he, already ducking the brickbats) and they are "Yankee Doodle Dandy" and "Scrooge", the 1951 classic Allistair Sim version of Dickens' "A Christmas Carol".
impardonnable mec.
;^)
.
:o)
I shallow and formulaic, cliche-driven, with some good acting but nothing too aspiring.One can't answer your call for a "perfect" movie without identifying what he is looking for. But I would say virtually any early Fellini is head and shoulders above the Casablanca, and something like Bicycle Thief dwarfs it handily.
BTW - none of them is really "perfect", but exceptionally good - yes.
And Fellini may be a genius, but boooOOORING! Fellini's HEAD AND SHOULDERS early flicks wouldn't have been able to touch the dandruff on Bogey's white suit in Casablanca!Of course, this is just one man's educated, well informed opinion; your mileage will undoubtably vary. ;^)
AuPh
an excellent chardonnay isn't as "good" as an excellent port.
"The Bicycle Thief" is damn close to perfect for "realist" film. "Casablanca" I thought was very good, but several other films, including "Laura," and "Suspicion" I thought superior.
To a masterpiece.
I do not no of Victor´s derailleur..but you seems not to have one at all....* A good accident, as every involve with " Casablanca " was baffle at the success...
You have to understand, my dear Patrick, the American obsession with the cool, square-jawed, self assured male super-hero characters.As you guys in decadent Europe were laughing whatching Fantomas, America was sitting on the edges of its chair, tears in the eyes, trying to catch every quick and smart retort dropped by its hero, the square jaw barely moving and the martini glass not even spilled.
Truth is Borart's character is the standard of cardboard cut-outness, having as little to do with the way real people behave in real life as Fantomas has with you.
Well, maybe even less.
So the true reason behind the mad love for Casablanca lies not in its artistic values, but in being the proper response to a particular needs of a particular society.
A great film needs just an ordinary person in order to touch your nerve - a Cabiria, or Lamberto Maggiorani from the Bicycle Thief... a weak film needs a cool super-hero. A Fantomas. A Cling Eastwood. A Bogart.
That´s true. But we all needs our heros, or I better said most of us, that would not be too arrogant of a ringing in my ears.
The point was how can one compare AND dismisse the real film, the one that is made of human flesh, of blood, of love, of purity, of sensibility, of shame, to a cartoon, even if pleasantly romantic, professionally played, well photographed, but a work made " a la chaine " like Curtis did with more or less " bohneur ".
How can he dare!
And I really like Casablanca.But for what it is.
I also love many films with Eastwood and Bronson for the same reason - we all need a dose of tostesterone fantasy from time to time.But the original question was about the "perfect" film... that is one tough call!
Easwood grew better and better, for Bronson...I did like a some but...it was just too caricatural....one look at each was enough for my soul....
In a contemporaneous review of "Death Wish", a critic wrote (paraphrase), "We are expected to believe that Bronson is a successful architectural engineer, when he looks like he'd have trouble signing his own name".
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