Let the Countdown Begin! My 100 Favorite Films: From 100 to 91

The idea of listing one's 100 favorite movies seems daunting, unrealistic, and a wee pompous. First, I find it almost impossible to settle on a "top 100"--I'm always thinking of a fave I forgot to include. Furthermore, the definition of "favorite" seems to fluctuate based on my age and state of mind. And yet...I admit that I'm intrigued with lists, especially the countdown variety. I guess I'm just a list kind of guy.

During the Christmas holidays, I found a list of my favorite movies, which I'd compiled many years ago. To my surprise, about 70% of the films were still ones I enjoy watching every year or two. I thought it might be amusing to revise my list and do a monthly series of posts where I count down my faves from #100 to #1. Several of the films are ones I've reviewed at the Cafe, while others are pretty obscure.

My film tastes are pretty eclectic, so my favorites feature performers as diverse as Errol Flynn, Spencer Tracy, Deborah Kerr, Hayley Mills, and Bruce Lee (in fact, I list at least two films by each of those stars). There are Hammer films, foreign-language films, Disney, and Hitchcock. And there are robots, gargoyles, soldier ants, and even "humanimals." Let me stress that these are not what I consider the greatest films ever made (though some of them are). Rather, they are just one film buff's favorites.

Sadly, there were a handful of movies that just missed out on a place on the list. These honorable mentions include Trinity Is Still My Name, Young and Innocent, The Flim Flam Man, Body Heat, The Fury, Cornered, The Five Man Army, Repeat Performance, Star Trek II: The Wrath of Khan, and Random Harvest. And now, it's my proud pleasure to count down 100-91:

100. Ten Little Indians (1965)/John Carpenter’s The Thing - I know, I've already cheated by starting with a tie so I could squeeze in 101 favorite films. But the truth is that these two films both feature a setting and premise that have always appealed to me: an isolated snowy location and a murderer that could be anyone. I know plenty of movie lovers are aghast that I didn't pick the more renowned And Then There Were None. However, it's not set on a snow-covered mountain...and doesn't have a "murder minute."

99. Rocky - The variable quality of the sequels doesn't diminish the original, which presents a gritty, winning underdog story. Whenever it's on TV (which is a lot), I find myself compelled to watch it from whatever point I join the plot.

Natalie Wood recites Wordsworth.

98. Splendor in the Grass - OK, I admit it...I first saw this on the late show when I was around 18 and got the sniffles during the bittersweet closing scene. Natalie Wood is painfully vulnerable as an emotionally fragile young woman in love with Warren Beatty (who has problems of his own) during the late 1920s. A poignant script by the marvelous William Inge has Natalie quoting Wordsworth's Ode: Intimations of Immortality from Recollections of Early Childhood (the source of the title).

97. My Cousin Rachel - Atmospheric adaptation of Daphne du Maurier's haunting novel stars Richard Burton as an intense young man who falls in love with his new aunt (Olivia de Havilland)--even though he suspects her of murdering his uncle. Set among the rocky beaches of Cornwall with its crashing waves (I strongly recommend watching it at the beach).

Diane Lane in Streets of Fire.

96. Streets of Fire - Walter Hill's “rock n’roll fable” is a stylized blend of action, romance, and terrific music set in “another place, another time.” The plot seems lifted from a 1950s biker film, but the sometimes corny dialogue recalls “B” Westerns of the same period. Ignored for years, it's finally been recognized as a cult film, which is a small victory for dedicated fans like me.

95. Inherit the Wind - I love a good courtroom drama (there will be others on my list) and this is one of the best. The case, based on the "Scopes Monkey Trial" of 1925, certainly holds one's interest. However, what lingers are the brilliant performances of Spencer Tracy and Fredric March--plus the film's fascinating portrait of public opinion and the men that try to shape it.

94. The Best Man - Gore Vidal's sharply-observed look inside American politics stars Henry Fonda and Cliff Robertson as rivals fighting for their party's presidential nomination circa 1964. Both candidates harbor secrets that can destroy their political aspirations and their loved ones. This gripping drama features a stellar cast and a most satisfying and realistic conclusion.

Peggy Cummins as the carnival sharp-
shooter with more ambitious plans.

93. Gun Crazy (aka Deadly Is the Female) - Bart (John Dall) is a young man who has been obsessed with guns. After a troubled childhood, he appears to have gotten his life in order when he falls head over heels for Annie Laurie Starr (Peggy Cummins), a carnival sharpshooter who's nothing but trouble. This classic "B" film noir was the career highpoint for both its stars, who are simply marvelous and generate plenty of sparks. An obvious inspiration for the later Bonnie and Clyde...though I much prefer Gun Crazy.

92. Greyfriars Bobby - This forgotten British Disney film may be the finest examination of the special bond between humans and dogs. The plot is based on the amazing true story of a loyal Skye Terrier who slept on his master’s grave in an Edinburgh cemetery every night for 14 years. The low-wattage cast, featuring Donald Crisp and Laurence Naismith, gives sincere performances and the heartfelt story never turns maudlin.

Scary-looking and hard to kill...
because they're dead!

91. Jason and the Argonauts - The first 45 minutes establishes the backstory for this version of the Greek myth about the Golden Fleece. It's all quite well done, but once our heroes set foot on the island of Bronze, the movie becomes a magical experience courtesy of Ray Harryhausen's sensational special effects. Every fan has their favorite Harryhausen sequence, but my top two are both from Jason:  the capture of the winged Harpies and Jason's dual with the "dragon's teeth"--or as I call it--the breath-taking swordfight with the skeletons.

Next month, I'll count down 90-81, which will include the first of multiple list appearances by Alfred Hitchcock and Hammer Films, plus the place I'd like to take my wife for a second honeymoon.

Streets of Fire: A Rock 'n' Roll Fable

Walter Hill’s self-proclaimed “rock n’roll fable” clanked at the boxoffice when originally released in 1984. But my wife and I enjoyed it immensely and, over the years, Streets of Fire has gained in stature. Some critics now praise its unique look, terrific music, and skillful blending of genres. The plot seems lifted from a 1950s biker film, but the sometimes corny dialogue recalls “B” Westerns of the same period. Hill avoids specifying a setting; it’s just “another place, another time.”

A high-octane concert performance by Ellen Aim (Diane Lane) and the Attackers kicks off the film. But before she even finishes her song, Ellen is “stolen” by the motorcycle gang, the Bombers. With the hapless police unable to take on the Bombers, diner owner Reva (Deborah Van Valkenburgh) looks elsewhere. She writes her brother Tom Cody (Michael Paré), Ellen’s former flame, and asks him to come home.

Tom, still embittered by his breakup with Ellen, initially refuses to rescue the kidnapped singer. He changes his mind when Ellen’s current boyfriend and manager (Rick Moranis) agrees to pay $10,000. As he explains to his sister: “They always hire bums like me for jobs like this.” With newfound crony McCoy (Amy Madigan) and Ellen’s manager in tow, Tom ventures into Bomber territory to free Ellen.

Hill’s fast-paced direction keeps the film moving at a speedy clip, especially during the rescue scene. I love the remarkably concise six-shot sequence in which Tom rescues Ellen, with each shot lasting no longer than a second or two: (1) Tom kicks open the door; (2) Ellen looks at him from the bed she’s tied to; (3) Tom snaps open his knife; (4) we see a close-up of Ellen’s hand tied to a bedpost; (5) Tom cuts the rope; and (6) Tom and Ellen run through the doorway.

Visually, Hill fills the screen with contrasts, dressing up drabness with eye-candy. With the exception of Ellen, the main characters are costumed in muted earth-tone colors and live in dreary, rundown buildings. But, during the frequent night scenes, the town sparkles playfully with bright neon signs of blue, yellow, orange, and pink.

Complementing the bright lights are glittering music performances by Fire, Inc. (with Lane lip-syncing), the Blasters, and others. Hill’s affection for the music is apparent—the film closes with two energetic stage performances which almost play like music videos. The terrific closing song, songwriter Jim Steinman’s grandiose “Tonight Is What It Means to Be Young,” sadly flopped when released to radio. However, the other closing song, “I Can Dream About You,” turned into a surprise Top 10 Billboard hit for its writer Dan Hartman.

The cast of Streets of Fire features many memorable faces. Lane and Willem Dafoe (as gang leader Raven) would each enjoy long acting careers. Rick Moranis established himself as a dependable supporting actor in comedies such as My Blue Heaven and Honey, I Shrunk the Kids. Bill Paxton, featured in a small role as a bartender, made the biggest leap. Over a decade later, he finally snagged leading roles in “A” films like Twister and A Simple Plan.

Unfortunately, such good fortune did not await Michael Paré. A good-looking, brooding performer, Paré did not fulfill the promise of Streets of Fire and the earlier Eddie and the Cruisers. He would make one more minor hit, The Philadelphia Experiment, then be relegated to low-budget action films that often went straight-to-video. One can almost imagine him saying: “They always hire actors like me for films like that.”