Number 88 on the AFI Top 100 list is Howard Hawks’ screwball comedy, Bringing Up Baby.

TCM.com gives this synopsis:

A madcap heiress upsets the staid existence of a straitlaced scientist.

I have a confession to make.  I hate watching Bringing Up Baby.  In 5 minute chunks, I can take it.  It is a beautifully crafted comedy – probably one of the best ever written – but it exhausts me. That’s why it has been so long since my last AFI Top 100 blog post. I just couldn’t bring myself to watch it again.

Howard Hawks even said that the movie had a fatal flaw that hurt it in the box office – there are no sane characters in the movie.  I whole-heartedly agree.  I love screwball comedies but Bringing Up Baby for me turns into white noise of zaniness and the jokes lose their effectiveness.

Don’t get me wrong – I laughed out loud several times while re-watching this film.  But just like in What About Bob?, I just get so annoyed at the catalyst character.  But with all my complaints, I still believe the film deserves to be on the top 100 list.  It is a part of cinema history and you all should see it.

Take particular note in the direction and cutting.  Hawks let the actors play the comedy and rarely used a cut to emphasize a joke.  Wider shots and longer takes…

The Peter Bogdanovich commentary on the 2-Disc DVD release of the film is especially good.  Be sure to give it a listen.  And rent Bogdanovich’s film, What’s Up Doc? which is a loving homage to Bringing Up Baby.  He admittedly stole a major portion of the film.

What did you think of Bringing Up Baby?

Number 89 on the AFI Top 100 is M. Night Shyamalan’s masterpiece, The Sixth Sense.

Let’s have a show of hands of those who either a) Had the ending ruined for them or b) Ruined the ending for someone else.  I fall in the B category.  But in my defense, my mom said she’d NEVER see the film. 

8-year-old Cole Sear is haunted by a dark secret: he is visited by ghosts. A reluctant channel, Cole is frightened by visitations from those with unresolved problems who appear from the shadows. Confused by his paranormal powers, Cole is too young to understand his purpose and too afraid to tell anyone aout his anguish, except child psychologist Dr. Malcolm Crowe. As Dr. Crowe tries to uncover the ominous truth about Cole’s supernatural abilities, the consequences for client and therapist are a jolt that awakens them both to something harrowing–and unexplainable.

Recently, Josh and I hosted a movie night where we watched The Sixth Sense and we had a very nice evening.  After the film, we had an hour long discussion about different aspects of the film.  Here are some of the highlights:

• Even though the scares and jumps may not play as scary after several repeat viewings, it has become evident that the film isn’t really meant to be that.  It’s more of a drama.  And highly successful at that.
• The music doesn’t play like a scary movie but more like a drama backing up the first point.
• The theme of the film is communication and it is explored in the 3 main storylines – a) Dr. Crowe’s relationship to his wife, b) Cole’s relationship to his mother, and c) Cole’s experiences with the ghosts.

M. Night Shyamalan used to be one of my favorite directors.  This film along with Unbreakable, Signs, and The Village are still some of my favorite films.  But his recent work has been lacking.  I hope The Last Airbender marks his return to greatness.

What is your favorite Shyamalan film?  Do you have any faith in The Last Airbender?

#90 on the AFI Top 100 is the classic Fred and Ginger musical, Swing Time (1936.)

Seeing Top Hat (1935) at the TCM Classic Film Festival was my first exposure to Fred Astaire and Ginger Rogers and I wanted more.  I rented Swing Time from Netflix the very next day.  I personally liked Top Hat better but both are great films with phenomenal dancing.

TCM.com gives this synopsis of Swing Time:

To prove himself worthy of his fiancee, a dancer tries to make it big, only to fall for his dancing partner.

Fred Astaire directed and choreographed his own dance sequences in several of his RKO musicals including Swing Time and Top Hat.  Unlike Busby Berkeley’s musicals which at times became very abstract, Astaire’s films had more of an integration of music and dance with the story.

Swing Time was directed by George Stevens – best known for A Place in the Sun, Giant, and Shane.  All of those classics AND he could direct musicals.  Talk about versatile.

I found this album on iTunes – it has all of the songs from the Fred and Ginger films at RKO.  I love it.

Fred and Ginger are dynamic on screen.  It is no wonder they made 10 films together.

What is your favorite Fred and Ginger film?

Number 91 on the AFI Top 100 list is Alan J. Pakula’s Sophie’s Choice (1982.)

If you’re like I was and you’ve never seen Sophie’s Choice, you’ve probably asked the question, “Why the hell does Meryl Streep get so much respect?”

Watch Sophie’s Choice and you’ll find out why.

TCM.com gives this synopsis:

A concentration camp survivor resettles in New York City but can’t escape her past.

Sophie’s Choice is not a good film.  I don’t think it works at all as a dramatic narrative.  It would make a better stage play.

But…

Meryl Streep is amazing.

Sophie’s Choice was nominated for 5 academy award but only won for Best Actress – Meryl Streep.

If you haven’t seen Sophie’s Choice, eat your vegetables and see the film.  You probably won’t enjoy the experience but you’ll see a master at work.  Kevin Kline also does a fine bit of acting though not as nuanced as Meryl.

On a side note, my favorite Meryl Streep film is The River Wild (1994.) What is yours?

We are going through the AFI Top 100 list.  Check out all of our previous posts from #100 – #93. #92 is a film that completely engages you from the beginning and doesn’t let go – Martin Scorsese’s Goodfellas.

TCM.com gives this synopsis:

A young man works his way up through the New York City mobs.

Goodfellas is brilliant.  It makes crime look so appealing at the beginning of the movie that at half-way through, I’m figuring out how to join a “crew.”  But by the end of the movie, I’m so glad I didn’t.

I’ve seen Goodfellas many times, but this time, the take away was a bit different.

I’d been watching a lot of French New Wave.  The filmmakers generally don’t want you to identify with the protagonist.  In The 400 Blows, the boy (Antoine) turns to a life of crime and rebellion just like Ray Liotta’s character, Henry.  But, in The 400 Blows, I don’t care about the kid.  He comes off as a spoiled brat.  I feel sorry for him but I don’t identify with him.

In Goodfellas, I’m right there with Henry.  I identify with him from the start.  As I said above, I want to be him for most of the movie.

So what is the difference between Antoine and Henry?  Why am I so indifferent about the one but I want to BE the other?  I’m still pondering the question.

It’s more than just the difference between a gangster movie and a movie about a kid in France.  I could have been made to identify with a kid growing up in France and I’ve seen other gangster films where I cared nothing about the main character.

Goodfellas is pure cinematic genius from start to finish.  If you haven’t seen it, go rent it and be prepared to have your mind blown.

What is your favorite Scorsese film?  Why do you think we identify so strongly with Henry?  Let’s start a discussion!