Godfather

Superfluous 7…..Great Movie Scenes Part II

When I did the initial list of great movie scenes a couple of weeks ago I warned you that, in true cinematic tradition, there would be a sequel. As with the previous list I tried to find the best possible video but wasn’t successful in all cases. I hope these bring back good memories and remain optimistic that Hollywood, despite being a liberal bastion of questionable ethics & moral decay, will provide more of these moments in the future. Until then, The Manofesto proudly presents…..

 

 

from the home office in Horseheads, NY…..

 

 

 

The Superfluous 7 Great Movie Scenes Part II:

 

 

 

7 The Deli in When Harry Met Sally

I am secure enough in my machismo to admit that I like a good romantic comedy, otherwise known as a rom-com or a chick flick. Among the best of that particular genre is 1989’s When Harry Met Sally, starring Billy Crystal & Meg Ryan (back when she was cute & perky and not a science experiment gone horribly wrong) in a story that asks the much debated question of whether or not men & women can simply be friends. Early on in the film, while having dinner at a deli, the two

debate the concept of women faking…pleasure, with her stating that most women have done so at one point or another, and him confidently declaring that no one has ever done so with him. She decides to…ummm…demonstrate, which is amusing enough. However, what boosts the scene’s notability factor is the very end, when another customer at the eatery nonchalantly quips to a waitress that “I’ll have what she’s having”. Hilarious. Interesting trivia: that patron is portrayed by director Rob Reiner’s mother Estelle. I guess we all really do have our 15 minutes of fame.

 

 

6 The Motel Room in Planes, Trains, & Automobiles

The best…maybe only…Thanksgiving film is 1987’s Planes, Trains, & Automobiles. The ingredients of this movie are almost perfect: a buddy/road trip comedy with a holiday motif written & directed by the sublime John Hughes and starring comic geniuses John Candy & Steve Martin. With a recipe

like that it’d have to be darn near flawless. Midway thru there is a scene where Candy & Martin are sharing a motel room with only one bed. The two wake up and Candy believes that one of his hands is between two pillows. Unfortunately for both men his hand is actually…elsewhere. It’s a really funny scene in a really funny movie that I look forward to seeing annually at this time of the year.

 

 

5 Sonny’s Death in The Godfather

Nearly every scene in The Godfather is memorable and pitch perfect, which is why a few of them have made these lists. One of the more violent scenes (especially by 1972 standards) is the death of Don Vito Corleone’s eldest son Santino, played by the incomparable James Caan. Anyone who has watched The Godfather knows that Sonny is a bit of a hothead, and when he races off in the midst of

a mob war with no protection to confront his malicious brother-in-law Carlo (who is physically abusive to his wife, Sonny’s sister) he pays the ultimate price for his recklessness. If you have ever watched Santino Corleone executed firing squad style in a hail of gunfire then it probably runs across your mind whenever you have to pass thru a tollbooth. I’ve always heard that actors are attracted to a really good death scene, and I think Caan has the honor of starring in one of the most extraordinary ones in the history of cinema.

 

 

4 Tom Hanks Gets Emotional in Forrest Gump

There are two scenes in Forrest Gump that I believe clinched Tom Hanks his second Academy Award for Best Actor. Gump is one of those hybrid dramedies that I absolutely adore. There are moments of laugh-out-loud conviviality, but they are almost always followed by a sober moment that lets you know that this isn’t a traditional comedy. Toward the end of the film nearly all vestiges of amusement are put aside and the story becomes quite serious. The best scene in the film, in my humble opinion, is when Forrest Gump catches up with his love Jenny sometime in the early 80’s

and he finds out that he fathered her child. Forrest physically recoils in horrific shock and poignantly asks Jenny “Is he smart or is he…??”, and we can fill in the blanks. Forrest wants to know if the boy is…oh, I don’t know what the
proper terminology is…dumb, slow, retarded, mentally challenged?? It becomes clear that the supposedly dimwitted Forrest is acutely cognizant of his low IQ, and it is a powerful moment not only due to his self-awareness but also because of his selfless concern for the child and the possibility that he may have inherited his father’s shortcomings. The second scene is after Jenny dies (ostensibly of AIDS) and Forrest talks to her grave. Hanks conveys Forrest’s sadness & emotion in such a way that we feel his pain & grieve Jenny’s death as well, even though she hasn’t exactly been a model citizen throughout the story.

 

 

3 The Hospital in The Godfather     

I sincerely believe that this is one of the most criminally disregarded scenes in cinema. It is so overlooked that I couldn’t even find a clip (but please enjoy Francis Ford Coppola on Inside the Actor’s Studio). As I said earlier, The Godfather is overflowing with fantastic scenes, but unlike the grandiose virtuosity of the more acclaimed scenes this one is more subtle, even though it is dripping with dramatic tension. When one considers the fact that the whole Godfather trilogy essentially centers around the rise & fall of Michael Corleone it becomes clear that what takes place in the

hospital is a linchpin. Michael goes to visit his father, who has been shot. Finding the building all but abandoned, Michael quickly assesses the situation and figures out that The Don’s enemies are on their way to finish the job. We see that Michael, who heretofore has not been involved in the mafia, is the direct opposite of his older brothers Santino & Fredo. Santino angers easily and acts before he thinks…Michael is cool as a cucumber. Fredo is a slow witted bundle of nerves…Michael is fearless & sharp as a tack. Basically we learn that, as opposed to the traditional hierarchy, it is the baby brother who is absolutely perfect to take over leadership of the family empire…not his elder siblings. Michael was born to lead. As he & a nurse move the ailing patriarch to another room to hide from the would be assassins Michael bends over and softly whisper’s into his semi-conscious father’s ear “I’m with you now…I’m with you”. It is the moment that Michael Corleone crosses over to the dark side.

 

 

2 The Big Reveal in The Empire Strikes Back

Speaking of The Dark Side…

One of the most infamous scenes in one of the most beloved film trilogies of all time is the moment

when our hero, Luke Skywalker, learns his true parentage…that he is the son of the story’s evil villain Darth Vader. This of course was decades before The Internet and our collective obsession with spoilers. Since George Lucas only let less than a half dozen people in on the secret it was a genuine shock to moviegoers. It’s a shame that such an amazing moment would be almost impossible to pull off today.

 

 

1 The Indianapolis in Jaws

When the triumvirate of Roy Schneider, Richard Dreyfus, & Robert Shaw set out to catch the shark in Steven Spielberg’s magnificent 1975 epic Jaws, the three men spend some quality time in their boat waiting. During that time they are shown drinking a bit, which prompts them to break into a rousing rendition of the British folk song “Show Me the Way to Go Home”. Unfortunately that’s when the shark decides to show up and end their merriment. But before that we are given a real gem

and one of the best soliloquys ever on film, when Shaw’s shark hunter Quint relays the chilling story of being on the USS Indianapolis, an American warship that was sunk by the Japanese in the summer of 1945, causing the single greatest
loss of life at sea in the history of the United States Navy.  The Indianapolis delivered the atomic bomb that would eventually be known as Little Boy to an air base on The Tinian Islands just weeks before it was dropped on Hiroshima, but was then lost on its return trip. Nearly 1200 men were on board and only about a quarter of them survived. In Jaws we are told that Quint was one of them, and he relays, in mesmerizing detail, how a great many of those that died were eaten by sharks.

 

 

 

 

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Superfluous 7…..Great Movie Scenes

It goes without saying that I am an aficionado of great movies. The dearth of quality cinema in the era of CGI, rampant sex, and fascination with werewolves & vampires is regrettable. At any rate, there are many components that comprise a good film, and while oftentimes the whole is greater than the sum of its parts, occasionally there are parts that are noteworthy. Within good movies there are sometimes memorable scenes that stand out. I suppose there are individual scenes that are the only thing anyone ever remembers about a particular film, although the examples I have chosen to highlight all happen to be from movies that were in my 100 Favorites list. I tried to find the best available videos for each selection, but a few are somewhat truncated beyond what I’d prefer. In the process of compiling this entry it became immediately apparent that a sequel (how fitting) will be necessary, so be on the lookout for that. But in the meantime, first & foremost, I humbly present…..

 

 

 

from the home office in Rosebud, NM…..

 

 

 

The Superfluous 7 Great Movie Scenes:

 

 

 

7 The Motivational Speech in Glengarry Glen Ross

I can’t stand Alec Baldwin. Out of all the smug, emptyheaded, obnoxiously liberal celebrities in Hollywood he is among the most irritating. However, in this one scene he absolutely nails it…hits it out of the ballpark. The cast amassed for this film…Al Pacino, Kevin Spacey, Alan Arkin, Ed Harris, Jack Lemmon…is sublime, but Baldwin manages to outshine them all and two decades later this is the scene everyone remembers and still talks about. The language is pretty harsh, but within the context of the scene I can forgive the indiscretion.

 

6 The Prologue in Halloween

Brilliant. From the tracking shot to the visual of seeing the scene thru the killer’s eyes to the revelation that the knife wielding murderer is a little boy…sheer perfection. No scene in any other horror film can even hope to compare. We expect a twist at the end of a movie, not at the beginning…but this may be one of the most shocking twists in film history.

 

5 The Parade in Ferris Bueller’s Day Off

I’ve said it before and I’ll say it again…lots of people play hooky, but I doubt if anyone has ever done it quite like Ferris Bueller. I have a feeling that in real life…especially in 21st century America…if anyone attempted to commandeer a parade float like Ferris they’d be wrestled to the ground and be thrown in the pokey. During the scene he sings both Wayne Newton’s Danke Schoen and The Beatles Twist & Shout, although this clip doesn’t show all of the former.

 

4 The Re-Entry in Apollo 13

This movie is based on a real event. We know what happens. But despite that fact the tension in this scene is incredible. One is on the edge of the seat the entire 3 minutes. And when those parachutes open & the astronauts announce their presence…wow. The music swells and the crew at mission control erupts with joy & relief…and we erupt right along with them. Well done Lil Opie Cunningham…well done.

 

 

3 The Soliloquy in Scent of a Woman

Al Pacino is amongst the finest actors that have ever graced the silver screen, and this is his shining moment. The Godfather was a better film, but this is Pacino’s best performance.

 

 

2 The Baptism in The Godfather

Widely considered to be one of the best movie scenes ever. The imagery of a child’s baptism interspersed with multiple violent murders is stunning. The organ music & the voiceover of the priest speaking in Latin while men are shot to death takes the scene to a whole other level.

 

 

1 “Dad” in Field of Dreams

I may be in the minority, but I consider this to be the single most beautiful 10 minutes I’ve ever witnessed in a movie theater. I cry every single time…still. When Costner says “It was you” and Shoeless Joe replies “No…it was you”, it has quite the psychological connotation. Suddenly we realize that this story was never about baseball…it was about something much deeper. And then when Costner…almost reluctantly…says ‘Hey…Dad…wanna have a catch??”…..my God what a moment. I am fighting back tears just writing about it.

 

 

 

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100 Favorite Movies…..#1

Your Humble Potentate of Profundity has been very sick. I have been battling a kidney infection and probably waited a few too many days to go to the doctor. When one has been involved with the medical establishment as much as I have over the course of these 38 years the compulsion to shake things off and treat one’s self with over-the-counter remedies is overwhelming but not always wise. At any rate, I am happily on the mend and slowly but surely beginning to regain a sense of normalcy, which means the desire to write is coming back as well. The truth is I have probably a half dozen things in the hopper but just haven’t had the energy or mental acuity to make it happen. That ends now.

 

I can think of no better way to get back in the saddle than by finally, at long last, finishing The Top 100 Favorite Movies series with the top of the heap, the cream of the crop, A number 1.

 

I began this endeavor with a short intro on April 11, 2009 in which I stated my belief that “greatness takes time”. The funny thing is, out of all the films in this list the #1 spot belongs to the one movie to which my logic probably never applied. Its gravitas and superiority have been recognized almost since the day of its release and a tremendous reputation has just grown over the past four decades. I have seen it called “the perfect movie”, amongst a plethora of other accolades and complimentary reviews. When I take into consideration my own tastes…the penchant for comedy, a general aversion to violence, and gravitation toward lighter fare…I am, quite frankly, shocked that I ever fell in love with this movie. I lay all the blame on my Dad, who had me watching our subject du jour from a very young age. So I suppose it is apropos that we reach the top of this very long trek just a few days after Father’s Day. Thanks Dad.

 

As if anyone who has been following this series has not seen it coming from miles away, it should surprise no one that the film in question is 1972’s Francis Ford Coppola/Mario Puzo magnum opus The Godfather.

 

The Godfather is similar, in a sense, to Field of Dreams, in that Field of Dreams is often lazily painted as “a baseball movie” when in fact it is so much more, while The Godfather is too easily pigeonholed as “a gangster movie” but is far more…far better…than that simplistic definition. And while some have been critical over the years that The Godfather glamourizes mob life, I couldn’t possibly disagree more. The truth is that Coppola glamourized movie making again, and the subject matter just so happened to involve The Mafia.

 

I cannot imagine that there are many amongst us that have not seen The Godfather. Maybe it isn’t necessarily your cup o’ tea, but you have seen it.  It is the story of the Corleone family in New York…patriarch and mob kingpin Vito (played by the legendary Marlon Brando), hothead oldest son Sonny (played by James Caan), dimwitted middle son Fredo, and youngest son Michael (played by Al Pacino), who has stayed out of the family business and served his country as a Marine in WWII. Vito also has a daughter, Connie (played by Talia Shire, better known as Adrian in the Rocky series), and an honorary son, his consigliere (counselor) Tom Hagen (played by Robert Duval). When Don Vito refuses to get into the narcotics business he is nearly killed, and not-ready-for-primetime Sonny takes control of The Family. Unfortunately he is murdered as well, which means that eventually Michael steps in and proves to be even more cool and calculating than his father.

 

Is there a lot of gunfire and bloodshed in The Godfather?? Yes, there is. But unlike so many movies today, the violence doesn’t seem to be superfluous. We understand why these murders are taking place and it all seems to fit well within the context of the story. And while I don’t agree with the sentiment that the movie glorifies the mob, I do think it looks at it in an unflinching, no holds barred, non-watered down manner, which I feel is the appropriate way to go. If the violent content had been sanitized or lightened up then I think that would have been more veneration of organized crime than anything. As it stands I do not know how anyone can watch The Godfather and say to themselves “Now THAT is what I want to do with my life!!”. I suppose maybe the haters think that the movie tries to justify the criminal activity of the Corleone family by painting them as honorable men who have their limits and are just trying to make their way in the world. I guess I can see a bit of logic in that, but even then one really needs to pay more attention. Vito Corleone is clearly conflicted, even though he says “I work my whole life, I don’t apologize, to take care of my family. And I refused to be a fool dancing on the strings held by all of those big shots. That’s my life, I don’t apologize for that.” We learn later on in Part 2 of the trilogy of Vito’s humble beginnings in Sicily, his arrival in America, and how he first got involved in La Famiglia. But he wanted more for his family…especially youngest son Michael. And the entire trilogy itself is in large part about the fall of Michael Corleone and his struggle to become “legitimate”. Far from glamourizing anything, The Godfather is a melancholy tale of bad choices, wrong turns, and flawed logic mixed with good intentions. However, it is just so well written and well-acted that somehow it ends up being an enthralling entertainment experience rather than a depressing one, like Leaving Las Vegas or anything starring David Arquette.

 

Even the supporting characters in The Godfather are a rich tapestry woven into the story in such a way that they are far from excessive. There’s Diane Keaton as Michael’s girlfriend/wife Kay, bitter film director Jack Woltz who wakes up with a shocking bedfellow, caporegimes Clemenza and Tessio (played by Abe Vigoda), Vegas impresario Moe Greene (a character based on real life gangster Bugsy Siegel), crooner Johnny Fontane (widely assumed to be based on Frank Sinatra), “Turk” Solozzo the drug dealer who begins the war between the families, infamous Corleone enforcer Luca Brasi, and Connie’s husband Carlo who is famously beaten to a pulp by Sonny and later eliminated on Michael’s orders. I could go on & on. No wonder it took Coppola nearly 3 hours to fit it all in. Oddly enough though, few people complain about the extensive length of the film. I suppose folks only do that when it’s not a very good movie.

 

Everything about The Godfather is nearly flawless. The music is minimal but vital. The cinematography is masterful. The acting…especially when one considers that Pacino & Keaton were complete unknowns, Duval & Caan were only slightly more experienced, and the studio wanted Danny Thomas instead of Marlon Brando…is superb. Coppola has a real eye for talent. There are so many scenes that are nothing short of legendary – The Baptism…the death of Sonny Corleone…the beating of Carlo by Sonny…”Luca Brasi sleeps with the fishes”…Michael’s assassination of Solozzo & McCluskey…the horse’s head. There aren’t that many memorable scenes in the average lot of 10 movies nowadays, let alone just one. My own personal favorite is the hospital scene where Michael’s quick thinking saves his wounded father from being finished off and the prodigal son softly whispers to his father “I’m with you now”. It marks the turning point and the beginning of the ascent…or descent, depending on one’s perspective…of Michael Corleone.

 

There are actual management and philosophy courses taught at universities based on The Godfather. It is well known as a great source of wisdom for all types of life situations. “It’s not personal, just business.” “Never take sides against the family.” “Leave the gun, take the cannoli.” “Never let anyone outside the family know what you are thinking.” “Keep your friends close but your enemies closer.” “Women and children can be careless, but not men.” “I’ll make him an offer he can’t refuse.” “Gambling…they consider a harmless vice. But drugs, that’s a dirty business.” “I have a sentimental weakness for my children and I spoil them. They talk when they should listen.” “In Sicily, women are more dangerous than shotguns.” “My father is no different than any powerful man, any man with power, like a president or senator. – Do you know how naive you sound, Michael? Presidents and senators don’t have men killed. – Oh. Who’s being naive??.” “I believe in America. America has made my fortune. And I raised my daughter in the American fashion. I gave her freedom but I taught her never to dishonor her family.” “A refusal is not the act of a friend. Certainly he can present a bill for such services; after all… we are not Communists.” “A man who doesn’t spend time with his family can never be a real man.” “A man in my position can’t afford to be made to look ridiculous.” “I don’t like violence. I’m a businessman. Blood is a big expense.” “We don’t discuss business at the dinner table.” Either Puzo or Coppola are geniuses. Maybe both. One thing is for sure though…The Godfather is that rare movie experience during which one can be entertained and educated.

 

I would be remiss if I did not mention that The Godfather is based on a book of the same name, the author being the aforementioned Mario Puzo. The book actually covers events in both of the first two Godfather films, and even expands on certain storylines such as Johnny Fontane’s career and connection to the Corleone family, Sonny’s sexual exploits, and Fredo’s adventures in Vegas. I very much enjoyed reading the book and would highly recommend it to anyone who enjoys a great novel, but I cannot go so far as to say it is better than the movie. That is not so much an indictment of the book as it is a testament to the immense quality of the movie.

 

So now we come to the end of the journey. I hope my readers have enjoyed the trek through these 100 films and may even check out some that they haven’t had the pleasure of seeing. We all have our own trials to bear in life, and we cannot always escape from the real world. But every once in awhile I believe it necessary to temporarily get away from our daily aggravations and hardships. Whether it is a good book, a long hike, good music, or an entertaining movie, we need those little mini-vacations from stress & discord. These 100 movies always provide me with that much needed respite, and I hope a good portion of them may have made your lives a bit easier on occasion as well.

 

 

 

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100 Favorite Movies…..76-80

Today’s selection is pretty…..dramatic. Even the lone comedy in the bunch is more of a poignant “dramedy”. There are a couple 90’s movies, one from the 70’s, one from the 80’s, and one from the 50’s, before I was even born. No one can ever say I discriminate in my movie watching. If it’s good I don’t care when it was made or who is in it, as long as it makes me laugh, makes me think, or both.

 

 

 

80 Big

In yet another example of divine timing I caught this movie on HBO just as I was ready to write about it. I love it when a plan comes together. It seems like eons ago that Tom Hanks was a relatively obscure TV star on Bosom Buddies. Flash ahead nearly three decades and he is among the most famous and successful movie stars in the world and has two Best Actor Oscars sitting on his mantle. Though the 1984 mermaid flick Splash was Hanks’ coming out party as a major movie star, 1988’s Big cemented that status. It tells the story of a 13 year old boy who is the wimpy type that gets picked on and overlooked. He goes to a carnival where he uses a fortune telling machine to wish he were big. Lo and behold the next day his wish is granted and he’s been transformed, atleast physically, into a 30 year old man. I state it that way for a reason. Hanks’ performance in Big is brilliant (it earned him his first Best Actor nomination) because he makes it clear that although the character is 30 years old on the outside, on the inside he is still a little boy. His mannerisms, the things he says and the way he says them…..it’s a spot on interpretation of a child by an adult. Able support is given by Robert Loggia and Elizabeth Perkins (a smoking hot, underrated, underutilized actress even now), but Big is all about Hanks. Funny and touching without being overly sweet and sentimental, Big hits exactly the right note, the rare “fantasy” film that is utterly believable.

 

79 Saving Private Ryan

Back to back Tom Hanks?? You bet. Although this is a completely different Hanks vehicle. You won’t see very many war films on this list. I’m just not a big fan. I prefer to laugh rather than do the whole blood and guts thing. But Saving Private Ryan is so powerful, so raw, so realistic in its portrayal of the World War II D-Day Invasion that it simply cannot be overlooked. The cast is stunning…..Hanks, Matt Damon, Ed Burns, Tom Sizemore, Vin Diesel (showing that he has legit acting chops), and Adam Golberg star, and small cameos are made by Ted Danson, Dennis Farina, Paul Giamatti, and Bryan Cranston. And oh, by the way, the film is directed by Steven Spielberg. The opening scene hits you like a sledgehammer to the nether region, and things don’t really let up after that. The conclusion is so potently memorable and emotional that it takes the movie to another level. Irrespective of the war motif, Saving Private Ryan forces a self evaluation of one’s life, making a person really examine if they’ve made a difference and earned the right to take up space on this planet.

 

78 The Godfather Part III

Many many people disregard this third installment of The Godfather franchise. It’s like the crazy uncle that you keep locked in the basement and pretend doesn’t exist. But I think that’s unfair. First of all, it is the conclusion to one of the all time great movie trilogies. The first two films are generally considered to be among the finest ever made. Secondly, III still stars Al Pacino, and anything that is graced with the presence of Pacino cannot be all that bad. The legendary supporting cast from the first two films is nearly all gone…..only Talia Shire and Diane Keaton remain. In the absence of Brando, Duvall, and Caan we get Andy Garcia and Joe Mantegna, which isn’t necessarily as bad of a trade off as it may seem. Garcia is among the most underrated actors of his generation. The plot is a bit hard to follow and mirrors real life eventsinvolving the Vatican and papal murder & mayhem. Repeated viewings are almost a necessity to really have all the intricacies of the story really sink in, and that may be the biggest mark against III. One really has to invest some effort into completely understanding the story, and only big fans of the first two will likely have the inclination to undertake that endeavor. I personally believe it is worth the time. The Godfather Part III really grows on you and it becomes much clearer how it fits with the first two films. I have come to see it as a logical and almost necessary conclusion to Michael Corleone’s story, although director Francis Ford Coppola has stated that it was not originally intended to be so. He has been up front in saying that the only reason that he made the film was due to the box office failure of Tucker: A Man & His Dream. In other words, he needed the money. It is interesting to note two things about this movie. First, Robert Duvall was supposed to reprise the character of consiglieri Tom Hagen, but didn’t because he wanted a bigger payday. The character had to be rewritten as having died. Also, the character of Mary Corleone was orginally to be played by Julia Roberts and then Winona Ryder. Sophia Coppola, the director’s daughter, got the part only as a last resort after Ryder dropped out. Ms. Coppola’s performance is almost universally at the top of the list of reasons why some dislike The Godfather Part III. So imagine if Duvall had taken part and if either Roberts or Ryder would have played Mary. I guess we’ll never know for sure, but if those two things would have occurred the third installment may possibly have become as beloved as the first two films. As it is, I like the film. I love Pacino, I dig Andy Garcia, and I see the tragic conclusion to Michael Corleone’s tale as being well written and the only logical way it could have ended.

 

77 Rocky II

When people think of the Rocky story I sometimes think they get things a bit mixed up. They forget that at the end of the first Rocky film the titular character lost the fight, the point being that he had gone the distance which was a moral victory in and of itself. It’s not until the end of the second fight that Balboa wins in a dramatic near double countout. I’ve always believed that having Rocky lose at the end of the first fight only to have him actually win at the end of the second was a brilliant idea. I’m not privy to inside information, but I suspect that unlike how things work today, back in 1979 a sequel was not assumed or planned. So one can make an educated guess that the whole moral victory angle was Stallone’s original intent. After the enormous success of the first movie a sequel was demanded, and there’s no way on earth the audience would have stood for the underdog losing again. It is somewhat surprising that this foregone conclusion does not diminish Rocky II’s quality, which I suppose can be attributed to the fine writing and performances. Unlike The Godfather films I do not believe a third (or 4th, 5th, & 6th) movie was necessary to elaborate on Rocky Balboa’s saga. I would have been okay with forever remembering him as the imaginary World Heavyweight Champion and skip seeing him lose everything, fight the Russians, and not-so-gracefully grow old. I suppose we can blame George Foreman for the last two sequels and the Cold War for one of its predecessors. I can think of no logical reason why anyone thought Rocky III was a good idea.

 

76 Twelve Angry Men

Here in 2009 we have short attention spans, and we have been poorly conditioned to expect the wrong things from our movies. Dramas are oftentimes needlessly violent, and comedies constantly try to outdo each other with ever increasing offensiveness. Almost every movie of any genre is fast paced, shallowly written, and an all out assault on our eyes & ears and Hollywood seems to make the assumption that it needs to continuously ramp up the foul language, sexual content, blood & gore, and unrealistic death defying stunts. They are right of course, but onlybecause they have dictated the rules. Most anyone who doesn’t have any grey hair on their head has spent their lives going to movies replete with brutality and debauchery to the point that a film without it is deemed tedious. I say this as a basis for bringing up just such a “boring” movie, 1957’s Twelve Angry Men, a film that comes across more like a play because it was in fact adapted from one. It stars Henry Fonda as the one dissenting voice of a jury that is deciding a murder case. There are no car chases, no explosions, not hot and heavy sex scenes. It is simply 12 men sitting in a room arguing about the case they’ve just heard and whether or not the accused is guilty or not guilty. In my youth I talked of one day becoming an attorney. Though I strayed from that path the law is still something that interests me, which in some small way explains my interest in this film. The other thing that captivates my attention is its simplicity. I am a minimalist, and Twelve Angry Men is the ultimate testament to minimalism in moviemaking. There are no gimmicks…..everything, the whole roll of the dice, rests on the shoulders of fine acting and writing. I only wish that contemporary filmmakers were willing to gamble like that, and even more that modern audiences were capable of appreciating that type of quality.

 

 

 

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