John Ford has many great films to his credit with formidable names like Stagecoach, The Man Who Shot Liberty Valance, Young Mr. Lincoln, My Darling Clementine and The Grapes of Wrath among others. And he has won many Oscars too. But the most admired piece in his filmmaking career, The Searchers was not even considered for a single nomination by the Academy. Telling the story of John Wayne as a middle-aged Civil War veteran and Jeffrey Hunter as his nephew searching for the abducted niece, this film explored the theme of racial prejudice and sexism shot in the gorgeous untamed wilderness and touched a deep chord with a generation of filmmakers including David Lean, Martin Scorsese, Paul Schrader, Steven Spielberg, Jean-Luc Godard, Wim Wenders, and George Lucas among others.
If the genre of monster movie is a great proposition for business to Hollywood, it owes a great deal to the giant ape of silver screen. Retelling the age-old fable of beauty and the beast, King Kong told the story of an ancient monster dying in the city of New York only because he wanted to possess a beautiful blonde. Many films are great because of the director at the helm of affairs, but this film has such raw energy in the concept itself that it would have emerged winner at anyone’s hands. As a standalone film, it has a little bit of everything—action, adventure, horror, sci-fi, drama, love, even humor—and when you combine all, catastrophic destruction.
Bates Motel. Janet Leigh under her shower. And we got one of the most famous scenes in history and the most popular piece from the master of suspense. Alfred Hitchcock's Psycho was first of its kind in many ways-it killed the lead character in the first 45 minutes leaving viewers to fend for themselves, introduced drag as a horror element, broke censor's toilet taboo and its unique advertisements of not allowing audiences in the theatre once the film started.
[caption id="attachment_786830"] Francis Ford Coppola moved the story of Joseph Conrad's novella Heart of Darkness from Congo to Vietnam and Cambodia during the Vietnam War and told the story of Captain Benjamin L. Willard (Martin Sheen). The film is about moments of horror, madness or the nightmare that war unfolds. Apocalypse Now has become one giant Hollywood legend. Sight and Sound named it as the best film of the last 25 years It won the Palme d'Or at Cannes too. [/caption]
While the audience was still recuperating from the shock and awe of Reservoir Dogs two years earlier, Quentin Tarantino set the screen on fire with an all-star cast (John Travolta, Samuel L. Jackson, Uma Thurman, Harvey Keitel, Tim Roth) brought together by intertwining four tales of violence and redemption featuring two mob hitmen, a boxer, a gangster’s wife and a pair of diner bandits. The postmodern masterpiece is more than good enough to win the Oscar for Best Picture.
The mere mention of the film can bring a smile to the face of any film lover cutting across all age groups. When released, it received decent reviews but soon faded from pubic memory. Years later, it became one of the most celebrated American musicals. The film makes a parody of Hollywood's trouble in the transition from silent films to talkies, but the wafer thin plot has everything from romance, comedy, songs and jolly good dancing.
[caption id="attachment_786833"]<img class="size-full wp-image-786833" src="http://revamp.ibnlive.com/wp-content/uploads/2011/02/somelikeithot316.jpg" alt="Nobody's perfect,as Joe E. Brown as Osgood Fielding uttered, American screwball comedy got its most famous finishing line. About two out-of-luck jazz musicians posing as women, Tony Curtis and Jack Lemmon were excellent in their comic timing and they had the help from the timeless sensuality of Marilyn Monroe. Director Billy Wilder took slapstick to another level while spoofing Hollywood romance and gangster films.
Text: Ranjib Mazumder Pics:Film stills" /> Nobody's perfect,as Joe E. Brown as Osgood Fielding uttered, American screwball comedy got its most famous finishing line. About two out-of-luck jazz musicians posing as women, Tony Curtis and Jack Lemmon were excellent in their comic timing and they had the help from the timeless sensuality of Marilyn Monroe. Director Billy Wilder took slapstick to another level while spoofing Hollywood romance and gangster films.
Text: Ranjib Mazumder Pics:Film stills[/caption]
That stained sign on a black wire fence is the first thing we see in Citizen Kane and thus began the era of modernism in cinema. Orson Welles's story of Charles Foster Kane, a young idealistic newspaperman altered by scandal and vice into an isolated and remorseful old man, gasping that enigmatic word with his last breath has become a true cinematic legend. Released in 1941, the film was quite ahead of its time since the Academy awarded it only one trophy - Best Writing (Original Screenplay). Over the years, it has been awarded the status of greatest American film ever made by AFI along with countless other critics%u2019 polls worldwide.
Stanley Kubrick was truly the man who knew too much. No other director has delved into more genres than him in film history successfully and '2001: A Space Odyssey' remains one of his greatest achievements. While Fritz Lang's groundbreaking silent film Metropolis dealt with urban dystopia, 2001 took it to the space but made the journey spiritual and meditative. The idea, technique and treatment of an experimental was brought into this big budget studio film and Kubrick encompassed all other previous achievements in sci-fi genre. He didn't explain much to the audience and let them free in the realm of experience