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Reviews
Broadway Danny Rose (1984)
Compares to Chaplin's best
This was never embraced as one of Woody Allen's best pictures, but it certainly ranks alongside Manhattan, Hannah and Her Sisters and Annie Hall, although it is far removed in subject matter from any of these. Danny Rose is an empathatic character whose heart goes out to the underdog. He is a former comic who becomes an agent, representing acts that no one else will touch. He has been kicked down many times, but he continues to plod along, always believing he will hit the big time with a special act. But late in this story, told by a comic to fellow comics who know Danny Rose, he comes to the realization that his life is going nowhere. That scene, on Thanksgiving Day, is filled with pathos. Mixed with the comedy throughout, that one scene makes this one of the most touching films imaginable. Mia Farrow gives a strong performance as the would-be interior decorator who is having an affair with a Rose client, a has-been, one-hit wonder from the '50s played by Nick Apollo Forte. This is a must-see for Allen fans, and would be a good introductory film for those not familiar with his work.
The Third Man (1949)
So haunting
A great love story, a great mystery, a definitive film noir. Although there are many things about this film that would qualify it as a classic, what has always stuck with me is the final scene, which leaves the viewer open to write his own ending. Joseph Cotten's love of Valli will forever tug on the hearts of romantics who see this film. And Cotten pulls off his performance with finesse unmatched. I will leave it to others to analyze the suspense, the cinematography, the fantastic screenplay and numerous scenes that are unique in film history. I am stricken by the love story.
Citizen Kane (1941)
A reason for high ranking
It's tough being number one, as this film is often ranked. Everyone likes to shoot at the top dog. But there is a test for the true movie fan.
Is this a movie that draws you back into it, time and again? Do you go back, looking for something new? And why do you keep going back? It can only be because there are revelations each time you see it. There is always something fresh, something worth catching. It is true that this movie was filmed for a '40s film audience, but the best movies seem to lock themselves into a time and we have no problem realizing that. "Maltese Falcon" was a '40s detective drama and we know detectives today would use a different approach. But we enjoy that film for the very reason it gives us a definite view of the '40s detective and his work. And the story is compelling. The same is true for "Citizen Kane." We see the life story of a contemporary man of the '30s and '40s, and from that story we can realize that what he finally values, upon his death, is not much different that what we grow to value in our late years. We can relate to his memories of youth. Welles, though a young man when he made 'Kane,' found the essence of life and magnified it on the screen. The acting is efficient, the setting is bigger than life, the use of the camera is innovative and still imitated, the story telling is timeless. Even "Pulp Fiction," which I consider to be the best film of the '90s, owes some debt to the story telling of "Citizen Kane." There have been many great films made since this one, but it was ground-breaking, and it remains fresh even though the plot is stuck in time.
Does it deserve to be call "the greatest film ever"? Why not? It deserves the honor as much as any film made before or since. Watch it again and see if you do not agree.
Manhattan (1979)
Woody Allen's best
Though not considered so by most, I believe this to be Woody Allen's best film. It fulfills all emotional gaps, from high comedy to extreme pathos. The George Gershwin music adds to the story that to me, as an outsider, defines Manhattan lifestyle. I believe it was somewhat overlooked because it followed the extremely popular "Annie Hall." This one is better.
Who's Afraid of Virginia Woolf? (1966)
Nichols: up close and personal
Mike Nichols set a tone for his movies to come with directoral debut. His extreme closeups, for which he would become famous, were used here in excellent fashion. The performances by the entire cast could have easily gone over the top, but Nichols made it all work, creating tension and basically exhausting the viewer, but leaving him/her satisfied at the conclusion.
Lawrence of Arabia (1962)
Beautifully filmed.
David Lean's most spectacular work. There has never been another movie more beautifully filmed. The director took great chances with this film. There isn't a woman in the cast. Much of the action is on the desert. It is quite talkative. It is long. But with all this said, it still dazzles the eye and mind of both sexes because it is so spectacular. Lean's body of work is impressive, but none of his other films approach this.