since childhood, film has played an important role in my life- as a means to escape, finding hidden life lessons, exploring the world, without leaving my living room and, in a way, as an alchemist partnering with their oracle. I take my favorite films seriously and VERY personal. Each one resonated with me and somehow changed my life. You will note that most are not contemporary films. I’ve discovered the impact of a story revealed for the first time, has more resonance when you are young. As I get older, it's harder to believe in the make-believe. A hard thing to admit, but true.
however, I do experience new ideas and sensations each time I view the following films.
THE RED SHOES
(1948) written, directed and produced by Michael Powell and Emeric Pressburger. It tells the story of a young ballerina who joins an established ballet company and becomes the lead dancer in a new ballet called The Red Shoes, based on the story by Hans Christian Andersen about a woman who cannot stop dancing. The film stars Moira Shearer, Anton Walbrook and Marius Goring and features renowned dancers from the ballet world. It has original music by Brian Easdale and cinematography by Jack Cardiff, and is well regarded for its creative use of Technicolor.
And that's what drew me into this film, the color. rich and vibrant it makes you feel like you're watching a color film for the first time. the red shoes is so hypnotic, i will drop whatever i'm doing and watch this film from start to finish whenever it screens. the crux of the story- choosing art over love is timeless, classic and devastating. cinematic moment- so many, but the shot of moria shearer dressed in an opulent evening gown, ascending a decayed staircase in the afternoon sun of southern france is breathtaking. an exact replica of Eaux d'Artifice by kenneth anger. i'm not sure who influenced whom.
SALO: 120 DAYS OF SODOM
1975, written and directed by Pier Paolo Pasolini, based on the book The 120 Days of Sodom by the Marquis de Sade.
Hands down, the best movie ever made. I can't think of any film that has challenged and changed the face of cinema as salo, and pasolini as a filmmaker. Way ahead of its time, the cinematography, art direction and costumes are so perfect; it plays almost like a fashion advert. The beauty and sexuality lures you in, then, once it has you, whams you over the head with a mallet. like being wined, dined, then raped!
it has been written that pasolini planned his life around his films, salo; being the final chapter- death. He was mysteriously murdered before the film premiered in 1975.
I once met a guy during a photography class, (circa 1987) and thought i would show him salo-my favorite film- on our first "date." as the film started, he was in the process of going down on me, then saw what was unfolding on screen, he stopped in mid stroke. he remained frozen for the entirety of the film. as the credits rolled he proclaimed, " that is the sickest film i have ever seen in my life." the date was over, there was no second date.
SALO separates the men from the boys.
BROKEBACK MOUNTAIN
2005, directed by Ang Lee adapted from a short story by Annie Proulx , depicts the complex romantic and sexual relationship between two men in the American West from 1963 to 1983. The film stars Heath Ledger and Jake Gyllenhaal. a modern day classic, like a gay gone with the wind, (or gayer gone with the wind), sweeping and epic as a love story. the relationship of the two men unfolds like nature, slow and subtle, then, like the full moon, intoxicates.
Groundbreaking in so many ways. this film will only get better with age. the untimely death of heath ledger will guarantee this as a historical film in years to come, his passing almost apropos.
when i first saw this film i hated it and didn't know what all the fuss was about. i left the theater angry and thought about it all night long. I never had a film leave me with a feeling of anger. I went back the next day and viewed it again, this time by myself.
as a woman a few seats in front of me sobbed, I realized what was so upsetting on the first viewing. the film was too honest in it's portrayal of love, it leaves you empty.
ROSEMARY'S BABY
1968, written and directed by Roman Polanski, based on the 1967 novel of the same name by Ira Levin. stars mia farrow, john cassavettes, ruth gordon, and great cameo from pasty kelly.
A perfect film, and perfect adaptation from the novel by ira levin, (he also wrote the stepford wives). This rarely happens, in fact is usually the disappointment of a great book to film. Examples- Anne rice, interview with a vampire, JG Ballard, crash. However with this novel to film adaptation, every frame is engaging and has you spellbound from the opening credits with the grand view of the Dakota building, (where john Lennon was to be murdered 12 years later), to the eerie closing shot of rosemary rocking her devil baby as she looks out the window. Once again at the Dakota. The acting is pitch perfect from farrow's naive, docile housewife, cassavette's narcissistic actor/husband, to Ruth Gordon’s nosey neighbor, and pasty Kelly’s cameo as a naggy,witch who likes to knit. The theme song, (sung by mia farrow), so haunting, it will stay with you forever.
MILDRED PIERCE
(1945), directed by Michael Curtiz, based upon the 1941 novel Mildred Pierce by James M. Cain, starring Joan Crawford, Ann Blyth, Jack Carson, Zachary Scott, and Eve Arden in a noir-ish tale about a sacrificing mother and her ungrateful daughter.
A classic film noir to end all film noirs. over the top drama that could only be delivered by Joan Crawford. Her personality so intense she literally twitches off the screen. When martyred mother Mildred played by Joan Crawford finally slaps insufferable spoiled Vida, played by Ann Blyth, its like she reaches out and slaps the audience. With a superb supporting cast of Eve Arden, Jack Carson, and Lee Patrick as Mrs. beiderhof, character acting doesn't get better than this. The novel by James m Cain so excellent and way ahead of it's time. Toned down a bit for the screen it still delivers none-the-less. Each scene beautifully shot in moody black & white by cinematographer Ernest haller, who also worked on gone with the wind. Tom Cruise is like the modern day Joan Crawford, matching in neurosis, except lacking her talent.
A CLOCKWORK ORANGE
1971, directed by Stanley Kubrick from adaptation of a 1962 novel of the same name, by Anthony Burgess.
A Clockwork Orange was supposed to be a look into a futurist dystopain society featuring disturbing, violent imagery to facilitate social commentary on psychiatry, youth gangs, and other topics. Unfortunately kurbrick & burgess were right on the mark and their vision came true within 10 years! The tone and look of this movie so completely sets the viewer into the society that was so frightening, that by the time we reacted its was common place, in face our current society is even more severe than the future they're warning us about. Our complicity and glib awareness of the world around us has plunged us even further into the everyday acts of ultra-violence.
Stars Malcolm McDowell as the charismatic and psychopathic and yes, sexy delinquent Alex DeLarge. The film features a soundtrack comprising mostly classical music selections and Moog synthesizer compositions by Wendy Carlos. Carlos, one of the first composers to use the moog synthesizer, started production as a man- Walter Carlos, and had a sex-changed operation while the film was in post. It has been said that Stanley Kubrick was so busy he didn't notice.
THE TENANT
1976, directed by Roman Polanski based upon the 1964 novel Le locataire chimérique by Roland Topor.
excellent casting of isabelle adjani, melvin douglas, and shelly winters as the concierge. Set in Paris in the mid-seventies, this film has atmosphere and claustrophobia embedded as one. Polanski directs and stars in this film about paranoia and, (in a sense) reverse- agoraphobia as only he can. The character so afraid of his surroundings and neighbors that he retreats further and further into himself. The final double leap suicide almost drains the viewer of their essence.
THE EXORCIST
1973, directed by William freidkin, adapted from the 1971 novel of the same name by William Peter Blatty. The film features Ellen Burstyn, Linda Blair, Max von Sydow, Kitty Winn, Lee J. Cobb, Jason Miller and Mercedes McCambridge.
A perfect film from start to finish. The story and intensity building with each scene. Way ahead of it's time, and an immediate blockbuster phenomenon. The first mainstream film to question faith, and the film mainstream film to capitalize and give momentum for the now ubiquitous splatter films. I remember ditching class with my friend's Eric & Carla. We hot-wired his mother's car, (we were underage, no licenses) and drove to Westwood, waited in a line for hours that snaked down Westwood blvd. the lady in front of us told the ticket taker that she was our guardian so we could get in. (at the time was rated- R), and I sat in the dark room as this flick changed my 15 year old life. I had never seen a film that questioned faith so intensely. Still has all the impact and packs a wallop 35 years later.
HUSTLER WHITE
1996, directed & written by Bruce LaBruce and Rick Castro, staring kevin p. scott, graham david smith, ron athey, glen meadmore, kevin kramer, ivar johnson, and my muse and discovery Tony Ward.
Perhaps it’s egocentric of me to list my own film in my favorite list, but I approach my conclusion based on the fact that every time I view this film I see something different. Sure the production of this film was hard, since we had no budget to speak of, but at the same time, it was one of the most creatively exhilarating periods of my life. Going on 12 years since the release, I can now look back at the film and observe it, as it’s own entity. Tony Ward is still a pleasure to watch. I hadn't seen someone with that much screen lust appeal since Joe Dallesandro.
Much has been written and misunderstood about Hustler White, so let me say for the record, it was our intention to create a film that was both a parody and homage to underground filmmaking, homosexual subculture and classic Hollywood cinema. Images & one liners are peppered throughout this film with subtle or direct references to Sunset Boulevard, Whatever Happen to Baby Jane, The Killing of Sister George, Death in Venice, Rosemary’s Baby, Flesh, and Hollywood Babylon. Hustler White transposes the action from the silver screen's old movie back lots to pre-internet male prostitution, porn industry and Santa Monica Boulevard- the boulevard of lost dreams and broken promises.
BTW- all still photography on HW, including movie posters ect were taken by me......and.... the 67 mercury cougar that monty, (tony) steals is mine!.... i still drive it to this day.
THE NINTH GATE
1999, directed by Roman Polanski, based on the novel The Club Dumas by Arturo Pérez-Reverte. Stars Johnny Depp, Emmanuelle singer and Frank Langella.
The critics universally panned this film, but for me it is a very special and watch-able film. The cinematography and locations of the film present the best of gothic Europe, almost making the viewer want to move there immediately to search for the missing novels themselves. heavy on atmosphere and beautiful. Although somewhat wooden, Johnny Depp never looked sexier, and Emmanuelle Seigner, (polanski's wife) is a great depiction of a modern day Lucifer.
LOLITA
1962, directed by Stanley Kubrick based on the classic novel of the same title by Vladimir Nabokov. The film stars James Mason. Sue Lyon, Shelley Winters and Peter Sellers.
Due to the MPAA's restrictions at the time, the film toned down the more perverse aspects of the novel, sometimes leaving much to the audience's imagination. The actress who played Lolita, Sue Lyon, was fourteen at the time of filming. Kubrick later commented that, had he realized how severe the censorship limitations were going to be, he probably never would have made the film.
I love this film because of the challenge it gave to the censors. no easy feat in 1962. Spot on writing by Nabokov, perfect directing by Kubrick and pitch perfect acting by James mason, Sue Lyon, and Shelly Winters.
ROPE
(1948), directed by Alfred Hitchcock, based on the play Rope by Patrick Hamilton. Notable for its single location, edited so as to appear as a single continuous shot, taking place in real time. The film was which was said to be inspired by the real-life murder of a young boy in 1924 by two University of Chicago students named Leopold and Loeb.
The film also presents a gay male couple, rare for that period, but typical to make them tragic murderers. Philip Morgan played by Farley Granger and Brandon Shaw, played by John Dall. Both actors were gay in their private lives, which brings credibility to their portrayal as a couple. What’s most interesting to note is how subtle their interactions had to be in order to pass the censors at the time.
DESPERATE LIVING
1977, directed by John Waters starring Liz Renay, Edith Massey, Mink Stole, Jean Hill, Mary Vivian Pearce, and Susan Lowe.
My personal favorite of John Waters now classic films. Hilarious from start to finish. I must confession this film changed my life; being the first black comedy I had ever seen. I was stoned at the time so that also helped. The costumes and sets are sheer brilliance by Van Smith. The acting, (or non-acting performances) absolutely amazing by Edith Massey, Liz Reny, Mink Stole, Susan Lowe and Jean Hill. My only regret is that divine was not part of this film, bit then it would've been an entirely different film. The direction and production of this gem vaults John Waters into the genius category as far as I'm concerned.
FOX & HIS FRIENDS
1974 , written and directed by Rainer Werner Fassbinder, starring Rainer Werner Fassbinder himself and Peter Chatel, Karlheinz Böhm, Rudolf Lenz, Karl Schedyt, Hans Zander and Kurt Raab. Frantz, a.k.a. Fox (Rainer Werner Fassbinder), a working-class young man, meets a bourgeois homosexual and mingles with that milieu after winning the lottery.
I find this film compelling because of the accurately depressing depiction of one man's total betrayal and usage of another's naivety. it's sobering enough when sexy Eugene, (peter chatel) fools homely fox, ( well acted by fassbinder himself) and cheats him out of every penny, but when his family become involved, I find the unrelenting truth of this film a hard, sad pill to swallow, as does fox.
HEAT
1972, directed by Paul Morrissey and produced by Andy Warhol, it starred Joe Dallesandro, Sylvia Miles and Andrea Feldman.
the film was conceived by Warhol as a parody of Sunset Boulevard. In a way it works better than the original in that, nobody really faces the truth, the is no redemption or condemnation. No morality. They just go about their business as real life does. Interesting tidbit, New York magazine film critic Judith Christ wrote, "the most memorable performance- in a large part non-performance- comes from the late Andrea Feldman as the flat-voiced, freaked-out daughter, a mess of psychotic confusion, infantile and heart-breaking." On August 8th, 1972, three weeks before the opening of Heat, Andrea Feldman invited some of her closes friends, including poet Jim Carroll, to her apartment on 5th Ave & 12th, claiming to present her final performance. With her small group watching she pranced across the apartment floor. Holding a can of Coca-Cola in one hand and a rosary on the other, she leaped out the window of her 15 story apartment. Her final bow.
SUNSET BOULEVARD
1950, Directed and co-written by Billy Wilder, it was named after the famous boulevard of the same name that runs through Los Angeles and Beverly Hills.
It stars William Holden as down-on-his-luck screenwriter Joe Gillis, and Gloria Swanson as Norma Desmond, a faded movie star and femme fatale who entraps the unsuspecting Gillis into her fantasy world in which she dreams of making a triumphant return to the screen. Erich von Stroheim, Nancy Olson, Fred Clark, Lloyd Gough and Jack Webb play supporting roles. Director Cecil B. DeMille and gossip columnist Hedda Hopper play themselves, and the film includes cameo appearances by leading silent film figures Buster Keaton, H. B. Warner and Anna Q. Nilsson.
The grand dame of them all. The quintessential film about Hollywood. A timeless story, yet postmodern at the same time, (recommend viewing Sunset Blvd, followed by Heat. what a COMBO!)
Billy Wilder juxtaposes faded Hollywood with contemporary Hollywood of 1950 so perfectly, it's difficult to know who is a real star, who is a cameo,who is a hero, and who is tragic. In a sense the mood of the film is so downbeat, everyone comes off looking like a loser to hollywood, which presents itself as an unrelenting soul eating bitch. Nothing had changed. This story is told on a daily bases, except in modern times, the turnaround is quicker.
Little sidebar, all the "waxworks," at the card game scene were stars of the silent era, including Buster Kenton, HB Warner and Anna Nilsson. William Haines, (the first openly gay film star) was asked to be part of this scene, but declined. Smart move?
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