This is it. The list everyone's been waiting for since this website’s conception. My choices for the 50 best films I've ever seen. There are going to be ground rules before we go any further. Each film that makes this list must be available on blu-ray and/or 4K Ultra HD blu-ray. Furthermore, after careful consideration, I've decided against doing an official ranking of said films.
Instead, I've opted to sort the films in chronological order. Films of any kind (foreign language, silent, etc.) are welcome. These selections are bound to surprise you, both with the films that didn't make it the cut and those that did. I'll go through these selections fairly quickly. So without further ado, let's stroll down memory lane and cue that nostalgic Regal Cinemas roller coaster.
Duck Soup (1933)
When I first saw this Marx Brothers comedy as a teenager, it had much to prove to win me over. Needless to say, even with my picky palate back then, I was hooked. For this to still rank amongst the funniest comedies I've ever seen, without one cuss word or vulgar gross out gag, that alone is an achievement. No other comedy could get me to laugh like I did at a routine involving three guys switching hats at a lemonade or concession stand. And yet, that's exactly what happened here.
While there's a basic plot at its core, "Duck Soup" is one of those comedies where you swear everything was being improvised on the spot. This film's main goal is to keep audiences laughing no matter what, especially if it comes at the expense of the characters within it. The on-screen charms of Groucho, Chico and Harpo have seldom shined brighter than in their final outing under their Paramount contract. A rare film comedy where its anarchic nature serves as a huge advantage, "Duck Soup" is essential viewing for future aspiring comedians.
The Thin Man (1934)
Sometimes, a film can be great without the viewer understanding what ensues within the plot or if the narrative in question isn't focused on that often. That's not an occurrence that happens much, but "The Thin Man" serves as that rare exception. A murder mystery may be unfolding that involves the titular "thin man", but our focus is largely on the chemistry between retired detective Nick (William Powell) and his rich socialite wife Nora (Myrna Loy). And what irresistible chemistry they have, too.
In fact, any romantic comedy writer should take notes from Powell and Loy's naturally witty banter alongside Albert Hackett and Frances Goodrich's wordplay as inspiration. Filmed and edited in an impressively short amount of time (apparently 12 days with an initial schedule of 3 weeks!), 90 years of age hasn't taken away this film's freshness and spark in the slightest. If anything, it's aged like wine and champagne. Ironic to say considering Nick and Nora are more into martinis. But I digress. It's still "the best dinner I've ever listened to".
Modern Times (1936)
Charlie Chaplin had long been synonymous with silent comedic cinema. His on-screen persona, the Tramp, saw huge success with films such as "City Lights". Chaplin's finest achievement in my mind, however, comes in the form of his final "silent" offering. In "Modern Times", the Tramp, alongside the support of an orphaned gamin (Paulette Goddard), have to confront the modern industrial age and the various rigorous trials that it entails. Many run-ins with the law, struggles with unemployment and securing a job, and anything else in between.
Everyone remembers the scene where the Tramp literally goes inside the machinery, as part of his nervous breakdown. "Modern Times" serves as a relevant commentary on the struggles the working class has to constantly face. It's also a pitch perfect hybrid between comedy and drama. For every scene in the veins of the Tramp's one-minute long employment at a shipyard, there's a tender moment in the veins of the film's closing scene waiting around the corner. It's an impeccably assembled package with a long shelf life in my library.
The Adventures of Robin Hood (1938)
The tale of Robin Hood and his plight to rob the rich to help the poor has been adapted to film multiple times. For my money, it's the adaptation with Errol Flynn in the titular role that serves as the definitive adaptation. This Technicolor triumph fulfills the most important goal for a film about this English legend to achieve and that's to be fun. For all the high stakes Sir Robin of Locksley has to tackle within the plot, escaping multiple death sentences mainly, the film manages to be light and breezy throughout in the best possible sense.
A year after "Snow White and the Seven Dwarfs", "The Adventures of Robin Hood" became the main showcase of what the three-strip Technicolor process is capable of, for good reason. The scenic outdoors and luxurious wardrobe in other films aren't as lively and colorful as what we witness here. Outstanding work from the cast all around, including Olivia de Havilland, Claude Rains and Basil Rathbone. Heroes and villains alike are all well realized and a pleasure to root for or against. This film deserves all the praise it gets and more.
The Lady Vanishes (1938)
Many an Alfred Hitchcock fan has their own theory regarding which was his first great film. Some say "The Man Who Knew Too Much", the 1934 version with Peter Lorre. Others insist that it's "The 39 Steps" a year later. As for me, my vote goes to this classic whodunit about the sudden disappearance and apparent non-existence of an elderly woman (Dame May Whitty), and the young lady (Margaret Lockwood) determined to find her. You might think you know how the plot will resolve itself from here based on the plot description thus far.
But as is the case with any great mystery, a refreshing plot twist comes in to add an additional layer to the narrative and challenge its protagonist further. It's a well constructed and paced narrative. Just as "The Thin Man" inspired many sequels for its protagonists, two side characters from this picture would see their own follow-up a few years later with "Crook's Tour". But that film doesn't come anywhere close to matching what Hitchcock accomplishes here. There's quite a train ride in store for anyone who tries this mystery out.
The Wizard of Oz (1939)
What else can be said about this childhood staple that hasn't been discussed already? Not much it seems. As a musical, "The Wizard of Oz" is an unqualified triumph with each memorable song contributing to the plot. Everyone remembers the first time they watched this film, and being able to see what was in color or in sepia tones.
Everyone remembers the characters from the Scarecrow to the Cowardly Lion (the funniest character in the film by the way). The production quality is quite rich with detail. Everything feels like it's there, right down to the talking trees. Not many films age well after 85 years, but this timeless family classic is an exception to the rule.
Gone with the Wind (1939)
Victor Fleming directed two masterpieces in a row in 1939. "The Wizard of Oz" being the first and this epic romantic drama being the other. How does this nearly 4-hour Civil War picture stay relevant, even with today's nitpicks towards its historical content? It's all in the main characters the narrative follows. Scarlett O'Hara (Vivien Leigh) is fiercely loyal to her crush Ashley Wilkes (Leslie Howard), his impending marriage to his cousin Melanie (Olivia de Havilland) notwithstanding. Then Rhett Butler (Clark Gable) enters the picture.
Needless to say, our main lead Scarlett is active in getting what she wants, no matter how misguided her thinking can get. It's refreshing to follow a leading lady who's morally complicated. You see both good and bad in her actions. I cherish her love-hate relationship with Melanie. I appreciate how we don't know for certain if Melanie is aware of what Scarlett's true motivations are, and how she still treats her as a friend regardless. I wish other films would examine a gray area like that more often, since it adds to the film's replay value.
Then there's Rhett and Scarlett's romance where many sparks fly in all the directions you'd expect. The cast is at the top of their game, especially Leigh in her portrayal of Scarlett. The production quality remains high with its massive scale and impressive sets. Outstanding Technicolor photography of the sunny landscapes and Scarlett's ravishing costumes. Top all this off with Max Steiner's outstanding compositions, and it's little wonder why it's still worth giving a damn about "Gone with the Wind", since it remains a golden standard.
Bambi (1942)
A list of this nature would be incomplete without at least one Disney animated film, especially from Walt Disney himself. Out of the many worthy contenders in his backlog, "Bambi" was the film that served as the animation genre's transition from pure entertainment to legitimate art. You know the expression "a picture is worth a thousand words". The script to "Bambi" had less than that and it's done pretty well for itself. Unsurprisingly, there's plenty of visual storytelling to be found here, and you have all the intel you need to fill in the gaps.
Most of us still remember the characters in this story from Friend Owl to Thumper. One of childhood's most traumatic death scenes is the moment everyone remembers from this, even if they haven't seen it. "Bambi" deserves to be remembered for more than that though. It boasts one of the most beautiful instrumental scores I've ever heard, thanks to Frank Churchill. Visually, the forests in the backgrounds have never looked as detailed as they are here. I'm usually not into talking animal films, but "Bambi" is that rare one I can't live without.
Casablanca (1942)
Probably the most quoted film in history, "Casablanca" is another landmark romantic drama set during a war. Themes of sacrifice and forgiveness are all perfectly integrated into our central romance. Bar owner Rick (Humphrey Bogart) runs into his former flame Ilsa (Ingrid Bergman) and her patriotic husband Victor Laszlo (Paul Henreid), and must make a decision that's best for all involved. With WWII in full swing upon its release, "Casablanca" remains unnervingly relevant as a love story.
Like "Gone with the Wind", "Casablanca" is refreshing in what it does differently from other romantic dramas then and now. Our main couple is backed up by a strong ensemble cast. The scene-stealing standout though has to be Claude Rains as Captain Louis Renault. Whether he rounds up the usual suspects or begins a beautiful friendship, you can count on him always having something interesting to say. Essential viewing for fans of cinema. Here's looking at you, kid.
A Matter of Life and Death (1946)
1946 was the year that everyone went into full recovery mode from WWII. As the next 3 list entries from that year will attest, there was much to unravel. In this Michael Powell and Emeric Pressburger collaboration, we follow a British soldier (David Niven) who jumps out of a crashing plane without a parachute and lives to tell the tale. Seeing that he cheated death and found a new love in the form of an American radio operator (Kim Hunter), you'd think this would be were the story ends. That is until someone from the afterlife speaks with him.
He's told that he was supposed to die from the crash and has been granted an appeal to state his case for why he should live. On the surface, this is a fantasy about one man's literal journey between life (in color) and death (in black and white). Underneath this plot is a catharsis between American and British relations at that time. Should we carry on traditions as they were before or has the war changed enough that there needs to be a new compromise? All this and more are examined in "A Matter of Life and Death", and the result is a must watch.
The Best Years of Our Lives (1946)
Here's another Best Picture Oscar winner that was made when WWII was still fresh on everyone's minds. William Wyler's drama follows three servicemen (Fredric March, Dana Andrews, Harold Russell) who arrive home from the war and struggle to readapt to the lives they once knew. The character arc that's the most emotionally resonant has to be Homer Parrish (Russell). Here's a trivia fact that made me appreciate this film even more. Harold Russell was an actual WWII veteran who lost his hands during his military service.
Russell had no prior acting experience, but the character of Homer was practically written for him since they shared plenty in common. Homer's sermon to his girlfriend Wilma (Cathy O'Donnell) lays out the reality of what his daily routine consists of and the challenges that come with it. His story is a terrific narrative addition that gives hope and inspiration to everyone who's physically handicapped in a similar manner. The rest of the picture more than holds its own. You can easily relate to the dilemmas the other two servicemen face.
Al (March) sees his life flashing before his eyes with his daughter Peggy (Teresa Wright) and son all grown up. But with the support of his devoted wife (Myrna Loy), he aims to live in the moment and make the most out of his civilian life. Fred (Dana Andrews) is put through the ringer as the marriage with his current wife (Virginia Mayo) isn't ideal. When he's attracted to Peggy, his dilemma is complicated further. "The Best Years of Our Lives" is an essential film about life for servicemen after the war (good, bad and everything in between).
It's a Wonderful Life (1946)
Frank Capra's fable, about a banker (James Stewart) who's given the opportunity to see what life would be like if he was never born, is considered the definitive holiday film. It's not difficult to see why, as its story and characters are very easy to relate to. We've all been in George Bailey's (Stewart) shoes before, where we constantly give up our own plans to help those in need. He wants to explore the world and better himself, but is constantly prevented from doing so to help keep his family bank, hometown and citizens afloat financially.
When things go wrong around the holidays, you feel his pain, stress and sadness, even with all the good things in his life, namely his wife Mary (Donna Reed) and their kids. The way Capra tells this story is just right. Nothing feels out of place, and all of the connections George makes culminates in one of the most emotional endings in cinema history. We're reassured by Capra that no matter what hardships are thrown your way, you're not alone. In fact, there'll always be a guardian angel or a friend to have your back. A certified holiday staple.
The Red Shoes (1948)
Life imitates art. That's an expression heard plently in passing. With "The Red Shoes" however, said phrase is appropriate. This Technicolor triumph from Michael Powell and Emeric Pressburger follows a young ballerina (Moira Shearer) as she joins a renowned ballet. The owner (Anton Walbrook) seeks to adapt the titular Hans Christian Anderson tale to ballet. The end result culminates in a fascinating series of events. The plot of the ballet more or less bleeds into the lives of the primary people involved in bringing it to life.
In the case of Victoria Page (Shearer), she has to choose between a romance with the ballet composer (Marius Goring) and her career under the owner's relentless rule. It's as if the story they're adapting is placing a curse or spell on them, much like the titular red shoes control the person who's wearing them. A captivating story complimented by beautiful Technicolor cinematography. The French Riviera alongside Shearer's striking costumes and makeup alone are a work of art onto themselves. The definitive drama about the cost of perfectionism in ballet.
All About Eve (1950)
While we're on the subject of backstage dramas, here's another exceptional example within this genre. Writer-director Joseph L. Mankiewicz's Best Picture Oscar winner is about as spicy and witty as they come. With topical issues like ageism, ruthless egos, and underlying ambition at the forefront within the story, "All About Eve" thoroughly looks into the harsh nature of show business. With Margo Channing's (Bette Davis) narrative, we see how her time in the spotlight can suddenly be cut short due to a change in what appeals the masses.
In Eve Harrington (the terrific Anne Baxter), we bare witness to her rise in the industry and the soaring fame many dream to grasp. Said success though comes at a price not everyone, except Eve, can afford. There's a brilliant twist with her arc that puts this theory into perspective. The ending cleverly shows whether or not this cycle with actresses will continue with its masterful final shot. You don't need anything else for an answer, just as you won't need one regarding this film being worth a view. Fasten your seatbelts, indeed.
Singin' in the Rain (1952)
When people who usually hate musicals are showering praise onto one, that alone tells you that it's the best within its genre. That's exactly the case with this musical-comedy set during Hollywood's transition to sound films and the uproarious problems that came with it. Look no further than a scene when the director has to redo a take multiple times because the sound isn't coming through properly. Each reaction the director in question exerts is even better than the last. Every element of the narrative that isn't a song or dance is pure perfection.
The musical numbers are legendary. We have Donald O'Connor's "Make 'Em Laugh" routine highlighting the perks comedy brings to the film industry. There's also the titular number with Gene Kelly singing and dancing in the rain, which is still amazing considering he had a fever while filming. The film is gorgeous all around with rich Technicolor photography alongside vibrant costumes and set design. "Singin' in the Rain" has aged incredibly well to the point that it's guaranteed to last another long lifespan after this generation is through.
The Quiet Man (1952)
Director John Ford's affectionate love letter to Ireland. "The Quiet Man" relates the story of Sean Thornton (John Wayne), a retired American boxer who moves to Ireland and is attracted to fiery redhead Mary Kate (Maureen O'Hara). Her brother Will (Victor McLaglen) disapproves of their relationship out of spite for not getting Sean's family property. From the plot description alone, you'd be forgiven for thinking this has the earmarks of a plot out of a modern rom-com. And yet, when executed properly, it manages to avoid being that.
I'll even go on record in ranking "The Quiet Man" amongst the greatest climaxes in all of cinema. For those who've yet to discover it, I wish more movies would follow the example set by "The Quiet Man". It takes a typical conflict you're used to seeing and resolves it in a way that's more suitable for the characters involved. As entertainment value goes, "The Quiet Man" brings plenty to the table. The photography does justice to Ireland's lush landscapes. Everyone in the cast is a blast to watch. Simply put, this is a great time at the movies. Cheers.
On the Waterfront (1954)
When naming Marlon Brando's greatest performance, people tend to put their vote on "The Godfather". As for me, I'll happily take his performance in this Oscar-winning crime drama any day. The chief reasoning for this sentiment is because I feel there are more of us like Terry Malloy rather than Vito Corleone. We all have a crisis with our own conscience regarding feeling responsible for another person's misfortunes. Most people like Terry internally contemplate if they should continue supporting a group that they know is in the wrong.
However, when you're used to this lifestyle keeping a roof over your head, you act like you don't need help at first either. At the heart of "On the Waterfront" is a story of one man's struggle to do what's right. On that front, it's a unprecedented success. As a narrative, "On the Waterfront" is a must watch even for non-fans of the crime genre. With a strong ensemble that includes a ballsy priest (Karl Malden), a ruthless mob boss (Lee J. Cobb) and a conflicted brother (Rod Steiger), "On the Waterfront" more than proves why it's a worthy contender.
Rear Window (1954)
For years, I've gone on record of declaring this my all-time favorite film. This Alfred Hitchcock masterpiece provides basically everything I personally look for in a film. An engaging storyline that distinguishes itself from the rest of the genre. Great direction where there isn't a single moment wasted or losing my attention. A strong supporting cast that contributes to the arcs of our main leads in a subtle manner. And of course, having an attractive lady like Grace Kelly to keep my attention is naturally going to serve as the cherry on top.
Even with the film's lessons basically being common sense to this current generation before they've ever seen it, "Rear Window" remains fresh and relevant today. I admire how there's always the chance our lead (James Stewart) is in the wrong spying on his neighbor and drawing the wrong conclusion. Granted, he's questioning what he sees as he rightfully should. However, in this day and age, people do many unusual things and yet it doesn't yield the result you'd expect in assuming the worst. I feel this issue is respectfully addressed here.
As a mystery and thriller, "Rear Window" is impeccably paced. You feel the tension and risk when Grace Kelly sneaks into the potential murderer's apartment later on, and that scene sticks with you. Keeping the camera placed inside our lead's apartment compliments his situation in being bound to his wheelchair. Thelma Ritter steals every scene she's in as a wisecracking nurse that tells it like it is. There's a reason "Rear Window" has stayed in my collection for more than a decade, and it still deserves its spot here as far as I'm concerned.
12 Angry Men (1957)
Here's another film, like the previous entry I discussed, that benefits from its minimalist setting. Anyone who aspires to get into law and/or politics must watch this courtroom drama to better understand what should be expected from them, rather than what we get. Henry Fonda leads the ensemble of the titular 12 jurors in question. The jurors are asked to come to a unanimous decision on whether or not a young kid committed a crime. If found guilty, the kid goes to the electric chair. Needless to say, a great responsibility is placed on them.
The entirety of "12 Angry Men" is dialogue driven, which is appropriate given that they have a critical decision to make. Many viewers after seeing this will be reminded once more about why reasonable doubt is important in our political system. The script not only makes their deliberation engaging, but it sticks with how the judicial system works. Every juror has a distinct personality to them that makes each of their opinions all the more credible. Simply put, "12 Angry Men" is a must watch, especially for those in their high school and college years.
The Bridge on the River Kwai (1957)
David Lean's WWII drama follows British POW's being tasked by Japanese soldiers to build a bridge that'll advance their war efforts. Colonel Nicholson (Alec Guinness) is in a conflicted place. He's forbidden from obeying Colonel Saito's (Sessue Hayakawa) orders. And yet in his own words, if they build the bridge properly, it'll set a example for other British troops even in captivity. This dilemma is further complicated when an American (William Holden) who escaped said camp is sent back with a team (headed by Jack Hawkins) to blow up the bridge.
A thrilling concept on paper supported by an even better execution. "The Bridge on the River Kwai" benefits from rich character development, namely Alec Guinness, and strong pacing that culminates in a literal blast of a finale. This journey also dives into challenging themes such as the practicality of fulfilling duties by the rules, even in war where order eventually ceases to exist. The film manages to have a sense of humor over itself as well, with many a savage rebuttal within the dialogue. A stirring examination into the madness of war.
Vertigo (1958)
Regardless of what one thinks about Alfred Hitchcock after hearing about actress Tippi Hedren's experience with him, one thing is for certain. No other film in Hitchcock's catalog tells us more about him than this romantic mystery. A detective (James Stewart) with a fear of heights becomes smitten by a mysterious suicidal blonde (Kim Novak). A midway plot development later, another brunette (also Kim Novak) enters the picture, and he attempts to remake her into the splitting image of the blonde in question. A lot to unpack, isn't it?
In this day and age when dating in general is bound to be a complicated endeavor, this Hitchcock staple remains captivating by modern standards. It doesn't matter if you agree with the actions of our main couple or not. As a romance, "Vertigo" highlights a systematic disconnect between what men in general expect the dream woman to be and the woman that's right in front of them. An intriguing study of fantasy versus reality, complimented by lush cinematography and an outstanding soundtrack courtesy of the legendary Bernard Herrmann.
Some Like It Hot (1959)
Writer-director Billy Wilder had long been a celebrated figure within the industry, as evidenced by his success with such films as "Double Indemnity". But it wasn't until this trailblazing comedy burst into theaters that his prominence truly skyrocketed. Tony Curtis and Jack Lemmon are two musicians who dress in drag to dodge gangsters hot on their tail. Marilyn Monroe is the lovely but tortured singer of the all-girls band our duo hides under. Naturally, both of them try to win her affection outside of their female alter egos.
What hijinks ensue from here are legendary. It's little wonder why the Production Code was eradicated not long after the release of this film and "Psycho". After all, in able to move the industry forward, you got to mix it up by taking a risk. And you can bet that a lot of careful thought was put into crafting this film. After all, you need precise timing and pacing to make a plot like this work. And not only does the risk pay off, but you open up more possibilities in the future by doing so. Nobody's perfect, and yet its the imperfections that get us close enough to it.
The 400 Blows (1959)
If there's one foreign language film every cinephile should at least try once, my personal vote would unquestionably go to Francois Truffaut's directorial debut. This coming-of-age drama isn't like most films within the genre that you're used to today. Our troubled protagonist is quite rebellious towards his parents and teachers. That's probably because he's not receiving the proper attention and love he needs to make his trials and tribulations worthwhile. He's seen as an inconvenience to the people who matter most.
In a sense, it's perfectly understandable why he's misbehaving or committing small crimes such as stealing. We share his anger and frustration with his current status. It's not often you're rooting for an adolescent to misbehave or get into trouble. In this case however, the reason "The 400 Blows" stands out from other entries within the genre, is that it allows us to witness that other side. The true feelings of resentment a kid truly feels against all the expectations and rules placed upon them. It truly makes for an exhilarating conversation starter.
North by Northwest (1959)
There were two films I wanted to see that lived up to my high expectations in every conceivable way. One of them was "The Adventures of Robin Hood". The other is this Alfred Hitchcock classic, 2nd only to "Rear Window" as his best film. Cary Grant is an advertising executive who becomes mistaken for a spy, and has to go on the run to prove his innocence as well as find the culprit framing him. Eva Marie Saint is a lovely young blonde who catches his eyes and comes to our lead's aid. This is the mistaken identity plot done to perfection.
From a wild escape via a drunken car ride to the climactic climb down Mount Rushmore, "North by Northwest" comes equipped with one memorable scene after another. Well paced suspense from Hitchcock, witty banter/foreplay out of Ernest Lehman's script, and another outstanding score courtesy of Bernard Herrmann await those who've yet to be acquainted with it. Before James Bond and his long-running franchise came onto the scene, "North by Northwest" was seen as the definitive action thriller. In many ways, that status has not changed.
The Man Who Shot Liberty Valance (1962)
John Ford has widely been deemed the master of the Western genre, as evidenced by works such as "The Searchers". His best Western in my book personally has to be this collaboration between James Stewart and John Wayne. With a town as uncivilized as Shinbone, a new lawyer (Stewart) is determined to put the titular ruthless outlaw (Lee Marvin) to justice. With the help of a tough rancher (Wayne) and his illiterate girlfriend (Vera Miles), this lawyer will also help introduce literacy and order to Shinbone in able to liberate its inhabitants.
For those who've never seen a Western, this film serves as an ideal starting point. You quickly get an idea of the rampant lack of law and order present in such a time. It's made clear how important politics are to our country through this genre. Everyone in the cast, from our titular antagonist to a highly theatrical newspaper writer and publisher (Edmond O'Brien), has a moment to shine as any great ensemble cast should. Between this and "The Quiet Man", it's a tough call deciding which one is John Ford's best. Guess you should see both.
Stay tuned for Part 2 of the countdown with my 50 favorite films list out soon. In the meantime, take a quick breather until then.
Comments