Annie Hall (1977)
★★★★ / ★★★★
“Annie Hall,” written, directed and starring Woody Allen, is considered one of the best romantic comedies in film history even though the couple did not end up together in the end. Alvy (Allen) wanted to determine what went wrong in his relationship with Annie (Diane Keaton) so we were taken back in time and given the chance to observe the major and minor events in their journey. The film was undoubtedly quirky but its intelligence and insight about how it was like to be in a relationship was what took this film from greatness to being a pop icon classic. My favorite scenes were when Allen decided to use elements that could have disrupted the narrative. For instance, I had loads of fun with the split-screen when the director wanted to compare Annie’s WASP family to Alvy’s Jewish family during a meal. The former was reserved, everyone masticated with their mouths closed, and had perfect posture at the table. On the other hand, the latter, like my family, consisted of many overlapping voices, gossip became a source of entertainment, and all sorts of etiquette was thrown out the window. Allen’s willingness to take risks showed me that he was confident about his project and that’s a key ingredient to make a successful picture. I also admired the film’s many references to pop culture and literature and the energy that drove them forward. I did not live in the 70s nor do I read a lot of classic novels. I did understand more than half the jokes but when I did not, I did not feel dumb or left out. That was when the energy became essential because there were about ten jokes in under a minute so I didn’t have a chance to linger on the fact that I did not “get” something. Furthermore, I loved that the director injected various types of comedy in the material. Some of the comedy were slapstick (the lobster scene), anecdotes (when Alvy vividly described his childhood experiences), blunders (a Freudian slip by Annie), and even some repartee between the two leads in the bedroom and the issue of sex and gender roles were put under the spotlight. Alvy and Annie could have easily been caricatures in less capable direction. Instead, the protagonists had great depth. They surprised us because of the inconsistencies in their beliefs and actions, they kept us watching because they spoke of and did things we, one way or another, had thought of and done, and they moved us because it was like watching two good friends deciding to go their separate ways. Clever in its approach in which irony penetrated every scene, “Annie Hall” was not simply as ode to romance but also an absolute love for creative and inspired filmmaking.
★★★★ / ★★★★
“Aliens” picked up as we made the grim discovery that our heroine named Ripley (Sigourney Weaver) had been in hypersleep and wandering in space for 57 years. The second surprise was the fact that humans started to colonize the planet where the aliens had been incubating. To no surprise, the human colony, which included a brave little girl named Newt (Carrie Henn), had lost contact with the scientists and a request was made that Ripley join a crew to investigate the strange happenings. The feel of this installment felt considerably different. While the first one was more about the concept and horror of being abandoned in space, this one was more action-oriented and more concerned about the gadgetry such as the weapons and the vehicles used by the characters. That wasn’t necessarily a negative as long as the tension remained relatively equal or greater than its predecessor. And, in some ways, it was able to surpass the original. A definite stand-out was the alien’s ability to learn via trial-and-error. We learned about the aliens such as they tend to hunt in packs and there was a sort hierarchy among them. By learning more about the enemy, we understood their capability but at the same they became that much more terrifying because we now had the knowledge of their great ability to adapt in order to survive. They showed signs of intelligence, not just creatures that wanted to kill for the sake of killing. Two other elements I noticed about the film were the fact that the aliens were easier to kill and they were much more visible. In Ridley Scott’s “Alien,” the organism was practically invincible and we only really saw the creature’s full body toward the end. In “Aliens,” the approach was much more obvious and body parts (along with the highly acidic blood) were flung all over the place. However, that’s what I admired about the sequel: It was different than the original but it was able to make it work for itself and deliver adrenaline-fueled space action-adventure that kept my heart tugging at a frantic pace until the last scene. That is, when Ripley had a duel against the queen of the aliens using a highly familiar-looking robot from Cameron’s “Avatar.” What it did preserve was the feminist undertone that “Alien” played with which was a smart move because the movie was first and foremost supposed to be Ripley’s quest for survival. If I were to nitpick for a flaw, I would say the crews’ interactions toward the beginning had quickly worn its welcome. I especially found Bill Paxton’s character highly irksome and I wished he was the first one to be killed. A redeeming quality was Michael Biehn as Ripley’s potential romantic interest. “Aliens” was not only highly entertaining but it managed to justify that it was a necessary sequel by playing upon existing ideas and expanding new ones.
★★★★ / ★★★★
A spacecraft containing a crew of seven (Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm, Yaphet Kotto) was supposed to be on its way to Earth. After waking up from hypersleep, the crew discovered that they were nowhere near Earth because their ship, known as Nostromo, received a transmission. One of the rules of their mission was if the ship received some sort of signal, it was requisite that they investigate the source which most likely could be extraterrestrial. This film held my attention like a vice grip right from the opening credits. There was something eerie and cold in the way the camera scanned the darkness of outer space. It made me feel small and almost insignificant. Even though I knew that Ripley, Weaver’s character, was the hero of the story, I liked that I didn’t immediately notice her. Her character only began to grab my attention when one of the three crew members was infected with an alien larvae and she refused to let them inside due to a risk of infection. Naturally, their leader ignored her sound reasoning and it was only a matter of time until the crew met their gruesome demise. Ridley Scott’s direction took the film to the next level. Stumbling upon an alien planet could have been done in a cliché manner such as showing too much disgusting slime and, worse, showing too many alien creatures in the beginning of the film, taking away some of the effective scares found later in the picture because we would know exactly what the alien looked like. Instead, Scott used the alien planet’s environment to mask certain corners but at the same time highlight the areas closer to a light source. Since it didn’t show too much, it took advantage of my imagination, making what I didn’t see much scarier than what I did see. (But what I was still horrified when I saw the alien in larvae form.) Granted, most of the crew members made some bad decisions. But I think the unwise decisions they made were not equal to brainless teenagers in a slasher film. It was different because the crew faced the unknown and the usual rules did not apply. For instance, there was no way they could have known that the alien’s blood was so acidic to the point where it was able to eat through metal. A major theme I focused on was human instinct being pitted against animal instinct. Both were different because human instinct, represented by Ripley, is capable of being controlled, to an extent, given that the person actively takes a moment to evaluate a situation. On the other hand, animal instinct, represented by the alien, cannot. However, both are similar in that instinct has one goal: self-preservation. “Alien” is an intelligent science-fiction film that expertly mixes wonder and horror. Undertones which comment on feminism and technology can be found but it doesn’t get in the way of first-class entertainment.
Gone with the Wind (1939)
★★★★ / ★★★★
There’s many things to love about this classic romance about a spoiled young woman named Scarlett (Vivien Leigh) who longed to be with a married man (Leslie Howard) since the beginning to the Civil War up until the end of her third marriage with a man who had a bad reputation (Clark Gable). I enjoyed the fact that even though Scarlett experienced how it was like to be rich then live in poverty only to be rich again, she didn’t become a fully giving person. In fact, she proudly remained manipulative, conceited and brash. The only thing that really changed was that she was less whiny but even then she still got on my last nerves. The performances were remarkable especially Gable as the man who didn’t want to settle down yet he had his eyes on Scarlett. We got to see him at his best and worst–it was such a well-rounded performance. It was also a joy to watch Hattie McDaniel as the servant of Scarlett’s family. She provided a much needed comic relief when everything started to get a little too dark. Lastly, Olivia de Havilland was great as an angelic figure who supported everyone she met despite the things that were said or done to her. Directed by Victor Fleming, the unpredictability of “Gone with the Wind” was its most fascinating quality. I thought when Leigh and Gable finally got together, everything was going to be a typical “happily ever after” love story. I was surprised when the picture changed gears from a romance epic to marriage drama. The film wasn’t afraid to really explore the dynamics of the family and the important people surrounding them; how the unsolved elements in the past eventually caught up with each of them. I was surprised because one of the many main things I’ve heard about the film was that it was a love story. Sometimes it was but sometimes it wasn’t. It was really more about the fact that nothing ever stays the same so the characters always had to adapt to the changes that happened. Admittedly, there were times when I thought the picture dragged a bit especially in the beginning. It definitely took its time to get to the real drama so a bit of patience is a requisite. But when it finally did dive into its subject’s lives, the storytelling was nothing short of captivating.
Snow White and the Seven Dwarfs (1937)
★★★★ / ★★★★
Walt Disney’s first full-feature animated film “Snow White and the Seven Dwarfs,” directed by David Hand, may be too simple in story and animation when it comes to today’s standards but that was what I loved about it. An evil queen (Lucille La Verne) decided to kill her step-daughter named Snow White (Adriana Caselotti) because the Magic Mirror (Moroni Olsen) claimed that the queen was no longer the fairest in the land. The queen sent a man to kill her step-daughter but he instead let her escape because he couldn’t find it in himself to commit murder. Snow White then ran away to the forest and there she met the seven dwarfs with very distinct personalities. Most of this picture was pretty much singing and dancing, while the story could only be found in the beginning and the final showdown between good and evil. While I did think that Snow White was not a very smart character in particular (who decides to eat a random apple that came from a shifty stranger?), she was likable enough for me to ultimately root for her. And although the lesson in the film was questionable because it pretty much implied that women should be good at cleaning the house, washing clothes, cooking and depending on men to rescue them from a sad situation, kids should nonetheless be entertained because of the sheer amount of vivid colors and energy that the film had all the way through. Not to mention the songs were really catchy, especially “Heigh-Ho” and “Some Day My Prince Will Come.” It must be noted that this animated film explored a little bit of darkness that might scare the children. Some examples include the queen’s determination to kill Snow White in not-so-subtle ways such as cutting off her heart and poisoning her with an apple, the witchcraft and transformation scenes of the evil queen to a decrepit old lady, and the nightmarish experience that Snow White had when she ran into the forest. Yet, in a way, I was glad that those elements from the fairy tales of Wilhelm Grimm and Jacob Grimm, from which the picture was based on, remained intact because it kept me engaged, which meant that the older viewers would most likely not get bored by the repetitive singing and dancing. The great artistic endeavor that was “Snow White and the Seven Dwarfs” opened the door to so many of Disney’s most excellent animated features. Although the film had its flaws, I believe we must honor it not only because it was progressive but also due to the fact that it provided people laughter and hope during the Great Depression.
12 Angry Men (1957)
★★★★ / ★★★★
This film was not difficult for me to love at all because it was able to focus on a number of very distinct individuals in one room and really pick apart their own moralities as well as our own… in about an hour and thirty minutes. If that isn’t filmmaking at its highest level, I don’t know what is. Directed by Sidney Lumet, “12 Angry Men” was about an eighteen year-old boy who was accused of stabbing is own father to death, now on trial to be put in the electric chair, and how one juror (Henry Fonda) out of the twelve (Martin Balsam, John Fiedler, Lee J. Cobb, E.G. Marshall, Jack Klugman, Edward Binns, Jack Warden, Joseph Sweeney, Ed Begley, George Voskovec and Robert Webber) decided to stand up for what he believed to be right–that is, that a person’s life should not be taken lightly, especially when that decision is in our hands. I thought it was fascinating that although we didn’t know the names of the jurors and we didn’t observe each of them in their respective homes, we learned a great deal about them with the way they argued their point of views regarding the case, how they argued against each other whether it was about the case or not, and how they looked into themselves when a really good point was brought up. Anyone who loves hearing great dialogues in cinema would immediately be interested in this film because it was pretty much like dropping in on a real jury who was deliberating behind the courtroom. Nobody is perfect and the arguments are strong yet they each had their flaws–but that complexity is what I found to be the most beautiful and engaging. This is the kind of film that is timeless because most people today absolutely hate it when they would be chosen to participate in jury duty and they would do anything to get out of it. (Sometimes including myself if I have class or a prior crucial commitment, but there’s a tiny part in me who is very interested on how it’s really like to be a part of the jury.) Although made in 1957, those eleven men are not at all different from people today because everyone has their own problems to face and responsibilities fulfilll; worrying about another person’s life who they consider as less important was the last thing on their minds. As the men tried to sort out the details of the crime, we really come to realize the power and the importance of reasonable doubt. Even if one is not interested in the justice system, this is a fascinating classic film about morals, ethics and what it means to live in a democratic society, the latter of which we most of the time take for granted. If I was ever on trial, I would want to show this movie to the jury before they make their decision.
Bonnie and Clyde (1967)
★★★★ / ★★★★
Two charismatic strangers named Bonnie (Faye Dunaway) and Clyde (Warren Beatty) teamed up and decided to rob banks in the Depression-era 1930s. Their adventures eventually led them to take in other people including C.W. Moss (Michael J. Pollard), Buck Barrow (Gene Hackman), and Blanche Barrow (Estelle Parsons). I’ve heard a lot about this movie via references from other pictures and television shows so I expected a lot from it. I have to say that it more than impressed because although it was initially about criminals who simply wanted some sort of excitement in their lives, we eventually really got to know them such as how they felt toward each other, their own insecurities and their realization that they wanted to leave the life of crime and start over. In under two hours, Arthur Penn, the director was able to helm a movie with sympathetic characters (when they shouldn’t be because they’ve killed people, especially considering when the film was released) and come full circle when it comes to the story. I also liked the dialogue and the passion in the body language of the actors, notably Dunaway. At times, I would pay attention more on what she was doing instead of what she was saying–something that I often catch myself doing when I’m conversing with someone. So I consider that a very good thing because it means she’s established a bridge between the character and the audience. Lastly, I enjoyed that this picture tried to be more than a series of action sequences. It actually had humor–especially when Gene Wilder appeared on screen–and real dramatic weight, which adds another layer to its substance. I think “Bonnie and Clyde” is rightfully considered as one of the greatest American films because even though it was undoubtedly violent, it really was more about the drama in wanting to escape situations with increasing amount of gravity. Pretty much every minute was efficient and I was fascinated with what was going to happen with the characters even though I knew of their fates. If one hasn’t seen “Bonnie and Clyde,” one should make it a priority. My only regret is that I hadn’t seen it sooner.