What did you miss? Top 10 films of 2005 (Non new-release division)

From www.cinemarati.com

Posted by jeff_v under Lists and Polls

If you’re like me, most of your favorite movies that you saw for the first time this year are older films. I’m forever catching up with the canon, and the canon continues to grow and evolve as I pursue it. What follows are the ten (or so) films I liked the most:

The Leopard (1963, Luchino Visconti) - It would’ve been nice to have caught it when it made the rounds in theaters a couple years ago. Visconti sure does favor the long-shot –it seems like every scene depends on the way one character is regarding another, or the way the family is arranged in some incredibly ornate room. But the moment that really made me gasp was the tracking shot of the Prince’s family, motionless in a dusty haze in the church. Each frame has the look of a painting stirred to life.

The Last Laugh (1924, F.W. Murnau) - Let’s acknowledge the usual reasons given for the films greatness: 1) Its lack of intertitles, which is evidence of Murnau’s gift for visual storytelling. 2) The moving camera, which opened up the possibilities of cinema, as it seems to go through windows and transcend space. It also establishes a subjective viewpoint that increases intimacy and collusion with the audience. We are no longer being told, we are being invited. 3) The apotheosis of German Expressionism in the sets (the looming buildings), lighting and acting (Jannings’ performance is outrageously mannered from a modern perspective, but his body language is as outward representation of his inner turmoil).

Murmur of the Heart (1971, Louis Malle) - The versatile Louis Malle makes films that cannot be reduced to thesis statements, nor even, in this case, confined to a genre. As Pauline Kael wrote, this isn’t strictly a comedy, but a film that shows life with its comedic aspects. Malle portrays the wealthy Chevalier family with an eye for the hypocrisy of their class, but also the joy of living as they do. It’s not scornful or scabrous, like so many filmmakers’ castigations of the bourgeoisie are. When the much-ballyhooed climax of the film arrives, it’s a relief how unforced and naturally it occurs, and is more profound for not being accompanied by the usual wailing and teeth-gnashing.

The Iceman Cometh (1973, John Frankenheimer) - Career-capping performances from cinema’s greatest tough guys, Lee Marvin and Robert Ryan, highlight this American Film Theatre production of O’Neil’s play. I’d love to see the 1960 TV version with Jason Robards.

Faust (1926, F.W. Murnau) - Yeah, I know, why hadn’t I gotten around to these Murnau’s earlier? This strange and beautiful film would be a shoo-in for my all-time top 100 were it not for a soft middle-section devoted to Faust’s wooing of the virtuous innocent, Gretchen. The light comedy that Mephisto provides in these passages is entertaining (if out of character?), and reminded me that Rip Torn would be the only actor today who could take the place of Emil Jannings in this role.

Love Me Tonight (1932, Rouben Mamoulian) - The world in Love Me Tonight is drippingly romantic, and the characters know it is. They acknowledge as much in the film’s self-aware signature tune, “Isn’t It Romantic?” Mamoulian’s smooth touch gives the film just the right kick, as when he employs slow-motion for the horses tiptoeing away from the “sleeping” stag, or the delicate cross-fade of the lovers with clouds in the sky. The film is remarkably unmoored by the restrictions of early talkies. Its freedom and gaiety, in movement and attitude, make it a domestic cousin to Rene Clair’s musicals in France at this time.

Out of the Blue (1980, Dennis Hopper) - Dennis Hopper takes what would have been an Afterschool Special type show and turns it into a gritty, offbeat punk classic. With the exception of a few awkward scenes one could easily mistake this for a Scorsese film of the same period. And whatever happened to Linda Manz?

The Freshman (1925, Fred C. Newmeyer, Sam Taylor) - Easily the best of the half-dozen Harold Lloyd movies I saw for the first time this year. It’s the least gag-dependent (though his jig is his funniest running joke) and most story-driven.

Counsellor at Law (1933, William Wyler) - The best movie about a workaholic that I’ve seen. John Barrymore is outstanding, and the play translates well to screen –briskly paced, terrific energy. It’s amazing how much stuff gets crammed into 82 minutes here

Scaramouche (1952, George Sidney) - Apparently, this was the last movie shot in the original three-strip Technicolor. The craft is displayed to perfection in this light-hearted swashbuckler that entertains from start to finish thanks to great swordplay (especially the finale), beautiful Eleanor Parker and Janet Leigh (he ends up with the wrong gal, if you ask me), and a breezy pace. I feel sorry for the real Scaramouche in this movie. The poor guy must be seriously bummed.

Also:

La Notte (1960, Michelangelo Antonioni)
A Star Is Born (1937, William Wellman)
The Testament of Dr. Mabuse (1932, Fritz Lang)
The Music Box (1932, James Parrott)
The “Up” Series (1963, 1970, 1977, 1984, 1991, 1998, Michael Apted)

I’m always surprised by what people hadn’t seen until recently, so share… What were your favorites?

I just rented it on DVD for the next few days.