My last post here was about my ‘greatest fifty films’ list. But since then I have been thinking about other films which would have sneaked in had I the luxury of choosing one hundred titles.
So, here are the fifty which ‘got away’. No less revered and loved, but not quite making the main cut. Again, sorted by decade.
51 The Big Parade (King Vidor, 1925). Hard to see these days due to no official DVD release, but still one of the best films about the Great War.
52 The Lodger (Alfred Hitchcock, 1926). Hitch’s ‘first film’ by his definition, and despite an ending which didn’t convince, it has enough innovation going on to keep it fresh.
53 Metropolis (Fritz Lang, 1927). In any and all versions, the ultimate science fiction film.
54 Safety Last (Fred C Neumeyer, Sam Taylor, 1923). Harold Lloyd at his best. Other films might have tighter plots but this is the iconic image we have of him.
55 The Adventures of Robin Hood (Michael Curtiz, William Keighley, 1938). The blueprint for all adventuring swashbuckers to follow, and what glorious Technicolor.
56 Freaks (Tod Browning, 1932). A stunning and creepy achievement.
57 Frankenstein (James Whale, 1931). The character and premise should be ridiculous, but it isn’t.
58 I Am a Fugitive From a Chain Gang (Mervyn LeRoy, 1932). The strongest of the social drama pre-Code films.
59 The Merry Widow (Ernst Lubitsch, 1934). Chevalier, Macdonald. This musical sparkles with energy.
60 Peach-O-Reno (William A Seiter, 1931). A Wheeler and Woolsey comedy, naughty, spicy and fun.
61 Queen Christina (Rouben Mamoulian, 1933). Garbo in perhaps her best remembered (and parodied) role.
62 The Best Years of Our Lives (William Wyler, 1946). This film shows the return home of war veterans without sinking to cliche or sentiment. Known for its use of deep focus shots.
63 Brief Encounter (David Lean, 1945). Noel Coward’s timeless romance.
64 Citizen Kane (Orson Welles, 1941). The best debut film of any director or actor.
65 Hamlet (Laurence Olivier, 1948). A truly cinematic Shakespeare.
66 The Thief of Bagdad (Michael Powell, Ludwig Berger, Tim Whelan et al, 1940). A film which doesn’t quite gel, but remains curiously entertaining.
67 Without Love (Harold S Bucquet, 1945). A Tracy-Hepburn comedy romance with added pep from Lucille Ball.
68 Ben-Hur (William Wyler, 1959). When we talk about epics, the genre cannot be better represented than with this superbly shot and directed classic. Bloated it may be, but still very watchable.
69 The Seven Year Itch (Billy Wilder, 1955). Monroe at her vulnerable best.
70 A Star is Born (George Cukor, 1954). The film which should have gained Judy Garland an Oscar, but instead proved to be the last hurrah for her musical career.
71 If … (Lindsay Anderson, 1968). An evocative fable of school and authority.
72 Judgement at Nuremberg (Stanley Kramer, 1961). For many great cameo performances, especially Montgomery Clift and Burt Lancaster. This film uses, but doesn’t abuse, star power.
73 The Lion in Winter (Anthony Harvey, 1968). Historical soap with great locations and a good example of taking theatre into the cinema, effectively.
74 The System (Michael Winner, 1964). Oliver Reed in his first leading role, a Brighton mod/rocker piece which remains challenging and provoking today.
75 Those Magnificent Men in Their Flying Machines (Ken Annakin, 1965). For pure enjoyment and a great theme tune.
76 Apocalypse Now (Francis Ford Coppola, 1979). Preferable in the original version rather than the Redux. A beautiful nightmare of ‘Nam, helped by The Doors and Brando.
77 Death in Venice (Luchino Visconti, 1971). Dirk Bogarde’s best performance in a hymn to Mahler and the beauty of the young.
78 Jesus Christ Superstar (Norman Jewison, 1973). Difficult to get a rock opera right on the screen, but opening out the locations and making the story relevant to modern times nailed it.
79 Mary, Queen of Scots (Charles Jarrott, 1971). Historically inaccurate, but by far the best Tudor film made, with lovely performances, and colourful locations.
80 The Rocky Horror Picture Show (Jim Sharman, 1975). A guilty pleasure if only for Tim Curry’s Sweet Transvestite.
81 Scum (Alan Clarke, 1979). Powerful, bleak, disturbing drama.
82 The Tempest (Derek Jarman, 1979). Shakespeare for the 70s. It looks great and doesn’t betray the play.
83 Wake in Fright (Ted Kotcheff, 1971). A tale of the Australian Outback and the weakness of humanity. A truly beautiful film in every shot.
84 Woodstock (Michael Wadleigh, 1970). The best of all the music films, especially in the director’s cut. Contains all the drama and power of this greatest of rock festivals.
85 Brazil (Terry Gilliam, 1985). Flawed, but interesting.
86 The Last Metro (François Truffaut, 1980). Thoughtful, subversive, melodramatic, and wonderful.
87 Nijinsky (Herbert Ross, 1980). Ballet does not always transfer well to cinema, but this biographical piece remains strong in the mind even after one viewing, although it is difficult to find these days.
88 Le retour de Martin Guerre (Daniel Vigne, 1982). The original of what became ‘Sommersby’ and the ‘Martin Guerre’ musical. Touching, yearning, and very accessible.
89 Brassed Off (Mark Herman, 1996). A nostalgic love letter to the industrial north and their brass bands.
90 The Field (Jim Sheridan, 1990). King Lear in Ireland, and a career best performance from Richard Harris.
91 The First Wives’ Club (Hugh Wilson, 1996). Pure fun, guaranteed to lift the spirits.
92 Guinevere (Audrey Wells, 1999). An age gap romance which is celebratory, not creepy.
93 Michael Collins (Neil Jordan, 1996). Disturbing history lesson about the partition of Ireland.
94 Ran (Akira Kurosawa, 1995). King Lear in Japan, perhaps the greatest Shakespeare film ever made.
95 Life is Sweet (Mike Leigh, 1990). Leigh’s funniest and most charming film.
96 Trojan Eddie (Gillies MacKinnon, 1996). A film of contrasts, shocks, and blarney.
97 Wilde (Brian Gilbert, 1997). Up there with the best of all biopics, with a great central performance.
98 Wrestling Ernest Hemingway (Randa Haines, 1993). A quirky celebration of ageing.
99 The Dark Knight (Christopher Nolan, 2008). An action feature with some intelligence and stunning CGI.
100 The Lord of the Rings: The Fellowship of the Ring (Peter Jackson, 2001). Purely because it brought together actors, models, CGI and a great script to create something very special.
Films matter to me if they make me laugh, cry, feel scared, feel revolted, make me think, stay in my mind. All the above meet at least one of these criteria, and so they deserve their place.