Movie Loner

Of all Martin Scorsese’s films the one that amazes me the most is The Last Temptation of Christ. Sure Raging Bull is a cinematographic wonder, Goodfellas a gritty mob classic, and Taxi Driver a mesmerizing descent into madness, but it’s the story of Christ as adapted from Nikos Kazantzakis’ controversial novel that maintains a powerful grip on my filmic psyche. Ethereal and sumptuous from start to finish, The Last Temptation of Christ is Scorsese’s overlooked masterpiece worthy of thorough examination.

In this scene, Jesus, superbly portrayed by Willem Dafoe, chastises those who claim to be devoid of sin and delivers a warning that there is a God, and HE is watching. This is just one of many extraordinary scenes in The Last Temptation of Christ:

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It’s not often that a scene can make my heart beat faster. I can probably count on one hand the number of times this has occurred. The phenomenal car chase finale to The Road Warrior and Indiana Jones daring escape from the tomb of the Golden Idol in Raiders of the Lost Ark are two that come to mind. Writer/Director Michael Mann’s Heat contains a slew of memorable scenes from the dynamic opening armored car heist to the first-ever dialogue exchange between Al Pacino and Robert De Niro. It is a truly exceptional crime drama.

The following scene marks a significant plot shift as Pacino’s band of perplexed cops finally confront De Niro’s elusive gang of robbers. I give you the heart pounding, ear-splitting shootout from Heat:

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Spike Lee set his incendiary film about race relations on a sweltering summer day in the Bedford-Stuyvesant neighborhood of Brooklyn. Still relevant and powerful, Do the Right Thing introduced the world to Lee’s controversial in-your-face filmmaking style. The movie stands as Lee’s most ambitious project and in my opinion was 1989’s best film. Its unapologetic approach to the subject of racism in America earned it a place among the most socially and politically important films of the decade. Point in fact, the problems presented in Do the Right Thing still exist today, almost twenty years later.

The following scene expresses the movie’s central theme utilizing Lee’s uniquely energetic prose. Here is the story of Love and Hate as told by the character Radio Raheem.

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What makes a film great? Seems like a simple question, but not so easy to answer. Truth is a lot has to go right for a movie to stand out. Obvious things like quality acting and writing are essential. However, those aren’t enough to separate one from the mountainous glut of celluloid produced every year. For me, all it takes is a few memorable scenes to push a film to greatness.

The next couple of weeks I’m going to share and examine what I consider to be some of cinema’s finest scenes. Not coincidentally, these are from some of my favorite films. Great scenes can expound on theme, reveal key plot turns, expose a character’s hidden vulnerabilities, or induce a visceral reaction. The scenes I have selected may function on one or all of these levels. For certain, they offer a distinct glimpse into the brilliancy of the films they belong to.

I’ll begin, where else, at a beginning. The opening to Woody Allen’s best film, Manhattan. Sorry Annie Hall fans, Manhattan is a better, more complete New York story. I have nothing against Annie Hall, it’s just not Manhattan. Gordon Willis’ stunning black and white cinematography and Allen’s offbeat narration highlight this opening scene which plays as a love sonnet to New York City with musical accompaniment from George Gershwin’s triumphant classic “Rhapsody in Blue.” It’s a beautiful beginning to a story about a man’s search for love in the city that he loves. I give you the opening scene to Manhattan:

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I don’t think I have adequately expressed my admiration for the film Fight Club. It’s too famous for me to review on this site. I have to abide by my own rules. Although, since I made the rules I can probably break them, but I won’t. Let me just say Fight Club is a fuckin’ really cool movie. If you still don’t believe me, watch the video below. A fitting tribute to one of my favorite films courtesy of The Dust Brothers and a some guy named Tyler Durden.

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It’s high time I pay tribute to one of my favorite actors. Action, comedy, drama, this guy can do it all. Versatile and steady, Kurt Russell has been kicking ass in Hollywood since he was 6 years old. His impressive list of credits includes Escape from New York, The Thing, Silkwood, Big Trouble in Little China, Backdraft, and Tombstone. One of his first big screen successes was Used Cars, a legit gut-buster set in the shady world of automobile sales. Grab your popcorn and enjoy the ribald antics of this sleazy gang of shysters who sell cars for a living.

Russell plays Rudy Russo, a hack used car salesman who dreams of becoming a state Senator. To buy his way into the race Rudy needs $10,000, so he approaches his boss Luke Fuchs. Luke agrees to loan Rudy the cash, but Luke’s untimely death at the hands of his brother Roy leaves Rudy in a lurch. Roy, who owns the competing car lot across the street, needs the deed to Luke’s property to take advantage of a new interstate highway being constructed. To ensure Roy doesn’t take over, Rudy and his car lot cronies conceal Luke’s condition.

Rudy still lacks funds for his Senatorial run so he and his pals devise a series of schemes to drum up business. Illegal television commercials, topless women, and a dog who plays dead are just a few of the methods utilized. The unexpected arrival of Luke’s daughter Barbara tosses a monkey wrench in Rudy’s plans. Rudy falls for Barbara but can’t bring himself to tell the truth about her father. Meanwhile, a suspicious Roy amps up his efforts to take control of his brother’s land. Rudy’s dishonest behavior soon lands himself and the lot in a heap of trouble. In order to save the business and his relationship with Barbara, Rudy must lead a mad-dash of 250 cars back to the lot before a judge turns it over to the devious Roy.

Before he became one of Hollywood’s top whiz-kids Robert Zemeckis directed and co-wrote this comedy classic. In the tradition of Animal House and Caddyshack, Used Cars fires an unabashed shotgun blast at one of America’s most duplicitous professions. Gratuitous nudity, foul language and a bevy of politically incorrect references place this joyous romp among the best comedies I’ve ever seen. Russell is perfect playing the morally challenged Rudy and he gets stellar support from Jack Warden, Gerrit Graham, Frank McRae, and a beagle named Peanuts. If you missed out on Used Cars until now do yourself a favor and see this raucous laugher.

The trailer for Used Cars:

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One Saturday night, when I was 10 years old, my parents took me and by brother to the Drive-In. For those of you not familiar with the Drive-In experience, you would park your car in front of a giant outdoor screen, attach a speaker to your door frame, and enjoy a couple flicks while munching stale popcorn and drinking flat soda. Anyway, on this particular Saturday night the double feature was The Road Warrior and Sharky’s Machine. The former is considered one of the great action films of all time, the latter just another cop movie starring Burt Reynolds. I love The Road Warrior, but it was Sharky’s Machine that really stuck with me.

Tough-guy narcotics cop Tom Sharky (Reynolds) just got transferred to vice after a bust-gone-bad. Banished to the bowels of the Atlanta Police Department, Sharky has a future of hookers and weirdos to look forward to. His first case lands him on a surveillance detail spying on a high-class call girl named Dominoe (Rachel Ward). Joining Sharky is a ragtag team that includes the loud, disgruntled Lt. Friscoe, nervous family man Nosh, grizzled veteran Papa, and soft-spoken Arch. Together they set their sights on bringing down a cruel super-pimp named Victor who has dealings with a corrupt politician.

Dominoe’s desire to free herself from Victor’s cold grasp lands her on the hit list of Victor’s brother Billy Score, a drug addicted psychopath responsible for tying up loose ends. Sharky’s round-the-clock peep show turns into a growing obsession for the sultry Dominoe. Victor and Billy’s efforts to dispose of Dominoe fall short, forcing Sharky to take her into hiding. As Sharky and Dominoe grow closer, a mole in the department threatens everyone on Sharky’s team, including Sharky. A bloody high-rise confrontation caps this taught police thriller.

Admittedly, the story is a little weak. It’s never really clear what Victor wants and why he’s killing people. However, there are plenty of interesting characters and action to sustain the plot. Reynolds direction doesn’t lack style; sweeping aerial shots of Atlanta’s skyline and moody set-pieces are prevalent. A solid cast of character actors features Charles Durning, Brian Keith, Bernie Casey and Henry Silva. Then there is Rachel Ward, the object of my first boyhood crush. My infatuation with her would continue in The Thorn Birds, Against All Odds, and After Dark, My Sweet. Damn, she has one helluva sexy voice. I’ve never been a huge Burt Reynolds fan but Sharky’s Machine is one movie I can watch over and over again. 

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It’s once again time to celebrate America’s birthday. And what is more American than movies? Screw baseball and apple pie, movies define America. So to commemorate our country’s independence I offer a scene from one of the best independent films ever made. That movie is Bottle Rocket. It put wunderkind director Wes Anderson on the map and also introduced us to the comedic abilities of the Wilson Brothers, Luke and Owen. Oh yeah, it also has fireworks.

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