Rocks that Move

15. CYRANO DE BERGERAC (1990)
directed by Jean-Paul Rappeneau
starring Gerard Depardieu, Anne Brochet, Vincent Perez

Cyrano de Bergerac was a real character in history. He was a French dramatist in the 17th century who wrote science fiction, poetry, and was an "enlightened" thinker before The Enlightenment had even begun. The Cyrano de Bergerac of fiction, however, is a much exaggerated version of this real-life person; almost Don Quixotesque in nature. I think this is why I love this film so much. It is a combination of history and poetry. It is melodrama and comedy, but in a more classical sense. It is full of irony and symbolism. Yet, it is highly entertaining as well. It is a film that only the French could do so well. Many will recall the 1987 American film "Roxanne" with Steve Martin and Darryl Hannah, which is essentially the same story. It was pretty decent, but in my eyes, firemen simply cannot hold a candle to 17th century musketeers.

Gerard Depardieu is fantastic as the passionate and fiery Cyrano. He was even nominated for an Oscar, which is fairly rare for a foreign actor in a foreign film, and he won the best actor award at Cannes. My favorite scene makes a vague reference to the writings of the real Cyrano de Bergerac. Cyrano needs to prevent the Comte de Guiche from breaking up the wedding between Christian and Roxane, and he disguises himself and jumps down from a wall. He claims he has fallen from the moon, and demands assistance in getting back up. The sword fight duel early in the film is also classic, as Cyrano recites poetry in the heat of battle. I am surprised I could not find this scene quoted online. All the websites have the same couple of quotes from the film, which is a shame. This is a very quotable movie.

In any case, the film really does revolve around Depardieu's unique character. None of the other characters stick out, except for Cyrano and the object of his love Roxane. That is how the movie works. Cyrano is the ultimate romantic star, shining in the darkness, reaching out for Roxane, but never quite reaching her. You root for Cyrano, and Cyrano only. The movie has a gloomy look throughout and gloomy circumstances, but this makes his star shine all the brighter. The plot, though steeped in historical references, is rather simple. The screenplay, however, is brilliant, even if only Cyrano gets the good lines. Action-adventure. Romance. Comedy. Drama. This film has it all, conveniently wrapped up in a beautiful package tied with a bow as large as... a nose?

14. THE GODFATHER (1972)
directed by Francis Ford Coppola
starring Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton

"The Godfather" is considered to be the best movie ever made by many critics and movie fans, and arguably it is true. It is an epic mob story and crime drama with style and symbolism, and it has influenced hundreds of movies since its release. Mob movies had been done before, but it is the style and symbolism that makes this film so great. It is not just a movie. It is a work of art, and that is not melodrama or an exaggeration. This film is arguably one of America's greatest artworks.

"The Godfather" is interesting in that it is supposedly a "man's man" kind of movie. Drinking. Fights. Honor. Guns. Food. Respect. Men tend to love it more than women do, because it is macho and action-packed. Yet it really isn't. The movie is pretty. It is long. It is a historical drama. It is a costume drama, even. And it is full of one of my favorite things: characters. Lots of characters. Almost every character in the film is well-thought out and individual. My favorite was always the hot-tempered Sonny, played by James Caan, although Marlon Brando's Don Corleone is hard to forget. There is a lot of debate over whether or not this film or its first sequel are the best. Godfather II is certainly one of the all-time best sequels ever. But I like the first one best, and the reason is that I feel like it has more colorful character(s).

That said, it is a violent film. It is about death. It is about revenge. It is about survival. Underneath the beautiful cinematography is the dark underbelly of America. Behind the intricate story of family and acceptance is another story of betrayal and blood-feud. In between acts of violence are scenes of feasting and friendship, but even these scenes are full of violent tension. I guess this is ultimately what makes it a "guy" movie. It would be an error, however, to underestimate the movie and oversimplify it. Women still rated it an 8.5 on IMDB.

Speaking of IMDB, according to them Coppola's first cut of the movie was only 123 minutes long. The production chief at Paramount pictures insisted on additions being made, showing more about the family, which ultimately is why this movie is not just good, it is great. If this is true, I wonder if it is the only time that a major studio actually insisted on a LONGER movie? They are notorious for making directors cut their films down. Hmm...

13 PLATOON (1986)
directed by Oliver Stone
starring Charlie Sheen, Tom Berenger, Willem Dafoe, Forrest Whitaker, John C. McGinley, Francesco Quinn, and kind of Johnny Depp... but not really. He's in it, but he's mostly on the cutting room floor.

Every good actor wants to have that one great death scene in a film. There is nothing like dying a glorious and dramatic death, going out in a blaze of glory, bleeding profusely or catching on fire, and letting the last breath seep out of your lungs... then hearing "CUT!" Get up. Have some coffee. Then do it two dozen more times because something wasn't quite right. Frick. If you succeed, then the end result is worth it, and Willem Dafoe nailed it. I rank his death as the #1 death in a movie, although Cyrano and Sonny from my previous two movies both deserve a look. Lucky guys.

"Platoon" is definitely not a movie for everybody. I lived next door to a Vietnam veteran for a number of years. My neighbor had been a tank driver in the war (I never realized they even used tanks), and one day he showed me the front of his leg where he had been hit by a fragment when his tank was attacked. I was surprised at how small the scar was. Then he turned his leg around to show me the other side. It looked like he had been bitten by a shark that chewed on him awhile before spitting him out. He was a kind, but tough man. I admired his bravery and how the war did not (outwardly) affect his positive personality.

"Platoon" is the only war film that gave him nightmares.

That is what this movie is. It is about what it was like to be a Vietnam grunt. The acting in this movie is amazing. Every character is a real human being with real thoughts and feelings. It really brings you into their reality. Digging latrines, swatting mosquitoes in the jungle, being rained on with no shelter, walking up hills for miles, eating who knows what out of a can, and then suddenly you are in the middle of explosions and bullets are whizzing past your ear. It is not even that bloody of a film compared to a lot of war films, especially the past ten years or so. But it has a tension and fear in it unlike almost any other war film. There is tension not just in battle and waiting for battle, however, there is also tension between the characters. They are at war with each other, as well as with the "enemy." They are at war with themselves.

12. DO THE RIGHT THING (1989)
directed by Spike Lee
starring Spike Lee, Danny Aiello, Rosie Perez, John Turturro, Ossie Davis, Ruby Dee, Samuel L. Jackson

Willem Dafoe gets my vote for #1 best death in a film. Spike Lee gets my vote for biggest Oscar travesty of justice. Not only did his film not win, it was not even nominated. No nomination for best director. No nomination for best film. I simply cannot believe it. This film was not only better than every film that came out that year (or the year before and after), it was the most important movie of the year. It was a milestone in film-making. It was a sensation. Blah, blah, blah. What's the use? The Oscars are stupid sometimes. Oh well.

I love how this film builds up. Everything is so positive; so gentle. It is a quiet day in the city. The movie introduces you to a number of colorful characters. Amongst the many is Sal the old, crabby Italian guy running a pizzeria in a predominantly black neighborhood. He is an angry racist, but he arguably tries hard not to be. Buggin Out is a hyper, young black man that wants to know why there are no "bruthas" on the wall of Sal's pizzeria. Radio Raheem is a giant, quiet kid who expresses himself through playing Public Enemy on his boom box. Mister Senor Love Daddy is an exciting and flamboyant radio DJ. Mother Sister is a smart, elderly lady who watches over the town from her window. Mookie, the main character, is the delivery boy who is trying to interpret what is going on in his neighborhood, albeit in a biased and perhaps even selfish way. Da Mayor is a kind-hearted old man who wanders the neighborhood, striking up conversations. "Doctor," he says to Mookie, "Always do the right thing." It is debatable whether Mookie actually takes Da Mayor's advice.

Early on this movie is sweet and funny and pleasant... but underneath it all there is something brewing. Like "Platoon," this is a film about tension and what tension does to people. Instead of war, the tension is caused by race. If you really want to get into the film, watch it in summer with the air conditioning turned off. In the film, it is the hottest summer in the city in years. It is uncomfortable. It is an intolerable environment. There is a lot of red in the film, signifying the heat and the tension. There is something bubbling underneath the surface, and it is something that has to come out. And it does so in a way that is shocking, relevant, and very real. It could have happened for real in 1989, as some critics of the film feared. It arguably did happen in Los Angeles in 1992. It could happen this very summer. The tension of racism is alive and well.

11. LAWRENCE OF ARABIA (1962)
directed by David Lean
starring Peter O'Toole, Omar Sharif, Anthony Quinn, Alec Guinness, Jack Hawkins, Claude Rains, and Anthony Quayle

"Truly, for some men nothing is written unless THEY write it."

The end of this movie is one of the most ironic in history, but it is easy to miss why. Peter O'Toole's T.E. Lawrence is sitting in a jeep, pained and tired. He is going home, and as the driver babbles on about home, a motorcycle drives by and the music takes an odd turn. One of the most amazing adventures has truly come to an end. The connection between the beginnings of the film and the end of film is easy to lose due to the sheer length of the film. I always joke that this film is over 3 hours of men crossing the desert. Truly, it is much, much more than that.

As I already stated before the Oscars, I consider Peter O'Toole's performance in this film to be the best performance in movie history. Premiere magazine recently agreed with me. It is amazing. One thing I forgot about, however, was how many of the supporting parts in this film are amongst the best in movie history as well. They are handily summed up from their quotes:

Auda abu Tayi (Anthony Quinn): I carry twenty-three great wounds, all got in battle. Seventy-five men have I killed with my own hands in battle. I scatter, I burn my enemies' tents. I take away their flocks and herds. The Turks pay me a golden treasure, yet I am poor! Because *I* am a river to my people!

Prince Feisal (Alec Guiness): Young men make wars, and the virtues of war are the virtues of young men: courage, and hope for the future. Then old men make the peace, and the vices of peace are the vices of old men: mistrust and caution. (Can't you imagine Obi-Wan Kenobi saying this?)

Sherif Ali (Omar Sherif): (sarcastically) Does it surprise you, Mr Bentley? Surely, you know the Arabs are a barbarous people. Barbarous and cruel. Who but they? Who but they?

General Allenby (Jack Hawkins): I've got orders to obey, thank God. Not like that poor devil. He's riding the whirlwind.

Colonel Brighton (Anthony Quayle): Damn it, Lawrence! Who do you take your orders from?

Mr. Dryden (Claude Raines): A man who tells lies, like me, merely hides the truth. But a man who tells half-lies has forgotten where he put it.

T.E. Lawrence (Peter O'Toole): Do you think I'm just anyone? Do you?

Absolutely not. And this film is not just any film. It is the ultimate mega-drama. It is epic... or long, if you don't like it. It is historical, which of course appeals to my personal tastes. It is beautiful, and filmed on location in the Sahara desert and Spain. It is innovative. The mirage scene earlier in the film was made using a special camera lens that is now called the "David Lean" lens. Much of the equipment had to be created from scratch, as nothing had been filmed like this in such conditions before. The environment that these actors and film crew endures is unthinkable, just to make a movie. Like I said... this film is not just any film. It is one of those films that is an experience, where you walk out thinking, "They don't make movies like that anymore." The fact is that they never did, and never will again. It is one of a kind.