Today! Because everyone who drinks is not a poet. Maybe some of us drink because we’re not poets –
Directed by Steve Gordon
Starring Dudley Moore (x2), Liza Minnelli (x2), John Gielgud (x3), Jill Eikenberry, Barney Martin (x2), Ted Ross, Geraldine Fitzgerald, Anne De Salvo, Stephen Elliott, Paul Gleason (x2), Lawrence Tierney (x3)
I’m not sure how expressly I’ve stated this before, but clearly I’ve got a thing for drinking comedies. I know I’ve referenced my long lost Best Drinking Films list from a MySpace blog – a list I’m sure I have somewhere but still can’t locate – but that was created largely because of my affinity for buffoonish alcoholic adventures on the big screen. This list has featured a bunch of them – mostly teen comedies like #231 American Pie, #348 Road Trip, and #67 Can’t Hardly Wait, but also your #147 Quiet Man, that one scene in E.T. (that’s probably where I mentioned this list before, right?), and now the greatest comic drunk character of all time, Dudley Moore’s terrific soused millionaire layabout Arthur Bach.
Completely underrated as a drinking film (and I now realize hasn’t appeared on this list yet)
Today! Because people are frightened by what they don’t understand –
The Elephant Man (1980)
Directed by David Lynch
Starring John Hurt, Anthony Hopkins (x2), Anne Bancroft, John Gielgud (x2), Wendy Hiller (x2), Freddie Jones, Michael Elphick, Hannah Gordon, John Standing (x2), Helen Ryan, Kenny Baker (x2)
An absolutely riveting, heart-wrenching biopic of severely deformed 19th century Londoner Joseph Merrick, brought to life by the disparate talents of director David Lynch, actor John Hurt, and producer Mel Brooks. Lynch was hot off his very Lynchian glorified student film Eraserhead – as bonkers a movie as has ever been made – and Mel had recently wrapped his Hitchcock parody High Anxiety, so naturally these two Americans had to get together for a black-and-white period British freakshow drama. Really though, both have a strong streak of outsider characters populating their films and shows, and treating them sympathetically, so it may not be as far-fetched as I’m supposing.
Besides the tremendous performances – Hurt and Hopkins as Merrick’s doctor, primarily – and those gorgeous b&w visuals, the movie is a towering triumph of film make-up. Merrick’s deformities were so massive that it required near full-body coverage for Hurt – a process that allegedly took seven to eight hours a day. Burying your lead actor under massive prosthetics poses an obvious challenge – how does an effective performance emerge when you can barely see the actor – but Hurt is riveting throughout – even if completely unrecognizable. Another good actor example of physical immersion into roles, good and bad, is Gary Oldman – terrifically effective as the massively scarred Mason Verger in Hannibal, and (in my opinion) somewhat less so in his Oscar-winning pile of make-up work as Churchill in The Darkest Hour. Come on, is there one minute of that movie where you’re not just saying to yourself “Oh hey! Look at how much make-up Gary Oldman is wearing!” Maybe it’s just me.
These waxworks are so lifelike!
Today! Because a repulsive murderer has himself been repulsively, and, perhaps deservedly, murdered –
Murder on the Orient Express (1974)
Directed by Sidney Lumet
Starring Albert Finney, Lauren Bacall, Sean Connery, Ingrid Bergman, Anthony Perkins, Vanessa Redgrave (x2), Martin Balsam, John Gielgud, Michael York, Wendy Hiller, Richard Widmark, Jacqueline Bisset, Jean-Pierre Cassel, Rachel Roberts, Colin Blakely, George Coulouris
Sidney Lumet’s all-star take on the Agatha Christie classic is still the definitive big screen take on her work. Most Christie novels are a little too uncinematic to make for really great movies, and thus there have been far more and better TV versions of her stories than films (the Branagh Orient Express from 2017 is also pretty good, so hopes are high for Death on the Nile). But this one has everything – all the stars as in the heavens turned out for this film, a terrific locked-in train set that heightens the tension and suspense one scene after the other, a script where basically every line is vital to fully telling the tale, and Finney’s masterful work as Poirot tying the whole thing together. Widmark allegedly signed on in the relatively brief role as the doomed villain Ratchett (The book’s been out for 80 years! No complaining!) just so he could meet the other stars of the picture. Ingrid Bergman won her third Oscar for essentially one scene of significant dialogue! Sean Connery’s epic mustache nearly trumps Poirot’s! Continue reading