Last time I had promised 1995… again. But hey, I get to make the rules here. It’s been a while since I’ve watched several of the films from that year, so I’d rather wait and revisit a couple before I take on the challenge of, you know, listing them. 1979, however, is as fresh in my mind as Hanna Schygulla’s smeared lipstick. After a trailblazing decade of drug-fueled machine-gun paced work, Rainer Werner Fassbinder finally got the kind of budget he’d always admired when watching Hollywood soap dramas from the 1950’s. The Marriage of Maria Braun is a compact little epic about survival in post-war Germany as told through the experiences of one single woman. It’s trashy, at times overwrought, and perfectly sinister in its commentary about West German plight turned opportunism. Basically, it’s all of the things that make Fassbinder’s work so chillingly pleasurable. Enough so, in fact, to knock out a couple of bona fide classics off the top spot. I mean how much more could really be said about Apocalypse Now or Alien? Movies that still sell out tickets at retrospect screenings like Super Bowl games. And although as popular as Maria Braun is when discussing Fassbinder’s work, that’s still a claim that it sadly can’t achieve. Which is a shame because it’s one heck of film. Oh well. You can’t win ’em all.
1. The Marriage of Maria Braun (Rainer Werner Fassbinder)
2. Manhattan (Woody Allen)
3. Stalker (Andrei Tarkovsky)
4. Apocalypse Now (Francis Ford Coppola)
5. Tess (Roman Polanski)
6. Vengeance is Mine (Shōhei Imamura)
7. Alien (Ridley Scott)
8. Nosferatu the Vampyre (Werner Herzog)
9. Life of Brian (Terry Jones)
10. Camera Buff (Krzysztof Kieślowski)
Stalker is one of Tarkovsky’s lesser known works and, as we speak, still unavailable in the U.S. in a decent print. C’mon Criterion! But hey, they at least gave Tess and Vengeance is Mine the Blu-ray treatment, two art house films that continue to demand high praise. The latter is also a good first-billing in a double feature with The Silence of the Lambs, which always conjures up the theory in my mind that there is movie violence and then there is Japanese movie violence. And that’s a whole other category. And thank the Gods for Manhattan and Life of Brian, which lighten things up here. The former is a personal favorite of mine and one of Allen’s best, while the latter makes an audacious attempt at satire that only Monty Python could have the cajoles to get away with.
Movies that trail just behind include Francois Truffaut’s final installment in his Antoine Doinel series, Love on the Run, and idiosyncratic turns by Huston and Ashby with Wise Blood and Being There respectively. Oh! And throw in Winter Kills, too! Another oddball of a movie that’s truly unforgettable. Blake Edward’s had 10, with Bo Derek doing the Baywatch thing, and Bob Fosse had All That Jazz, with Roy Scheider doing the Marcello Mastroianni thing. David Cronenberg was finally in his “groove” with The Brood, and George Miller introduced a dystopian world we have yet to forget – and I hope we never do – with Mad Max. Cram in a couple of Oscar favorites like Kramer vs. Kramer and Norma Rae, along with some forgotten gems like Saint Jack, Going in Style, Breaking Away, and The Wanderers, and 1979 ain’t looking too shabby.
Next time: Who knows! I’ve been lying to you anyway, so why pretend? But I’ll leave you with this clip from Quadrophenia as an apology of sorts. I know, I know. Apology accepted.