The two at the top of my list for 1997 couldn’t be any more disparate. Boogie Nights is a three-hour race through the golden age of the porn industry. Picture the coke-induced drive at the end of Goodfellas with as many characters as there is depravity. Mother and Son is an hour long Russian piece on the meditation of death between, what else, a mother and her son. It sighs and whispers, with every subtle motion a rift on the screen. And while both exemplify the quality of great films, Boogie Nights has got the fumbled excitement of a child that proudly takes his or her erratic behavior on the chin. P.T. Anderson’s second feature can overwhelm itself in its own scope but its ambition is something to admire. It revels in the hedonistic binge of its content all the while taking a sobering look at the trappings of sterilizing insecurities. Sex isn’t sex but a business, with everybody soon finding out that you can’t even get away with that. Somehow, you end up leaving the movie with the solemnity of exiting an art house picture, getting at something much deeper than all the surface drama. So at number one no doubt it goes.
1. Boogie Nights (Paul Thomas Anderson)
2. Mother and Son (Aleksandr Sokurov)
3. Taste of Cherry (Abbas Kiarostami)
4. L.A. Confidential (Curtis Hanson)
5. The River (Tsai Ming-liang) and The Eel (Shohei Imamura)
6. Happy Together (Wong Kar-wai)
7. Funny Games (Michael Haneke)
8. Jackie Brown (Quentin Tarantino)
9. Lost Highway (David Lynch)
10. In the Company of Men (Neil LaBute)
The once polarizing Taste of Cherry is still the poster child of 90’s Iranian cinema, that decade initiating – and still blazing – movement that’s produced some of the most outstanding narratively experimental social dramas, peeling away layer after layer of film grammar. Curtis Hanson’s L.A. Confidential has tested far better than a lot of its contemporary crime peers by displaying its makers’ unabashed passion for everything the movie stood for. And Jackie Brown, a mutual screenwriter’s class darling, is strictly built upon that principle alone for Tarantino and the 70’s blaxploitation boom.
As for the rest, just look at all the bleakness! You have Tsai Ming-liang’s crumbling family drama desperately attempting to salvage its self-inflicting wounds. You have Michael Haneke perversely playing with the medium in his cool malevolence. You have David Lynch snatching a Luis Buñuel trope of replacing the lead midway in his bristling grumble of a shadowed world. The adjectives! Then there’s Chad from In the Company of Men, who could quite possibly be the most terrifyingly evil character on the screen in the ever most eerily of gratifying ways. A nod to LaBute for that, I guess…
Those that got pretty darn close include Robert Altaman’s Jazz ’34, which I ended up liking more than Kansas City. And I like Kansas City! Paul Verhoeven’s sly and subversive Starship Troopers, dating brilliantly because it never took itself serious… or did it? Richard Kwietniowski’s Love and Death on Long Island, inspiring in its first half but a bit of a let down once Jason Priestly’s character actually arrives on screen. John Woo’s Face/Off, because like Verhoeven, bonkers is the way to go! And Nil by Mouth, Gary Oldman’s directorial debut that I haven’t watched in a very long, and I mean LONG time. For that matter, there’s also Grosse Pointe Blank, Gummo, The Ice Storm, and The Sweet Hereafter. Oh, and Titanic. Yeah… Titanic.