The Great Movies

Features

• Cover Type: Paperback with 544 pages
• Published by: Broadway November 11, 2003
• Written in: English
• ISBN 10 Number: 0767910389
• ISBN 13 Number: 978-0767910385
• Book Dimensions: 9 x 6 x 1.4 inches
• Weighs: 1.7 pounds

Product Review
If Pauline Kael popularized “movie love,” Roger Ebert is the eloquent Valentino of cinephiles. This invaluable volume gathers 100 of the Pulitzer winner's mini-essays composed since 1997, revised and updated, to form a love letter that could only spring from decades of devotion. A feat of superlative analysis, historical reflection, personal diary, and journalistic odyssey, The Great Movies combines an accessible style with an academics precision. Accompanied by photographs perfectly chosen by Museum of Modern Art film stills archivist Mary Corliss, the 100 films are irrefutably worthy of inclusion, allowing room for debate (John Fords My Darling Clementine is in, The Searchers is not--arguably a wise decision) while placing each film into its own undeniable context of superiority. Admirably, Ebert recognizes that no critic writes in a vacuum; he dedicates the book to eight master critics hailed as “teachers,” quotes many of his contemporaries, and carries on the debate with Kaels lingering spirit (Ebert counters her on Body Heat, praises her on Nashville). His appreciation of E.T. is written as a letter to beloved children in his life, and the entire book breathes with an awareness of legacy--the cinemas and Eberts own--that underlies the sobering theme of his introduction. We need these movies (and this book) to remind us that movies can be so much better than they typically are. --Jeff Shannon --This text refers to an out of print or unavailable edition of this title.

From Library Journal
Culled from essays famed film critic Ebert has been writing biweekly for the last two years, the 100 pieces here tell us what's so great about Casablanca, The Seventh Seal, The Wizard of Oz, and more.
Copyright 2001 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

Reader Reviews
This review is from: The Great Movies (Hardcover) This new book, by prominent movie critic Roger Ebert, is likely to ignite discussion and debate over his 100 selections. The debate shouldn't be over whether or not these are the 100 greatest movies ever, since the author establishes in the introduction that these are simply 100 great movies, and not necessarily what he considers the best. The debate, then, will likely be over why he considers some of the films to be great. Some of the choices will brook little argument: "Casablanca," "Citizen Kane," "Gone With the Wind," "Battleship Potemkin," "The Godfather," and many others profiled are often at or near the top of most "great movies" lists. Even some of the more "obscure" entries, such as "Woman in the Dunes" and "Gates of Heaven" are generally known to most film buffs and accepted by critics as fine filmmaking. Ebert's intent, it seems, is to make people aware of WHY "The Godfather" and other well-known films are so imbued into our consciousness, and to raise awareness of other, often forgotten classics. Terrence Malick's often overlooked "Days of Heaven" is just begging to be rediscovered, as is Fassbinder's haunting "Ali: Fear Eats the Soul," Powell's frightening "Peeping Tom," and Lang's wrenching "M." Ebert gives each film a two or three page review, explaining many things of interest, including casting problems (Orson Welles over Noel Coward in "The Third Man", for example), production difficulties, and sometimes, each film's immediate or long-term impact (such as how "It's A Wonderful Life" rose from obscurity to become a holiday classic, or the resurrection of "The Shawshank Redemption" on home video). In addition, there are discussions of symbolism, controversies, directorial styles and quirks, and much more. This is a very informative book, great for film buffs like me (who became more aware of some wonderful films) and for the casual moviegoer. The writing is engaging, witty, and never technical. Ebert's love for film is present on every page. As I looked over the list, I realized that I had few arguments with Ebert's choices--virtually everything listed qualifies as a great movie. I did wonder why he chose some films from certain genres and not others. "Red River" is a great Western, but why not "Stagecoach," which invented the modern Western, or "The Searchers," which perfected it? What about the iconoclastic "Shane"? Silent films seemed to come up a bit short; one could ask why not Chaplin's "Modern Times," Griffith's controversial "Birth of a Nation," or one of the last great silents, Sjostrom's "The Wind," starring Lillian Gish? Certainly, "Modern Times" and "Birth of a Nation" have been profiled dozens of times over the years, but it would have been nice to see Ebert's opinion of them. Also, what about Richard Rush's brilliantly subversive "The Stunt Man," starring Peter O'Toole? "A Hard Day's Night," over "Yellow Submarine?" (Granted, his explanation about why "Night" was selected made prefect sense). And, it seems that some directors received more attention than others (Hitchcock, for example, though I am a fan). ONE David Lean? What about Russian director Andrei Tarkovsky? Chinese director Zhang Yimou? Preston Sturges' brilliant satire "Sullivan's Travels?" Welles in "Touch of Evil?" But I'm quibbling. When a prominent critic like Ebert publishes a book like this, the end results can only be positive. For one, it will start debate and discussion among critics, film buffs, and casual fans, and second, it will raise awareness of great films so often forgotten by our society in the wake of the endless clones churned out by the modern Hollywood machine. I have made it my goal to see every film on the list (I had seen a number of them before it came out) and have managed to take in five of them just in the past two weeks, with another two or three on the way. (Home video is great!!). But, sadly, I have been unable to locate a few of the more obscure ones, especially the foreign classics. Video stores have ten or twenty copies of the latest release (forgotten in a year, if not sooner), but almost no classics and virtually no foreign films. (A hint: If you have access to a large university or public library, try there). This is not only a profile of good films, but also a look into the times, places, cultures, and individuals that produced them. Excellent work. Comment (1) | | (Report this)