A Mind @ Play

This isn’t meant to be a list of classic films. In fact, many classics would find it difficult to creep on to this list. These films don’t have to have bemusing screenplays, flawless acting, blood-pumping soundtracks, or brilliant cinematography. But they are all linked by that special je ne sais quoi which makes me able to watch them time and time again. That isn’t to say there aren’t plenty of great movies that share this rather dubious accolade. I could and would watch many of them again, but the experience is always be somewhat diminished from that initial viewing.

The films on this list, however, have something special that gives them enduring longevity. It’s not the film itself but the film experience that counts. With the intricacies of the plot laid bare, the twists, turns, shocks and surprises all blunted by experience, what’s left is whatever ethos the film can conjure up. Which is precisely what some cult classics manage so successfully. Umberto Eco once wrote that “Casablanca became a cult movie because it is not one movie. It is “movies”.” ((Umberto Eco, Travels in Hyperreality, (London, 1986), p. 208.)) His point was that the film itself wasn’t any particular gem, but it encapsulated what movie-goers expected to see. The lines were famous before they were spoken, perhaps the most famous line of all being the one that wasn’t even in it (“Play it again, Sam”). But films that are able to do that go on to be remembered long after they’re made, irrespective of their individual merits and the quality of their cinematography, acting or screenplay.

This is simply a list of films that qualify merely on account of springing to mind first when considering what makes a film rewatchable. They’re mostly quite mainstream, with a heavy slant on the action side, no doubt in part because drama is a singularly poor trait for repeat value. But they are foremost a very personal example, and I doubt whether others will share even a portion of their number.

The Boys from Brazil

I recently caught a TV screening of The Boys from Brazil, a film adaptation of Ira Levin’s novel, concerning the nefarious actions of Dr. Josef Mengele in South America, and his pursuit by a Nazi-hunter presumably modelled on Simon Wiesenthal. Certainly a rather motley cast, with Laurence Olivier showing why he is so often cited as amongst the highest echelons of English-speaking acting, whilst James Mason poorly attempts to cover up his stiff accent. Still not entirely sure what to make of Peck’s performance.

https://www.youtube.com/watch?v=q-l93gltkCc

For anyone who recently enjoyed Hot Fuzz, this new film looks like it will carry the torch where Shaun of the Dead previously led the way. 28 Days Later meets Dog Soldiers?

Casino Royale

So they’re silly. So they’ve been going since the ’60s. So this is the twenty-first (official) outting of the sixth incarnation of a spy who has survived promotion, demotion and the Cold War. It’s a Bond film, and one purporting to go ‘back to basics’ with a new face and a general overhaul for the series. As one of those heretics who preferred the slightly heightened realism of the Timothy Dalton era, this film showed plenty of promise with a conspicuous absence gadgets, a somewhere near realistic plot, and nary a nuclear device in sight.

It’s been compared to the series reboot that Batman Begins provided, and for all its grittiness and mortality of the main character, has been lauded by the critics, whilst simultaneously pleasing fans for remaining true to the Bond brand. Daniel Craig proved to be a controversial choice, but from his experience behind the lines in Archangel and some technical bomb-making expertise in Munich, he came well prepared to play the UK’s most dangerous export.

Warning, possible spoilers after the break!