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Legendary FX and monster makeup artist Rick Baker took home the first-ever Academy Award for For Best Makeup and Hairstyling for creating a scene that has given the wolf-averse nightmares ever since. The African Queen Year: 1951 Director: John Huston The madcap, screwball comedies of the ‘30s and ‘40s helped set the template for the battle-of-the-sexes comedies that would populate American cinemas for years to come (and still do, to some extent). Schaffner’s colossal biographical ode to one of World War II’s most renowned and most controversial military figures, you get the sense that George S.Writer/director John Huston’s genius in making The African Queen was taking the feuding couple out of the metropolitan areas for which they’d often been associated with and instead placing them square in the middle of an inhospitable jungle. Patton would likely dig Schaffner’s work; the film doesn’t apologize for itself or for its subject’s actions and attitudes, much as Patton didn’t make a habit of apologizing for either unless directly ordered to by his superiors.The film lulls you into comfort with its witticism before springing shocking, gory dream sequences on the viewer, which repeatedly arrive unannounced.The key moment is the protagonist’s incredibly painful, traumatic full transformation, set to the crooning of Sam Cooke doing “Blue Moon,” which is still unsurpassed in the history of the genre.People repeat lines and interact with one another in ways we realize are drawn from previous interactions. Language begins to run backwards or loop, underlining the difficulty of any of this happening at all. The Verdict Year: 1982 Director: Sidney Lumet It’s worth noting upfront that Sidney Lumet shot most of The Verdict in New York City.In real life, Rivette seems to be saying, we are all engaged in creating some kind of spectacle, each of us at the center of our own story. But the real connective tissue that links The Verdict to Boston is its narrative, in which a hard luck, hard drinking lawyer (the great Paul Newman) butts heads with the city’s archdiocese over a “right to die” case.The theater exercises in which characters engage are designed to break down barriers between their fellows (barriers that keep getting thrown up through arguments or conflicts of artistic vision) and to bust any wall between emotion and reality. Boston has a large Catholic community that wields an impressive amount of social influence—Lumet might have shot his picture in the Big Apple, but he nonetheless encapsulates that religious influence perfectly in his courtroom drama.
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As Patton is about Patton, so, too, is it about Scott, which makes sense: If you make a movie and name it after its central character, you’re also making it about its central performance, and so it’s good that Scott was up to the task of reincarnating the late general in all his egotistical, violent, callous, and shockingly vulnerable glory.
Patton is a war movie, make no mistake, but it uses the war movie blueprint for housing a character study of its protagonist.
Taking the lessons he learned as a ‘70s Roger Corman protege, Dante borrows character actors like Dick Miller to create a cynical, biting rebuke of maudlin sentimentality and children’s entertainment.
The surprising counterpoint between comedy and graphic violence was a source of consternation that led directly to the creation of the PG-13 rating, but its more important impact was shaping the aesthetic of nearly every horror comedy for the next three decades.—Jim Vorel 17.