UPDATE: Part II here, Part III is here and here
Adam's list 31-50
31. Juno 32. Day for Night 33. Citizen Kane 34. Grand Hotel 35. Hannah and Her Sisters 36. Murder on the Orient Express 37. Bonnie and Clyde 38. Love Actually 39. Prairie Home Companion 40. Slacker 41. Breaking Away 42. Stand by Me 43. The Princess Bride 44. City of God 45. LA Confidential 46. Big Lebowski 47. Office Space 48. Crimes and Misdemeanors 49. One Flew Over the Cuckoo's Nest 50. Saving Private Ryan
On the other hand, it's nice to see Philip Seymour Hoffman pop up during that period in his filmography where he could do no wrong with his script choices and if you like seeing John Goodman go over the top, it will never get better than this. I concede that these performances all work and if the comedy is as sweet for you as it is for the Lebowski heads, then this film works based on the performances, but I wonder if you're not being too caught up in the cult status of the film when comparing this to other Coen brothers films.
Ball of Fire is too often overlooked, but it shouldn’t be with Gary Cooper, Barbara Stanwyck, a young Dana Andrews and a fine supporting cast. Road to Perdition is a bit uneven as a film, but it does have Paul Newman in his last great film role along with Tom Hanks, Jude Law, the always dependable Stanley Tucci, and of course Daniel Craig, showing his range four years before he became Bond.
We both included comedies in our picks, and you’ll continue to see them in my selections. As we have discussed in the Cinema Lounge, comedy skill often isn’t considered “serious acting” but actors themselves will tell you how hard it is. Anchorman is an excellent choice. Will Ferrell is always good at picking projects he doesn’t have to get all of the laughs. The fight scene alone makes this one deserving, with Tim Robbins as the PBS anchor (“No commercials,no mercy.”) Luke Wilson, and Ben Stiller.
Fargo, No Country for Old Men, O Brother Where Art Thou? or countless other Coen Brothers films are also terrific choices, but that does not take away from the stellar ensemble work in Lebowski. Jeff Bridges and John Goodman are the standouts, but the film gives so many other fun performances for them to play off of, from Peter Stomare and his nihilists, Julianne Moore in her Viking outfit, David Huddleston as the other Lebowski, Phillip Seymour Hoffman as the slimy yes man, and of course John Turturro as “The Jesus.” The more you go back to rewatch the films the more these other actors stand out. Speaking of the late, great Hoffman kudos for including Almost Famous. You’ll see that on my list later,
Aside from its groundbreaking role in film history, Bonnie and Clyde boasts an abundance of talent. Beatty and Dunaway (now also linked due to the Oscars mishap 50 year later) both give you the charisma and depth you expect from your stars. Estelle Parsons deservedly won an Oscar for her turn as Clyde’s sister-in-law. The film put Gene Hackman on the map and brought notice to a then little-known stage actor named Gene Wilder. Michael J. Pollard also garnered an Oscar nomination as CW Moss, another member of the Barrow gang, and Dub Taylor is equally good as Moss’s father. This brings me back to how I define an ensemble in the first place, where many actors play their part in making a great movie. It’s the big names we notice at first, but one of the joys in going back and seeing these films again is experiencing the smaller, but no less crucial performances.
Orrin: How to define a great ensemble is coming to me as I mill through this exercise.
There's also great chemistry and the way certain stars bounce off each other.
I also tried to highlight casting choices that are innovative or bold. My pick Dreamgirls featured three big gambles among its five main principles: Beyoncee, Jennifer Hudson and Eddie Murphy and they were all extraordinarily successful. I agree that the three leads of Ball of Fire are great but I particularly like how they managed to cast seven actors of the older generation that meshed so well as the seven professors (which Hawks intended to be an allegory of the Seven Dwarves).
As for Salt of the Earth, the film was directed by blacklisted director Herbert Beiberman and a blacklisted screenwriter in 1953 which naturally meant it had no chance of getting distributed or funded by the studios it only played in 13 theaters despite great reviews. The film, about a mining strike, was co-produced with the International Union of Mine, Mill, and Smelter Workers and had only two union actors, Will Geer and Mexican Rusaura Revueltas who was deported mid-production. The rest of the cast was miners and locals (all of whom are surprisingly competent) and some of them were invited to review the dailies for accuracy and help out with production in other ways.
You asked about Slacker. It’s the film that put writer-director Richard Linklater (whose work you will see again on my list) on the map. He follows a series of strange people in Austin, going from one person to another. It’s different from an Altman type of piece because there’s no larger story, and the film, for the most part, does not go back to characters it leaves. These include an anarchist, a conspiracy theorist and a young woman trying to sell what she claims is Madonna’s pap smear. The actors were unknown then and remain so 26 years later. But each one of them present a vivid, fleshed out person who you enjoy spending a few minutes with. You get a brief glimpse into their world and then move on to the next one.