Emma Matthews is on the island this week with her ten favourite films and a trusty DVD recorder – somewhat improbably – to hand.
The Lost Boys (1987) 97mins
I know, I know, how can I choose a Joel Schumacher film after Peter’s thoroughly deserved criticism of his recent “work”? Well, to be honest, I’m not really sure. This film came out when I was 10, so its inclusion here is representative of all those great ‘80s films that wouldn’t have survived the crash, like Ferris, The Goonies, or anything from John Hughes’ oeuvre. I’m not saying it’s better than Ferris, mind, just different - special if you will. But that doesn’t explain its being number 1. I, frankly, cannot live without this film. Yes, I know it’s cheesy, yes, I know it’s camp, and not in the least bit scary, even for a 10 year old. I love it because it’s cheesy, camp and actually quite funny. Lost Boys was the first time I had the pleasure of witnessing the two Coreys together (I hadn’t got around to seeing the classic Licence to Drive yet), and despite what has happened subsequently, they have a great chemistry on screen – Feldman, in particular, can be very funny when he’s not high. The vampires are “cool” and “young”, they kick-started my love of the undead, and may be directly responsible for my Angel obsession. It was the first film soundtrack I ever bought - on vinyl, if you don’t mind. Even though I’ve seen this film more times than is healthy, and even though it probably wouldn’t make most people’s top 100, for me, this film epitomises the great films of the ‘80s, evoking memories of long summers, hot video shops and some of the best films ever.
Stand By Me (1986) 85mins
Rob Reiner features twice on this list, as - funnily enough - does Corey Feldman. The former deservedly so, the latter perhaps not so much. Stand By Me is on this list not just because it’s a great movie – it is without a doubt a classic. It’s in here because it’s beautifully written, simply shot and has a fantastic ensemble cast. It’s also that rarest of things – a Stephen King adaptation that actually works. Add to that, the scarily insightful casting of River Phoenix as the ill-fated Chris Chambers, and the result is a funny, moving portrait of endlessly quotable ‘50s innocence. The cast are incredible, all the more so given that they were children themselves. Feldman gives what is probably his least annoying performance, and as always the late River phoenix is heartbreaking. This film is twenty – yes twenty – years old this year, and is as powerful now as it was when I was a kid. When I compiled this list, I chose not just good films, but films that cheer me up, or make me cry – Stand By Me does both, even though I’ve probably seen it a hundred times. The soundtrack is fantastic as well, and with the isolated soundtrack feature on the DVD, I can cheat and bring some fantastic music with me too. An essential movie, even if you aren’t stuck on a desert island.
Butch Cassidy and the Sundance Kid (1969) 105mins
This film also falls under the category of “essential, even if not stuck on a desert island”. The script, written by William Goldman, was recently voted one of the best of all time by the Writers Guild of America, and deservedly so. It’s witty, dramatic, mature, silly, and slightly homoerotic all at the same time. The direction is subtle, and the locations are, at times, breathtaking. Then there are the two leads. Not being the biggest Robert Redford fan, I thought it would take me a while to warm up to The Kid. I was wrong, I loved him immediately. The chemistry on display here has rarely been equalled – Newman and Redford clearly delight in each other’s company; their camaraderie and friendship leap off the screen. Of course, everyone loves a good caper movie, but Butch and Sundance is more than just the adventures of a couple of thieves in the Old West. It’s about loyalty, conviction, survival, friendship and of course, having a good time. And you wouldn’t expect me to be stranded without Paul Newman, would you?
The Godfather (1972) 168mins
OK, maybe a strange choice for desert island companionship, but trust me, if you were stranded alone, whose family would you choose to keep you company? Criminals and murderers they may be, but the Corleones know how to take care of their own. Only one trilogy was allowed to make the journey with me, and seeing as the third film is hugely disappointing, I decided to forego Part II, and bring the first and best part of the series to the island. Film critics have been waxing poetical about The Godfather since its release, so I’ll keep this (relatively) brief. Quite simply the greatest Mafia movie ever made, it is also one of the greatest films ever made. Every frame is beautiful, every line of dialogue essential, driving the story to its inevitable conclusion. The cast could not have been better, with Brando, for me, giving his greatest performance, showing uncharacteristic restraint. His every action is nuanced, subtle and incredibly powerful. He gives the aging Don grace and humility, his death felt as keenly by the audience as by the family. Restraint seems to be a theme for the actors here; Al Pacino’s portrayal of Michael’s transformation from war hero to full-on Don is a career-defining role. Yes, Serpico was good; yes, Scarface was pleasingly over-the-top, but considering the scenery-chewing, 2D cut-out of himself Al has become, his brilliance here is all the more astounding. It’s difficult to believe he nearly didn’t get the part because he was considered too short, and even harder to believe that a Michael Corleone would allow himself to make S1m0ne. But that’s a rant for another day. Where restraint seems to be the key to success for Brando and Pacino, for James Caan, clearly restraint is not in his vocabulary. Sonny, god rest his soul, my favourite Corleone, cornerstone of a thousand Godfather rip-offs, has now become shorthand for dumb Italian. Which is a shame, because Jimmy Caan manages to turn an arrogant, misogynistic, homicidal gangster into someone I’d quite like to be friends with - I still can’t watch his death scene to the end. More direct than its excellent sequel, this is filmmaking at it best.
The Lord of the Rings Trilogy (Extended Version)
Only one trilogy per survivor is permitted. After some serious thought, I went with LOTR. As I mentioned earlier, The Godfather trilogy was out, and Star Wars was just too obvious (plus for the pedants among us, it is no longer a trilogy). For me, the best trilogy of all time is Lord of the Rings. Having never bothered to read the books, I couldn’t understand what all the fuss was about when production was announced. When I saw the first film though, I was hooked. Waiting 12 months between instalments was agony, but now that it’s over, Christmas just isn’t the same. Unless you’ve been living under a very remote rock for the last several years, you know the story, the characters and all the endings, so I won’t bore you with plot details. I will, however, bore you with why I chose to keep it with me. Laced with pathos and humour, some great characters, and the most inventive and beautiful filmmaking yet seen, is there anyone on the planet who doesn’t like these movies? Even though, at times, Frodo and Sam are incredibly annoying, there is enough going on to stop them from ruining the films. The quartet of Gandalf, Gimli, Aragorn and Legolas are central to the success of the series, a necessarily palate-cleansing balance to Frodo and Sam’s syrupy tendencies. There’s humour, drama, fantastic bloodshed and an array of attractive men. You can play “Spot the Director” or “How gay is Sam?”; the extras on the DVDs mean that countless hours can be spent learning how every single prop was crafted, or which computer programme they invented for the battle scenes, or you can just lose yourself in quite possibly the most real depiction of Middle Earth you will ever see. I hope the TV is big enough.
Princess Bride Special Edition (1987) 98mins
Yet another classy William Goldman script. Adapted from Goldman’s novel of the same name, The Princess Bride is an often overlooked gem. As with Butch and Sundance, Goldman injects his characters with wit, pathos, maturity and just enough silliness to carry it off. This is a homage to the classic adventure films of days gone by; swashes are buckled, villains are defeated, a princess rescued and true love wins out, all under Columbo's watchful eye – no pun intended. And, of course, it’s very funny. Reiner’s work during the ’80s was incredible – Spinal Tap, When Harry Met Sally, the aforementioned Stand by Me; all intelligent, slightly surreal tragi-comedies, directed by a man who knows funny. The cameos on display here should be proof enough of that; among them Billy Crystal, Carol Kane, and the most inspired cameo ever – Peter Cook’s Bishop. This is a film that keeps on giving. These days, the tag “family film” might as well read “do not watch if over 4”, but The Princess Bride is one of those classics that works if you’re four or 94 years old. That is a tricky thing to pull off, but with this film, Reiner achieves it effortlessly. This is coming to the island with me because it still makes me laugh; The Princess Bride is the best thing Rob Reiner ever did, and I’m including Spinal Tap.
From Dusk Till Dawn (2 Disc) (1996) 104mins
This is coming to the island for various reasons – I wanted to take some Tarantino and some Rodriguez, at least one other vampire/horror movie, and let’s face it, a little George Clooney never hurt anyone. So, for covering all those bases, it’s on the list. But it also happens to be a very good film. Funny, unpredictable and brilliantly directed, even Quentin Tarantino doesn’t suck. Crossing a vampire movie with a road/caper movie is precarious, and in anyone else’s hands this would have been a disaster, but Rodriguez pitches it to perfection. The script is great as one would expect, and the action is gory, funny and more than a little camp. But this is without a doubt George Clooney’s movie; his thief with a conscience, Seth Gecko, is smart and likeable even without the creepy brother to make him look good. The dialogue seems to have been written for him, although it was slightly strange the first time I heard Dr Ross swear. Ably supported by Harvey Keitel and a less whiney than usual Juliette Lewis, the whole film is a pleasure. Ending with a tantalising glimpse of what is to come for Seth in El Ray, and with possibly the coolest tattoo a gangster ever had, he deserves his own sequel, which I can write while I’m stranded.
Anchorman (2004) 90mins
Will Ferrell did something amazing. When he first came to my attention as Mustafa in Austin Powers, I hated him. When Kevin Smith cast him in Jay and Silent Bob Strike Back, I hated him. Then, he made Zoolander, and I didn’t hate him as much. Then, he made Elf and now I love him. I truly do. How he did it I’ll never know, but Anchorman is the pinnacle of his career so far. Clearly a fan of the absurd comedy I love so much, Ron Burgundy is a classic comic creation, and much underrated. His wide-eyed innocence and complete lack of understanding of the human race is classic Ferrell, and it’s clear that he and everyone concerned is having a blast. He may have written it for himself, but he’s generous with the laughs; with a cast this adept at comedy, he’d be remiss not to be. Starring some of the great comedy actors working today, including Fred Willard, Steve Carrell as the fantastic Brick, and a gorgeous Vince Vaughn, Anchorman also has possibly the funniest Ben Stiller cameo ever. The sexual equality story-line is almost completely irrelevant, setting it in the ’70s being a way of squeezing every last joke out of the newsroom cavemen, which they do with relish. The DVD is full of outtakes and extended scenes, and even has a music video for Ron and the gang’s favourite song. If you’ve never seen it, I suggest you purchase it immediately – much laughter awaits. Perfect for long nights on a desert island.
Cry-Baby (1990) 85mins
Perhaps the least offensive movie John Waters ever made, it’s also his most affectionate. It’s set against the backdrop of the burgeoning rock’n’roll scene in ‘50s Maryland, where squares and drapes clash on a regular basis, often resulting in bursts of song. Waters has an ear for music and an eye for the absurd, both of which he displays here, mixing some excellent rock’n’roll with some very original material, making the soundtrack alone worth the asking price. John Waters is at his best when poking fun at America’s hypocrisies, and Cry-Baby is no exception. Laughing at everything from teenage pregnancy to the judicial system, Waters script flies along to take in romance, a riot, juvies, child-swapping and the almost obligatory opening of a theme park. With a young Johnny Depp as the eponymous all-singing, all rebellious hero, Ricki Lake as his often pregnant younger sister and a brilliant cameo from Iggy Pop, the casting is perfect. Funny and deeply absurd, Cry-Baby is everything a camp ’50s musical should be.
Shaun of the Dead (2004) 95mins
Clearly, I am a comedy fan, and I needed some British comedy with me on the island. I very nearly brought Monty Python and the Holy Grail, one of the silliest, most British films ever made. But then I remembered Shaun. Sublime Shaun, one of the freshest, funniest films the British Film Industry has produced in years. I’m a massive fan of Simon Pegg; he and Nick Frost are a superb double act, never failing to make me laugh even on the 40th viewing. The cast are brilliant, the script is perfect, the direction spot-on, and it was shot just around the corner from me, so not only will I be entertained, I’ll be able to see home. I’m only sorry I’ll miss their next film, what with me being stranded and everything….
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