Not to be Missed: Fifty-four Favorites from a Lifetime of Film

Not to be Missed: Fifty-four Favorites from a Lifetime of Film

Kenneth Turan

Language: English

Pages: 368

ISBN: 158648396X

Format: PDF / Kindle (mobi) / ePub

The images and memories that matter most are those that are unshakeable, unforgettable. Kenneth Turan’s fifty-four favorite films embrace a century of the world’s most satisfying romances and funniest comedies, the most heart-stopping dramas and chilling thrillers.

Turan discovered film as a child left undisturbed to watch Million Dollar Movie on WOR-TV Channel 9 in New York, a daily showcase for older Hollywood features. It was then that he developed a love of cinema that never left him and honed his eye for the most acute details and the grandest of scenes.

Not to be Missed blends cultural criticism, historical anecdote, and inside-Hollywood controversy. Turan’s selection of favorites ranges across all genres. From All About Eve to Seven Samurai to Sherlock Jr., these are all timeless films—classic and contemporary, familiar and obscure, with big budgets and small—each underscoring the truth of director Ingmar Bergman’s observation that “no form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.”

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Smith takes the train to the city for what he assumes will be the briefest of separations, but once he arrives in Liverpool nothing is ever remotely the same again. It goes without saying that Random Harvest has surprises up its sleeve, but this film contains more eye-widening, credulitystraining plot reversals than you can easily imagine, even when you think you’ve imagined them all. Blessed with as many inside out twists and turns—none of which will be revealed here—as a two-lane road through

man typically speculates on Lime’s afterlife state by saying, “He’s either in heaven [pointing down] or in hell [pointing up].” Reed, whose other work includes Odd Man Out, The Fallen Idol, and Outcast of the Islands, was a masterful orchestrator of this kind of off-kilter ambiance, the hopelessness of a universe turned morally upside down. Reed and Greene also combine to create vivid characters who are very much of their time and place, like the smirking Baron in his enormous fur-collared

Reggiani’s character conveys a compelling sense of quiet masculine assurance. He is without doubt a stand-up guy with an unspoken code of conduct, someone who can be pushed only so far without provoking the kind of retaliation it would be best to avoid. Marie and Manda exchange glances as she dances with Roland—how could they not—and in that coup de foudre moment they fall inescapably in love and seal their fates. Manda asks her to dance and she agrees, much to Roland’s disgust, and the complex,

The genius of Pass the Gravy is that it takes a single uncomplicated setup and gradually rings every possible comic iteration out of it. Events go from real to unreal in an instant and, as the situation builds and builds, everything slowly spirals out of control. 9781586483968-text.indd 11 3/13/14 2:13 PM 12 • SHERLOCK JR. and PASS THE GRAVY At first the characters are so generic they don’t all have names, but one who does is Schultz (Bert Sprotte), a fiercelooking man who is inordinately

walls that get in his way. It’s hard to name another movie that more casually plays with the notions of film, dream, and reality than this story of a projectionist who moonlights as a private detective and imagines himself into the on-screen action. Keaton himself called it “the trickiest of all pictures I ever made,” and the sheer joy of that unalloyed inventiveness is as tonic as ever. Sherlock Jr. begins with a simple title card offering a pedestrian proverb as a premise: “Don’t try to do two

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