A thread. My favorite movies from each year, starting with:
1916 INTOLERANCE ⭐️⭐️⭐️½
This grandeur of this early mega-epic means there's a lot to recommend it, though I find the overall scolding and self-exonerative tone (Griffith had just released the pro-Klan BIRTH OF A NATION and been properly excoriated even as he'd been celebrated) smug and cloying; an early "cancel culture is out of control."
(This is the only film I've seen from 1916.)
[No films seen 1917 - 1924]
Incidentally, my rating system:
⭐️⭐️⭐️⭐️⭐️| a masterpiece
⭐️⭐️⭐️⭐️½| very good
⭐️⭐️⭐️⭐️| good
⭐️⭐️⭐️ ½ | pretty good
⭐️⭐️⭐️| not half-bad
⭐️⭐️½| half-bad
⭐️⭐️ | not half-good
⭐️½ | pretty bad
⭐️| bad
½ | very bad
zero | a war crime
1925 SEVEN CHANCES ⭐⭐⭐⭐ ⭐(Keaton)
I haven't seen as many Keatons as I should have (must correct that soon) but of those I have seen this is my favorite. Jaw-dropping stuff (the boulder dodge alone would make this a must-see). May have invented the slapstick comedy, the romantic comedy, the action movie, and Sonic the Hedgehog all in one film.
Also Notable: The Gold Rush, Battleship Potemkin
1926 THE GENERAL ⭐️⭐️⭐️½ (Keaton)
This is heresy I know but I suspect in the end this will become my least favorite Keaton (I have trouble overcoming plots that ennoble the Confederacy, however glancingly), and I actually find it to be a stodgy example of his overall oeuvre, but even a lesser (according to me and me only) Keaton is a good time, and the set pieces and stunts are, of course, top notch. Bridge collapse is deservedly legendary.
(This is the only film I've seen from 1926.)
1927 SUNRISE (Murnau) ⭐️⭐️⭐️⭐️½
Surreal melodrama slash allegorical morality play holds the lasting emotional power of vivid dreams. The dog chasing the boat haunts me, as do about 1-4 dozen other images.
(This is the only film I've seen from 1927)
1928 THE PASSION OF JOAN OF ARC (Dreyer) ️⭐️⭐️⭐️⭐️⭐️
Truly unique in its vision and execution. A masterpiece of modern art; almost an immersive experience rather than a film. Falconetti gives one of the greatest performances in the medium's history.
(This is the only film I've seen from 1928)
1929 MAN WITH A MOVIE CAMERA (Vertov) ⭐️⭐️⭐️⭐️½
How can it be breaking the rules when it's making the rules even as it's breaking them? Watching the language of cinema be discovered and revealed in 68 short minutes. Best paired with the Cinematic Orchestra's score.
(This is the only film I've seen from 1929)
1930 ANIMAL CRACKERS (Heerman)⭐️⭐️⭐️⭐️⭐️
One of the top 4 Marx Brothers movies (also as you'll see among the far-too-few movies from the 1920s and 30s I've seen; must correct that). Outside of the top 4, it's hard to judge. Inside the top 4 it's hard to read. But that's errelephant. The nerve; evoking an elephant on Mastodon. I'd put this joke to bed but I have no idea how to get a mammoth into my pajamas. It's wooly hard to do.
This movie makes me laugh wooly hard. Hooray for Captain Spaulding.
1931 M (Lang) ⭐️⭐️⭐️⭐️½
Fritz Lang's impressionistic nightmare—the first serial killer story? Thorny social commentary expertly blended with pulp. A grim descent into a realm of layered human abuse, where systems of justice are less connected to community than are systems of crime; where predators are cultivated and victims abandoned, and wherein even the predators find themselves compelled to dispense rough vengeance, if only to restore their own semblance of order.
Also notable: City Lights
1932 HORSE FEATHERS (McLeod) ⭐️⭐️⭐️⭐️
"Why I'd horsewhip you if I had a horse."
The lesser of the 4 great Marx movies is still pretty damn good, with classic bit after classic bit and classic line after classic line. "Whatever it is, I'm against it" may be Groucho at his most quintessential. Anything further, Father? The idea! I married your mother because I wanted children. Imagine my disappointment when you arrived.
(This is the only film I've seen from 1932)
1933 DUCK SOUP (McCarey)⭐️⭐️⭐️⭐⭐
Marx Brothers off the leash. If you ever wondered "well why not just make the whole movie Marx Brothers zaniness" this is the one; you can almost see the Looney Tunes formula (less anvils) being created. It's the consensus pick for the greatest Marx, and whenever I'm having a strange interlude, it's mine. Mirror scene is rightfully lauded but it's all good. This duck is verified.
Also notable: saw King Kong but didn't like it.
1934 IT HAPPENED ONE NIGHT (Kapra) ⭐️⭐️⭐⭐
The invention of the modern romantic comedy? At first I was distracted by the ludicrous premise and by the sheer bulk of the rom-com tropes (tropes which yes, this movie basically invented), but before long Gable and Colbert’s chemistry and comic chops (Colbert for everything but especially the hilarious face she pulls just before she makes her last-second dash to the car) brought my walls of Jericho down.
Also notable: L'Atalante was...OK.
1935 ⭐️⭐️⭐⭐⭐ A NIGHT AT THE OPERA (Wood)
Saw Animal Crackers as a child and imprinted on it like a baby bird; it's my favorite. Duck Soup is the consensus pick, and it's the zaniest. Horse Feathers loses a point b/c the interludes drag most, but it's a solid pick. This one is in my opinion the best movie. Everything (even every musical number) works, everything pops, sharp as a tack, endless classic bits.
No need to argue though: they're ALL the best.
(This is the only film I've seen from 1935)
1936 MODERN TIMES (Chaplin) ⭐️⭐️⭐️⭐️½
Less a Chaplin guy than a Keaton guy, though I'm woefully unstudied in both. However this is my favorite Chaplin (so far): the funniest, the most complete, the best leading lady, and the most dare I say ... modern? Almost prescient? Anyway this thing pays off like a slot machine of classic set pieces while essaying a structured, even affecting, story. Maybe suffers by peaking early with the factory, but what a peak.
Also notable: Swing Time was pretty good.
1937 SNOW WHITE AND THE SEVEN DWARVES (Hand) ⭐️⭐️⭐️½
To be honest, I don't love this Disney classic (a little too antiquated, a little too cloying) but its impact and vision is undeniable (to say nothing of its artistry), and it's not without its dark magic.
Also it was this or posting about my only other choice, a *fifth* Marx Brothers movie, and honestly I'm just realizing I need to watch a lot more movies made before 1950.
Also notable: A Day At The Races is lesser Marx, but it is still Marx
1938 BRINGING UP BABY (Hawks)⭐️⭐️⭐️⭐️½
Listen to me. This movie is out there. It can't be bargained with. It can't be reasoned with. It doesn't feel pity, or remorse, or fear. And it will not stop until you are laughing.
Top-shelf patter. Screwball glory. Cary Grant at his most put-upon; Hepburn at her most blithe. This goddam thing is a machine.
Also notable: none
1939 THE WIZARD OF OZ (Fleming) ⭐️⭐️⭐️⭐️⭐️
One of the most troubled sets of all times produced this miracle. Not sure what to say, and even if I did, being a Christian woman, I'm not sure I could say it. Let's say this: it anchors the lineup of what is widely seen as one of the greatest years in Hollywood movies. It's one of the perfect films. You've seen it. Even if you haven't seen it, you've seen it.
Also notable: The Rules of the Game, Mr. Smith Goes to Washington, The Women
1940 HIS GIRL FRIDAY (Hawks) ⭐️⭐️⭐️⭐
Just edging out The Philadelphia Story. Fans of that film mustn't blame me; instead, blame Rosalind Russell. She like this movie simply has what the French call ... the French call ... well I don't know what it is, but she's sui generis, and Grant here gives smooth as good as he gave flustered in 1938's entry.
Also notable: The Philadelphia Story, Fantasia
1941 THE MALTESE FALCON (Huston) ⭐️⭐️⭐️⭐️ ⭐️
The greatest detective story of all time wins in a strong year, but this movie just won't be denied. My favorite Bogie performance (yes, even better than that one) an expert slow hard-boil as a man of *almost* no principles who finds his line at last. Ridiculously deep supporting cast, plot just twisty enough, environs perfectly seedy, ending grim and jaded, just like McPoyles like it.
Also Notable: Sullivan's Travels, The Lady Eve
1942 CASABLANCA (Curtiz) ⭐️⭐️⭐️⭐️ ⭐️
As if it was ever going to be anything else.
You must remember this: flawless is just flawless.
Also notable: Yankee Doodle Dandy was pretty good.
1943 THE LIFE AND DEATH OF COLONEL BLIMP (Pressburger & Powell) ⭐️ ⭐️ ⭐️ ⭐️
The Archers score for the first but definitely not the last time. As with all their films, it's a feast for the eyes, but it might be the most thematically rich, as a then-famous caricature of blinkered and antiquated late 19th century British military jingoism is humanized, reimagined, and forced to contend with the insanity of fascism and industrialized warfare.
(This is the only film I've seen from 1943)
1944 ⭐️⭐️⭐⭐⭐ DOUBLE INDEMNITY (Wilder)
Great noir, or the greatest noir? No greater femme fatale than Stanwyck, in any case. The smolder levels are unworldly, and while Fred MacMurray acquits himself well, it's her show. I usually wait for a second viewing before adding the final half-star, but this one's straight down the line. Might be the best movie I've only seen once; a fact I should correct very soon.
(This is the only film I've seen from 1944)
1945
By some strange accident, I haven't seen any features released in the year 1945.
Incidentally, this is the last time we'll have a year I've seen either no movies or just one movie. There's a handful more where it's only 2 or 3, but by the mid 50s my pick will be from a considerably wider selection.
Now I'm just excited that I have so many movies from 1949 or earlier to watch.
1946 NOTORIOUS (Hitchock) ⭐️⭐️⭐️⭐️½
Surprised that Cary Grant shows up so often on this list, and displaying such range in performances while consistently appearing beside leading ladies who were nevertheless outshining him. Best Supporting Actor in Lead? But this is Bergman's film, as a socialite who goes as deep cover as possible, marrying into a Nazi plot; she gives a slow burn of brave terror. Directed by some "Hitchcock" dude; this is my 2nd favorite of his films.
Also notable: The Big Sleep
1947 BLACK NARCISSUS (Powell & Pressburger) ⭐️⭐️⭐️½
The Archers score again! This one might be a little left of the bullseye for me—I found it took a little while to get to the point, and did so slowly—but it builds in power and intensity as it goes until it reaches its grandiose conclusion, and drops enough stunningly surreal visuals along the way to hint at what's to come in a couple years. Has strong potential to improve upon rewatch.
Also notable: n/a
@JuliusGoat The thing about A Night At The Opera that I noticed the last time a watched the main sequence of Marx Bros films in order is: Thalberg elevated *everything* about the production. Continuity. Lighting. The scale and substance of the big group songs and dancing. The pacing of every scene. The way the Harpo and Chico solos were woven into the story, instead of, "oh hey, there is this harp in a clearing in the woods, I guess I'll play it!"
Duck Soup is my favorite also, but I have mad respect for what Thalberg was able to do in A Night At The Opera.
(Aside: no love for Monkey Business? The opening scene is an all-time incredible double whammy joke: the first mate says he knows there are 4 stowaways because "they were singing Sweet Adeline". Ok, funny, but: Harpo isn't singing!)
@JuliusGoat duck soup might be a better film overall- the romance scenes aren't bad in Opera, but they're just fine.
But I think the Opera scene is the greatest sequence the Marx Brothers ever did.
@JuliusGoat I think I stand alone as the only person who honestly likes Room Service. Yes, the material doesn't work for the Marx Brothers. Yes, Harpo is largely wasted. And yet, it is a treat to watch Chico play the fixer he was in real life rather than Eye-Talian Idiot he was in many early films.
I still think it's a terrible play, but it makes a wonderful rehearsal!
@JuliusGoat scratch that, just seen City lights mentioned at the bottom of the toot.
I’m about to go into my office and I’m fresh from the shower, this is your signal to scarper.
@JuliusGoat Lorre's performance was masterful. He wasn't pretty enough to be a leading man, but he always made the material better.
In 1950, he was in a film noir called Quicksand, one of Mickey Rooney's first attempts to break away from his child star status. Every one in the cast praised Lorre for how well he prepared.
I love the song Temple sings about the soup from this film.
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