Sweet Smell of Success (1957) Directed by Alexander Mackendrick
Sweet Smell of Success has one of the best screenplays of all time. Its snazzy, biting dialogue ricochets from one character to the next. The film speeds along breezily, relying on strong characters and an involving story with multiple mini sub-plots. Mackendrick's film brings 1950's NYC to life on the big screen, utilizing characteristic film noir lighting techniques to complement its equally sharp script and cast. This is truly a classic. "I love this dirty town."
Elevator to the Gallows (1958, French) Directed by Louis Malle
Absolutely brilliant from start to finish. Elevator to the Gallows takes a familiar narrative and revitalizes it with plot twists and an excess of noir style. Miles Davis famously recorded the film's legendary improv soundtrack. Malle's direction and Dacae's cinematography infuse ETTG's Parisian setting with suspense and suspicion. As in any good noir, we're rooting for characters who are duplicitous murderers. And we want them to get away with it. It's elaborately crafted and efficiently told, while maintaining the freshness of the French New Wave. Elevator to the Gallows stands the test of time and ranks among the best of film noir.
Breathless (1960, French) Directed by Jean-Luc Godard
Considered by many to be one of the most influential movies of all time. Its impact can be seen directly in Bonnie & Clyde and countless other films. Breathless, along with other French New Wave films, helped changed the rules of cinema. The film came as a reaction to Hollywood's crime genre, blending homage with dark comedy and smart screenwriting. It takes a rigidly controlled genre and transforms it into something unpredictable. It's innovative, fresh, and light on its feet. A masterpiece.
The Hustler (1961) Directed by Robert Rossen
Paul Newman is one of Hollywood's classic cool guys. His existence in The Hustler is a shaky one as he gets involved with some shady characters. Though the film revolves around the pool table, its message could easily be extended to any number of "hobbies" that end up consuming one's time, rather than passing it. As Newman's character, Fast Eddie, puts it, "you can play the game the way nobody's done it before." Robert Rossen did just that when he crafted this work over 50 years ago, and Newman's cool hasn't aged a day.
Taxi Driver (1976) Directed by Martin Scorsese
One of the darker, more unsettling films on this list, but great just the same. Taxi Driver places the viewer precariously inside the mind of Travis Bickle, the intriguing anti-hero of the film. We're presented with a dirty, messy view of NYC juxtaposed with a romantic, jazzy soundtrack. Such contradictions define Travis, as he struggles to interact with the people and city around him. The film is a stylish character study that features some of the best talent in Hollywood.
L.A. Confidential (1997) Directed by Curtis Hanson
L.A. Confidential is one of the best neo noirs ever made. The film effortlessly weaves between its three central characters (Crowe, Pierce, & Spacey), connecting them to each other throughout. Featuring an appropriately jazzy score and a fair amount of gritty violence, it doesn't require black & white photography to evoke the feel of the best 1940's thrillers.
Catch Me If You Can (2002) Directed by Steven Spielberg
Perhaps Spielberg's coolest movie in his impressive canon of work. Catch Me If You Can finds the director tackling the crime/comedy genre with great success. From its nicely done opening credits sequence, we know we're in for a treat. The film introduces us to some familiar faces (Leonardo DiCaprio, Tom Hanks, Amy Adams, Jennifer Garner, Christopher Walken to name a few), and they're all in the unique cinematic world that Spielberg has created in Catch Me If You Can. It's extremely clever, stylish storytelling that's worth revisiting over and over.
Matchstick Men (2003) Directed by Ridley Scott
Nicholas Cage turns in one of his finest performances. OK, maybe that's not saying a whole lot. But when he isn't completely insane (i.e. The Wicker Man), he can actually do a hell of good job acting. In Matchstick Men, he plays an OCD con man. Think of Monk meets Danny Ocean (sort of). He's immensely entertaining. Add that to the jazzy, Sinatra-filled soundtrack and Ridley Scott applying his skill behind the camera to the crime/comedy genre and you get an amazing film.
Good Night, and Good Luck (2005) Directed by George Clooney
A film's opening moments often establish its personality. After the opening montage in Good Night, and Good Luck, I knew I'd enjoy the film. The camera delicately introduces us to some of the film's key players, but through unique means. We don't yet hear the characters, but the images and music do the talking for them. What follows is a stylish dissection of the CBS news team that went after Senator Joseph McCarthy. Their argument was that television could be used as a tool for the greater good in a time when it was only considered a form of entertainment. Never before has a history lesson looked better. I read that the film is punctuated precisely every 23 minutes by Dianne Reeves and her beautiful jazz accompaniment to match the run-time of the very television program around which the plot follows. Brilliant.
A film's opening moments often establish its personality. After the opening montage in Good Night, and Good Luck, I knew I'd enjoy the film. The camera delicately introduces us to some of the film's key players, but through unique means. We don't yet hear the characters, but the images and music do the talking for them. What follows is a stylish dissection of the CBS news team that went after Senator Joseph McCarthy. Their argument was that television could be used as a tool for the greater good in a time when it was only considered a form of entertainment. Never before has a history lesson looked better. I read that the film is punctuated precisely every 23 minutes by Dianne Reeves and her beautiful jazz accompaniment to match the run-time of the very television program around which the plot follows. Brilliant.
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Kiss Kiss Bang Bang (2005) Directed by Shane Black
Kiss Kiss Bang Bang is a loving homage to the noir genre. It's densely (and cleverly) plotted but entertaining and funny at the same time. The film lifts the cinematic curtain to expose some of the very devices at play (i.e. Robert Downey Jr. announcing himself as the narrator and addressing the audience directly, stopping the reels to backtrack on itself, etc.). It has a sense of humor about itself that feels fresh and helps keep some of the violence from becoming too unsettling. It's a smart satire that stands firmly among the best of them.
Note: The films are presented in chronological order based on theatrical release date. I attempted to find a still from each film that featured a character smoking or holding a gun. It was not difficult.
