On April 4th, the world lost pretty much the last of the classic writers of the original generation of film criticism. Roger Ebert wasn’t just one of the most popular film critics of all time, he was one of the best. His reviews, even of movies that he hated, showed a love of film that many of us can only hope to eventually put into words.
While it would be hard to find his five favorite films, I wanted to do a list to the memory of Roger. I thought about doing the Top 5 Russ Meyer Films (the two were very good friends and worked together a few times), but I haven’t seen nearly enough of his films and they’re not super easy to find.
Unfortunately.
I settled on movies about critics. Sometimes they’re vilified, sometimes they’re the good guys.
It’s silly, but I think Roger would approve.
ALMOST FAMOUS (2000)
Written and directed by Cameron Crowe
“Oh, what a lovely film. I was almost hugging myself while I watched it.”
Almost Famous is not just one of the best films that features a critic (crazy music critic Lester Bangs, played brilliantly by Philip Seymour Hoffman), but it’s one of my favorite films ever. It’s a semi-autobiographical account of Cameron Crowe’s youth as the youngest writer for Rolling Stone, following bands as they traveled across the US. He followed Led Zeppelin, The Allman Brothers and plenty of others, becoming who he is today along the way.
In the film, he’s William Miller (Patrick Fugit), a sheltered young man who is the very epitome of the phrase “Let music set you free.” When his overbearing, but loving mother (Frances McDormand) finally allows him to go on tour with the up and comers, Stillwater (Billy Crudup, Jason Lee, etc), he lives out the dreams of all music fans…including the dirty ones. But he also learns that the heart is a fragile thing.
Cameron Crowe has not made a film this good again. Honestly, there has barely been a better film made about the love of an art form. No wonder Roger loved it.
RATATOUILLE (2007)
Directed by Brad Bird
Written by Brad Bird/Jan Pinkava/Jim Capobianco/Emily Cook/Kathy Greenburg/Bob Peterson
“…and I for one would never turn off the Food Channel if Remy hosted a program named ‘Any Rat Can Cook.'”
Here’s the story of a rat named Remy.
A rat who can cook.
Not only that, but he helps a human cook at a fancy French restaurant. If that sounds repulsive, well…you’re right. It is. But don’t let that fool you. This is a movie full of heart and amazing characters. Ratatouille is one of the best Pixar films, which makes it one of the best animated films of all time. The cast (Patton Oswalt, Janeane Garofalo, Ian Holm, Lou Ramona, Brian Dennehy, Brad Garrett, etc…) are all perfect. The animation is beautiful. Most of all, the story is heartwarming in a way that doesn’t make you dread the word.
My personal favorite character is Anton Ego, voiced by the irreplaceable Peter O’Toole. Ego is a food critic who has let his, well, ego go to his head. He hates the former owner of the restaurant that Remy works in because his motto was “Anyone can cook.”
To Ego, this isn’t true. Only the anointed can cook. It takes a rat to show him the light.
Like the best critics, he learns something about himself from the very art form that he critiques.
THEATRE OF BLOOD (1973)
Directed by Douglas Hickox
Written by Anthony Greville-Bell
Based on an idea by Stanley Mann/John Kohn
“Genuine wit and malice! A superior film in every way!”
Edward Kendal Sheridan Lionheart (Vincent Price) should have won the Critic’s Circle Award in 1970 for his portrayals of Shakespearean characters throughout the year. The critics, however, did not agree and gave the award to an upstart. Lionheart killed himself right in front of them and his daughter (Diana Rigg). Two years later, he’s back and wants his revenge…in full Shakespearean style. Like Dr. Phibes before him, Lionheart kills in themes. Each murder is from a play that he performed in that year.
Theatre Of Blood is nowhere near the movie that The Abominable Dr. Phibes, but it’s still a VERY fun and surprisingly gory horror film with its severed tongue planted firmly in its bloody cheek. It doesn’t hurt that Vincent is having just as much (probably more) fun as the audience. His performance is over the top and perfect.
Watch for the scene where Vincent gets to kill his future third wife, Coral Browne.
ARSENIC AND OLD LACE (1944)
Directed by Frank Capra
Written by Julius J Epstein/Philip G Epstein
Based on a play by Joseph Kesselring
This one’s a bit old to have an Ebert review, so no quote here.
It’s also less about someone who is a critic and more about someone…whose job happens to be “drama critic.” Mortimer Brewster (Cary Grant in one of his many unforgettable roles) is the famous drama critic, and he’s just gotten married. He sets out with his new wife, Elaine Harper (Priscilla Lane), to tell his favorite aunts. Unfortunately, when he gets there he realizes that they are murderers and have been for years.
One of the darkest and best of the screwball comedies, Arsenic And Old Lace is hilarious from beginning to end. While Grant is the star of the film, the supporting cast keeps step with him the whole way. Peter Lorre, as always, is a standout.
If, for some reason, you think that old films just can’t compare with newer films, watch this one and it will change your mind.
BEYOND THE VALLEY OF THE DOLLS (1970)
Directed by Russ Meyer
Written by Roger Ebert/Russ Meyer
The only Russ Meyer film on the list and the only one without a critic…in front of the camera. Behind the camera, though, was one Roger Ebert in the writer’s chair.
The in-name only sequel to Valley Of The Dolls is focused on the music business and all of the problems that come with it. But they’re blown so far out of proportion as to become ridiculously amazing. The band in the film, The Kelly Affair (later The Carrie Nations), make it to the big time, but only through gates of drugs, orgies, transsexuals and horrendous violence.
It’s a tough film to describe and really has to be seen to be believed. It’s the very definition of a cult film because, trust me, it’s not for everyone.
But if you come to it with an open mind and leave your “I’m offended!” glasses in the other room, you’ll have lots of bizarre fun. (There’s not quite as much nudity as you would expect from it’s X (now NC-17) rating. Meyer said that, had he known it was going to get an X rating, he would have put MORE nudity in it.)
Watch for at least one scene that was directly lifted for Austin Powers.
