#99 - Unforgiven

Straight talking, unnerving grit. Like all good westerns the set up is so tightly wound the climax is like a bullet in the head. Nothing should be taken away from perhaps Eastwood's greatest film due to his masterful grip of the genre because the film in question is a great film, full stop. Unforgiven is a remorseful western that plays on conscience stronger than gun powder. The consequence of every action presented, at the start and throughout, has resolution by the finale and no man that kills another is left without his punishment. This is except our family man Munny who carries the weight of his past crimes like chains. Eastwood's performance is subtle but weighted and his brooding intensity is in full force, conveying a strong sense of outward regret. Hackman's blind-sighted antagonist and his skewed sense of justice are well played and there is a slight sense that the environment him and his men are stuck in has made them as such. Repressed the women are out for as much justice as the men and even though it's their hands that result in most of the deaths in Big Wiskey, the impression lingers that after all the blood shed, poor Fitzgerald and her fellow hookers no longer felt the same way. Perhaps Eastwood after his long cinematic history of playing uninvited strangers who cause havoc in small towns is like Munny feeling the strain. Unforgiven may be the title but here is a film that should be seen as a call for forgiveness that is up to us, the admirer of cinema, to bestow.

#99 - Indiana Jones & The Last Crusade

Boyish, playful and seriously good fun. This film proves that blockbusters can have integrity and be considered a template of a generally, and unjustly lesser, popcorn genre of cinema. Spielberg was on fire, in his element and it shows. Earning his stripes as a skilled and populist director, this finale embodies what he does best. Action that excites and emotes, every twist builds upon the trill of the ride. A sense of joy runs in the blood of this film. The path and tone, are now, well trodden but still greatly enjoyable.  The Last Crusade is almost too much. Perhaps even three films in one. The film's opening is a flashback is a lost gem that no doubt would have been the jewel in the crown of River Phoenix's lost career. The relationship between Jones's Senior and Junior leaves a lot of ground unearthed a judging by their rapport would make an interesting concept to explore. Finally we can assume that around this time Indiana would have helped the war effort and took on Hitler personally. After that scene (which is an idea of madness that only cinema can realise) you can't help but imagine Indiana being there when the Fuhrer finds out the war is lost. The Last Crusade is the sum of it's parts which almost bring it too it's knees. As a stand alone film it isn't strong. The best moments of the film,  for example the tank, are brilliant because they have been set up  in the previous films. Luckily we live in a world where no one will ever watch this film before the first. The concept of the holy grail is one that fascinates on a very profound level. The humanity and  subtle psychological inflections of character shown (i.e Indy reaching for the Grail) strongly play into what makes America tick i.e. God, guns and good overcoming evil. Personally I think The Last Crusade is easily up there with Raiders but suffers slightly due to the rules of the sequel; go hard or go home. Though naturally 2nd best is more than good enough when you're talking about the Indiana Jones franchise.

#100 - Raging Bull

Powerful, striking imagery. Elegant use of classical music creates a poetry to the fighting that likens it to ballet. De Niro is immersive and strong of mind. The black and white adds beauty to the environments and allows a timeless quality. The quietness of the sound and character speech pulls you in, drawing you into the story. Silence is demanded to hear each word and the actors, all superb, use this to realise every moment. Conflict within the mind and body of La Motta ebb against the things he loves and it's shocking to watch a man of such masculine comand knowingly destroy his life. The women of the film are repressed but smart and often put their duty before themselves which is something the men focus on boxing, rather than family. The brothers, at first playfully aggressive then psychotic relationship symbolises the sacrifice that can damn those that strive for success at any cost. However Raging Bull is as much of a complex visual study of the male mind as it is a thoughtful price of fame narrative. Hard to watch at times due to the violence. It's not so much graphic but emotive. La Motta beats his wife, while the kids watch, and thinks it's acceptable. The brutal assault on his brother, a remarkable performance by Pesci, is horrific because we know La Motta loves his brother but his rage easily blinds hims. De Niro, unrecognisable as his aged self at the start, strikes a cord instantly. We like the man and accept, for whatever reason, him for the testosterone fuelled animal he is despite his many damaging qualities. I'm not sure why I followed his story but I did, maybe because behind La Motta's eyes is a man who can't not have everything his own way. Scorsese accents the story with a gentle touch, even in the heat of a fight, he steadily holds his own, capturing the action delicately. I enjoyed the visual touches at unexpected moments, Vikki by the pool, La Motta's dressing room chatter, the photographic era spanning montage, are all so superbly imagined. You get the feeling it was all very much planned, and yet feels so natural. I guess that's an apt way to leave Raging Bull. A film about a man who planned, but was unravelled by his nature.