Spartacus

1960.
Unlisted / #81
Winner of 4 Academy Awards.

Spartacus (Kirk Douglas) leads a slave revolt against Rome.

Eddie: I didn't realize until I started watching this movie that SPARTACUS is a Stanley Kubrick film. While it's stylistically more of a departure for Kubrick, it's got a lot of the elements that I despise about his movies. À la 2001, why does Kubrick insist on lingering so long on one shot? Rome could've been sacked and rebuilt in the time it takes those legions to assemble before they attack the slave army. And vis-à-vis (that's right. I said it) nearly every Kubrick film, what the hell was this movie about? Was it about Spartacus? Was it about Rome? Was it a love story? I have no idea.

Douglas is all right, but he seems to rely pretty heavily on that grin to get him through scenes. Tony Curtis is terribly miscast. Even the dependable Laurence Olivier seems uneven throughout the film. My only concession is that Kubrick deserves major props for directing this epic film (cast of 10,000) at such a young age (33). In addition to directing, Kubrick served as the director of photography after he fired Russell Metty (who still managed to win the Oscar for Best Color Cinematography).

Sarah: The things Eddie hates about this movie are the things I like about it. I like that Kubrick takes his time to develop multi-layered films. His stories don't tell you their thesis, instead he leaves the audience to draw their own conclusions. He is subtle, which I find refreshing. Apparently I'm alone here because everyone else loves BLACK SWAN (aka "Mirror mirror on the wall, whose the craziest one of all?").

I really admire Kubrick, and the choreography of this mega-cast shows what a powerful director he is. But even my love for Kubrick doesn't make me think this is an AFI movie. While I found the subject matter fascinating, this film seems weak compared to the others we have viewed. It's a relic sitting on the list as a tribute to old epic films. It doesn't hold up. It's too costumed and melodramatic. Even if you could get past these issues to enjoy the emotional ride of the film, sooner or later Tony Curtis will enter. As soon as he says something in his thick, New York accent, you will again be taken out of the movie.

I'm all for more Kubrick on the list, but what about FULL METAL JACKET or THE SHINING? This is simply too much of a commercial drama to showcase Kubrick's talents. And we all know what happens when we try and make Kubrick commercial. We get A.I.

Why You Should See It: The love story between Spartacus and Varinia (Jean Simmons) is kind of adorable.

Some Like It Hot

1959.

#14 / #22

Winner of 1 Academy Award.

Two musicians are wanted by the mob. They disguise themselves as ladies and join an all-girl band.

Sarah: There is a reason this is the #1 comedy of all time. It's hilarious. Dressing in drag has been funny since at least Shakespeare's day (if the cross-dressers earnestly try to pass for the other gender), and this movie does it the best. Tony Curtis and Marilyn Monroe are great (This is Marilyn at her best, though they say she was a terror), but Jack Lemmon gets so many laughs he doesn't even need them. He makes this movie a success.

I could go on, but comedy isn't funny when you break it apart. So just see it already.

Eddie: I'm not sure if I'd characterize this movie as the #1 comedy of all-time, but it's pretty close. Jack Lemmon can't miss, and Tony Curtis is unreal, playing three characters in this movie - Joe, Josephine, and millionaire "Junior." Watching Curtis delineate those three characters is like watching a master plate spinner.

As Sarah said, SOME LIKE IT HOT is probably Marilyn's best role, certainly the best one I've seen of her. My "Unsung Hero" Award goes to Billy Wilder, who co-wrote and directed the flick. Billy Wilder is the king of plant-and-payoff. For me, he's one of the three best comedy directors of all time, and this is one of his best.

Why You Should See It: Jack Lemmon falls in love with his female persona, Daphne, and with Osgood (Joe E. Brown), the man who eventually proposes to Daphne. In one scene, Lemmon giddily recounts to Joe the story of his engagement to Osgood. It's priceless.