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Today, the BBC posted the results of its poll of film critics who answered its call to weigh in on the greatest American films of all time. Richard Brody began writing for The New Yorker in 1999, and has contributed articles about the directors Francois Truffaut, Jean-Luc Godard, and Samuel Fuller.
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Lampooning the greatest in horror and genre fare, the first four films have grossed over $800 million worldwide. Jody (played by Ashley Tisdale), a Caucasian late-20s mother of two and her late-20s African American friend Kendra (played by Erica Ash) are both vying for the lead in the production. James reluctantly takes Ben to Miami to follow up on a lead that's connected to a drug ring. His best friends bet him that if he commits to one woman for one month, he's bound to fall in love. She has a wonderful, loving husband (Boris Kodjoe), two beautiful children and a thriving career. Jody’s extremely controlling former dancer mother is determined that Jody will have the brilliant career that eluded her. The case brings them to a homicide detective and a computer hacker who reveals evidence that implicates a respected businessman. Charlie accepts the seemingly easy challenge, but wasn't expecting to cross paths with the beautiful and mysterious Eva (Cassie Ventura).
As flirtation leads to attraction, Christian invites Hannah to his home and introduces her to his kinky world of S&M. Stallings) flirts with temptation and wife Elizabeth (Priscilla Shirer) becomes increasingly bitter, crumbling under the strain of a failing marriage. However, as perfect as her life might look to other people, Zoe is secretly tormented by nymphomania.
Yet I took the suggestion in a practical, even utilitarian way, and thought of movies that I watch, more or less, to kick back, in a familiar and even a familial sense.
The highly skilled mid-30s Diva veteran dancer with the company, Heather Daltry (played by Molly Shannon), gets cut from the production and goes berserk.
Several of the movies on the list are ones that I’ve watched with my family many times over; others are ones that I’ve watched so many times over the years that they’re a part of my cinematic and even personal reflexes. That’s the value of the poll’s other, albeit justifiably contentious, premise—the restriction to American movies.
It’s certainly true that movies from the rest of the world are in far greater need of attention here than the domestic product, and I hope that another poll, other polls, will work toward that end.
But there’s something that spurred my interest in the limitation of the field of this poll, with its emotional and personal underpinning, to American movies: they formed the primal basis of my cinematic experience.
All are films that I discovered at or after the age of eighteen (at that age, “Bringing Up Baby” instantly spoke to me—I had never read Freud, but I became a Freudian thanks to Hawks).


The one ringer on the list is “Love Streams,” which isn’t the film by John Cassavetes that I have in fact watched most often (that would be “Husbands”); it’s the one in which several simple gestures and glances, the tilt of a head, the tone of a voice, even just the shadow on a face, move me in a trans-aesthetic, oddly intimate, utterly unconsidered way. There are no recent films on my list; that’s not the result of intentional self-censorship but the effect of my own personal history on my viewing habits. Growing up with Hollywood ambient, I felt it to be a sort of formalized glitz or ambulatory Las Vegas that bore little resemblance to the world as I saw it. Classic Hollywood came to me through the back door, from my viewing of French New Wave films and exposure to the writings of those filmmakers, who were (much to my surprise) inspired by the very films that I had long ignored.
Only then, belatedly, at an age (college years and later) when most of my peers knew the movie classics as part of their own family culture, I was getting schooled by the lists in Cahiers du Cinema from the nineteen-fifties and sixties. It was like coming late to classical music and feeling a newly raging passion for its styles, and for the most extreme transformations of that style (in music, say, Pierre Boulez or Elliott Carter; in movies, Cassavetes and Greaves, whose films I’ve watched only in the last decade, but obsessively). Above all, when I look over my list (which I put together rapidly and spontaneously), what leaps out, in regard to my primordial cinematic enthusiasms (mainly, for B-movie science fiction), is a lasting love for playfulness.
The point of such lists—their pleasure and their limit—is the element of self-portraiture; they’re far more illuminating about their authors than about the movies in question. First, “Citizen Kane” bumps “Vertigo” out of the top spot, which the latter film held in the most recent Sight and Sound poll—but I think that’s due, in part, to the larger number of Hitchcock films appearing elsewhere on the list.
It’s also worthwhile considering that fact and being amazed: “Citizen Kane” is a twenty-five-year-old’s first movie, and it resounds with the uninhibited energies of youth (albeit a youth with a terrifyingly self-deprecating and self-aware tragic sense). The presence of “Citizen Kane” at the top of the list is all the more enlightening in view of the relative scarcity of movies from the nineteen-thirties.
That scarcity is connected, I think, to the underlying historical circumstances of that decade in Hollywood—the time of the most rigidly industrialized and centrally controlled studio system, which Welles’s film did much to loosen. Of course, some of the greatest movies ever were made then (including Hawks’s “Scarface”—which was a rare independent production). Somehow, though, when the average shakes out, in a poll that’s intended to reveal personal enthusiasms, what emerges is an over-all passion for movies where the personal touch is most evident. For all the enthusiasm for the classic Hollywood style, it’s the genius of directors, not the ostensible genius of the system, that inspires enduring love. Watch: What happens when independent theaters are forced to abandon film for digital projection?



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