Tom Hanks considers Fargo the “perfect movie.” But Alec Baldwin feels Chinatown is the “perfect movie,” as does Morgan Freeman for Moulin Rouge. And Steven Spielberg always felt Lawrence of Arabia represented perfection, until he saw The Godfather.
CNN Launches 'The Movies', A Cinephile's Dream Look At Film And Its Impact Over The Decades
But does it work? Re-living the great moments of film is akin to gaining admission to an elite cinema club whose membership is pledged to mutual admiration. Hanks is not only a producer but a frequent commentator along with his frequent collaborator, Spielberg. Hanks proclaims, duly reciprocated by Martin Scorsese.
Somehow the hits, brilliant as they are, seem too easy and inevitable: No one gets around to citing the conflicts and the reshoots and the flops. Even Woody Allen’s hits are honored, without mention that no American company wants to distribute them anymore. A flashing’s production strife, but there’s no mention of overages or the resulting studio body count.
If hit-making is so easy, why aren’t there more of them? Or, more important, why have those memorable “character movies” disappeared beneath the tidal wave of franchises? None of this is analyzed, nor is there any hint of studio intrigues or presence of studio executives, past or present.The emergence of low-budget, personal films of the ‘60s is explained as a cultural phenomenon.
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