Blogathon Relay: The 10 Most Influential Directors Of All Time

The 10 Most Influential Directors Of All Time

One of the more pleasant surprises I’ve had recently was to have received the baton from the lovely Ruth at FlixChatter for the 10 Most Influential Directors of All Time Blogathon relay.

The Blogathon was the brainchild of John at Hichcock’s World. It’s a brilliant idea and John sums it up nicely: “I have compiled a list of 10 directors I consider to be extremely influential. I will name another blogger to take over. That blogger, in their own article, will go through my list and choose one they feel doesn’t belong, make a case for why that director doesn’t fit, and then bring out a replacement. After making a case for why that director is a better choice, they will pass the baton onto another blogger. That third blogger will repeat the process before choosing another one to take over, and so on.”

The baton has so far been passed to the following:

Girl Meets Cinema
And So It Begins…
Dell On Movies
Two Dollar Cinema
A Fistful Of Films
The Cinematic Spectacle
FlixChatter (Thanks for the banner logo Ruth!)

The original list had plenty of incredible directors on it, but as the baton has been handed down the list has become pretty damned impressive:

The 10 Most Influential Directors Of All Time

Billy Wilder, Alfred Hitchcock, Quentin Tarantino, Georges Méliès, Martin Scorsese, Orson Welles, Steven Spielberg, Ingmar Bergman and Stanley Kubrick

Ruth’s addition to the list was Billy Wilder and her justification was thus: “I’ve recently seen one of Wilder’s best, The Apartment, and I could see why his films are so beloved. He imbued such wit in his films, a dose of cynical humor. He also has a way with actors, having directed no less than 14 actors to Oscar-nominated performances. He’s also a versatile writer/director, as he excelled in numerous genres: drama, noir, comedy as well as war films. He’s one of those directors whose work I still need to see more of, but even from the few that I’ve seen, it’s easy to see how Mr Wilder belongs in this list.”

So, Who’s Out?

Jean Luc Goddard

Jean-Luc Godard

Man, this was an almost impossible decision. Godard’s still making movies aged 83 and there’s no denying the influence of his work. Breathless remains a defining work of the French New Wave and his 1964 film Bande à part was stolen by Tarantino for the name of his production company. The more I think about it, the less I’m sure, but compared to the others on this list I feel Godard’s influence has slipped and, as such, he doesn’t quite make it. Sorry Jean-Luc, but I suspect you’d feel that lists like this are way too bourgeois anyway.

Now, Who’s In?

John Ford

John Ford

Reflecting on his masterpiece Citizen Kane, Orson Welles was asked who influenced what is still regarded as one of the greatest films ever made. Welles’ reply was simple: “The old masters, by which I mean John Ford, John Ford and John Ford.” He had reputedly watched Ford’s 1939 classic Stagecoach more than 40 times in preparation for his debut feature and he wasn’t the only one to have been drawn to the work of one of the most influential directors of all time.

An encounter with Ford proved to have a massive impact on a 15-year-old Steven Spielberg, who subsequently said of the great man: “Ford’s in my mind when I make a lot of my pictures.” Watch Saving Private Ryan‘s devastating D-Day landings sequence and War Horse and you’ll see Ford’s stamp front and centre.

Likewise, Martin Scorsese has cited The Searchers as one of his favourite films. Speaking about the film in the Hollywood Reporter, Scorsese said: “In truly great films – the ones that people need to make, the ones that start speaking through them, the ones that keep moving into territory that is more and more unfathomable and uncomfortable – nothing’s ever simple or neatly resolved. You’re left with a mystery. In this case, the mystery of a man who spends 10 years of his life searching for someone, realises his goal, brings her back and then walks away. Only an artist as great as John Ford would dare to end a film on such a note.”

The list goes on. Ingmar Bergman cited Ford as “the best director in the world”, while Alfred Hitchcock declared that a “John Ford film was a visual gratification”.

From the earliest days of film, through to the invention of sound and the introduction of colour, Ford remained a cinematic pioneer. Although best regarded for his westerns, he also made another masterpiece that defined a nation – The Grapes Of Wrath; while his incredible World War Two documentaries The Battle Of Midway and December 7th remain quintessential examples of the craft. For all this alone, John Ford should be regarded as The Great American Director.


Well, that’s me done, so now the torch passes to… Fernando at Committed to Celluloid. Good luck Fernando; you’re gonna need it!

Great Films You Need To See – Red Rock West (1993)

This is my latest contribution to The Big Picture, the internationally-recognised magazine and website that offers an intelligent take on cinema, focussing on how film affects our lives. This piece about John Dahl’s 1993 western neo noir thriller Red Rock West was written as part of The Big Picture’s Lost Classics strand, although I am including it within my list of Great Films You Need To See.

Cinema’s dustbin is littered with movies that disappeared between the cracks or didn’t fit neatly into any easy-to-sell marketing category.

Watched now, more than 20 years on, Red Rock West has barely aged a day and deserves its place alongside the likes of the Coens’ Blood Simple as one of cinema’s most ingenious neo-noirs

Watched now, more than 20 years on, Red Rock West has barely aged a day and deserves its place alongside the likes of the Coens’ Blood Simple as one of cinema’s most ingenious neo-noirs

It’s a fate that befell the criminally underseen Red Rock West, John Dahl’s sophomore feature that, according to the late Roger Ebert, “exists sneakily between a western and a thriller, between a film noir and a black comedy”.

The film is worth seeing for the cast alone. Nicolas Cage gives one of his most hangdog turns as Michael Williams, an ordinary Joe on the road to nowhere who rolls into dead-end Red Rock and is immediately mistaken for “Lyle from Dallas” by bar owner Wayne Brown (J.T. Walsh).

Michael Williams (Nicolas Cage) fools bar owner Wayne Brown (J.T. Walsh) he's "Lyle from Dallas" in Red Rock West

Michael Williams (Nicolas Cage) fools bar owner Wayne Brown (J.T. Walsh) he’s “Lyle from Dallas” in Red Rock West

Down on his luck, Michael keeps his mouth shut when he accepts $5,000 by Wayne to kill his wife Suzanne (Lara Flynn Boyle). He’s then offered double by Suzanne to kill Wayne after telling her about the contract. The plot takes a turn for the perilous with the arrival of the real Lyle (Dennis Hopper), a psychopathic hitman who dresses like he stepped out of a Garth Brooks concert.

Dahl, who co-wrote the script with brother Rick, throws in more twists than a pretzel factory and has a ball in the process. There’s an amusing running joke that sees the exasperated Michael continually trying to leave Red Rock but, like Jim Carrey’s Truman Burbank, is seemingly never able to escape.

Michael (Nicolas Cage) gets himself into hot water with Wayne's wife Suzanne (Lara Flynn Boyle) in Red Rock West

Michael (Nicolas Cage) gets himself into hot water with Wayne’s wife Suzanne (Lara Flynn Boyle) in Red Rock West

There’s more than a little of David Lynch in the film, and not just because three-quarters of the main cast have worked with him. Hopper is in full-on Frank Booth mode, while Boyle exudes the sort of old school matinee seduction she displayed in Twin Peaks.

In a film of meaty performances, the tastiest is given by Walsh (who should have appeared in a Lynch film, but never did). In lesser hands Wayne could have been a stock villain, but Walsh imbues him with a banality that is all the more chilling for being so underplayed.

Dennis Hopper is in full-on Frank Booth mode as Lyle in Red Rock West

Dennis Hopper is in full-on Frank Booth mode as Lyle in Red Rock West

Dahl is one of life’s nearly men. Now predominately a director of high-end cable and network TV shows, his film career never garnered the commercial success it was due in spite of such entertaining fare as The Last Seduction and Rounders, the Matt Damon and Edward Norton joint that helped launch the current poker craze.

Released in the wake of Reservoir Dogs (1992), Red Rock West became a casualty of the rapidly changing landscape of American independent cinema post-Tarantino. Watched now, more than 20 years on, the film has barely aged a day and deserves its place alongside the likes of the Coens’ Blood Simple (1984) as one of cinema’s most ingenious neo-noirs.

Sound And Vision – The Best Uses Of Songs In Movies

Since its birth more than a century ago, cinema has used music to heighten and manipulate our emotions.

Before the invention of sound, everything from a simple piano to a full-blown orchestra was employed by silent movies to make us smile, tug the heartstrings or set the pulse racing.

This kinship between sound and vision has continued to this day and, when done right, can leave a lasting impression and elevate a film in the eyes and ears of the viewer.

The thought struck me again during a recent viewing of Noah Baumbach’s Frances Ha, specifically the scene in which Greta Gerwig’s titular protagonist dances giddily through the streets of New York as David Bowie’s Modern Love plays over the soundtrack. It’s a joyful confluence of moving picture and an 80’s classic that, more than anything else in the film, has stayed with me.

There are far too many memorable examples of movie scenes that remain stuck in my head because of the way the director has used a song to enhance the action on screen. Here are just a handful of my picks – as ever I’d love to know:

What are your favourite movie scenes set to a great song?

Goodfellas (1990)
Layla (Piano Exit) by Derek And The Dominos

Martin Scorsese has long been a master of the soundtrack, none more so than in his 1990 masterpiece Goodfellas. The film is chock full of classic music overlayed over striking visuals; however, the scene that always sticks in my mind is when dead bodies start showing up across the city, be they in a car, a refuse truck or the back of a meat lorry. Regarded as one of rock ‘n’ roll’s most definitive love songs, Scorsese’s inspired use of Derek And The Dominos’ Layla (Piano Exit) instead gives the scene an elegiac tone as we know this marks the beginning of the end for wiseguys Henry Hill (Ray Liotta), Jimmy Conway (Robert De Niro) and Tommy DeVito (Joe Pesci).

Easy Rider (1969)
Born To Be Wild by Steppenwolf

And low, the New Hollywood was born. Although released a year earlier, Steppenwolf’s Born To Be Wild will forever be joined at the hip with Easy Rider, such is the impact the film had. It’s impossible to think of another song that could be used in its place as Peter Fonda and Dennis Hopper’s drug-smuggling bikers take to the road to get to Mardi Gras in New Orleans. Just as Fonda’s decision to dispose of his watch marked a turning point in cinema, that iconic opening drum beat and insanely catchy guitar riff was the perfect soundtrack.

Reservoir Dogs (1992)
Stuck In The Middle With You by Stealers Wheel

Another director synonymous for using the ‘needle drop’ is Quentin Tarantino; so much so in fact that for his debut feature Reservoir Dogs, the fictional K-Billy’s Super Sounds of the Seventies is as integral a character in the film as Mr White et al. Call it unfortunate timing for poor old Officer Marvin Nash (Kirk Baltz), but when Stealers Wheel’s appropriately titled Stuck In The Middle With You takes to the airwaves, it provides the psychopathic Mr Blonde (Michael Madsen) with the musical spur he needs to perform some unwanted ear surgery. There are numerous other great songs used to superb effect by Tarantino throughout his career, but this remains the most potent example.

Boogie Nights (1997)
Jessie’s Girl by Rick Springfield

Once the porn star’s porn star, Dirk Diggler’s (Mark Wahlberg) desperate collapse into drug addiction reaches its sad nadir in this mesmerising scene, one of the finest of Paul Thomas Anderson’s astonishing career. Dirk, Reed Rothchild (John C Reilly) and their pal Todd’s (Thomas Jane) misguided attempt to sell drug dealer Rahad Jackson (Alfred Molina) baking soda instead of cocaine predictably goes awry. As Jackson dances to Rick Springfield’s uplifting Jessie’s Girl, the folly of their plan gradually dawns on an increasingly jittery Dirk and the unbearable tension builds with every firecracker dropped by Jackson’s mute friend. Anyone who says Wahlberg can’t act just needs to watch how he gets lost in the song before strung-out paranoia and self-loathing seeps into his eyes – it’s a masterclass in subtle character shifts. Molina, meanwhile, is spot-on as always with a genuinely unnerving performance as the loathsome dealer.

Trainspotting (1996)
Born Slippy.NUX by Underworld

Danny Boyle is among a rare breed of directors who understand how and where to use dance music in their films without it sounding naff. He had demonstrated his keen understanding of the form by inventively switching between slow motion and speeded up footage to the penetrating sound of Leftfield’s title track in his debut film Shallow Grave. In his adaptation of Irvine Welsh’s cult novel, Boyle laid a little-known b-side by the then equally little-known Underworld over the film’s closing scene. Played quietly in the background at first, the tune slowly builds to a pulse-quickening crescendo as Ewan McGregor’s Renton steals off with his friends’ loot and vows to choose life over heroin.

The Big Lebowski (1998)
Just Dropped In (To See What Condition My Condition Was In) by Kenny Rogers & The First Edition

It’s easy to forget just how integral music is to the Coens’ oeuvre. From O Brother, Where Art Thou? to their latest Inside Llewyn Davis, their use of music is as carefully thought out as their storyboarded visuals. Arguably their most memorable needle-drop scene is the surreal ‘Gutterballs’ dream sequence from The Big Lebowski. Set to the psychedelic Just Dropped In (To See What Condition My Condition Was In), a wide-eyed Dude’s (Jeff Bridges) love of bowling is indulged as he rents a pair of shoes from Saddam Hussein, teaches Julianne Moore’s Nordic-clad Maude Lebowski how to bowl and then becomes the ball as he ‘rolls’ through the spread legs of dancing girls in swimsuits. The Dude does, indeed, abide.

Debuts Blogathon: Quentin Tarantino – Reservoir Dogs (1992)

Debuts Blogathon

As the Debuts Blogathon, hosted by myself and Chris at Terry Malloy’s Pigeon Coop, nears its end, we’ve saved one of the very best till last. Tyson from Head in a Vice is covering the one and only Reservoir Dogs, Quentin Tarantino’s hugely influential 1992 debut. Tyson was the first movie blogger to follow me and I’ve followed his posts ever since. His site is a real one-of-a-kind, providing entertaining reviews of genre fare, as well as his long-term Project: De Niro to watch and review all of Bobby’s films and his popular Desert Island Films feature (I promise to sort mine out soon!). Simply put, this is a fantastic site you really need to be following.

Quentin Tarantino

Reservoir Dogs (1992)

When Chris and Mark posted about this project, I immediately knew I could only do it if I could grab Quentin Tarantino’s debut Reservoir Dogs.

Reservoir Dogs PosterFor my money, it’s the greatest directorial debut and the man has continued to inspire and make incredible movies in his uncompromising style. Luckily, I was quick off the mark and the boys gave me this movie to talk about. Now I have it, I’m here to offer my thoughts on the film, Tarantino himself and the lasting effects Reservoir Dogs has had on cinema.

Reservoir DogsWhat can I say about Reservoir Dogs that hasn’t already been said a million times, by people much more respectable than me? Not a lot, but I’ll throw some stuff out here anyway. For those that don’t know, the plot goes a little something like this: a diamond heist goes bad and the thieves are left to pick up the pieces back at their warehouse headquarters, all the while suspecting that a traitor in their midst sabotaged the operation.

Tarantino’s style can be seen immediately in the opening scene, and it showcases what most people associate Tarantino with – dialogue. The conversations his characters have in all his movies, I mean, you can tell a Tarantino film just by tuning in to a conversation. The smallest, most subtle things take on so much meaning and for me no one writes like this man. I didn’t see the film on its release (as I was 10-years-old), but I can imagine people watching it and wondering who the hell this Quentin Tarantino guy was; writing, directing and acting in his debut movie.

Reservoir DogsThen the opening scene kicks in and we are listening to some guys talking about random things like tipping and the subtext of Madonna’s Like a Virgin song. It just holds your attention, then the guys leave; the suave crew walking out of the diner in slow motion, set to the George Baker Selection’s super cool Little Green Bag. Wow. You’re just hooked, and here we are over 20 years later, the effect has not diminished at all.

Reservoir DogsI love how within this opening scene, where the issue of tipping the waitress comes up and Mr Pink’s refusal to tip, sets into action a discussion that not only tells us all we need to know about these characters, but even foreshadows the events of the film. Mr Pink won’t tip, showing he mostly cares only about himself (I’ll be honest, his argument is solid and I hate tipping). Mr White believes the waitress works hard and deserves a tip, which shows despite being a criminal he cares for people, which is what leads him to be so blindly trusting with regards to Mr Orange. Mr Blonde offers to shoot Mr Pink for a joke, foreshadowing his sociopathic tendencies. Mr Orange tells Joe that Mr Pink refused to tip, playing the part of a rat, which he is. Joe pressures Mr Pink to tip and he does, showing Mr Pink is ultimately a coward. All that is gleaned from an argument about a tip. That is great writing, and a standard which he has continued throughout his career.

Reservoir DogsIt’s a heist movie where we never actually see the heist. People always assume it’s a horrendously violent film, yet apart from the police torture scene – the camera even cuts away from the ear slicing – it really isn’t that violent. Most of it is set in a warehouse, with a small cast. Yet I can’t find a bad thing about it. Everything from the dialogue, to the cast and the music is not only perfect, but something which is synonymous with all of Tarantino’s films. He finds random music in Japanese clothing stores. He takes washed up actors and gives them the part of a lifetime. But mostly he just does what the hell he wants, when he wants.

Reservoir DogsAs a fan, the one thing I think I love more than anything else Tarantino-wise is that all the characters from his films are alive and real to him. They all play out in his head, and by doing so he has created an intricate, instantly recognisable movie universe – one which boasts a family tree of miscreants that overlap between movies in weird and wonderful ways. This chart shows the links, and it just emphasises the detail and thought that goes into everything he writes.

Reservoir DogsThese connections – however subtle they may be – bear little effect, if any, on the plots of Tarantino’s movies. Instead, they’re like Easter Eggs that reward observant onlookers: in-jokes that might mean nothing to us, but mean the world to their creator. Even in his early work, Tarantino was building his own giant playground, in which not only his individual movies co-exist, but their characters’ paths cross and intersect behind the scenes.

I could go on and on about it, but I’m merely scratching the surface. Ultimately Reservoir Dogs is a work of genius by a debut director and a film that, while he may have bettered in my opinion with Pulp Fiction, will easily stand the test of time. I’m hungry, let’s get a taco.

Over at Terry Malloy’s Pigeon Coop, Dave from ccpopculture provides a piece on New Zealand-born director Andrew Dominik’s 2000 debut Chopper. Head over to Chris’s site now by clicking here.

Tomorrow is the penultimate post in the Blogathon and comes courtesy of Shah from Blank Page Beatdown with his piece on Danny Boyle’s Shallow Grave. Don’t miss it!

Review – Django Unchained

For a writer and director who’s the unashamed king of the movie homage there really isn’t anyone else out there making films quite like Quentin Tarantino.

Quentin Tarantino's Django Unchained

Quentin Tarantino’s Django Unchained – arguably his most outrageous film yet

Django Unchained, Tarantino’s eighth feature is arguably his most outrageous yet and serves up a similar stylistic mash-up as his previous film Inglourious Basterds.

In that movie, he somehow got away with making a World War Two spaghetti western (complete with Ennio Morricone music) where a squadron of Jewish-American soldiers give the Nazis a taste of their own medicine.

Here, Tarantino uses a similar mould for his most fully realised and satisfying film since Jackie Brown, jettisoning the episodic structure that has been so familiar throughout his filmography.

Django Unchained is a western with extra spaghetti sauce and features a blaxploitation hero even cooler than Shaft. From the title, which directly references the 1966 spaghetti western Django starring Franco Nero (who makes a cameo here), to the red-painted opening credits, music, ultra violence and theme of revenge (common to virtually all of Tarantino’s work), the film sends the homage-o-meter up to 11.

Dr King Schultz (Christoph Waltz) shows Django (Jamie Foxx) the way of the gun in Django Unchained

Dr King Schultz (Christoph Waltz) shows Django (Jamie Foxx) the way of the gun in Django Unchained

It’s also the writer-director’s most overtly political work to date, addressing the still thorny subject of slavery in a frank and often brutal way. Our hero is Django (Jamie Foxx), a slave in 1858 Texas who wins his freedom thanks to the intervention of Christoph Waltz’s German dentist-turned bounty hunter Dr King Schultz (it can’t be a coincidence that a character who abhors slavery shares his name with Dr Martin Luther King).

The sadistic Calvin Candie (Leonardo DiCaprio) in Django Unchained

The sadistic Calvin Candie (Leonardo DiCaprio) in Django Unchained

Schultz takes Django under his wing and trains him in the art of bounty hunting (“like slavery, it’s a flesh for cash business”) and, in return for assisting him, Schultz agrees to help Django win the freedom of his wife, Broomhilda (Kerry Washington), a slave forced to work at the perversely named Candyland, owned by the despicable sadist and racial supremacist Calvin Candie (Leonardo DiCaprio, sporting horribly blackened teeth).

Tarantino has never been one to shy away from throwing in the kitchen sink when it comes to on-screen violence. It’s a facet of his work that has attracted considerable consternation from critics and commentators throughout his career, but while he no doubt takes great pleasure in seeing how far he can go he also never lets you forget that violence and bullets hurt – a lot. When we see slaves being killed in the most vicious of ways at the hands of Candie, we’re left in no uncertain terms that this is no laughing matter.

The deplorable house slave Stephen (Samuel L Jackson) in Django Unchained

The deplorable house slave Stephen (Samuel L Jackson) in Django Unchained

That being said, just as the Nazis have it coming in Inglourious Basterds, there’s a certain gleeful satisfaction in seeing a black man administer justice of the most merciless kind to the racist white trash who have profited from and exploited the slave trade.

In the film’s most amusing scene , a group of proto-Ku Klux Klansmen led by Big Daddy (Don Johnson) go in search of Schultz and Django, only to bicker among themselves because they can’t see properly out of their white hoods. It’s a nicely observed comment on the absurdity and cowardice of racism.

Tarantino also nods to classic John Ford westerns, framing his heroes against a series of expansive vistas, beautifully filmed by cinematographer Robert Richardson, and conjures up a number of arresting images, most strikingly when blood splattters over pure white cotton on a plantation.

Quentin Tarantino directs and unfortunately stars in Django Unchained

Quentin Tarantino directs and unfortunately stars in Django Unchained

As verbose as Tarantino’s scripts are, his rich dialogue is a gift for the superlative cast he’s assembled here. Waltz almost steals the show as the kind-but-deadly Schultz, as memorable a screen presence as his diabolical Hans Landa from Inglourious Basterds.

Foxx does a nice line in man-with-no-name quiet intensity (can you imagine what Will Smith, Tarantino’s original choice, would have done with the role?), while DiCaprio has a whale of a time tearing it up as the dapper southern aristocrat out of control in his own private fiefdom.

The colourfully dressed Django (Jamie Foxx) kicks ass and takes names in Django Unchained

The colourfully dressed Django (Jamie Foxx) kicks ass and takes names in Django Unchained

However, all pale in comparison to the quite brilliant Samuel L Jackson as Stephen, Candie’s house slave who’s so servile he makes Uncle Tom look like a Black Panther. Hidden behind that frail, shuffling walk lies a truly abominable human being who, when he isn’t perched on Candie’s shoulder like a parrot repeating his every line, is punishing his fellow slaves and conspiring against them to get in his white master’s good books. It’s a very disturbing performance that only Tarantino and Jackson could have dreamt up.

What Tarantino still has some trouble with, however, is acting and he’s truly terrible as an Australian (!) slave driver. He can’t even resist affording himself the film’s most colourful death. This entire section is the only weak spot in the whole movie. There’s a natural end point before this, but Tarantino (who has previously admitted to not showing enough discipline when it comes to a script) gives himself another half an hour before he finally wraps things up, all be it in a pleasingly brutal way.

The thing you have to admire about Tarantino is that he’s a rock’n’roll director in the truest sense, a film geek who wants to share his love of cinema’s outer margins and with Django Unchained he hits it out of the park.