Locuto’s List
of Under-appreciated Films
Most of my favorite movies, like Ray or It Happened One Night, are on nearly everyone’s list of favorites. But I believe the ones I’ve listed here either were never properly recognized or have since been largely forgotten.
This hugely subjective, ever-growing collection reflects my peculiar tastes. I’m old-fashioned; more interested in pure storytelling than special effects or other technical aspects of filmmaking. I generally don’t like movies in which we’re supposed to be knocked out by how cool everyone is. I’m interested, rather, in what is human. I prefer the timeless to the fashionable.
The list is anything but definitive. It’s simply a place to start. A lot of movies that probably belong on this list I have yet to see. In any case, I hope it's useful to you. Suggestions are much appreciated.
* = newly added in 2010. Here's a compact, printable version of the list, so you can make your own notes: Locuto's List PDF
The Abyss (1989) – This is the film for which director James Cameron should have won an Oscar. It’s stuffed with edge-of-your seat action, but I remember mostly the small things – like how hero Virgil Brigman walks around with a blue hand after fetching his wedding ring out of the toilet. The climactic scene is purely mythic, as Virgil freefalls into icy blackness with only his wife’s fading radio voice for company.
The Accidental Tourist (1988) – You wouldn’t think a story featuring a brace of tragically anal dullards would be all that interesting. But this faithful adaptation of Anne Tyler’s deep and warm-hearted novel compellingly explicates the human condition. The actors – especially Geena Davis – are pitch perfect, and director Lawrence Kasdan does not waste a frame. But the real stars are Ms. Tyler’s imagination and sense of humor.
The Adventures of Buckaroo Banzai (1984) – This comic-book movie isn’t exactly subtle, but it’s incredibly nuanced compared to the pro wrestling-style FX-fests that now dominate the genre. There’s more wry wit than shock-and-awe here. John Lithgow is pure manic genius as Dr. Emillio Lizardo. "Laugh while you can, monkey boy!"
All Of Me (1984) – Steve Martin is a hoot as a man playing a woman playing a man. Lily Tomlin is equally hilarious as a dying heiress who leverages her fortune to ensure that her soul lives on. Thanks to inept gold diggers, her soul ends up condo-hopping -- residing for a time in a bucket of water. "Bockenbowl!"
The American President (1995) – Some might say Aaron Sorkin was just warming up for West Wing when he wrote this script, but the story stands on its own. It’s light and charming as it deals with a fictional President falling in love, then profound and moving as it works through the personal attacks that ensue. Ultimately, it defines leadership. Every liberal politician should memorize the climactic speech.
The Bad and the Beautiful (1952) – Kirk Douglas is incandescent as the film producer (allegedly modeled after David O. Selznick) that everyone loves to hate. Lana Turner turns in a comparable performance as the beauty he pulls out of the gutter. This film won five Oscars, but tends to be overlooked today. Great script.
* Chaplin (1992) – A gifted actor who has done his homework is a joy to behold. In this case, Robert Downey, Jr. must have tackled every possible extra credit assignment in learning to mimic the Little Tramp. There are lots of other reasons to see or reacquaint yourself with this intelligent explication of the quirks of creativity. Here's just one: Sven Nykvist's cinematography.
The Corn is Green (1945) – Bette Davis probably starred in more great films than any American actress, but this vivid drama is my favorite. It’s an adaptation of Emlyn Williams’ play about the teacher who discovered and nurtured his literary talents while he was working in a Welsh coalmine. The characters and situations are unforgettable.
* Dark Blue World (2001) – This long-overdue telling of the heroic role of Czech pilots in the Battle of Britain matches the eponymous film of the battle in period detail and realism. In contrast with many other war movies, the romance is credible and seamlessly integrated. Even more compelling is the bracketing of the story with glimpses of the brutal post-war fate these heros endured – how they were imprisoned and abused by the soviets for years, then, if released, confronted with a disfigured, oppressed culture. Don't miss this one.
The Dead (1987) – John Huston’s last film perfectly caps a brilliant career. James Joyce’s story documents a charming holiday party in Edwardian Dublin. But as the revelry winds down, the story expands into a world of bittersweet memories, culminating in a stirring rumination on mortality. The pivotal moment comes when a tenor, Mr. D’Arcy (Frank Patterson), sweetly sings “The Lass of Aughrim.” Angelica Huston is great.
Easter Parade (1948) – A smash when released, this film teaming Judy Garland and Fred Astaire is now undeservedly overshadowed by the great films the stars made separately. The opening drum store scene is a creative reminder that Fred's dancing was just one aspect of his amazing physicality. And Judy is great throughout, especially in the hobo number, "A Couple of Swells."
* The Electric Horseman (1979) – Some consider this tale of a cowboy's redemption insubstantial, but there's a lot here, in great scenery, sharp dialog, and subtle characterization. Robert Redford is superb as the rodeo star who kidnaps an exploited horse, and Jane Fonda his equal as an ambitious reporter. The romantic chemistry is perfect. Director Syndey Pollack was great at sidestepping hype and easy resolutions.
Enchanted April (1992)– Ready for an escape? Two Georgian women in Elizabeth von Arnim's charming story are. Surprising themselves with their boldness, they lease an Italian Villa, which allows them to slip away from tedious husbands and rainy London. They end up being not so alone, but with just the right amount of solitude, as the villa weaves its magic. Spectacular cinematography and solid performances ably animate the real star of the show: unconditional love.
Fearless (1993) – One of the more overlooked of Peter Weir’s stellar productions. Jeff Bridges plays a man who feels invincible and godlike after surviving a plane crash. He drifts away from his family and toys with the therapist sent to counsel him. It’s only when he starts trying to help another survivor that the full effects of his own trauma become apparent. A great film.
* Galaxy Quest (1999) – I'm amazed how many people haven't seen this perfect parody of Trekish TV schlock. You don't have to be a sci fi fan to appreciate the antics of desperate actors who've had their careers truncated by a hit series. Writers David Howard and Robert Gordon deliver a starship-load of generous-spirited wit. Tim Allen, Enrico Colantoni, Robin Sachs, and their respective crews are fabulous.
Grave of the Fireflies (1988) – This immense tragedy could change your life. But it may well trigger an emotional tsunami, as it documents the starvation of two young children in Japan at the end of World War II. Anime seems a strange choice of medium for this moving story, but, as Roger Ebert astutely points out, stark realism can't convey such profound symbolism. Brace yourself.
Green Dolphin Street (1947) – I came away from this romantic spectacle with a lot of respect for Lana Tuner and Donna Reed, who play strong, resourceful sisters vying for the love of globe-trotting adventurers. The Oscar-winning special effects are secondary to two superbly rendered love triangles. The ending is surprising and transcendent.
Heart and Souls (1993) – The title says it all. This is an evocative, hilarious, imaginative story that moves like gangbusters. The spirits of four people killed in a 1959 bus accident find themselves tethered to a boy born at the scene, and the boy must help them resolve their lives. That may sound like the film is all plot, but it's all character -- and heart. Kudos to the creative cast, and especially to the writer, Gregory Hansen.
* Heaven Knows, Mr. Allison (1957) – Here's a WWII story for both men and women. Amazingly ignored, this bit of John Huston magic is more adventure-romance than action. A shipwrecked marine (Robert Mitchum) and a marooned nun (Deborah Kerr) find themselves sharing an island paradise, until the Japanese try to crash the party. Despite huge differences, the protagonists bond spiritually, giving each other the strength to do what must be done. Allegedly Mitchum's favorite film – certainly his favorite co-star.
Holiday (1938) – It’s too bad Katharine Hepburn and Cary Grant only costarred in four movies, because they were great together. Holiday was written by Philip Barry and Donald Ogden Stewart, who also wrote The Philadelphia Story, and it shows. Wit, depth, Hepburn, Grant, Lew Ayers, and Edward Everett Horton: fun.
Holiday Inn (1942) – During the holidays, a lot of people who love the song "White Christmas" naturally rent the movie with the same name. But this is the film to watch. Not only did it introduce the song twelve years earlier than the eponymous Technicolor extravaganza, it features a far more imaginative story, better songs, and – especially – Fred Astaire.
* The Horseman on the Roof (1995) – This adventure-romance won several French Césars, but didn't get much attention in the US. Based on a novel by Jean Giono (The Man Who Planted Trees), it's about two brave and honorable people (Juliette Binoche and Olivier Martinez) thrown together during a Provencal cholera epidemic in 1832. A study of contrasts; a visual and spiritual feast.
* HouseSitter (1992) – Goldie Hawn and Steve Martin mine carloads of inspired silliness out of this story of a compulsive liar who moves into an architect's house and pretends to be his wife. The scene where Steve asks Goldie not to wear certain clothes because she looks too hot in them is a hoot. Kudos to the supporting cast, too. Give your nitpicker the night off, and tone up your laugh muscles.
* I Know Where I'm Going! (1945) – Lots of film buffs make a point of seeing Powell-Pressburger films, but if this one slipped by you, queue it up soon. Dame Wendy Hiller plays a headstrong young woman determined to live her life as planned, even when Celtic mischief conspires to present her less practical but richer options. Just as the filmmakers drew an entertaining portrait of Canada in The Invaders (49th Parallel), this affectionately depicts Scottish culture and scenery.
An Ideal Husband (1997) – Rupert Everett seems made for the role of charming, shiftless Lord Goring in this elegant production of the Oscar Wilde Play. He and Minnie Driver have a wonderful time with the rich material in the climax. All the actors skillfully dole out the droll, but Julianne Moore stands out as a wicked seductress. Nice attention to detail – lots of handsome people and costumes and sets.
* The Illusionist (2006) – This movie was somewhat overshadowed by The Prestige, a higher profile film released at nearly the same time. Both stories feature a 19th-century magician as protagonist. This is the one to see. In contrast to its pretzel-logic competitor, this sumptuous set piece works by placing compelling characters at the service of true love.
Jeremiah Johnson (1972) – This adventure hugely upgraded my hobbledehoy world when it was released. It's one of those films that tends to be unfairly dismissed as "episodic" by formula-bound mavens. But language, energy, and scope count for a great deal in my book. Director Sydney Pollack artfully blends the subtle and profound.
* Joni Mitchell: Woman of Heart and Mind (2003) – This is a fine example of genius inspiring genius. You can't very well do a slap-dash profile of a phenomenal artist like Joni. Stephanie Bennett, Susan Lacy, and crew prove themselves equal to the task. Even if you're not a fan of Joni's music, you will be inspired by her evocative journey. Loaded with rare performance footage and insights. Clearly a labor of love.
Kate and Leopold (2001) – Steven Rogers and James Mangold conjure some old-fashioned movie magic with this wonderfully imaginative, hilarious and romantic time-travel yarn. The script is loaded with delicious cultural cross-references and subtext. Hugh Jackman deservedly won a Golden Globe for his performance as an inventive studmuffin, but all the actors are great – especially Liev Schreiber and Breckin Meyer.
Kitty Foyle (1940) – Ginger Rogers won an Oscar for her portrayal of a spunky working class girl who endures and matures into a strong woman. The hard choices she makes compellingly reveal not just her character, but the difficulties women of the era faced. The talking-to she gives her snooty in-laws is worth the price of admission. This is the only feature made from a Christopher Morley (Parnassus On Wheels) novel.
A Letter to Three Wives (1949) – A must-see character study. Addie Ross has run off with the husband of one of her three friends. But which one? The women get the cryptic bad news just as they are embarking on an outing with an army of underprivileged children. As they tend to the kids, they consider via creative flashback which husband will not be waiting at home that evening. Wonderfully written, with a stellar cast.
The Man Who Planted Trees (1987) – After this exquisitely animated short came out, I expected to see other films copying its shimmering style. But it still seems to be in a class by itself. It's like watching a master painter continually create and recreate symbolic imagery. The effect would be merely interesting if the story were not such a timeless, organic study of perseverance.
* Meet the Robinsons (2007) – Though strangely overlooked, this is one of the best Disney animated features ever. The story is particularly strong. A budding inventor is propelled into the future, where an assortment of hilarious characters help him shore up his leaky self-esteem and redefine success. This one zips right along, so hold on to your hat, and Keep Moving Forward.
* Monte Walsh (1970) – Lee Marvin and Jack Palance are perfect as old cowboys trying to change with the times in this understated homage to the old West. Authenticity makes all the difference here; the remake looks sanitized in comparison. Though the story is touching, there's good humor in the way these guys live – the recreational fist fight, for example. A definitive Western. (Thanks, Scott Deyo!)
* Mr. & Mrs. Smith (1941) – Many Hitchcock fans loathe the thrillmaster's lone foray into screwball comedy. Many fans of the genre, however, love this solid, Lubitsch-like production. Robert Montgomery and Carole Lombard are great together as battling love birds, but Gene Raymond delivers some of the funniest bits. The story reminds me a lot of Noel Coward's Private Lives.
My Father's Glory and My Mother's Castle (1990) – Director Yves Robert pays competent tribute to Marcel Pagnol in these films based on the great director's memoirs. The first one is nearly perfect -- a sentimental, yet restrained portrait of French provincial life in the early 1900's. The sequel continues in the same gorgeous style. Though the early going is a bit desultory, the profound ending and denouement elevate the entire set.
* Penthouse (1933) – This is a well-crafted story about a defense lawyer who's dumped by a girlfriend who doesn't approve of his mug clients. Then the dumpee agrees to defend the dumper's new boyfriend from a murder rap. It all chugs along entertainingly, but really picks up when Myrna Loy appears. Her wit and unflappable presence prefigure Nora Charles in the Thin Man series.
Persuasion (1995) – Jane Austen’s other stories have been so beautifully filmed in recent years that it’s easy to overlook this gem. Amanda Root gives an understated but soulful performance as Anne Elliot, who was persuaded years earlier to break off a marriage engagement for social considerations. Ciarán Hinds is stalwart as the jiltee who returns as a successful ship captain. Corin Redgrave is magnificent as Anne’s foppish father.
* The Point (1972) – This cartoon gets less attention as it recedes into the past, but all animators should study it. For one thing, the story is the point. Harry Nilsson and Carole Beers created an imaginative set of probable impossibilities that hang together with wisdom and love. The Rock Man is my personal hero. You'll be humming the melodies for days. Great job, Harry.
A Raisin in the Sun (1961) – Sidney Poitier’s performances tend to stand out, but the whole cast is up to his brilliance in this raw and exuberant drama. An extended family shares a cramped apartment with little hope for betterment when an unexpected windfall sets them all dreaming again. Larraine Hansberry wrote a great American drama, and all Americans should see it.
A River Runs Through It (1992) – Sometimes it takes a few viewings to realize a film is a classic. I’m fond of nearly all stories in which landscape is a major character, but this production is exceptional in the patient way it links breathtaking scenery to complex relationships. The final words are as evocative as those penned by James Joyce in The Dead.
* Roughly Speaking (1945) – Churchill once defined success as the ability to move from one failure to another with no loss of enthusiasm. In this beautifully produced film, Rosalind Russell heads up a large, jolly family that never seems to tire of proving Sir Winston's point. Their adventures are animated by good writing and lots of charming Americana. Watch this one when the world's getting you down.
The Russia House (1990) – The best spy romance since Notorious. Tom Stoppard's dialog actually makes the film superior to the le Carré novel. Great acting and cinematography. The Jerry Goldsmith – Branford Marsalis score is phenomenal. An overlooked masterpiece, probably because of its subtlety. It's about the power of truth. Replay often.
* Sabrina (1995) – Director Sydney Pollack showed a lot of guts in remaking the 1954 classic. It's like begging to be nitpicked to death. But if you can avoid strict comparisons to the original, you might really enjoy this satisfying comedy. The script is witty and the players appealing. Sure, Julia Ormand isn't Audrey Hepburn, but who is? Being Julia is plenty, especially when she's Sabrina.
Salt of the Earth (1954) – This riveting exposé of the exploitation of Latino mineworkers is especially relevant today. It’s a must-see, not just because it was a blacklisted film made by blacklisted artists, but because it is a moving study of hard-working people fighting for basic human rights. Amazingly, the wives of the miners eventually lead the fight in defiance of their husbands.
* Separate Tables (1954) – If you only know David Niven for his lighter work, do yourself a favor and see how he earned an Oscar. He plays a bluff military man devoted to impressing others at an off-season resort hotel, when his weakness is publicly revealed. This is actually an ensemble film with a phenomenal cast, including Burt Lancaster, Rita Hayworth, and Deborah Kerr. As Peter Pan creator James Barrie said, life is a long lesson in humility. The troubled souls gathered here learn it well, yet they learn other useful things too. Surprisingly evocative.
* Shanghai Triad (1995) – Director Yimou Zhang's overlooked tragedy is drop-dead gorgeous. The story is told from the perspective of a boy drawn by awakening love into a vortex of violence and cruelty. We Americans expect things to get better when the setting shifts from urban to rural, but no such luck. The innocence and stark imagery are haunting.
Stage Door (1937) – Katharine Hepburn and Ginger Rogers are great in this adaptation of the Edna Ferber-George S. Kaufman play about a boardinghouse full of actresses hoping for a break on Broadway. It’s a revealing yet sympathetic portrayal of theater life. The lively repartee is bolstered by a supporting cast that includes Lucille Ball, Eve Arden and Ann Miller.
* Stars in My Crown (1950) – In his favorite role, Joel McCrae plays a strong-willed frontier parson who, through a series of trials and comic episodes, becomes the glue that holds a community together. The story is told with imagination and verisimiitude through the eyes of the parson's young nephew. The early going is a bit desultory, but stick with it – it builds to a powerful climax.
* The Strawberry Blonde (1941) – James Cagney, Olivia de Havilland, and Rita Hayworth in a period comedy? It's classic. Cagney plays a hapless dentist who requires many years and escapades to figure out he's not so hapless after all. The tooth extraction scenes are hilarious. Everyone's great, but Olivia steals the show as a witty suffragette ("What did we come here for, if not to be trifled with?")
Sullivan's Travels (1941) – Preston Sturges never got credit for the title of the movie Oh Brother, Where Art Thou. He coined it in this entertaining yarn about a film director convinced of the evils of escapism, but learning otherwise the hard way. In contrast to many modern efforts, there's a lot of heart in this story – especially in the climactic church scene. The early dialog featuring producers and butlers is brilliant.
* The Sundowners (1960) – Author Jon Cleary wanted to write about people who "weren't troubled by neuroses and didn't blame the world for their shortcomings." The film is faithful to Cleary's purpose. It's so full of rough, likable characters and open country that you hardly mind the episodic structure. Robert Mitchum and Deborah Kerr are great, but freedom and beauty are the real stars.
The Talk of the Town (1942) – Jean Arthur, Ronald Colman, and Cary Grant have some rich material to work with in this insightful exploration of the sometimes exasperating contrast between academic law and real-world justice. George Stevens directed a bold and artful film, well oiled with sweet romance and humor. The climax and denouement are exceptional.
Test Pilot (1938) – This is typical of the hugely melodramatic films of the 1930's, but its romantic energy and sharp dialog overcome much silliness. Myrna Loy does a great job of taking hotshot Clark Gable's ego down a notch or three, Spencer Tracy is the perfect buddy to both, and Lionel Barrymore dispenses fatherly wisdom on cue.
That Thing You Do! (1996) – One of the most purely creative and entertaining movies ever. Tom Hanks, Gary Goetzman, and friends created a vibrant alternate sixties universe to document the meteoric rise and implosion of a likeable one-hit-wonder band. The film is crammed with spot-on pseudo hit songs. A sweet homage to the era, and clearly a labor of love. Great soundtrack.
* The Way We Were (1973) – Not overlooked, but clearly under-appreciated, considering the ratings it gets saddled with. This is a deeply personal, moving, and well-crafted film. I've seen its sharp dialog ripped off several times, and it always makes me want to see the original again. "People ARE their principles!"
The Whole Wide World (1996) – Renée Zellweger and Vincent D’Onofrio jump off the screen in the heartbreaking story of schoolteacher Novalyne Price and pulp fiction writer Robert Howard. The creator of the "Conan the Barbarian" series is drawn to love, but can't escape an overbearing mother and vivid fantasy world. Get out the hankies.
Wonder Boys (2000) – Impeccable timing enlivens this chronicle of cascading absurdities triggered by a talented but hosed-up writer waffling about his future. Michael Chabon’s novel is hilarious, but this perfectly cast film manages to make the story even more satisfying. Michael Douglas, Frances McDormand, Robert Downey Jr., Tobey Maguire, and Katie Homes are deft and appealing.
* The Young in Heart (1938) – Meet the Carletons, a family of lovable rogues who strike gold when an elderly matron invites them to stay at her mansion. Morally and hilariously opposed to any work, they're aghast when they find themselves going straight. Janet Gaynor anchors a great cast, including laconic Roland Young, who's Hell on wheels in his Flying Wombat. Fluffy and short, but a real hoot.
* Zelig (1983) – It's easy to pass over this quirky gem when you need a Woody fix. But if you take the time for this one, and pay attention, it's as if the man's delicious and subtle imagination lies quivering before you. From the seamless merging of new and old footage, to contrived hit songs and the running down of all illogical conclusions, this is Woody at his most entertaining.
