Leonard Maltin's 151 Best Movies You've Never Seen by Leonard Maltin

By Leonard Maltin

What 151 video clips have you ever by no means seen—but may still?

What French movie may possibly train Hollywood the way to make a sensible, attractive romantic comedy? (page 233)

the place will you discover a female-centric Western with a gender-bending protagonist? (page 10)

What movie gained a distinct Jury Prize at Sundance after which fell off the radar? (page 261)

What farcical comedy contains such real-life characters as Richard Nixon and Henry Kissinger? (page 50)

In what unsung comedy will you discover Michael Douglas giving his all-time most sensible functionality? (page one hundred thirty)

What debut movie from the director of The darkish Knight creates palpable chills—despite a shoestring funds and a no-name forged? (page seventy nine)

What John Wayne motion picture used to be out of flow for thirty years—and nonetheless qualifies as a sleeper? (page 121)

What fantastic Heath Ledger motion picture used to be published an identical month as Brokeback Mountain—and flopped? (page 26)

What smart modern day movie noir used to be made for simply part 1000000 funds? (page 18)

What eye-catching movie stars one of many seminal artists of the 20 th century? (page 203)

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By Leonard Maltin

What 151 video clips have you ever by no means seen—but may still?

What French movie may possibly train Hollywood the way to make a sensible, attractive romantic comedy? (page 233)

the place will you discover a female-centric Western with a gender-bending protagonist? (page 10)

What movie gained a distinct Jury Prize at Sundance after which fell off the radar? (page 261)

What farcical comedy contains such real-life characters as Richard Nixon and Henry Kissinger? (page 50)

In what unsung comedy will you discover Michael Douglas giving his all-time most sensible functionality? (page one hundred thirty)

What debut movie from the director of The darkish Knight creates palpable chills—despite a shoestring funds and a no-name forged? (page seventy nine)

What John Wayne motion picture used to be out of flow for thirty years—and nonetheless qualifies as a sleeper? (page 121)

What fantastic Heath Ledger motion picture used to be published an identical month as Brokeback Mountain—and flopped? (page 26)

What smart modern day movie noir used to be made for simply part 1000000 funds? (page 18)

What eye-catching movie stars one of many seminal artists of the 20 th century? (page 203)

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Criminals may adopt the facade of a respectable identity, a famous personage may travel incognito, two individuals may exchange identities, or characters may disguise themselves as someone else, whether by way of masks, disguises, or disciplined transformations of their personality. The second category—of involuntary transformations—includes the horror transformations into werewolf, vampire, or other monster, Dr. Jekylls into Mr. Hydes, and the eugenic determination of a suppressed aspect of one’s personality, but also those involuntary transformations due to memory loss or other traumatic event.

67). 58). It is noticeable that the role of millionaire in these fairytale scenarios is curiously devoid of commercial context. There is seldom any sense that the wealthy have actually earned their wealth by financial or industrial activities. Indeed, as we will see, involvement in commercial activity was more likely, in the thirties, to have extremely negative connotations, with bankers, financiers, and industrialists suffering the most consistently unfavorable representation. In this sense, the millionaire of early-thirties fairytales is close to the aristocrat in that he or she inherits a largely decontextualized and dehistoricized status.

But it is the comic genres that most frequently deploy narrative mechanisms foregrounding identity, relying for their effect on such procedures as mistaken identities, assumed identities, aristocrats pretending to be servants or swapping roles with their servants with amorous intent, people with the same name or appearance as one another, and people who have constructed a false or fictional identity for themselves, perhaps subsequently being trapped into living up to it. Finally, though they were never common in the French classic cinema, horror films, with their literal transfigurations of the self into something other, splitting of the self into doubles, and selling of the self to the devil, make explicit what is often only implicit in less generic films.

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