Best Crime/Noir Movies (Rank Ordered)
Submitted by baker on Wed, 03/02/2005 - 13:56
Tags:
Crime/Noir
- GOLD: Pulp Fiction (1994)
- SILVER: Ocean's Eleven (2001)
- BRONZE: The Godfather (1972)
- HONORABLE MENTION: The Godfather: Part II (1974)
- Goodfellas (1990)
- Scarface (1983)
- Lock, Stock, and Two Smoking Barrels (1998)
- Run Lola Run (1998)
- City of God (2002)
- Kill Bill: Volume I (2003)
- Casino (1995)
- Payback (1999)
- Donnie Brasco (1997)
- True Romance (1993)
- Snatch (2000)
- Reservoir Dogs (1992)
- Rounders (1998)
- Heat (1995)
- Jackie Brown (1997)
- Get Shorty (1995)
- Once Upon A Time In America (1984)
- Matchstick Men (2003)
- L.A. Confidential (1997)
- Boondock Saints (1999)
- Blow (2001)
- Serpico (1973)
- The Usual Suspects (1995)
- The Score (2001)
- Sin City (2005)
- Dog Day Afternoon (1975)
- Natural Born Killers (1994)
- Confidence (2003)
- Heist (2001)
- The Untouchables (1987)
- Playing God (1997)
- Taxi Driver (1976)
- Kalifornia (1993)
- Cop Land (1997)
- The Sting (1973)
- Shaft (1971)
- 25th Hour (2002)
- City By the Sea (2002)
- Road to Perdition (2002)
- Easy Rider (1969)
- Carlito's Way (1993)
- The Maltese Falcon (1941)*
- Bad Lieutenant (1992)*
- Ocean's Twelve (2004)*
- * - Not Recommended
Author Comments:
Here I define the "crime/noir" genre as containing either gangsters, robbers, killers, outlaws, drug dealers, gamblers, or con-artists. Another criteria is just all-around dark and gritty cinematography. I'm still trying to decide if 21 Grams belongs in this genre or if it belongs in the Drama genre.
Pulp Fiction Gold? The Godfather Bronze? A shock... And Taxi Driver only #33? Double shock... The Maltese Falcon unbearable? Triple shock...
"That's the third monocle this week! I must simply stop being so horrified." Heh. Pulp Fiction was awesome, with a very ambitious non-linear structure. The Godfather parts I and II were awesome, but Ocean's 11 is just way too much fun. As for Taxi Driver, it was a good movie, and maybe the cinematography was glorious Scorsese, yet it was still a pretty shallow story with a pretty questionable hero. The Maltese Falcon was an awesome book, and so the movie didn't do it for me, also in part because those old movies are too hammy. Not a fan of the old movies too often.
Actually I think it was Scorsese's and Schrader's intention to make Travis Bickle so questionable. And how can you see a "shallow" story in such a profound and complex masterpiece? But well, to each his own. You're more on the Pulp Fiction-side and I more on the Taxi Driver-one.
I haven't read The Maltese Falcon, but I loved Humphrey Bogart in this movie. In fact, it seems that I like/love every Bogart-film. Lack of objectivity maybe.
What is profound about Taxi Driver? The fact that we see a Vietnam vet who is messed up in the head, and who has a distorted perception of what it means to be a hero? I've certainly had my fill of crazy Vietnam vet characters in cinema. Now I did like the movie, but I can't love a movie unless I feel for the characters or get a worthwhile thematic message out of it. Please explain the things that make Taxi Driver so great because I don't see them.
I'll put this into spoiler tags.
Well, let us begin with Travis Bickle. He is probably the most complex character I have ever seen in a film. He is much more than "just" a Vuetnam vet, even though this would already be interesting enough. Of course, he is unpleasent, but it is exactly that what makes Scorsese's film so involving and intense. Just the quote "I'm God's lonely man." tells so much about him. Then his relationship to women. In the movie he is rejected three times: by Betsy (a typical WASP-woman), by Iris (yeah, in some way) and by the woman in the cinema. And how many men does he kill to free Iris? Three! And what about his racist tendencies? And his prejudices in general towards men and women, the whole world? I find it incredibly interesting to analyse his many motivations in his life. Why does he do all this for Iris? Why is he so much attracted by Betsy? And there we are with the next interesting character. Betsy, white anglo-saxon protestant, is apparently attracted by Travis, too? But why? She could get every man, but why the hell this taxi driver? And then Iris and Sport? At a first view, Sport is a one-dimensial character. But he is much more than just that. There is one striking scene, where he dances with Iris. In that moment, the spectator feels that there is probably more between him and the young girl than one might think. Why did Iris go away from home? And is she really happy afterwards, when she has got to return to her parents (note the monotony in her father's off-voice at the end!)? The relationship between Travis and Iris is very special too. Here the parallel to one of Scorsese's favourite films, John Ford's The Searchers becomes very obvious. In that movie, John Wayne portrays a war veteran who wants to save his niece, played by Natalie Wood. However there is also a kind of friendship between this small girl and the Indians, her kidnappers. If it isn't for the characters, it is certainly for the whole atmosphere that reigns in this New York that makes this film so mesmerizing. I find Scorsese's film great, because every single scene or sequence tells sth., is important. That is also why it should have won Best Picture, Best Leading Actor, Best Original Screenplay, Best Supporting Actress and Best Direction (where the film was not even nominated!) over Rocky & Co. That is my opinion!
Wow, this may be one of the longest spoiler tags here on listology.
I'll toss this in as food for thought. Do we know that Travis is a veteran? Isn't there a good chance he is lying? It would certainly fit in with his character and personality. It helps him feel like somebody important.
I'd type more, but work is chewing me up alive today!
Shalom, y'all!
L. Bangs
For some reason I don't see anything but a big blank space. Is there an html link for what you posted?
Nevermind. I figured it out. Nice feature to prevent accidental reading of spoilers.
I appreciate your response, it definitely sheds some light as to why the film receives so much attention. Travis' motivations definitely sound like a worthwhile topic of study. And the film does seem to have a mystery that begs many questions. As for those questions you listed, do you have any interesting conclusions of your own? Mystery is good, but it should hint at some answers. Otherwise, no message is being communicated and all we have is nonsense that's deemed artistic just because it's confusing.
Actually I once (and that not a long time ago) wanted to make a detailled analysis of Taxi Driver here on listology, but for some reason I didn't do it. Meantime I've seen the film several times, and have read A LOT about it. It was in fact a German book (analysing Scorsese's work) that made me aware of many clues in this great movie.
Instead of giving now any further explanations (which I'll definetly do in such a detailled analysis, soon, PROMISED!), I have some other interesting points for Taxi Driver:
1. What about Charles Palantine?
2. The great mirror (a leitmotif in Scorsese films!) scene: "You talkin' to me?"
3. Other allusions, e.g. to Hitchcock's Frenzy.
4. God in Bickle's motivation and life.
5. Screenplay writer Paul Schrader's personal experiences, which where important for this movie.
6. Religious themes.
These are just a few other possible points from which to discuss Taxi Driver. Be sure that I'll write this analysis down, looking forward to various discussions from all of you. Just give me some time to think about a possible structure for this.
P.S.: Lbangs, you mention a great point there. Imagine Travis Bickle had lied about Vietnam. Then we'd get a completely different view on him and the whole film. That is a brilliant aspect. I'm looking forward to further explanations from your part.
Baker, it's promised. You'll get your explanations! Be sure.
Be also sure that I'll make you all interested in Taxi Driver. All of you! Ha ha!
Since you seem to like neo noir, what about Body Heat (1981)?
Thanks for the suggestion. I'll have to try it out.