Wednesday, May 25, 2005

In praise of Thomas Macaulay

In praise of Thomas Macaulay
He was not perfect, but don’t forget that he’s central to modern India
Jaithirth Rao
Jaithirth Rao As an English historian of the virulently Whig persuasion his reputation has not stood the test of time well. He is not remembered as a great parliamentarian in the company of the Burkes and Churchills. He is considered at best a mediocre poet. You ask anyone in Britain about Macaulay — those who have come through New Labour’s comprehensives with several A levels and those who have attended universities, ancient and modern — and all you get is a blank stare.

Such indeed are the ironies of history. A person who oddly enough is central to the history of the conquered is quite irrelevant in the annals of the conquerors. Macaulay is central to modern India. You can be a Nirad Chaudhuri and have the courage to render praise where it is due or you can be a Swadeshi chauvinist or a dim-witted leftist and blindly criticise Macaulay. But in any event you cannot ignore Macaulay and his enduring decisive intervention in India’s history .

Macaulay was not even a governor-general or viceroy. He was a humble “member of the governor-general’s council”. He came here primarily attracted by the salary, not by professional challenges. He was appalled by Calcutta’s hot humid weather. He did have nice things to say though about Ootacamund and the spectacular landscape of the Nilgiris. He was not a racist in the modern sense. He thought of Indians as primitive, childish people. The closest comparison he had was to untutored Russians before Peter the Great transformed them.

Macaulay was asked by Lord William Bentinck, the governor-general (yes, the same one who banned sati), to give his views as to whether education in India should be imparted in the “traditional” mode with Sanskrit and Persian as the foundation and mediums or whether a “modern/non-traditional” method with English as the medium and as the source of knowledge should be adopted. Macaulay’s famous (or infamous, depending on your point of view) minute was the result. He favoured the latter and his view prevailed. At one stroke, he became the most important founding father of modern India. Irrespective of one’s views, to think of India without the English language is pretty much like thinking of India without the monsoons. It may not touch everyone, but its influence touches everyone.

It is trite to state that not only R.K. Narayan and Salman Rushdie, but the very constitution of the Republic of India and the landmark judgments of its jurists are all a direct fallout of Macaulay’s historic minute. Ambedkar, Naoroji and Nehru wrote in English. Gandhi was a master of the telling phrase. He referred to Sir Stafford Cripps’ proposal as “a post-dated cheque drawn on a crashing bank”. No one without a feel for the idiom of English could have said that.

I, for one, am grateful to Macaulay. Without his gift to us, so many of us would be lesser individuals, not just different individuals. I use the word “lesser” quite deliberately. English is not just a medium or a means to an end; it is part of our very consciousness. The interesting thing is even while writing on completely Indian subjects, this consciousness has been a powerful force. Just consider the individuals and their writings: Vivekananda on Vedanta, Coomaraswamy on Indian Art, Aurobindo Ghose on Vedic Mysticism, Radhakrishnan on the Hindu View of Life, Krishnan on Indian Wildlife, Srinivas on Caste, Zakaria on Indian Muslims, Sircar on Indian History, Guha on Indian Cricket, Nandy on Indian Science, Kakkar on Indian Sexuality, Khushwant Singh on Indian Gossip. The list is endless.

Interestingly, Macaulay is objected to not just by the usual coterie of leftists (who are congenitally against anything or anyone with a constructive impulse) or by nativist fanatics, but by thoughtful persons who span a wide range of intellectual positions. There was opposition to Macaulay and his minute in his own times even from members within the colonial establishment. Macaulay ridiculed traditional Indian knowledge as useless, deluded and shallow. He alleged that Indian histories talked about reigns of kings that were forty-thousand years long and geographies made reference to seas of treacle and whey. He dismissed our traditional schools of medicine as nothing but quackery. While there may have been some justification in these doubtless exaggerated criticisms, his dismissal of Indian literature is certainly beyond comprehension. It can only be attributed to stupid Whig smugness. This gratuitous harsh criticism has alienated many who otherwise may have admired him.

Others accuse Macaulay of having “deracinated” Indians. The expression is a loaded one. It assumes the existence of an “Indian race or volk”. It is not in keeping with the spirit of the classical Tamil “Yaadum Oorey Yaavarum Keyleer” (every country is my country; every human, my kin”) or the classical Sanskrit “Vasudhaiva Kutumbakam” (the world is one family). The argument that the idealised Indian race has been assaulted should be dismissed as a worthless form of chauvinism. Macaulay may have used insensitive expressions when he talked about his hope that a race of “brown Englishmen” would emerge. We may be brown. We may speak and write English, but with names like Radhakrishnan and Khushwant, we are very Indian, thank you!

Neither Macaulay nor the Raj was perfect. I would argue that 58 years after the British departure, we need to get beyond our sense of grievance. There is a case for balance and selective praise. In short, a revisionist view of our British imperial legacy is overdue. Indira Gandhi can be our Dalhousie-putri (they both impoverished maharajas and nawabs); Jaswant Singh can be our Curzon-putra (they both worried about our security in a dangerous neighbourhood); and we can all be proud Macaulay-putras!

The writer is chairman/CEO of Mphasis

URL: http://www.indianexpress.com/full_story.php?content_id=71045

Monday, May 23, 2005

Readers Top Rated

Readers Top Rated
Your rankings of our ALL-TIME best films

RATING
TITLE




4.61 Star Wars




4.5 The Lord of the Rings




4.5 The Godfather, Parts I and II




4.5 Goodfellas




4.47 Schindler's List




4.43 It's A Wonderful Life




4.41 Lawrence of Arabia




4.39 The Good, The Bad and The Ugly




4.36 Dr. Strangelove: or How I Learned to Stop Worrying and Love the Bomb




4.35 Psycho




4.27 Unforgiven




4.26 Taxi Driver




4.22 Pulp Fiction




4.04 Blade Runner




4.04 Chinatown




4 Finding Nemo




3.95 Bonnie and Clyde




3.82 A Hard Day's Night




3.42 Brazil




2.89 The Fly

Star Wars (1977)

Directed By: George Lucas
Screenplay: George Lucas
Cast: Mark Hamill, Harrison Ford, Carrie Fisher, Alec Guinness


LUCASFILM / ZUMA
orget the phenomenon—it changed forever the way movies are marketed. Forget the endlessly hyped sequels. Try to recall the rushing joy in your heart when Harrison Ford first threw the Millennium Falcon into hyperspace. Remember the innocence (and technological inventiveness) of the film, the fun of the dialogue, the astonishment of the creatures we encountered, the propulsive dash of the editing. One suspects that the peppy force of the thing will always be with us, preventing our surrender to the Force's Dark Side.—R.S.

From the TIME Archive:
Star Wars is a grand and glorious film that may well be the smash hit of 1977, and certainly is the best movie of the year so far
TIME Magazine, May 30, 1977 >>

The Lord of the Rings (2001-03)

Directed By: Peter Jackson
Screenplay: J.R.R. Tolkien (novels); Fran Walsh, Philippa Boyens, Peter Jackson (screenplay)
Cast: Viggo Mortensen, Elijah Wood, Ian McKellen

Previous Next: The Man With a Camera
NEW LINE CINEMA / EVERETT COLLECTION
onceived and executed as one gigantic, 9hr. 18min. film, this faithful, innovative adaptation of the J.R.R. Tolkien trilogy kept children and everyone else hanging on to the grand story, though it was released over three consecutive Decembers. By disdaining the facetiousness that informed nearly every other fantasy (and most other kinds of Hollywood-type movies), LOTR located a narrative and emotional grandeur that had been missing nearly as long as the ring that carries Middle Earth's destiny and Frodo the Hobbit's doom. The digital effects work, however imposing, built on the achievements of generations of Hollywood technicians. What remains amazing about the enterprise is that, over seven years of planning, production and digital effects work, Jackson kept his eye on the prize, never losing the epic heft or stinting on the telling visual or character detail. It's wonderful when moviemakers dream this big, and make their dreams ours. —R.C.

From the TIME Archive:
The king in the story is the hunky human warrior Aragorn (Viggo Mortensen). But Peter Jackson is the true lord of these Rings
TIME Magazine, Dec. 15, 2003 >>

The Godfather, Parts I and II (1972, 1974)

Directed By: Francis Ford Coppola
Screenplay: Mario Puzo (novel); Francis Ford Coppola (screenplay)
Cast: Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton, John Cazale, Robert De Niro

Previous Next: The Good, The Bad and The Ugly
EVERETT COLLECTION
he gangster movie transformed into dark epic—and, more important, into a metaphor for every family's dysfunction, and a lot of America's, too. The burnished darkness of Gordon Willis's cinematography sets an unforgettable tone. The grandeur of the acting (Brando, Pacino, DeNiro among others) gives it a curious nobility and the multigenerational narrative has the power to move us to terror, pity and, occasionally, bitter laughter. Maybe it is, as some have said, only a pop masterpiece. But a masterpiece it surely is.—R.S.

From the TIME Archive:
Brando's only major fault as an actor was that he would not or could not learn his lines, and had to read them from hidden cue cards
TIME Magazine, Mar. 13, 1972 >>

Goodfellas (1990)

Directed By: Martin Scorsese
Screenplay: Nicholas Pileggi (book); Nicholas Pileggi, Martin Scorsese (screenplay)
Cast: Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco, Paul Sorvino

Previous Next: A Hard Day's Night
WARNER BROTHERS / EVERETT COLLECTION
he director wanted his bloody, dirty-talking study of small-time Mafiosos to have the spirit of "a rollicking road picture," and he achieved this paradoxical goal brilliantly. The picture only seems amoral. Behind its grinning mask it is an acute parody of "family values" and of moral incomprehension. And Joe Pesci is awesome as the most psychopathic of hoods.—R.S.

From the TIME Archive:
GoodFellas offers the fastest, sharpest 2 1/2-hr. ride in recent film history
TIME Magazine, Sep. 24, 1990 >>
Schindler's List (1993)

Directed By: Steven Spielberg
Screenplay: Thomas Keneally (book); Steven Zaillian (screenplay)
Cast: Liam Neeson, Ben Kingsley, Ralph Fiennes

Previous Next: The Searchers
UNIVERSAL / EVERETT COLLECTION
efore the war, Oskar Schindler (Liam Neeson) was the Playboy of the Eastern World, a hard-drinking, womanizing wastrel. After the war, he was essentially a failure. But during the Holocaust a mysterious grace fell upon him and he bravely, cleverly schemed to save the Jews working in his factory from the Nazi death camps. From this true story Steven Spielberg created a film that is an austere act of historical witness, a powerful and suspenseful drama, a high moral act and, finally, a movie that escapes the bounds of conventional criticism.—R.S.

From the TIME Archive:
One direction was death; the other was one more day of life
TIME Magazine, Dec. 13, 1993 >>


It's A Wonderful Life (1946)

Directed By: Frank Capra
Screenplay: Philip Van Doren Stern
Cast: James Stewart, Donna Reed, Lionel Barrymore

Previous Next: Kandahar
EVERETT COLLECTION
ike a Christmas fruitcake that by New Year's has become a doorstop, or a paperweight in the trash bin, this fable risked being a major Yuletide ordeal, thanks to endless TV showings for a couple of decades when it was in the public domain. It's hard to see the thing fresh, but try. Like a dozen or more films on this list, Capra's traces the decline of a man driven to the edge of madness. George Bailey's life is not, in worldly terms, wonderful; he is Bedford Falls' designated saint, a suburban Job, for his fellow townsfolks' use as a friend or generous banker, through which they can exercise their weakness or meanness. It's a noir portrait with holly stuck in the frame, a sanity hearing in the form of a greeting card. Capra briskly, artfully piles the misfortunes on James Stewart's slim frame; Stewart bears that load with spectacular range and grace. —R.C.

From the TIME Archive:
Director Capra's inventiveness, humor and affection for human beings keep it glowing with life and excitement
TIME Magazine, Dec. 23, 1946 >>

Lawrence of Arabia (1962)

Directed By: David Lean
Screenplay: Robert Bolt
Cast: Peter O'Tooler, Alec Guinness, Anthony Quinn, Jack Hawkins, Omar Sharif

Previous Next: Léolo
EVERETT COLLECTION
.E. Lawrence was the British lieutenant who organized the Arab overthrow of the Ottoman Empire, then watched in dismay as the European powers reneged on their promise—his promise, actually—that “Arabia’s for the Arabs now.” A figure of enormous accomplishment and even huger charisma, Lawrence promoted himself as assiduously as he did Arab nationalism: a legend in the self-making. The film version met this epic in the flesh head-on. Robert Bolt’s eloquent, epigrammatic script traced Lawrence’s career from mapmaking in the British army’s Cairo headquarters to masterminding Arab nationalism. Lean, a superb pictorial dramatizer, filled the wide screen with an endless desert occasionally peopled by passionate warriors (well played by Anthony Quinn, Alec Guinness and an actual Arab, Omar Sharif). Peter O’Toole’s swashbuckling incarnation made Lawrence a towering, tragic, high-camp sheik of Araby. The film, which seemed nostalgic upon its release, looks prescient now, as the debate over Western influence in Arabia is written daily in blood. —R.C.

From the TIME Archive:
Lawrence of Arabia is a cinema colossus that takes four hours to see, employed 1,500 camels and horses and one comparatively obscure young man (Peter OToole) who will soon be as famous as anybody in show business
TIME Magazine, Jan. 4, 1963 >>

The Good, The Bad and The Ugly (1966)

Directed By: Sergio Leone
Screenplay: Luciano Vincenzoni, Sergio Leone
Cast: Clint Eastwood, Lee Van Cleef, Eli Wallach

Previous Next: Goodfellas
EVERETT COLLECTION
eone's reinvention of the western reaches its epic apotheosis in a movie about the pursuit of gold lost by the Confederates during the Civil War in the Texas theater. Clint Eastwood is the "good" (slow to anger, but quick on the trigger), Lee Van Cleef is the bad (an elegant exemplar of absolute evil) and Eli Wallach is the "ugly" (a menacingly funny, totally amoral bandido whose relationship with the Eastwood character consists largely of betrayals). Leone's magnificent style is all contrasts (huge panoramic shots alternating with tight close-ups, very slow build-ups to lightning-fast action). This perfectly matches a narrative that encompasses sadistic brutality, wild humor and, yes, a tragic vision of war and its consequences.—R.S.

From the TIME Archive:
Ugly is Leone's insatiable appetite for beatings, disembowelings and mutilations, complete with closeups of mashed-in faces and death-rattle sound effects
TIME Magazine, Feb. 9, 1968 >>

Dr. Strangelove: or How I Learned to Stop Worrying and Love the Bomb (1964)

Directed By: Stanley Kubrick
Screenplay: Peter George (novel); Stanley Kubrick, Terry Southern, Peter George (screenplay and adaptation)
Cast: Peter Sellers, George C. Scott, Sterling Hayden, Keenan Wynn

Previous Next: Drunken Master II
EVERETT COLLECTION
ed Alert, the novel on which this movie was based, is a standard technothriller of its time: Cracked soldier launches H-bomb attack on Russia, with everyone pulling back from the brink in the nick of time. In Kubrick’s version, one last bomber plows through to Armageddon, a food fight takes place in the U.S. War Room and crippled scientist is moved by the thrill of it all to lurch to his feet, raise his arm in the Nazi salute and cry out, “Mein Fuhrer, I can walk.” Kubrick’s remains perhaps the blackest comedy ever put on screen, and with Peter Sellers brilliantly playing multiple roles, the blackest, funniest movie of the post-war era.—R.S.

From the TIME Archive:
Scott is the brash, boyish paradigm of technological know-how, whether he is contemplating megadeaths or the superstructure of his bikini-clad secretary Tracy Reed, a Miss Foreign Affairs with no top secrets
TIME Magazine, Jan. 31, 1964 >>

Psycho (1960)

Directed By: Alfred Hitchcock
Screenplay: Robert Bloch (novel); Joseph Stefano (screenplay)
Cast: Anthony Perkins, Janet Leigh

Previous Next: Pulp Fiction
EVERETT COLLECTION
he nut case managing the motel, the not-so innocent woman who takes refuge there one dark and stormy night, the inevitable murder and the deeply weird explanation of the crime that follows left TIME cold; it called the film "stomach churning." History is less shocked by the doings at the old Bates place, appreciating Hitch's masterful technique, the formal elegance of his style and, above all, the way he toys with some of his favorite themes—guilt, obsession and the wayward ways they drive us all.—R.S.

From the TIME Archive:
Psycho at first seems to be a typical Hitchcock spine tingler, whose moral is that heaven may protect the working girl but not if she takes long lunch hours in hotel rooms
TIME Magazine, Jun. 27, 1960 >>

Unforgiven (1992)

Directed By: Clint Eastwood
Screenplay: David Webb Peoples
Cast: Clint Eastwood, Gene Hackman, Morgan Freeman

Previous Next: White Heat
WARNER BROS / EVERETT COLLECTION
t the time it was called a "revisionist" western. Now it seems like a return to classicism—a bad man who thinks he has reformed returns to his old ways in order to revenge the death of his best friend. "Clintessence" TIME called it, and the actor-director achieved his masterpiece with this dark, brooding tale of souls seeking redemption but doomed by their flawed natures to a tragic outcome.—R.S.

From the TIME Archive:
Unforgiven questions the rules of a macho genre, summing up and maybe atoning for the flinty violence that made Eastwood famous
TIME Magazine, Aug. 10, 1992 >>

Taxi Driver (1976)

Directed By: Martin Scorsese
Screenplay: Paul Schrader
Cast: Robert De Niro, Cybill Shepherd, Jodie Foster

Previous Next: Tokyo Story
EVERETT COLLECTION
IME hated the movie when it came out ("thoroughly depressing realism" was the best it could say). But Robert DeNiro's portrait of that increasingly familiar American figure-the lone (psycho) gunman-grows ever scarier and more relevant. The movie's great twist, in which he becomes a media hero, also engenders deep, dark thoughts about the world we live in. The power of Scorsese's filmmaking grows ever more punishing with the passage of time.—R.S.

From the TIME Archive:
The film goes most disastrously wrong when it tries to turn slice-of-life realism into full-scale melodrama
TIME Magazine, Feb. 16, 1976 >>

Pulp Fiction (1994)

Directed By: Quentin Tarantino
Screenplay: Quentin Tarantino, Roger Avary
Cast: Tim Roth, Samuel L. Jackson, John Travolta, Uma Thurman

Previous Next: The Purple Rose of Cairo
MIRAMAX / EVERETT COLLECTION
he (approximately) 46th, and most recent, film noir on this list, Tarantino's multipart murder comedy is (unquestionably) the most influential American movie of the 90s. It established the former video-store geek as the auteur of the decade, proved that the Weinsteins at Miramax could produce films as well as import them, sparked the third or fourth coming of John Travolta's career (while, sort of, killing him off in the middle of the movie) and gave directors not a tenth as gifted as Q.T. the license to daub their pictures with gaudy mayhem. Yeah yeah, but Pulp Fiction is still fresh—in fact, astonishingly impudent—and fully up to matching its cocksure ambition with its care for framing a scene and its love for the actors within them. The joy of filmmaking is evident and infectious. The film still has the impact of an adrenalin shot to the heart. —R.C.

From the TIME Archive:
Tarantino's movies are smartly intoxicating cocktails of rampage and meditation; they're in-your-face, with a mac-10 machine pistol and a quote from the Old Testament
TIME Magazine, Oct. 10, 1994 >>

Blade Runner (1982)

Directed By: Ridley Scott
Screenplay: Philip K. Dick (novel Do Androids Dream of Electric Sheep?); Hampton Fancher, David Webb Peoples
Cast: Harrison Ford, Rutger Hauer

Previous Next: Bonnie and Clyde
EVERETT COLLECTION
oming off the success of his grunge-horror-screaming-in-space movie Alien, Scott was given $30 million to put the dystopic future on film. The result was a commercial flop, and one of the most influential, densely designed visions ever made. Based on Philip K. Dick's s-f novel Do Androids Dream of Electric Sheep, Blade Runner is set in the year 2019, in a big city that suggests a Tokyo gone daft. Androids (like the ones played by Rutger Hauer, Sean Young and Darryl Hannah) are so evolved they think they're human. They need a 1940s-style cop (Harrison Ford) to put a bullet through their delusion. Narrative drive and graphic ingenuity combine to create a compelling fantasy world, a disturbing future as near to us as our nightmares. —R.C.

From the TIME Archive:
Blade Runner is likely to disappoint moviegoers hoping for sleek thrills and derring-do. But as a display terminal for the wizardry of Designers Lawrence G. Paull, Douglas Trumbull and Syd Mead, the movie delivers.
TIME Magazine, Jul. 12, 1982 >>

Chinatown (1974)

Directed By: Roman Polanski
Screenplay: Robert Towne
Cast: Jack Nicholson, Faye Dunaway, John Huston

Previous Next: Chungking Express
EVERETT COLLECTION
et against the background of innocent, sun-splashed Los Angeles in the 1930s, this may be the movies' most resonant study of personal and political corruption. Robert Towne's great script is a high romantic tragedy, impeccably directed by Polanski and heart-breakingly played by Jack Nicholson as the private eye who falls and Faye Dunaway as the rich, mysterious and doomed dark lady with whom he falls in love in this perfect summary of the film noir spirit.—R.S.

From the TIME Archive:
Polanski and Towne turned out a smart and elegant recreation
TIME Magazine, Jul. 1, 1974 >>

Finding Nemo (2003)

Directed By: Andrew Stanton, Lee Unkrich
Screenplay: Andrew Stanton, Bob Peterson, David Reynolds
Cast: Albert Brooks, Ellen DeGeneres, Alexander Gould, Willem Dafoe

Previous Next: The Fly
WALT DISNEY PICTURES / EVERETT COLLECTION
hat Sergei Eisenstein and other art-film pioneers said of the Walt Disney studio in the 1930s —that it was making the best movies on earth, by finding exciting new ways to perfect the art of visual story-telling —directors and reviewers say today of Pixar. John Lasseter and his team are bringing the same care and genius to computer-generated animation that Walt did with handmade drawings. Finding Nemo is, so far, the apotheosis of the Pixar style: the ultimate fish-out-of-water story, with a fretful dad (voiced by Albert Brooks) enlisting a forgetful friend (Ellen DeGeneres) to find his lost son. But all the Pixar features (Toy Story and its sequel, A Bug's Life, Monsters Inc., The Incredibles) have the means of enthrallment. Pixar doesn't make cute movies for kids. It tells universal stories through a graphic language so persuasive that children and adults respond with the same pleasure and awe. It's as if the Pixar people have the first clue to the next, higher form of popular movie art. —R.C.

From the TIME Archive:
Nemo, with its ravishing underwater fantasia, manages to trump the design glamour of earlier Pixar films
TIME Magazine, May. 26, 2003 >>
Bonnie and Clyde (1967)

Directed By: Arthur Penn
Screenplay: David Newman, Robert Benton, Robert Towne (uncredited)
Cast: Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman

Previous Next: Brazil
EVERETT COLLECTION
wo beautiful idiots (Warren Beatty and Faye Dunaway) find love, death and rollicking good humor as backroads bank robbers in 1930s America. And telling the story of their petty, bloody crime wave, director Arthur Penn creates a film that is both a signature work of its era (the troubled 60s) and one that is as joyously entrancing now as it was the day it was released. TIME (Aug 25, 1967) originally dismissed the film's "sheer, tasteless aimlessness" but in December of that year made it the centerpiece of its cover story on "The Shock of Freedom in Films" and praised it for "the irony that weds laughter and horror, belly laughs and bullets in the face of life and death."—R.S.

From the TIME Archive:
The real fault with Bonnie and Clyde is its sheer, tasteless aimlessness
TIME Magazine, Dec. 8, 1967 >>

A Hard Day's Night (1964)

Directed By: Richard Lester
Screenplay: Alun Owen
Cast: John Lennon, Paul McCartney, George Harrison, Ringo Starr

Previous Next: His Girl Friday
EVERETT COLLECTION
hey didn't have enough time to make an ordinary pop musical. A month or two for Alun Owen to write situations and dialogue for a quartet of non-actors, and for Lester to prepare his on-the-fly shoot; then four months from first day of filming to premiere. It's a surprise the picture isn't a mess, a miracle it's so funny, expert and joyous. A Hard Day's Night captures a moment, maybe the last, when rock stars didn't take themselves seriously and could unaffectedly enjoy the pleasure of being rich (yeah!), famous (yeah!), adored (yeah!). Pretty good songs, too. —R.C.

From the TIME Archive:
More than a movie, it is the answer to a maiden's prayer
TIME Magazine, Aug. 14, 1964 >>
Brazil (1985)

Directed By: Terry Gilliam
Screenplay: Terry Gilliam, Tom Stoppard, Charles McKeown
Cast: Jonathan Pryce, Robert De Niro

Previous Next: Bride of Frankenstein
UNIVERSAL / EVERETT COLLECTION
he machinery of repression never clattered with such goofy efficiency, never crushed a naive soul with such Rube Goldberg ruthlessness, as in Gilliam's complex comic fantasia. A mild-minded bureaucrat (Jonathan Pryce) gets run through a police state's inner workings, like Charlie Chaplin in Modern Times, while being manipulated by an insurgent (Robert De Niro) who flies into his life like a deranged Douglas Fairbanks. Gilliam, the Monty Python animator whose script here had contributions from Tom Stoppard, makes unique films —madly, cannily extravagant, with a tone as dark as Jonathan Swift's —which may one reason he gets to make so few of them. This satire of totalitarianism came out the year after 1984, and almost didn't surface at all, in anything like its maker's version. (A happy ending for a Terry Gilliam film? Now who's mad?) A public brawl with Universal Studios resulted in the film's liberation. Thus DVD connoisseurs can savor the director's capacious vision of post-industrial hell: part futurist, part retro and, for any office worker close to despair, very Right Now. —R.C.

From the TIME Archive:
There is not a more daft, more original or haunting vision to be seen on American movie screens this year
TIME Magazine, Dec. 30, 1985 >>

The Fly (1986)

Directed By: David Cronenberg
Screenplay: David Cronenberg, George Langelaan, Charles Edward Pogue
Cast: Jeff Goldblum, Geena Davis

Previous Next: The Godfather, Parts I and II
20TH CENTURY FOX / EVERETT COLLECTION
t's despicable." My distinguished colleague practically spat on learning that I had deemed Cronenberg's remake of a mediocre s.f. movie as worthy of inclusion in a 100-best-of-anything list. Well, I love it. Yes, The Fly is about a scientist, Seth Brundle (Jeff Goldblum), who slowly and irrevocably morphs into a giant insect, much to his horror and that of his girlfriend (Geena Davis). But I see, and resee, the film as a profound parable on love and loss. Brundle might be the victim of any degenerative disease—cancer, AIDS, Alzheimer's—who struggles to retain his humanity even as he decays into something ... monstrous. The scientist in him wants to study, understand and extend his metamorphosis into Brundlefly; the lover wants to protect his beloved from the danger he represents. Mixing self-aware wit with gross-out special effects, Cronenberg elicits a creepy unease, at least for those of us who think of middle age as the dress rehearsal for senility, or worse. —R.C.

From the TIME Archive:
That nice guy lying next to you in bed, breathing in your rhythm, smiling in his sleep—what demons sleep within him? And why does his snore sound like a gentle bzzzzz?
TIME Magazine, Aug. 18, 1986 >>