best film: Blow Out from Brian De Palma edges out Raiders of the Lost Ark here in 1981 as the best film of the year. It is De Palma’s finest work. The stunning firework finale is what everyone remembers, and righty so, but De Palma’s split diopter deep focus work has never been better and the dedication to the red and blue color palette throughout the film is certainly inspired.
most underrated: 1981 is a very underrated year in general. The TSPDT consensus top 1000 has only has 9 films from 1981—I’ve yet to complete my own top 1000 but I cannot see less than fifteen (15) films from 1981 making the cut. I have films like Fassbinder’s Lola in my top 500 and it isn’t anywhere to be found on the TSPDT consensus list. Body Heat should be there, too. Malle’s My Dinner with Andre is nowhere to be found either. The entire film is a discussion at dinner between two friends and it’s some of the best writing in cinema in the 1980s. Malle, Wallace Shawn and Andre Gregory deserve all the credit here so if you’ve never seen it you should sign up for the most fascinating dinner conversation of your life. Ultimately though, Francis Ford Coppola’s One from the Heart is the choice here for this category.
- One from the Heart a very simple story (fatally so for many critics) told in pure style- it is extremely experimental visually
- First off, there is a ton of parallel editing as the film is really a matching of two lovers who break up and come back together.
- Clearly influenced by Stanley Donen’s 1950’s era films and the Demy musicals of the 60’s- in that vein, it has much in common with La La Land coming much later from Chazelle in 2016.
- Tom Waits wrote the songs, does the vocals and did a wonderful job with the music in general- I wish there was more of it
- A very inspired credit sequence with detailed miniatures of Las Vegas
- One scene is split by foreground and background action but shot almost like a split screen. I’m not sure I’ve seen it before- it plays almost like one long beautiful dissolve
- Now for the problems and there are a few. The film stars Frederick Forrest and Teri Garr– unfortunately they’re not up to the challenge. The writing isn’t the best and I could definitely do without the one out of place comic foil towards the end when Forrest electrocutes himself.
most overrated: An American Werewolf in London from John Landis has jumped into the TSPDT top 1000 in recent years (currently at #730). This makes it #6 out of the 1981 — there are at least 15 superior films- maybe 20- from 1981.
gems I want to spotlight: John Carpenter’s Escape From New York is another one that belongs in my paragraph on the underrated films of 1981. It should be in the TSPDT top 1000 and isn’t. This dystopian classic is both sci-fi and a sort of Western. It is an absolutely star-maker for Kurt Russell channeling Clint Eastwood (western!). Arthur (with that wonderful title song by Christopher Cross) is a great comedy, and Walter Hill’s Southern Comfort is a strong effort that many haven’t seen (or even heard of).
- There is much to praise here in Walter Hill’s 1981 thriller and between this and 1978’s The Driver I probably need to take a deeper dive into Hill’s filmography.
- Shot on location in the swamps of Louisiana near East Texas—an indelible character in the film – impossible to duplicate—gorgeous Spanish moss—Hill makes the smart decision to film the soldiers in long shot or medium long shot to capture the swamp— Hill isn’t quite on this level but it reminded me of Mikhail Kalatozov’s Letter Never Sent
- A war film? Sort of- a thriller for sure maybe closer to Deliverance (a conscious comparison the marketers at least made with the poster)—but also an allegory—every critic talks about this being Vietnam, the Cajun natives (often peaceful here until attacked and we see a village without technology) but Hill denies that intention. It doesn’t matter really. It could easily be a Native American allegory as well and work well. They do steal their canoe and that’s what starts the wheels of the narrative in motion. The helicopters here are Vietnam. But it has a backwoods authentic feel for sure- never pandering to the native Cajuns.
- It predates it but Jim Jarmusch would use the swamps here in the third leg of Down By Law (1986) for the prison escapes.
- Ry Cooder’s score is as much a character as the swamp—minimalist. Impressive. This is three years before his work with Wenders on Paris Texas and that sublime score
- Story of the Louisiana national guard- but again about the arrogance of the soldiers—they fire blanks at the Cajuns after stealing their Canoe.
- Like Deliverance works a horror film as well as they are haunted by a killer/killers in the woods—Predator works the same way.
- Slow-motion shootout—Hill isn’t quite Peckinpah but who is?
- At 82 minutes a great shot of a face in the front left foreground of the frame and Keith Carradine and Powers Boothe in the background right- depth of field
- A very good cast. The intensity of Boothe stands out—Fred Ward is good as always as part of the ensemble
- The ritual dance finale with the slaughtering of two pigs interwoven- absolutely Coppola and Apocalypse Now
trends and notables:
- 1981 doesn’t have films like Apocalypse Now, Stalker (both 1979), Raging Bull, The Shining (both 1980), but we have a couple masterpieces here- and the depth that actually exceeds either 1979 or 1980. Films like Michael Mann’s Thief, Das Boot, Excalibur, Pennies From Heaven just pouring out of the top of the top 10.
- The Movie Brats continue to carry us into the 1980s. Spielberg, De Palma and Coppola make three of the best four films of 1981. This is a bounce back/revenge film for Spielberg after the failure of 1979’s film 1941. De Palma is not on the level of Hitchcock—full stop—but he is a brilliant stylist and one of cinema’s great technicians. For Coppola, 1981’s One from the Heart is proof yet again that you need to seek out the film directly following a masterpiece. No, this isn’t Apocalypse Now, but rumors of Coppola’s steep drop-off or decline in the early 1980s are a myth. Even if it doesn’t all land- this is one of the most ambitious films of 1981.
- 1981 marks first archiveable film from the great Michael Mann here with Thief. Abel Ferrara gave us 45 as his first entry into the archives as well.
- For actors we have a ton of great firsts here in 1981. Sean Penn and Tom Cruise would breakthrough in TAPS and go on to be two of the greatest actors of their generation. It isn’t a large role for either. but we have the first archiveable film for Samuel L. Jackson in Ragtime and for Liam Neeson in Excalibur. These two would take a while but go on to emerge in the 1990s (Neeson with Schindler’s List and Jackson with Pulp Fiction) as two of the biggest stars of 1990s. William Hurt would have a much bigger role in his first archiveable film, Body Heat, and would become a star much sooner here as his peak would come in the mid to late 80’s (and he’d have faded by the time Neeson and Samuel L. are household names). Jeremy Irons, another great actor, would emerge in 1981 and have his first archiveable entry in French Lieutenant’s Woman- playing opposite (playing second…rather third fiddle to) Meryl Streep and her accent.
- Lastly, On Golden Pond is notable for being both the last archiveable film for both Katharine Hepburn and Henry Fonda. Both Hepburn and Fonda are all-time greats who had long careers. Sadly, this would be the second to last archiveable (to date) film for the much younger (obviously a generation younger) Jane Fonda. After such a great start to her career form the mid-60’s to early 80’s, she’d taper off.
best performance male: Action leads are dominant here taking up two of the three slots—Harrison Ford takes top honors for his greatest career achievement in Raiders of the Lost Ark. He did what Sean Connery did for James Bond but only if Connery were directed by an all-time great director (Spielberg) and had made a film great enough to land as a masterpiece- as much as I like his work as the 007—that never happened for Connery. Behind Ford we have really strong work from both Mel Gibson (The Road Warrior – or Mad Max 2). William Hurt, in a stunning archiveable debut, takes my third slot in the neo-noir Body Heat. These are three of the more dominant actors of the 1980s.
best performance female: I have a virtual tie here for my best performance. If forced to pick, I’m going with Kathleen Turner’s work in Body Heat. She’s absolutely dynamic on screen. Karen Allen’s Marion in Raiders of the Lost Ark is a completely firecracker a much-needed type-A aggressive female role that is sorely lacking in so much of film history. Behind my top two, I have a slot for Barbara Sukowa for her work in color-soaked Lola from R.W. Fassbinder.
- Blow Out
- Raiders of the Lost Ark
- The Road Warrior
- One from the Heart
- My Dinner with Andre
- Escape From New York
- Body Heat
- Chariots of Fire
Archives, Directors, and Grades
|Absence of Malice- Pollack||R|
|Arthur- S. Gordon||R/HR|
|Blind Chance – Kieslowski||R|
|Blow Out- De Palma||MP|
|Body Heat- Kasdan|
|Buddy, Buddy- Wilder|
|Chariots of Fire- Hudson||HR|
|Circle of Deceit- Schlöndorff|
|Clash of the Titans – Desmond Davis||R|
|Cutter’s Way- Passer||R|
|Das Boot- Petersen|
|Documenteur – Varda||R|
|Eijanaika – Imamura||R/HR|
|Escape From New York- Carpenter||HR/MS|
|Man of Iron- Wajda|
|Modern Romance- A. Brooks||R|
|Ms. 45- Ferrara||R|
|My Dinner With Andre- Malle||HR/MS|
|National Heritage – Berlanga||R|
|Nighthawks – Malmuth||R|
|On Golden Pond- Rydell||R|
|One from the Heart – F. Coppola||MS|
|Pennies From Heaven- H. Ross||HR|
|Pixote – Babenco|
|Prince of the City- Lumet||HR|
|Quartet – Ivory||R|
|Raiders of the Lost Ark – Spielberg||MP|
|Reds- W. Beatty||HR/MS|
|Southern Comfort – W. Hill||R/HR|
|The French Lieutenant’s Woman- Reisz||R|
|The Howling- Dante||R|
|The Road Warrior- G.Miller||MS|
|The Woman Next Door- Truffaut||R|
|Thief- M. Mann, Caan||HR|
|Three Brothers – Rosi||R|
|Time Bandits– Gilliam||R|
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-See- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives