Always put one in the brain
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Our Daily Bread 1934
That finale is some absolutely transcendent shit, socialist kino at its finest. So fascinating to see this kind of thing in the form of a Hollywood B-picture rather than a silent Soviet film or whatever, and its simplicity and earnestness is a strength rather than a weakness (the adultery subplot is a waste of time though, I'll give you that). And yeah, one of the greatest endings ever, so exhilarating. Makes you wanna pack it all in and go form a farming collective.
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Patrick 1978
(Got a seeeerious backlog of reviews to blast through - 46, fuck my life - so here goes nothin' I guess). This is way less eventful than a film with this premise ought to be (pretty sure Patrick telepathically kills a grand total of one person??), but in its own quirky, slow-paced, extremely Australian way it's actually kind of a legit decent film, instead of the schlock that I wanted it to be. Kinda tempted by the sleazy Italian "sequel", think it's safe to say that'll have a higher body count.
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Hell in the Pacific 1968
The first half had me worried that this wasn't quite gonna live up to the potential of the great Lee Marvin and the even greater Toshiro Mifune stranded on an island together....but once they started working together in the second half, I was suddenly totally loving it. Both such awesome actors that they can carry a film completely by themselves, and without even speaking the same language....it's just a treat to see them share the screen, plus it's really beautifully shot too. Shame about the hilariously shitty re-edited ending, but apparently the original one is still out there.
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The Things of Life 1970
The first half is actually a bit dull, but I was kinda blown away by the second half, with its visceral car-crash sequence leading to an incredibly beautiful (and extremely Six Feet Under-esque) depiction of dying. I didn't really give a shit about these characters, and yet I was still on the verge of tears by the end....not sure if that's a testament to the quality of the filmmaking here or to the power that SFU still has over my emotions, but probably a bit of both. Either way, a stunning ending that makes the whole film worthwhile.
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