The following categories (inspired by the Key at the back of Peary’s GFTFF — see below) are my own attempt to determine why a particular movie may or may not be considered “must see” viewing for film fanatics.
In my reviews, if I vote “Yes” on a particular movie, I list one or more of the following categories afterwards:
Controversial Film:
Films in this category generated controversy during their release, for one reason or another — ranging from their content (i.e., Todd Browning’s Freaks) to their cost (i.e., Michael Cimino’s Heaven’s Gate).
|
Cult Movie:
Films develop cults for any number of reasons; it’s my contention that hardcore film fanatics should know about these movies even if they don’t become personal favorites.
|
Foreign Gem
This category is reserved for films which may or may not be known by most American audience members, but are considered to be true masterpieces of international cinema.
|
Genuine Classic:
Movies in this category are what people traditionally think of when they wonder what they “should” watch in their lifetime — titles such as Gone With the Wind, Casablanca, It’s a Wonderful Life, etc., which show up on countless “100 Best” lists, usually for a good reason.
|
Good Show:
This category is a catch-all for movies (such as 1950’s So Long at the Fair) which are, quite simply, a “good show”, and shouldn’t be missed by any devoted film fanatic.
|
Historically Relevant:
This broad category includes movies which were the first of their kind (i.e., The Jazz Singer); movies which document a fleeting or significant moment in history (i.e., The T.A.M.I. Show); movies which typified or started a cinematic movement or gimmick (i.e., Godard’s French New Wave classic Breathless, or William Castle’s use of “Percepto” in The Tingler); movies of dubious cinematic value which were nonetheless hugely popular at the time of their release (i.e., Alan Parker’s Midnight Express); and experimental movies (i.e., Michael Snow’s Wavelength).
|
Important Director:
Sometimes a film — regardless of its overall merit — is worth watching simply because it’s part of a renowned director’s oeuvre; hence this category.
|
Noteworthy Performance(s):
Some movies may be worth seeing simply on the basis of one or more stand-out performances (i.e., Diane Keaton in Looking for Mr. Goodbar).
|
Oscar Winner or Nominee
Finally, winning (or being nominated for) an Academy Award permanently secures a movie’s place in cinematic history. While we may not agree with the Academy’s choices (see Peary’s Alternate Oscars, for instance), film fanatics should at least be familiar with the winning and/or nominated titles.
|
Peary’s Key
- CC: Camp Classic
- CM: Cult Movie
- H: Film has a place in film history or is a critics’ favorite
- PR: Personal Recommendation
- S: Sleeper
- T: Trash [Not essential viewing]
- XXX: Porno [Not essential viewing]
Of Peary’s seven categories, I’ve only chosen to retain two (Cult Movie and Historical Importance). In my opinion, a movie which is hopelessly campy, a pleasantly surprising “sleeper”, or a personal favorite may be enjoyable to watch, but doesn’t necessarily guarantee its status as “must see” viewing for all film fanatics.