{"id":1784,"date":"2006-11-21T19:57:33","date_gmt":"2006-11-22T02:57:33","guid":{"rendered":"http:\/\/filmfanatic.org\/?page_id=1784"},"modified":"2021-11-14T14:32:45","modified_gmt":"2021-11-14T21:32:45","slug":"special-must-see-categories","status":"publish","type":"page","link":"https:\/\/filmfanatic.org\/?page_id=1784","title":{"rendered":"Must See Categories"},"content":{"rendered":"

The following categories (inspired by the Key at the back of Peary’s GFTFF<\/em> — see below) are my own attempt to determine why a particular movie may or may not be considered “must see” viewing for film fanatics. <\/p>\n

In my reviews, if I vote “Yes” on a particular movie, I list one or more of the following categories afterwards: <\/p>\n\n\n\n\n\n\n\n\n\n\n
\n

<\/a>
\nControversial Film<\/strong>:
\n\"Freaks\"Films in this category generated controversy during their release, for one reason or another — ranging from their content (i.e., Todd Browning’s Freaks<\/em><\/a>) to their cost (i.e., Michael Cimino’s Heaven’s Gate<\/em><\/a>).<\/p>\n<\/td>\n<\/tr>\n

\n

<\/a>
\nCult Movie<\/strong>:
\n\"BigFilms 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. <\/p>\n<\/td>\n

\n

<\/a>
\nForeign Gem<\/strong>
\n\"LateThis 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.\n<\/p>\n<\/td>\n<\/tr>\n

\n

<\/a>
\nGenuine Classic<\/strong>:
\n\"It'sMovies 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<\/em><\/a>, Casablanca<\/em><\/a>, It’s a Wonderful Life<\/em><\/a>, etc., which show up on countless “100 Best” lists, usually for a good reason. <\/p>\n<\/td>\n<\/tr>\n

\n

<\/a>
\nGood Show<\/strong>:
\n\"SoThis category is a catch-all for movies (such as 1950’s So Long at the Fair<\/em><\/a>) which are, quite simply, a “good show”, and shouldn’t be missed by any devoted film fanatic.\n<\/p>\n<\/td>\n<\/tr>\n

\n

<\/a>
\nHistorically Relevant<\/strong>:
\n\"JazzThis broad category includes movies which were the first of their kind (i.e., The Jazz Singer<\/em><\/a>); movies which document a fleeting or significant moment in history (i.e., The T.A.M.I. Show<\/em><\/a>); movies which typified or started a cinematic movement or gimmick (i.e., Godard’s French New Wave classic Breathless<\/em><\/a>, or William Castle’s use of “Percepto” in The Tingler<\/em><\/a>); movies of dubious cinematic value which were nonetheless hugely popular at the time of their release (i.e., Alan Parker’s Midnight Express<\/em><\/a>); and experimental movies (i.e., Michael Snow’s Wavelength<\/em><\/a>).<\/p>\n<\/td>\n<\/tr>\n

\n

<\/a>
\nImportant Director<\/strong>:
\n\"FritzSometimes a film — regardless of its overall merit — is worth watching simply because it’s part of a renowned director’s oeuvre; hence this category.<\/p>\n<\/td>\n<\/tr>\n

\n

<\/a>
\nNoteworthy Performance(s)<\/strong>:
\n\"Diane 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<\/em><\/a>).<\/p>\n<\/td>\n<\/tr>\n

\n

<\/a>
\nOscar Winner or Nominee<\/strong>
\n\"Oscar\"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<\/em><\/a>, for instance), film fanatics should at least be familiar with the winning and\/or nominated titles. <\/p>\n<\/td>\n<\/tr>\n<\/table>\n

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\n<\/br><\/p>\n

Peary’s Key<\/strong><\/u> <\/p>\n