Remember that Entertainment Weekly cover from November of 1999? The headline boldly proclaimed: “The year that changed movies.” Indeed, it has become nearly a cliche to harp on and on about those 12 months of solid product as a time not equaled since the glory year that was, 1939, but to many, the truth was the truth. 1999 was the best year for films in a long, long time.
And it wasn’t a microscopic view of “quality” either. A broad net was cast, from genre successes aplenty to art house sensations, both finding equal play in the film awards circuit that year. And so it is that hammering out a list of the 10 best constitutes to be a pastime of sorts for the movie lover, especially those like me who were experiencing an awakening of sorts around that time.
1999 was my first year of film school — the dark ages, as I like to call them (because I’ve come to know film school as a fool’s errand of sorts, an education not easily passed from one person to the next but better learned through trial and tribulation). But I was still an eager, unjaded soul and took a trip to the local theater one day with a troupe of friends for our own double feature: Sam Mendes’s “American Beauty” and David O. Russell’s “Three Kings.” It was our first real understanding of the year that had been unfolding right before our eyes.
“American Beauty” has, of course, aged quite poorly, though Russell’s Iraq war film remains a staple of sorts, a unique blip in a consistently uneven genre. This was already the year that had seen the release of the first “Star Wars” installment in over 20 years (however disappointing), the last great exhibit from the portfolio of the cinema’s greatest artist (Stanley Kubrick’s “Eyes Wide Shut”) and a science fiction masterpiece that owed as much to William Gibson as anything else (at least those ideas were making it to the screen).
Moreover, this was a cinematic year that would see releases from more top-tier directors than any other year: Kubrick, Scorsese, Lucas, Lynch, Allen, Fincher, Burton, Leigh, Minghella, Anderson, Almodóvar, Mann, Lee, Stone, Jordan, Sayles, Soderbergh, Forman, Burton, Pollack, Darabont and Howard, while simultaneously launching the exciting careers of untold newbies. The range of quality, as expected, was certainly wide, but that all of these guys were in neck deep in their work during the same stretch of time had plenty to do with the perception of 1999, then and now.
So with that, I felt that this week’s top 10 list (a Tuesday regularity now, if you haven’t been keeping score) would address 1999, the year that was. Here are my picks:
10. “Three Kings” (David O. Russell)
David O. Russell is a visionary of sorts, but he seems to always be right at the surface, just about to break through with an unyielding brilliance, never fully harnessing the wicked talent he clearly has. But for a brief moment in the fall of 1999, he discovered an outlet in this Iraq War dramedy that became more famous for its off-screen drama than what unfolded on-screen. Pity, because I would rank “Three Kings” in a list of the 10 greatest war films ever made without flinching. George Clooney, Mark Wahlberg, Spike Jonze and Ice Cube headlined a sprawling cast that probably deserved some ensemble attention.
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In the “sign me up now, please” category today is a recently announced boxed set of Danny Elfman’s music collaborations with filmmaker Tim Burton. I first heard about the limited edition set via the New York Times in a piece that went up on the Arts Beat blog yesterday. It featured a video with Burton and Elfman discussing the monumental “Batman” score — talk about grabbing my attention.