100 Greatest Literary Film Adaptations

 
Actress Mary Badham and author Harper Leeof To Kill a Mockingbird, votedthe best literary adaptation in film

This all started with a Guardian film poll, listed here at MUBI (I’ve copied the list below, which is a public poll in England, hence some obscure, though excellent, films like Kes, Brighton Rock, and Remains of the Day, and the unlikely inclusion of Goldfinger)

The Guardian Film Poll

In Honor of the LSAT

Yesterday, I took what is hopefully the first step in becoming a law student.  The formidable LSAT wasn't as bad as I thought it would be, but still pretty rough.  But, in honor of my taking the LSAT, I thought I'd compile a few of my favorite lawyer performances.  Mostly from movies, but a few from TV.  Enjoy and comment.

10. Gregory Peck in To Kill a Mockingbird

This would be higher, I think, but it's such an obvious choice.  Peck is remarkable as the stoic father in the adaptation of Harper Lee's novel.  But, as much as I loved his performance in the courtroom scene, his scenes at home with Scout are the highlight of the movie.  So his performance is less lawyer, and more awesome father.

09. Susan Sarandon in The Client

I love lawyer performances that are totally against the law.  That is to say, I'm not quite sure anything Sarandon's character does in The Client is legal nor am I sure she'd have survived the situation without being disbarred.  But in the end, it's not a portrayal of legalities, but rather of love.  And she knocks it out of the park.

08. Maximillian Schell in Judgement at Nuremberg

Schell won an Oscar for his passionate and utterly brilliant performance in Stanley Kramer, as a lawyer who brings up some sticky moral arguments regarding the Nazis and how they were condemned.  The performance is so powerful you begin to question your own opinions.

07. Reese Witherspoon in Legally Blonde

How fabulous was Reese in this?  Sure she's not really a lawyer at all in the movie, but the point is is that she does lawyerly things, like solve the case at the end of the movie, thereby proving to everyone she's smart enough!  I jump every time she connects the perm to the shower to the murder!  

06. Jim Carrey in Liar Liar

This is still a very surprising performance from Carrey.  Even with his more famous dramatic turns, this was the turning point for him I think.  Yes he did his typical funny thing, but in the middle of that he's dealing with being a total tool and in the process loosing his child.  It's a really sad reality, and the movie forces him to go from scumbag lawyer to good father.

05. Joe Pesci in My Cousin Vinny

Can anyone tell me anything that's not amazing about this performance?  Pesci is a great actor, but this was really the first time I saw him do comedy.  Sure he did it in Home Alone, but this was a different breed entirely.  His perfect ability to seemingly make up things on the spot is hilarious, and his chemistry with the entire cast specifically Marissa Tomei and Lane Smith is something other actors must covet.  "Two yoots."  Love it.

04. Al Pacino in ...And Justice for All.

What's not to love about Al Pacino?  I've always thought this was the best performance of his career.  His balance of comedy and drama masterful, and his legal mentality is nothing short of spitfire.  His performance demands him to both care about his clients, juggle them with his life, and find a light at the end of the tunnel.  Great performance.  Also gave us the end-all courtroom drama quote, "YOU'RE OUT OF ORDER! THIS WHOLE COURT IS OUT OF ORDER!"

03. James Spader in "Boston Legal" and "The Practice"

Has there ever been a better closing argument delivered than James Spader...in every episode of "Boston Legal"? I don't think so.  Spader's delishious ability to relish the best words and covey the desperation in defense of his client was most likely the causation of his 3 well-deserved Emmy awards for this character.  Whenever "Boston Legal" tackled major public issues, I dare any audience member watching not to change their stance into whatever Spader was arguing for.  He was brilliant.

02. Richard Gere in Chicago

The definition of a shark.  He's sheer perfection.

01. John Houseman in The Paper Chase

As the law teacher from hell, Houseman won an Oscar for his cold portrayal in the terrifyingly accurate law school movie The Paper Chase.  He's a jerk, he's frigid, and you know he cares about you in the smallest of smallest ways.  I hope I don't have anyone like him.

Favorite Films, Part VIII

The latest addition of my 100 favorite movies, in chronological order part 8. We’ll stay in the 1960s for this batch.

“The Sundowners” (1960). I’ve blogged about this movie before. I love every frame of this movie and I wish more people were aware of it. Set in the 1920s, it deals with a family of Australian nomadic sheepherders, played by Robert Mitchum, Deborah Kerr and Michael Anderson, Jr. There’s really no plot, just their adventures on their travels. I was very surprised to read Mitchum did not think much of this role. It’s been said artists are often not the best judge of their works, and that’s true here. It’s one of his very best performances.

“The Time Machine” (1960). I watched this recently, and it really holds up. This was another one shown on Family Classics every year that was as eagerly anticipated as Christmas Day. Classic science fiction based on the H.G. Wells story with Rod Taylor is the ideal brave scientific inventor, and Yvette Mimieux is the lovely Weena. Marvelous production design and special effects showing us what life might be like in the year 802,701.

“Mysterious Island” (1961). One of my favorite Ray Harryhausen movies, this is an exciting tale based on Jules Verne’s novel, about a group of men who escape from a Confederate prison via a hot air balloon and find themselves on the title locale, in an uncharted area of the Pacific Ocean. Gigantic creatures abound, courtesy the special effects wizardry of Mr. Harryhausen, all backed by one of Bernard Herrmann’s most evocative scores. Giant monsters, a pirate attack, an exploding volcano, a beautiful girl in a short animal skin dress – everything you could possibly want in a movie. Plus the great Herbert Lom as Captain Nemo. A wonderful movie.

“The Music Man” (1962). One of the best Broadway translations ever, and thankfully recording for posterity Robert Preston’s dynamic performance as Professor Harold Hill. Some of the direction is more than a bit stagebound, but all is forgiven when surrounded by such energy and good spirits.

“Ride the High Country” (1962). A wonderful western that gave us a one-time teaming of western greats Randolph Scott and Joel McCrea. They both saw the handwriting on the wall. This was Scott’s last film and McCrea only gave us token appearances in a few more films. A beautiful elegy courtesy director Sam Peckinpah. The final image of McCrea slowly sinking out of frame is one for the books.

"To Kill A Mockingbird” (1962). A wonderful book made into an equally wonderful movie. Rarely have events seen through the eyes of a child been captured so well. Gregory Peck well deserved his Oscar as Atticus Finch. Composer Elmer Bernstein deserved a Best Score Oscar that year for his beautiful score, but he lost to Maurice Jarre for his music for “Lawrence of Arabia.” Well, OK, I can’t get upset about that. The other competition that year in this category:. Franz Waxman for “Taras Bulba”, Bronislau Kaper for “Mutiny on the Bounty” and Jerry Goldsmith for “Freud.” Compare that list to what we get today and weep.

“Jason and the Argonauts” (1963): Another dynamic Ray Harryhausen/Bernard Herrmann collaboration, this is one of the best and most colorful fantasy films of all time. I like the treatment of the Greek gods and goddesses in this, looking of humans as amusing playthings and realizing that soon mankind will not need them anymore. This contains some of Harryhausen’s best work, including the 200-foot statue Talos which comes to life, winged harpies, and the amazing duel at the end between Jason and two companies and an army of skeletons. Wilkie Cooper’s gorgeous cinematography is the type often ignored at Oscar time, because it’s not for a “prestigious” film. It shouldn’t have been.

“Goldfinger” (1964): One night I came home real late from work and turned this on. I think it was on TBS. It was past 10:30 p.m., I had been at work since 8:00 that morning, I hadn’t eaten dinner and I was exhausted. I had seen “Goldfinger” multiple times, owned it on VHS and DVD, and guess what? I still got caught up in it, and stayed and watched it, complete with commercials, to the very end. Why oh why can’t we have Bond title songs like this anymore? Remember that God-awful song from “Quantum of Solace”? It was like having lye poured into one’s ear drum.

"A Hard Day’s Night” (1964): Starring The Beatles and a movie brimming with unbridled energy and the celebration of life. Director Richard Lester lets the boys run amok via a freewheeling style of photography and editing, backed by one of the most awesome song scores of all time. Like earlier musicals, one guaranteed to chase away the blues.

“Planet of the Apes” (1968): The first film in one of the best science fiction series ever. Charlton Heston delivers one of his all-time best performances as the cynical astronaut Taylor who finds himself abandoned…well, you know the rest. Great production design and music help define the setting. Equally good performances under convincing ape make-up by Roddy McDowall, Kim Hunter and Maurice Evans. The third and fourth films are exceptional as well, with the second and fifth films being less satisfactory, but the entire series remains splendid, thought provoking entertainment