Expert film critic names 5 greatest movies of all time | Films | Entertainment

Renowned film critic Roger Ebert was one of the most notable voices in cinema. He was the first film critic to win the Pulitzer Prize Award and he shared his views and passion for movies in an accessible and engaging way. He was first and foremost a fan of film before a critic and this was reflected in his writing.

One year before his death in 2013, Ebert decided to share a list of his favourite films to share with the British Film Institute for their popular Sight & Sound poll.

Here are five of his greatest films of all time that Ebert stated: “moved me deeply in one way or another”.

Casablanca

First up is the 1942 war romance directed by Michael Curtiz. Ebert said: “After seeing this film many times, I think I finally understand why I love it so much. It’s not because of the romance, or the humor, or the intrigue, although those elements are masterful. It’s because it makes me proud of the characters. These are not heroes — not except for Paul Heinreid’s resistance fighter, who in some ways is the most predictable character in the film. These are realists, pragmatists, survivors: Humphrey Bogart’s Rick Blaine, who sticks his neck out for nobody, and Claude Rains’ police inspector, who follows rules and tries to stay out of trouble. At the end of the film, when they rise to heroism, it is so moving because heroism is not in their makeup. Their better nature simply informs them what they must do.”

Citizen Kane

Citizen Kane was next on the list for Ebert: “I have just seen it again, a shot at a time, analyzing it frame-by-frame out at the University of Colorado at Boulder. We took 10 hours and really looked at this film, which is routinely named the best film of all time, almost by default, in list after list. Maybe it is. It’s some movie. It tells of all the seasons of a man’s life, shows his weaknesses and hurts, surrounds him with witnesses who remember him but do not know how to explain him. It ends its search for Rosebud, his dying word, with a final image that explains everything and nothing, and although some critics say the image is superficial, I say it is very deep indeed, because it illustrates the way that human happiness and pain is not found in big ideas but in the little victories or defeats of childhood.

“Few films are more complex, or show more breathtaking skill at moving from one level to another. Orson Welles, with his radio background, was able to segue from one scene to another using sound as his connecting link. In one sustained stretch, he covers 20 years between Merry Christmas and A very happy New Year. The piano playing of Kane’s young friend Susan leads into their relationship, his applause leads into his campaign, where applause is the bridge again to a political rally that leads to his downfall, when his relationship with Susan is unmasked. We get a three-part miniseries in five minutes.”

Floating Weeds

“I do not expect many readers to have heard of this film, or of Yasujiro Ozu, who directed it, but this Japanese master, who lived from 1903 to 1963 and whose prolific career bridged the silent and sound eras, saw things through his films in a way that no one else saw. Audiences never stop to think, when they go to the movies, how they understand what a close-up is, or a reaction shot. They learned that language in childhood, and it was codified and popularized by D. W. Griffith, whose films were studied everywhere in the world — except in Japan, where for a time a distinctively different visual style seemed to be developing. Ozu fashioned his style by himself, and never changed it, and to see his films is to be inside a completely alternative cinematic language.

Floating Weeds like many of his films, is deceptively simple. It tells of a troupe of traveling actors who return to an isolated village where their leader left a woman behind many years ago — and, we discover, he also left a son. Ozu weaves an atmosphere of peaceful tranquility, of music and processions and leisurely conversations, and then explodes his emotional secrets, which cause people to discover their true natures. It is all done with hypnotic visual beauty. After years of being available only in a shabby, beaten-up version usually known as Drifting Weeds, this film has now been re-released in superb videotape and laserdisc editions,” said Ebert on his third selection.

Gates of Heaven

1978’s Gates of Heaven was next up, with Ebert stating: “This film, not to be confused in any way with Heavens Gate (or with Gates of Hell, for that matter) is a bottomless mystery to me, infinitely fascinating. Made in the late 1970s by Errol Morris, it would appear to be a documentary about some people involved in a couple of pet cemeteries in Northern California. Oh, it’s factual enough: The people in this film really exist, and so does the pet cemetery. But Morris is not concerned with his apparent subject. He has made a film about life and death, pride and shame, deception and betrayal, and the stubborn quirkiness of human nature.

“He points his camera at his subjects and lets them talk. But he points it for hours on end, patiently until finally they use the language in ways that reveal their most hidden parts. I am moved by the son who speaks of success but cannot grasp it, the old man whose childhood pet was killed, the cocky guy who runs the tallow plant, the woman who speaks of her dead pet and says: ‘There’s your dog, and your dog’s dead. But there has to be something that made it move. Isn’t there?’ In those words is the central question of every religion. And then, in the extraordinary centerpiece of the film, there is the old woman Florence Rasmussen, sitting in the doorway of her home, delivering a spontaneous monolog that Faulkner would have killed to have written.”

La Dolce Vita

“Fellini’s 1960 film has grown passe in some circles, I’m afraid, but I love it more than ever. Forget about its message, about the “sweet life” along Rome’s Via Veneto, or about the contrasts between the sacred and the profane. Simply look at Fellini’s ballet of movement and sound, the graceful way he choreographs the camera, the way the actors move. He never made a more “Felliniesque” film, or a better one.

“Then sneak up on the subject from inside. Forget what made this film trendy and scandalous more than 30 years ago. Ask what it really says. It is about a man (Marcello Mastroianni in his definitive performance) driven to distraction by his hunger for love, and driven to despair by his complete inability to be able to love. He seeks love from the neurosis of his fiancee, through the fleshy carnality of a movie goddess, from prostitutes and princesses. He seeks it in miracles and drunkenness, at night and at dawn. He thinks he can glimpse it in the life of his friend Steiner, who has a wife and children and a home where music is played and poetry read. But Steiner is as despairing as he is. And finally Marcello gives up and sells out and at dawn sees a pale young girl who wants to remind him of the novel he meant to write someday, but he is hung over and cannot hear her shouting across the waves, and so the message is lost,” added the film critic.