At one point, I thought I would use this year’s list to highlight the unconventional approaches to moviemaking that gave me so much enjoyment. The Great Beauty and Blue Is the Warmest Color both benefited from my seeing them while I was rereading Proust. Neither had a traditional story arc; one was a portrait of a love affair, the other an essay on art and memory – both Proustian subjects, neither for someone in a hurry. Post Tenebras Lux was the most innovative of all, a movie version of the magic realism we’ve seen in Latin American writing by Garcia Marquez and others. It was shown, fittingly, at the Walker Art Center and left behind a trail of stunning images. Caesar Must Die transported Shakespeare’s Julius Caesar to an Italian prison, bringing to new life a centuries-old play, much like Ralph Fiennes’ Coriolanus did last year.The Place Beyond the Pines jerked me to attention when one movie seemed to end and another began; instead of seamlessly blending together, the two halves left the viewer to make the connections. Of course, for sheer bravura filmmaking, there was Gravity, but its refusal to care much about a plot and its absurd ending left it off my list.
But that plan for a top ten innovative films didn’t count on Captain Phillips, featuring the most traditional of movie stars, Tom Hanks. It wasn’t Hanks, though, that got me – quite the contrary. It was the movie’s daring presentation of Somali pirates as sympathetic characters and the U.S. as bullies who don’t keep their word. The movie was constantly thought-provoking and beautifully filmed. Enough Said and Mud were two more traditional American films, one a romantic comedy, the other a dramatic adventure. Both had some of my favorite acting of the year: James Gandolfini, ably abetted by Julia Louis-Dreyfus, was the most real lover, with the most real heartbreak, I saw this year; while the kid in Mud, abetted by his sidekick, was my favorite character for all of 2013. 12 Years A Slave stands as a cinematic landmark: it was hard watching, but it will define slavery for everyone who saw it. It illuminated history, unlike Lee Daniels’ The Butler, which shamelessly exploited it.
That only leaves Barbara, to which I have somewhat tentatively assigned the top spot on my list. It is not powerful, or surprising or innovative. But when I left the theater I felt I had seen an almost perfect movie. The bleak East German setting brought us face-to-face with the everyday moral decisions faced by real people, reminiscent of the similarly located The Lives of Others (2009). It was as thought-provoking as Captain Phillips, as historically acute as 12 Years A Slave, as personally emotional as Enough Said, and, finally, as dramatic as Mud or The Place Beyond the Pines. It was just a fine movie.
There were other fine movies in 2013, and the following make up my roster of Honorable Mention: Nebraska, Out of the Furnace, Don Jon, A Touch of Sin, World War Z, Fruitvale Station, and maybe American Hustle.
Making my selection of a top ten easier is the decision to have a separate category for Documentaries. Here there was a tie between The Gatekeepers, a politically amazing series of interviews of Shin Bet leaders, interspersed with archival footage; and Marina Abramovic: The Artist Is Present, a remarkable translation of an artist’s work to the screen.
And finally, I acknowledge The Impossible, the story of the Thailand tsunami with Naomi Watts that I didn’t see in time to include on my 2012 Top Ten, where it surely belongs.
