"416"

I have an ongoing love affair with New York, the city that formed me. I was born here, and though I’ve left occasionally, it was never for very long. The pace, color, and excitement of this amazing town always drew me back like a magnet, and holds me still. No surprise then that I love experiencing the potent nostalgia of great films that recall the New York City of my early years.

I will always remember the pure exhilaration I felt watching Quentin Tarantino’s “Pulp Fiction” for the first time in a theater thirty years ago. The memory is so clear of first realizing that I was experiencing an extraordinary piece of filmmaking, deliriously entertaining but also completely fresh and unique. What made “Pulp” so exciting and distinctive?

Film scholars may differ on the top Bogart-Bacall outing, but for me it’s their second film, “The Big Sleep” (1946), directed by the inimitable Howard Hawks. It is, first and foremost, the quintessential private eye picture, along with the earlier Bogart classic, “The Maltese Falcon” (1941). The film succeeds in spite of the fact that its dense, twisty plot leaves most viewers slightly bewildered at the closing credits.

There’s an extra frisson of excitement to be found in what I call “launch pad” movies. This is not necessarily a movie star’s first film, but rather the one that propels him or her to that exalted status. In these special outings, you can feel a certain electricity coming off the screen; it's as if the performer is announcing in a subliminal stage whisper: “I’ve arrived!”  Here are twenty key launch pad vehicles for some of my favorite stars, spanning eighty years of movie history.   

Going crazy in real life is about as glamorous as sleeping in a bowling alley, but going crazy on-screen? Plan your Oscar outfit early. There is scenery to be chewed, fits to be pitched on an epic scale, fantasies to spin, and a kind of canny brilliance to the crazy character’s lunacy.       Maybe we are drawn to movie crazies as a kind of proxy nervous breakdown, the one we’d like to have, if only we could spare the time. In the more extreme cases, such as director Alfred Hitchcock’s criminally insane killers in “Psycho” (1960) and “Frenzy” (1972), we are watching a bomb blast from a safe distance, marveling at the potential for distortion within the human mind. And then there are characters that are driven crazy, like Ophelia (Jean Simmons) in “Hamlet” (1948), or Jasmine (Cate Blanchett), the shattered widow of an unscrupulous New York financier, in “Blue Jasmine” (2013).