Last weekend saw the release of Disney’s highly awaited ‘The BFG’, based on fantasy legend Roald Dahl’s popular fairy-tale. The icing on the cake seemed to be the director chosen for the task- mammoth legend Steven Spielberg. Here is casting a look at the bearded filmmaking veteran’s stellar accomplishments- ten incredible Spielberg films that every cinephile should watch compulsorily.
10- A.I- Artificial Intelligence (2001)
Trying to beat Stanley Kubrick was always the near-impossible task. And yet, Steven Spielberg, a storyteller completely detached from the brilliant and cold-blooded cynicism of that director, did it, bringing sweepingly human emotion to the legendary filmmaker’s seminal designs and concepts and blending both his warmth and the late creator’s intelligence to create a truly odd sci-fi gem. Plot-wise, ‘A.I’ has all the feel of typical Spielberg. It is about a little kid in an adventure that changes his life, it is lavishly crafted, sweeping in its emotional force and packs in many a sight to behold.
Trying to beat Stanley Kubrick was always the near-impossible task. And yet, Steven Spielberg, a storyteller completely detached from the brilliant and cold-blooded cynicism of that director, did it, bringing sweepingly human emotion to the legendary filmmaker’s seminal designs and concepts and blending both his warmth and the late creator’s intelligence to create a truly odd sci-fi gem. Plot-wise, ‘A.I’ has all the feel of typical Spielberg. It is about a little kid in an adventure that changes his life, it is lavishly crafted, sweeping in its emotional force and packs in many a sight to behold.
Yet, the director often breaks the mould in more than one way- the little kid is no dirty-blonde small-town bloke but rather an android with feelings David (played with chilling credibility by Haley Joel Osment). The journey he undertakes- to discover the warmth of a mother’s love-is a heart-breaking odyssey into dismal terrain, where machines are humiliated, where your deepest desires cannot come true and where all your fairy-tale dreams are buried under the sea of despair. Hypnotic, beautiful and ultimately exquisitely sad.
9- Lincoln (2012)
The latest of the bearded director’s cinematic achievements (not counting ‘Bridge Of Spies’) is a rare beast- a sneak peek at history that is both rousing yet objective, a talky political drama that simmers like an action film. Tony Kushner’s verbose fireworks, fashioned from real-life historical facts, lend much of ‘Lincoln’ its’ real buzz. Spielberg is mostly content to offer the whole enterprise an air of old-world authenticity. Janusz Kaminsky’s moody cinematography, along with Rick Carter’s lived-in, decadent settings, adds more realism to the already terse proceedings in display.
The latest of the bearded director’s cinematic achievements (not counting ‘Bridge Of Spies’) is a rare beast- a sneak peek at history that is both rousing yet objective, a talky political drama that simmers like an action film. Tony Kushner’s verbose fireworks, fashioned from real-life historical facts, lend much of ‘Lincoln’ its’ real buzz. Spielberg is mostly content to offer the whole enterprise an air of old-world authenticity. Janusz Kaminsky’s moody cinematography, along with Rick Carter’s lived-in, decadent settings, adds more realism to the already terse proceedings in display.
Steve captures the debate, moral questioning and political wrangling over the 13th Amendment even as the Civil War rages and the eponymous American icon sizes up his advisors, family and friends and foes in a desperate bid for an idealistic dream. For all its subtly pointed politics, ‘Lincoln’ is truly special for terrific performances- Tommy Lee Jones as Republican hot-head Thaddeus Stevens, David Strathairn as the stately William Seward, Sally Field as a sprightly, domineering Mary Todd Lincoln and eventually the great, great Daniel Day-Lewis as the iconic, eccentric and ultimately heroic man himself.
8- E.T- The Extra-Terrestrial (1982)
For many fans, even with all the bullwhips and spaceships, the real-life massacres and war planes, the most striking image associated with Spielberg turns out to be the silhouette of a kid on a bicycle against the glare of a full white moon. To be honest, ‘E.T’ is not exactly the masterpiece that everyone calls. The story- of a little lost alien stranded in a sleepy small town and befriended by an equally listless young boy- is stellar but Steve’s own process seems a bit muddled at places.
For many fans, even with all the bullwhips and spaceships, the real-life massacres and war planes, the most striking image associated with Spielberg turns out to be the silhouette of a kid on a bicycle against the glare of a full white moon. To be honest, ‘E.T’ is not exactly the masterpiece that everyone calls. The story- of a little lost alien stranded in a sleepy small town and befriended by an equally listless young boy- is stellar but Steve’s own process seems a bit muddled at places.
The scenes between the two are excellent and poignant but the shifts from sublime emotion to full-blown slapstick are sometimes jarring. Nevertheless, it is still a soaring, rousing yarn of adventure and imagination, bolstered by unforgettable visuals, an understated John Williams score and the totally loveable alien- a marvel of painstaking creature design and pop culture reference. Most crucially, of all the Spielberg films, it is the one that most celebrates the triumph of knee-high bravado over grumpy adulthood.
7- Saving Private Ryan (1998)
The likes of Kubrick, Sam Fuller, Oliver Stone and Francis Ford Coppola had already showed the ugly, brutal reality of warfare but all of them were merely mental masturbators; ‘Saving Private Ryan’ shoved us right into the middle of the bloody, battering chaos that is war. The opening 30 minutes is a truly hellish cinematic experience- a gruesome, mind-numbing retelling of the Omaha Beach landings during D-Day. Limbs are exploded, entrails come spilling out and the gunfire, grit and dirt are relentless. Spielberg retains masterfully the grim, elegiac tone elsewhere too in this sublime tale of a team of soldiers, led by Tom Hanks’ Captain Miller, risking it all to find one man (Matt Damon) and then questioning themselves about the same.
The likes of Kubrick, Sam Fuller, Oliver Stone and Francis Ford Coppola had already showed the ugly, brutal reality of warfare but all of them were merely mental masturbators; ‘Saving Private Ryan’ shoved us right into the middle of the bloody, battering chaos that is war. The opening 30 minutes is a truly hellish cinematic experience- a gruesome, mind-numbing retelling of the Omaha Beach landings during D-Day. Limbs are exploded, entrails come spilling out and the gunfire, grit and dirt are relentless. Spielberg retains masterfully the grim, elegiac tone elsewhere too in this sublime tale of a team of soldiers, led by Tom Hanks’ Captain Miller, risking it all to find one man (Matt Damon) and then questioning themselves about the same.
Robert Rodat’s elegantly understated narrative has over-arching ambitions- this is a men-on-a-mission movie, pure and simple. It is therefore to both his and Spielberg’s credit that this has neither bombast nor heroics but instead a sobering acknowledgement of mortality and loss of innocence. Sure, it might not have the political punch of ‘Paths Of Glory’ or the psychological ferocity of ‘Apocalypse Now’ but as a film that presents fear and disillusionment without pretensions, it is quite devastatingly brilliant.
6- Close Encounters Of The Third Kind (1977)
It is actually a bit of a pleasant surprise that, despite the incredible goodwill of another famous science fiction classic of 1977, Spielberg’s wholly original drama of scientific speculation and wide-eyed wonder still remains a classic in its own right. ‘Close Encounters’ is a compelling tale that would make for a Jules Verne novel, told with a fascinating blend of intelligent plotting, superb characterisation and moments of sheer wonder just lightly infused with adventure and dread. Line-worker Roy Neary (a hypnotically compelling Richard Dreyfus) becomes obsessed with the flashes of star-men waiting up in the sky; he is, however, not really alone.
It is actually a bit of a pleasant surprise that, despite the incredible goodwill of another famous science fiction classic of 1977, Spielberg’s wholly original drama of scientific speculation and wide-eyed wonder still remains a classic in its own right. ‘Close Encounters’ is a compelling tale that would make for a Jules Verne novel, told with a fascinating blend of intelligent plotting, superb characterisation and moments of sheer wonder just lightly infused with adventure and dread. Line-worker Roy Neary (a hypnotically compelling Richard Dreyfus) becomes obsessed with the flashes of star-men waiting up in the sky; he is, however, not really alone.
A ragtag of team of scientists, including one played by Francois Truffaut, sets out on a global quest for the truth behind unexplained events. For all the jargon, myth-busting discoveries and exciting clues, this is however a deeply personal story- dealing with the collapse of family, reason and sanity at the mercy of a relentless obsession. That does not however detract from Spielberg’s awe-inspiring, enthralling and intense blow-out moments- a chilling abduction scene and the grand finale- of the mother-ship alighting at Wyoming’s Devil Tower- which delivers bang for buck in spectacle.
5- Duel (1971)
Few actually realize how darn good Spielberg is with tension. Sure, we got enough evidence of it in 'Jaws' and 'Close Encounters Of The Third Kind'. But next to Alfred Hitchcock, he is perhaps the only director who can hammer obvious physical scares with an artistry that no one can rival. Nothing might seem remotely incredible about a large truck looming over the frame, on a lonely, dusty highway but trust Steve to make even that ripe for sweaty suspense. This early TV movie is just that- a blood-red car, a bullying truck and a man who learns how does it feel to be at breakneck pace. There is no exposition- just sheer dreadful fear and a crushing despair all embodied faithfully by Dennis Weaver's genuinely bewildered performance.
Few actually realize how darn good Spielberg is with tension. Sure, we got enough evidence of it in 'Jaws' and 'Close Encounters Of The Third Kind'. But next to Alfred Hitchcock, he is perhaps the only director who can hammer obvious physical scares with an artistry that no one can rival. Nothing might seem remotely incredible about a large truck looming over the frame, on a lonely, dusty highway but trust Steve to make even that ripe for sweaty suspense. This early TV movie is just that- a blood-red car, a bullying truck and a man who learns how does it feel to be at breakneck pace. There is no exposition- just sheer dreadful fear and a crushing despair all embodied faithfully by Dennis Weaver's genuinely bewildered performance.
But then 'Duel' is also a supremely effective action film, devoid of effects, stripped of trickery and committed mainly to scaring the daylights out of us viewers. Sure, he might hand us ravenous sharks and resurrected dinosaurs sooner or later but sometimes all we need is a big tanker truck to crush all available chances of escape.
4- Munich (2005)
By the early 2000s, it was a bit safe to assume that Spielberg was losing the Midas touch. Sure, there were 'Minority Report' and 'A.I' and yeah, 'Catch Me If You Can' was a lot of fun as well, but nothing could match the path-breaking intensity of the previous decades. Then, he gave it to us and how. 'As its name would suggest, 'Munich' is about the 1972 Olympics fiasco- a blood-splattered national disaster in which Arab terrorists massacred nearly a dozen Israeli athletes. Spielberg takes us right in the middle of these grim and gory proceedings with the relentless pace of a war reporter and then lets us witness the equally shocking, stealthy revenge exacted for the same.
By the early 2000s, it was a bit safe to assume that Spielberg was losing the Midas touch. Sure, there were 'Minority Report' and 'A.I' and yeah, 'Catch Me If You Can' was a lot of fun as well, but nothing could match the path-breaking intensity of the previous decades. Then, he gave it to us and how. 'As its name would suggest, 'Munich' is about the 1972 Olympics fiasco- a blood-splattered national disaster in which Arab terrorists massacred nearly a dozen Israeli athletes. Spielberg takes us right in the middle of these grim and gory proceedings with the relentless pace of a war reporter and then lets us witness the equally shocking, stealthy revenge exacted for the same.
A team of nearly anonymous Mossad agents, led by Eric Bana's self-doubting Avner, is sent on a globe-trotting killing spree. And then, the mission takes its toll in more than one way. In the process, gone was the enthralling, occasionally sentimental Spielberg. In its place was a master film-maker, fully aware of his material and confident with his brutal, hard-hitting political brush-strokes. Talk about vengeance.
3- Raiders Of The Lost Ark (1981)
Will there be a more memorable expression of Spielberg's relentless, self-claimed urge to never ever grow up? 'Raiders Of The Lost Ark' might have kicked off a wildly successful franchise, cemented Harrison Ford as an action icon of lasting influence and vindicated the universal truth that George Lucas is one hell of a producer. But it remains a classic simply because it brought out the teenager inside us all, not least the director himself. The film is literally scattered with obvious genre influences- fantasy elements of Ray Harryhausen, the locations and women of James Bond capers and the Nazi villains of those ripping 60s yarns.
Will there be a more memorable expression of Spielberg's relentless, self-claimed urge to never ever grow up? 'Raiders Of The Lost Ark' might have kicked off a wildly successful franchise, cemented Harrison Ford as an action icon of lasting influence and vindicated the universal truth that George Lucas is one hell of a producer. But it remains a classic simply because it brought out the teenager inside us all, not least the director himself. The film is literally scattered with obvious genre influences- fantasy elements of Ray Harryhausen, the locations and women of James Bond capers and the Nazi villains of those ripping 60s yarns.
And yet, 'Raiders' serves them in style, wit and a compelling balance of hilarious witticisms and enough perilous stakes to make for a truly rattling good time. The buzzing action scenes are still smashing, the effects still wonderfully weird, the humour still tongue-in-cheek. And even if the film does feel faintly dated a few times, Spielberg packed in enough bona fide adventure to make it all as enjoyable as a Road Runner cartoon on adrenaline-pumping form.
2- Jaws (1975)
It is easy to forget how less 'Jaws' is a typical monster movie and more of an intelligent, searing portrait of fear, adventure and courage against all odds. Endless imitations- and its own uncalled-for sequels- threaten to ruin the sheer cinematic deftness at display here, with most attention doled out to the supremely effective jump-scares and the legendary leviathan himself.
It is easy to forget how less 'Jaws' is a typical monster movie and more of an intelligent, searing portrait of fear, adventure and courage against all odds. Endless imitations- and its own uncalled-for sequels- threaten to ruin the sheer cinematic deftness at display here, with most attention doled out to the supremely effective jump-scares and the legendary leviathan himself.
To phrase one of the film's iconic lines, this take on Peter Benchley's novel is, like the Great White Shark who preys on Amity Beach, a perfect machine. More startling and unsettling than those perfectly rare glimpses of the oceanic killer are the quietest, creepiest moments that would best not be revealed here. And as if that was not enough, Spielberg's well-oiled, efficient process also adds welcome streaks of terrific characterisation, sharp plotting and just the enough amount of emotion to make it powerfully devastating. But then, it will always be second to some other film, as the director's ultimate triumph of cinematic power and storytelling.
1- Schindler's List (1993)
More than fantasy, science-fiction or adventure, it is when Spielberg casts his wide-eyed glance at history's troubling truths that real miracles happen. And nothing could be more special than 'Schindler's List'- a sharply brutal portrait of the worst horrors of the Holocaust that Hollywood had never witnessed before. Everything is gritty in Spielberg's grainy, black-and-white canvas- from the sordid Jew ghettoes, soon to be evacuated by the power-hungry Nazis, to the actual atrocities themselves- the spurts of blood in the snow-bound streets, the abject humiliation and disease and death in the grimy camps. The grim cinematography and lightning quick editing add a real buzz of chaos.
More than fantasy, science-fiction or adventure, it is when Spielberg casts his wide-eyed glance at history's troubling truths that real miracles happen. And nothing could be more special than 'Schindler's List'- a sharply brutal portrait of the worst horrors of the Holocaust that Hollywood had never witnessed before. Everything is gritty in Spielberg's grainy, black-and-white canvas- from the sordid Jew ghettoes, soon to be evacuated by the power-hungry Nazis, to the actual atrocities themselves- the spurts of blood in the snow-bound streets, the abject humiliation and disease and death in the grimy camps. The grim cinematography and lightning quick editing add a real buzz of chaos.
But let's not forget- 'Schindler's List' is also above all a soaring, rousing celebration of hope. Its eponymous protagonist (played beautifully by Liam Neeson) is a flawed human, a man whose attempts to do good stand against his vices and yet the film sides up with him, as well as the many who strive to defy the gloom surrounding them. Intelligent yet compassionate, realistic yet emotionally raw, this is a film of exceptional strength and conviction and easily Steve's finest hour.
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