by Nathaniel R
Continuing our 80s retros for a couple more weeks. Strangely when I examined it on Letterboxd (are you following me there?) I realized I’d seen fewer films from 1986 than I had the years surrounding it. I'm not sure why this is. Anyway, I thought it might be fun to also share Letterboxd lists to go along with this 80s party, so 1986 is here. Okay, Let’s jump right into the favourites, alphabetically…
NATHANIEL'S TOP TEN OF 1986
(as of this moment - there's more left to see)
Aliens (James Cameron, US)
The best film of the franchise. One of the best films of its entire decade of cinema. One of the best sequels of all time. One of the best sci-fi films of all time. One of the best action films of all time. One of the best female protagonists of all time. One of the best monster movies of all time. Best Best Best Best Best. That it's not quite the very best film of 1986 is kind of a miracle in and of itself.
Betty Blue (Jean-Jacques Beinex, France)
I first saw this a couple of years after 1986, I think as a video store rental? I was scandalized by the opening sex scene (I was convinced the actors were actually “doing it”). There isn’t enough sex AT ALL in contemporary cinema but there was quite a lot more of it in 80s cinema, even in the films from relatively prudish Hollywood. Anyway, I never quite got over baby cinephile horny love for Jean Hugues-Anglade or Beatrice Dalle. I perked up for years afterwards whenever they showed up randomly in a French film (both actors are still working but it feels like a million years since they were in anything that garnered international attention).
On another more Oscar-infused note: it’s forever interesting to me that the portion of Oscar voters who opt to participate in the foreign film category voting (a self-selecting bunch) will sometimes make bold choices like this one that make you think they actually love global cinema and are paying attention to what’s hot and other times pick the safest dullest titles imaginable that aren’t at all likely to endure in the cultural conversation. How do these two modes coexist so consistently?
The Color of Money (Martin Scorsese, US)
When I finally saw this (for a Supporting Actress Smackdown) I was surprised that it wasn’t just a lazy legacy sequel. That was a dumb assumption since Martin Scorsese was behind the camera. The main trio (Newman, Cruise, and Mastrantonio) are all quite wonderful and its solid adult entertainment throughout… though it’d be the first of these top ten films I’d drop if I saw more films from this annum.
The Fly (David Cronenberg, Canada)
Another title I didn’t see in theaters at the time though it was the first Cronenberg I ever saw. It wasn’t until the Aughts that I fully came around to Cronenberg fandom via A History of Violence but this is easily his most accessible title before that one. Jeff Goldblum and Geena Davis were a couple at the time (and would marry the next year) and are both pretty special in the movie. The actors were honored by the Saturn Awards (with a win and a nomination, respectively). Yes, the Saturn Awards are often embarrassing but because they are devoted to genre films you will occasionally see an Oscar worthy player who has no shot at making the big race get a little prize and that, my fellow movie-lovers, makes the Saturns and all focused awards alternatives that aren't trying to "predict" with their ballots, worthwhile in the long run. This is also why I’ve felt protective of the Golden Globes despite their many mishaps, since they would honor worthy things (on occasion) that Academy voters would never think to cherish... mostly comedic work but sometimes daring or off-kilter performances from major stars that absolutely deserved recognition.
Hannah and Her Sisters (Woody Allen, US)
The first Woody Allen film I saw in theaters was Broadway Danny Rose (1984) which my older brother took me to. He was the easiest member of my family to convince to drive me to the movies – our tastes are quite different but we still talk movies on occasion. The only thing I remember about that first peak at the Woody Allen universe was that we both laughed really loudly at the film's helium joke. The next year my parents took us all to Purple Rose of Cairo at my insistence (they regretted it; I most certainly did not!) By Hannah and Her Sisters I had realized that this Woody Allen person made a movie every single year and I should see them all on opening weekend (simpler times!) I did for while but there were a lot of bad ones and I eventually fell off of this habit. I’m way off topic now. Sorry. This Woody Allen picture deservedly went all the way to the major Oscar contention, winning Original Screenplay and both Supporting categories which proved to be the first of two wins for each of the actors in question; Dianne Wiest is a genius (duh) and deserved both of her trophies but to be frank, I’ll never understand either of Michael Caine’s wins so in my world he’d be Oscarless. (Max Von Sydow is better in the same film if they had to have a double act on Oscar night)
Little Shop of Horrors (Frank Oz, US)
I’ve bemoaned this fact many times over the years at The Film Experience but the 1980s were the lowest of low points for the movie musical genre. There were barely any of them made during the entire decade (at least outside of Bollywood) but of the few English language musicals that did emerge, this and The Little Mermaid. So basically the composing team of Howard Ashman (RIP) & Alan Menken, were the only thing keeping musicals alive outside of musical theaters stages in this particular decade. Little Shop is old school wonderful then and still wonderful now from that classic “Skid Row” opening to its kitschy white picket suburban finale.
It’s been a treat to see the stage show re-embraced here in NYC in a now long-running Off Broadway revival. 2024 Anecote: I was eating at this restaurant "Bea" with friends (recommend) and it is right next to the West Side Theater where "Little Shop" is playing. To our delight a spontaneous jump rope party began happening in the street just outside the window we were looking out of. When the crowd got large and boisterous the actors in the theater (right before call time) must have heard it and the stars playing Seymour (I think Corbin Bleu?) and Audrey (Drag superstar Jinkx Monsoon) came out of the theater and gleefully joined in the fun, jumping and laughing! Since I'd already seen it and stage shows are expensive I didn't catch Jinkx’s run as Audrey (the classic Ellen Greene role). I’ve seen three productions on stage since moving to NYC including Ellen Greene herself a sold-out two or three day revival with Jake Gyllenhaal as Seymour, and frankly no one has ever measured up to Greene's shoulda-been Oscar nominated star turn in this film version – not even Ellen herself. Oh to have a time machine and be able to see her legend-making run Off Broadway in 1982!
My Beautiful Laundrette (Stephen Frears, UK)
I felt so naughty seeing this one the first time. So risque. So gay. (Was not yet out of the closet obviously). I’ve heard from a couple of sources that this 80s British classic doesn’t quite hold up. While I haven’t seen the movie in quite a long time I refuse to believe this. Steamy moments involving the very hot duo of young bleached blonde punk Daniel Day Lewis playing an unemployed punk and twink cute British Indo-Guyanese actor Gordon Wanecke playing a driven young Pakistani entrepreneur were seared into my young brain forever more. TMI – you've been warned – Years later in college my first ever sexual encounter followed (was caused by?) a brief discussion of this movie. We began talking about the movie and then this guy abruptly licked my neck like he was cosplaying DDL.
Peggy Sue Got Married (Francis Coppola, US)
It’s difficult to get a bead on the current critical consensus of Francis Ford Coppola’s mid-career period. He never reascended to the God Auteur level post Apocalypse Now but there’s lots of good stuff sprinkled throughout the filmography. This time-travelling romantic dramedy is the best of his 80s films. It doesn’t hurt that lovely nimble Kathleen Turner was smack dab in the middle of her peak years as a bonafide Movie Star. I still wish she’d won the Oscar since this was her sole nomination (and she’d already deserved to take home the gold in 1981 and 1984.)
A Room With a View (James Ivory, UK)
While I loved this Edwardian era comedy at the time, I think I would have only placed it as the second or third best of 1986. I’ve only grown exponentially fonder of if it over the years. Now it’s officially my pick as Best Movie of the Decade (you heard me) given that it’s as perfect a film experience as there is. This British classic is endlessly rewatchable, dependably hilarious, sneakily horny, subtly moving, brilliantly acted, swiftly told, and swoonily romantic, and it’s all of those things simultaneously, never straining for effect. Meeting James Ivory was one of the greatest moments of my movie-loving life an we celebrated the movie extensively right here in 2020. Team Experience wrote extensively about this movie a couple of years ago in this limited series.
What Have I Done to Deserve This? (Pedro Almodovar, Spain)
Yes yes, it’s a 1984 picture but I try to go by US release and/or Oscar submission year unless the dates vary too greatly. I didn’t see my first Almodovar until the international breakthrough of Women on the Verge of a Nervous Breakdown. From then on I was absolutely hooked. For whatever reason though I didn’t get around to screening this one for a long long time. When I finally did see this indelible and nonchalantly offensive comedy in the Aughts, twenty or so years after its release, it knocked my socks off. No description can prepare you for how absurd it all is, so you’ll just have to see it for yourself. With Almodóvar mainstays Carmen Maura, Chus Lampreave, and Kiti Manver all cast to perfection.
Honorable Mentions?
Was 1986 a weak year or have I just not seen enough movies? I admit, sheepishly, that I have not seen Platoon (the only Best Picture winner in the past 50 years that I haven’t seen). Anyway, the closest title to this top ten is Bill Sherwood’s seminal gay indie Parting Glances. As a kid I was also into Ridley Scott’s Legend which premiered in Europe in 1985 and hobbled through an ill-received American release in the spring/summer of 1986 but I dont remember much about it beyond loving Tim Curry’s giant black horns and the costume design / makeup look of a fairie. I also loved Pretty in Pink back in the day.
Oscar vs Nathaniel (though I still have a lot to see)
Picture: Platoon | A Room With a View
Director: Oliver Stone, Platoon | James Ivory, A Room With a View
Actress: Marlee Matlin, Children of a Lesser God | Sigourney Weaver, Aliens
Actor: Paul Newman, The Color of Money | Jeff Goldblum, The Fly
Supporting Actress: Dianne Wiest, Hannah and Her Sisters* | OR Maggie Smith, A Room With a View.
Supporting Actor: Michael Caine, Hannah and Her Sisters | Denholm Elliott, A Room With a View **
Original Screenplay: Hannah and Her Sisters | Hannah and Her Sisters
Adapted Screenplay: A Room With a View | A Room With a View
Art Direction: A Room with a View | Little Shop of Horrors
Cinematography: Platoon | Peggy Sue Got Married***
Costume Design: A Room With a View | A Room With a View OR Peggy Sue Got Married
Film Editing: Platoon | Aliens
Score: Round Midnight | Aliens
Original Song: “Take My Breath Away” Top Gun | “Take My Breath Away” Top Gun ****
Sound: Platoon | Aliens
Sound Effects Editing: Aliens | Aliens
Visual Effects: Aliens | Aliens
Makeup: The Fly | The Fly
* If you accept Dianne Wiest as supporting than yes, give her the win. I go back and forth but today I’m going lead which means it’s Dame Maggie with ease.
** I still have some key supporting players to see and I go back and forth on who is the best male supporting player in '86 but I will say that everyone in A Room With A View is a joy. You could fill the whole Best Supporting Actor list from that movie and I wouldn’t complain very much, though I might be angry to still see Steve Martin snubbed for Little Shop of Horrors.
The cinematography of Peggy Sue Got Married is so lovely
*** Of the Oscar nominees for cinematography, Peggy Sue Got Married is absolutely my choice (wrote about it here). That said I feel the need to shout out Peter Biziou for 9½ Weeks. Whatever you might say about that film -- and people have said a lot -- you can't say that Biziou is anything close to a journeyman. Biziou would win the Oscar for his one and only nomination two years later (Mississipi Burning) but he ought to have been in the mix more. Oscar voters really undervalued him. The Welsh DP is retired now but his filmography which ran from 1969 to 2005 is impressive: Bugsy Malone, Time Bandits, Pink Floyd The Wall, Another Country, A World Apart, Damage, In the Name of the Father, The Truman Show, and Unfaithful among a handful of others.
**** This is the year of "Live to Tell" by Madonna in At Close Range, so that absolutey is a better song than "Take My Breath Away" for Top Gun. But since I haven't seen it in context (I assume it's the closing credits which is always a bummer) I shouldn't vote for it on principle.
Okay, that's a wrap on 1986. Next we'll indulge 1987 for probably too long but wrap up 88 and 89 quickly to close out this time travelling.