LOCK, STOCK & TWO SMOKING BARRELS (1998) & SNATCH (2000)



The Guy Ritchie formula seems deceptively easy: mix several colorfully bemonikered, slang-slinging con men, lowlifes, and petty criminals with a couple of scary sociopaths, a handful of intersecting scams and a hundred thousand bullets and beat to a pulp. And yet, as deeply uneven films like Smoking Aces (and Ritchie’s own Revolver) have demonstrated, good-natured ultra-violence can be just as tricky to pull off as the doomed get-rich-quick schemes favored by the sub-genre’s hapless anti-heroes. First, there needs to be a good Maguffin, like the antique shotguns in Lock, Stock or Snatch’s 86-carat diamond. Next comes a solid rooting interest (like the indispensable Jason Statham) and a credibly scary criminal kingpin like P.H. Moriarty’s murderous pornographer “Hatchet” Harry Lonsdale or Alan Ford’s psychopathic pig enthusiast, Brick Top. From there it’s all about delaying the inevitable showdown with as many undercard bouts as possible between interesting supporting characters like Vinnie Jones’ relatively nice bad men Big Chris and Bullet Tooth Tony and various allies, enemies and enemies-turned-allies (and vice-versa) played by the likes of Goldie, Benicio Del Toro, Dennis Farina and Brad Pitt's memorably mumbling pikey brawler, Mickey O'Neil. The real trick, though, is taking the material just seriously enough to maintain dramatic tension, while never quite taking it seriously enough to require tortured method acting from, say, Jeremy Piven. (AO)

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4. BUTCH CASSIDY AND THE SUNDANCE KID (1969)



Straddling the line between the revolutionary filmmaking of the 1970s and the tail end of classic Hollywood, Butch Cassidy and the Sundance Kid is one of those movies that isn’t legendary because it’s important, or because it’s meaningful, or because it broke some rich new ground in the language of filmmaking. It’s legendary because it’s funny, fun, and incredibly entertaining. It’s also one of those films where everyone seems to be firing on all cylinders; the sly buddy-western could easily be counted as a career high for Robert Redford, director George Roy Hill and his cameraman Connie Hall, screenwriter William Goldman, and even composer Burt Bacharach. But Paul Newman is the glue that holds everything together: taking on Goldman’s witty dialogue, he gives it just enough of a human, weary edge that it doesn’t seem as over-the-top as it might coming from some actors. Some performers go their whole lives without snaring a part like Butch Cassidy, and others get one, but handle it all wrong. You sometimes hear actors referred to as intelligent, but rarely movie stars; it’s a testament to how bright Paul Newman was that he was handed a role as rich as this one and figured it out immediately, playing it on screen as perfectly as it could be played. This is a real movie star role, and Newman handles it like a real movie star.

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7. CAT ON A HOT TIN ROOF (1958)



Newman's first on-screen brush with Tennessee Williams. (Four years later, he'd star in a hysterical version of Sweet Bird of Youth, and in 1987 he directed Joanne Woodward in a movie of The Glass Menagerie.) It suffers from the requirement that the play be bowdlerized for Hollywood: unless you know the original's big revelation about the exact nature of the relationship between Newman's Brick and his faithful football buddy Skip, you could run this movie backwards and forwards and still end up a little hazy on just what it is that's got the rich boy with the hot wife so pouty. But it gives Newman the chance to show off his Actors Studio chops and make with the heavy Broadway dramatics, especially in the famous showdown about "mendacity" with the doomed, cantankerous father figure, Big Daddy (Burl Ives, looking like a redneck cave troll). And seeing the Adonis-like Newman demonstrate his manly self-control by refusing the increasingly desperate advances of an in-her-prime Elizabeth Taylor must have inspired a compelling mixture of bewilderment and admiration in theaters from coast to coast.

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Notable individuals die all the time, and we react with varying degrees of sadness or indifference when their names appear in the weekly obituary sections of magazines like, say, Entertainment Weekly or Time.

But every now and then, a celebrity death truly shocks us, because we really, truly thought the individual in question had already died sometime in the late ‘80s.

Occasionally, though, we react to celebrity death with the heartfelt regret usually reserved for people we actually knew. I moped around for days after heart failure claimed Glenn “Divine” Milstead in 1988, and the 2006 loss of Robert Altman felt like the passing of a beloved, crotchety grandfather.

Paul Newman outlived them both, surviving to the ripe old age of 83. In fact, by a strange coincidence, Wikipedia just informed me that Newman and Altman were both somehow born in 1925, which simply doesn’t compute in my perceptual reckoning of things. How could Newman be older than Robert Altman, or my father, or...or Robert Redford, ferchrissakes?  Intellectually, of course, I knew he was old: his film career started way back in 1954 with The Silver Chalice, though I always (erroneously) associated him more with the Baby Boomer class of Nicholson and Beatty, thanks to ‘60s and ‘70s classics like The Sting and Butch Cassidy and the Sundance Kid.

Yet, even as Newman aged before our eyes into one of cinema’s grumpy old men in films like Twilight and Road to Perdition, it somehow never registered that he was actually old old. I mean, the man drove freakin’ race cars! How can he be gone while Cheney continues relentlessly on?

Alas...and yet, my Screengrab colleague Phil Nugent has already written a fine memorial tribute to this impressive humanitarian, salad dressing mogul and celebrated paragon of “the Hollywood Elite,” and so we come not to bury Paul Newman but to praise him, and the Top Ten films we’ll always remember him by.

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