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- <text id=90TT0037>
- <title>
- Jan. 01, 1990: Cinema:Best Of The Decade
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1989
- Jan. 01, 1990 Man Of The Decade:Mikhail Gorbachev
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- CINEMA, Page 101
- BEST OF THE DECADE
- </hdr>
- <body>
- <p> Raging Bull (1980). Realism so intense it transcends and
- transforms the ugly banalities of boxer Jake La Motta's life.
- The talents of Robert De Niro and director Martin Scorsese turn
- the film into a crazy-angry vision of the American Lower Depths.
- </p>
- <p> E.T. the Extra-Terrestrial (1982). All of Steven
- Spielberg's gifts--his narrative gusto and suburban wit, his
- technical finesse and an emotional directness that buoys the
- heart--blend sublimely in this fable of intergalactic
- friendship. One of the greats.
- </p>
- <p> The Purple Rose of Cairo (1985). The middle film in Woody
- Allen's splendid trilogy about American celebrity dreaming. It
- shares Zelig's technical and narrative virtuosity and Radio
- Days' insinuating nostalgia, but suffuses them with a unique
- spirit--a sort of cautionary romanticism.
- </p>
- <p> Prizzi's Honor (1985). John Huston's favorite country was
- the social margin, where improbable characters pursue
- impossible dreams. A hit man (Jack Nicholson) and a hit moll
- (Kathleen Turner) seek love and find death in a film that
- deliciously combines operatic emotions and black comedy.
- </p>
- <p> Out of Africa (1985). Sydney Pollack's romantic adventure
- movie showed that Hollywood could still make 'em like it used
- to, with as much power and more subtlety. Meryl Streep had her
- most popular role as author Isak Dinesen, her restless heart
- liberated by the untamed beauty of Kenya.
- </p>
- <p> Brazil (1985). The movie too good to be seen! That's what
- Universal Pictures suggested when it hedged on releasing Terry
- Gilliam's apocalyptic satire about a man caught in the vise of
- bureaucracy. The studio couldn't see that Brazil does
- brilliantly what movies do best: create teeming, coherent worlds
- beyond our imagining.
- </p>
- <p> The Fly (1986). Adults need bedtime stories too. This one,
- about a man who turns into a huge insect, was the decade's
- scariest. And the most affecting, because director David
- Cronenberg made it a parable about how little we know of the
- people we love, and how much we still love them as they slip out
- of their control and ours.
- </p>
- <p> Blue Velvet (1986). Deadpan humor and deadpan violence in
- small-town America. If Sinclair Lewis and Mickey Spillane had
- collaborated on a Sandra Dee movie, they might have created a
- dreamscape something like writer-director David Lynch's--vivid, dislocating, utterly original.
- </p>
- <p> The Last Emperor (1987). And, arguably, the last movie
- epic, for its hero is the prisoner of world events, not the
- shaper. With sumptuous visual intelligence, director Bernardo
- Bertolucci created a poignant tale about the last Emperor of
- China--the poorest little rich boy in the world.
- </p>
- <p> Wings of Desire (1988). The Berlin Wall--the one that
- divides not just East and West, but fantasy and documentary,
- high art and popular art--comes crumbling down in Wim
- Wenders' heartaching fairy tale. See it, concentrate, and be
- astonished.
- </p>
-
- </body>
- </article>
- </text>
-
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