Personal Cinematic Masterpieces: Why Some Are Overlooked

It often comes as a surprise when someone vehemently disagrees with the mainstream consensus on a much-admired film. Yet, such disagreements are not uncommon, especially among those who carefully evaluate the nuances of storytelling. In this article, we explore why some films, widely regarded as cinematic masterpieces, fall flat for the very individuals who have devoted significant time and effort to understanding and appreciating cinema.

The Great Film Divide: Citizen Kane

One such example is Citizen Kane by Orson Welles. Despite being widely hailed as a cinematic masterpiece by critics, students, film historians, and industry experts, it was a struggle for me to get into the film. I have watched it several times, both in a film course in high school and as part of my college studies. Yet, I found it to be empty, barren, cold, impersonal, dry, and devoid of any soul.

Orson Welles' Follow-Up: The Magnificent Ambersons

In contrast, his follow-up film, The Magnificent Ambersons, was a different story. I loved it, finding it to be a brilliant work of art. If you recommend that I rewatch Citizen Kane with the hope that it might finally resonate with me, I must politely decline. There's a limit to what rewatching can do when the core sentiment still remains unchangeable.

The Working of Taste in Film: The Gauntlet

While I have a personal fondness for Clint Eastwood's works, I must make an exception for The Gauntlet, his film from 1977. The plot is interesting, with a perfect fusion of elements from Karl Peckinpah's style and Western landscapes, set in the Arizona and Nevada deserts. The story involves a bored and alcoholic cop, Ben Shockley, who has to escort a witness, Gus Malley, to Phoenix for a routine trial. However, he soon finds himself the target of deadly mafia ambushes and his district chief.

Roaring 70s and Transient Politics

It's striking how transient politics and violence, characteristic of the 1970s, influenced the plot. What made this film engaging was the contrast between enforcement of legality and the laws of the land, with the ever-present threat of nefarious power structures. This film is a strong example of Eastwood's ability to weave complex narratives and maintain a captivating atmosphere.

Grappling with Disagreement: Titanic and Other Controversies

Another film that came under scrutiny, especially for its polarizing nature, is Titanic. More recently, films such as Last Tango in Paris and The Cook, The Thief, His Wife, and Her Lover received mixed reviews. The former was described as boring and disgusting, while the latter was labeled as a bundle of sadism without apparent cause.

The Lion King: A Unique Case

The only film I have ever given a full dislike to, out of several thousand watched, is the original animated version of The Lion King. The disappointment came from a specific aspect of the storytelling rather than a broader dislike for the film. In the movie, Simba, the protagonist, fails to figure out and explain that Scar had framed him. This is understandable because Scar's behavior lacks credible motivation, making him a seemingly arbitrary "cartoon villain."

Understanding and Resolving Disagreement

My disagreement with The Lion King, much like the disagreement with Citizen Kane, is rooted in my sensitivity to a particular storytelling cheat: the "cartoon villain" who enjoys their evil nature without any substantial reason. This issue resonates with many, but it's clear that others do not find it as problematic. Hence, the removal of background explanations for characters like Scar may be a strategic choice rather than a mistake. It possibly makes the film more engaging for those who appreciate the open-ended and more dynamic portrayal of characters.

Reflecting on such disagreements is crucial for appreciating the diversity of film preferences. While it's essential to respect the mainstream consensus, personal tastes and critiquing specific elements of storytelling can provide deeper insights into what makes films resonate—or not—across different audiences.