In attempting to chart my life in films I realise that if I wrote this piece again tomorrow then there is a high probability the films would all be different. From the matinees I watched as a child on a Saturday afternoon to the arthouse movies I now stream at home, my love of cinema knows no bounds. Be it Italian neo-realist films, American road movie dramas or contemporary African cinema it’s all there to be enjoyed. It is a real challenge to capture the influence of cinema on my life over many decades, but here goes.
Night of the Hunter (1955)
Dir: Charles Laughton
I first saw this film as a child, lying on the rug in front of the fire with my head propped up on my hands. I was both transfixed and terrified. Hollywood titan Robert Mitchum plays a serial-killing con man who preys on a widow and her two children with a menacing and terrifying on-screen presence. Famously Mitchum has the words ‘love’ and ‘hate’ tattooed onto his knuckles, something he uses to great effect as he pretends to be a preacher and charms his way into an unsuspecting, God-fearing community. Initially a critical and box-office flop, looking back now the cinematography feels way ahead of its time. Heavily influenced by German Expressionist cinema, Night of the Hunter has a surreal, dream-like quality which, along with its impressive soundtrack, enhances the nightmarish feel of the film.
Cathy Come Home (1966)
Dir: Ken Loach
Film director Ken Loach has been making social-realist films for over 60 years, focusing on the working class and the social issues they deal with. His work makes visible those who are often marginalised or without voice in society. Cathy Come Home was one of Loach’s earliest productions, using a docu-drama style to highlight issues of social welfare, homelessness and family breakdown. The film still has the power to shock to this day, and it remains heart-wrenching to see the effects of an uncaring and bureaucratic system on Cathy and her family. When it was first broadcast the drama had such a powerful impact on its audience that it was widely discussed in society and even led to questions in Parliament. Cathy Come Home shows the potential of film to bring about societal change, though Loach himself commented afterwards that it achieved little in reducing homelessness.
Goodfellas (1990)
Dir: Martin Scorsese
My all-time favourite, Goodfellas, just gets better with each viewing. The triumvirate of Ray Liotta, Robert De Niro and Joe Pesci is a gangster match made in heaven, but for me it is Liotta’s performance as Henry Hill which makes this the best Mafia movie of all time. His performance shows a skilful mix of naivety, aspiration and loss of control as he becomes entrenched in the mob lifestyle and his world spirals out of control. Hill’s final betrayal of fellow Mafia members and friends highlights just how much his character has changed over the course of this tale of masculinity, immorality and the corrupting nature of power. The powerhouse of the three co-protagonists is only enhanced by Scorsese’s cast of talented supporting actors, many of whom conducted extensive research in preparation for their roles. The innovative camera angles, inspired soundtrack and razor-sharp dialogue undoubtedly make Goodfellas one of cinema’s most achingly cool, all-time greats.
In the Mood for Love (2000)
Dir: Wong Kar-Wei
For me, In the Mood for Love remains one of the most romantic films of all time. It is a lush tale of unrequited love between Tony Leung and Maggie Cheung, who come to realise that their respective spouses are having an affair. Spending more time together, they develop strong feelings for each other—but a series of missed opportunities means that, ultimately, they remain apart. The camerawork is exquisite and the eclectic soundtrack, along with outstanding performances from the two leads, make this a film that I return to again and again. Its power to move me never diminishes.
Red Road (2006)
Dir: Andrea Arnold
Everything that Andrea Arnold has directed is worthy of mention, but one of her earlier films Red Road, stands out for me. Set in Glasgow, this psychological thriller tells the story of a CCTV surveillance operator Jackie. One day whilst checking her cameras she sees a man whom she clearly knows. She then uses her work to track his movements around the city. It is left to the audience to work out their connection, though we do learn that the man, Clyde, has recently been released from prison. The plot is intelligent and complex and builds suspense right until the end, when we finally learn how Jackie and Clyde are connected. Kate Dickie as Jackie gives a compelling performance and all the characters are well-rounded and credible. Arnold’s approach to her characters and their complicated lives is both sensitive and humane, making Red Road pack a powerful emotional punch.
Alcarràs (2022)
Dir: Carla Simon
This beautiful film centres on the extended Solé family, who for generations have been peach farmers in Catalonia. The family have a close affinity with nature and the land, the scenes when they are harvesting the fruit are sumptuous, filled with sunlight and warmth. However, the family are not making a profit, and a local businessman is exerting pressure on them to replace their peach trees with solar panels and retrain as solar engineers. The family is divided on what to do, with the patriarch Quimet outraged that his way of life is being threatened. However, his son, sister and brother-in-law are all more willing to consider the deal. Simon uses the Solé family as a lens through which to explore the effects of big business and capitalism on rural communities and their livelihoods. It makes for uneasy viewing. The performances of the child actors are astonishing, their innocence, juxtaposed with the encroaching threat of big business, giving a vivid sense of how a simple, seemingly idyllic way of life can disappear.
Honourable mentions: Rebecca (1940), The Marriage of Maria Braun
(1979), Moolaadé (2004), Lover’s Rock (2020), All We Imagine as Light (2024)
Words by Penelope Johnson
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