The Godfather (parts 1 and 2) may be the top pick for the epic crime genre, but Sergio Leone’s Once Upon a Time in America deserves a mention both for its detailed look at its characters and the enormous scope of the film, covering 48 years of the lives of a few characters. Written and directed by Italian director Sergio Leone (Once Upon a Time in the West, The Good, the Bad, and the Ugly), who had originally been approached to direct The Godfather but turned it down and regretted it for the rest of his life, this was his attempt to recapture some of the greatness that he had passed up earlier in life. The Godfather was a thoughtful film about a crime family, but Once Upon a Time in America has a lot more heart and really shows us the deep connections that formed in the Jewish ghetto of New York City in 1920 and lasted nearly 50 years. This film is not perfect—some of the dialogue is clumsy, the time jumps can be confusing, and the characters are certainly not likable—but this film captures the humanity of getting into, and out of, a life a crime more than any other I’ve seen.
“Nothing I have been told about these people is correct. They are not thieves or beggars. They are not the bogeymen they are made out to be. On the contrary, they are polite guests and I enjoy their humor.”
Dances with Wolves was a huge film in its time, although it’s not flawless. The drama at times borders on melodrama, and the length of the film can cause it to drag in some places. But despite its flaws, this is a film that just works, and it was a major milestone in the Western genre. It was also a major milestone in portrayals of Native Americans in film—a group that has historically had little voice on screen. The Sioux tribe made director and star Kevin Costner an honorary member for his respectful depiction of their culture. I myself am a member of the Tlingit tribe, so this movie is very dear to me as well. The film won seven Oscars, including best picture, best director, and best adapted screenplay, so it caused quite a stir in the film industry as well—which is especially impressive considering the hurdles it had to jump over to be made in the first place. Even with its flaws, this is an epic Western masterpiece that should be watched by everyone.
“Look! We’ve figured it seventeen different ways, and every time we figured it, it was no good, because no matter how we figured it, somebody don’t like the way we figured it! So now, there’s only one way to figure it. And that is, every man—including the old bag—for himself!”
It’s not often that the word “epic” is attached to the word “comedy.” Epics are usually found amongst crime dramas or historical or fantasy pieces and are more serious affairs. But 1963’s It’s a Mad Mad Mad Mad World took that epic formula and effectively brought it to comedy. This was directed by Stanley Kramer (Guess Who’s Coming to Dinner) and stars virtually every name in comedy in the 60s, including older names like Buster Keaton and the Three Stooges (with many only appearing in cameos). And with a runtime of over three hours, this is the Lord of the Rings of comedy. It spawned a number of ripoff epic race comedies in the 60s, though none were as memorable—or as epic—as the original. Is it funny? I’ll admit, there are times when this film feels tedious; its saving grace is that when it works, it really works. This is a fun watch with some very memorable characters and scenes, which is no small feat considering the scope of the film.
“You don’t understand, Jill. People like that have something inside… something to do with death.”
Even after the “spaghetti” Western The Good, the Bad, and the Ugly established Italian director Sergio Leone (A Fistful of Dollars, For a Few Dollars More) as a master of the genre, he still had a lot to offer. Once Upon a Time in the West, starring Henry Fonda, Charles Bronson, and Claudia Cardinale, is another great epic Western on the same level as Leone’s previous masterpiece, and that’s no small feat. Unlike Leone’s original Dollars trilogy, which were mostly about the adventures of wandering gunslingers, this one is a revenge tale that focuses on more stable parts of civilization like a young wife and a railroad tycoon. But even with a home to go back to, there’s plenty of turmoil for the characters here. And Leone is still a master at crafting suspense and general moodiness, so this is a very entertaining Western as well.
“This is very cruel, Oskar. You’re giving them hope. You shouldn’t do that. That’s cruel!”
Schindler’s List is, without a doubt, one of the most important films of all time. If you don’t know, it’s probably the best and one of the most accurate films about the persecution of the Jews in Nazi Germany (and Nazi-occupied Poland) in World War II, and it’s based on real people and events. It’s one I had always known about, but had never seen—partly because I was intimidated by it. The Holocaust is not an easy thing to watch, and I was worried it would be, well, a bit too much. I’m happy to report that, while there were some awful things portrayed, it remains very accessible and I actually loved this powerful film. Director Steven Spielberg (E.T., Jurassic Park) had a tremendous amount of respect for the subject and was careful to make a film that stays true to history, no matter how dark, and honors the survivors, some of whom make an appearance in the final scene. There are some heartbreaking scenes, but this is a truly great film that doesn’t just rely on the historical significance of its subject matter.
“Sextus, you ask how to fight an idea. Well, I’ll tell you how: with another idea!”
It’s hard to tell from today’s cinema landscape, but big Bible epics used to be huge, and the best is undoubtedly Ben-Hur (the 1959 version, not the terrible 2016 remake). Directed by William Wyler (Roman Holiday, The Best Years of our Lives) and starring Charlton Heston, Jack Hawkins, and Stephen Boyd, this is a film that seems simple on the surface but has some big ideas operating behind the scenes. This is a true Bible epic made by a Jewish man intending to present ideas that appealed to people of all faiths. Though slow at times, this film has some of the best action sequences of its time, with one sequence in particular being very impressive even today. While not perfect, this holds up as a great classic epic film with some depth to back up the tension and action, and I’m glad I got a chance to watch it.
“Undisciplined… unpunctual… untidy. Knowledge of music… knowledge of literature… knowledge of… knowledge of… You’re an interesting man, there’s no doubt about it.”
Lawrence of Arabia is widely heralded as one of the greatest epic films of all time, and it certainly is that, but it goes a level deeper with its exploration of heroism. Directed by David Lean (Doctor Zhivago, The Bridge on the River Kwai) and starring Peter O’Toole, Alec Guinness, and Anthony Quinn, this World War I epic captures a unique little corner of history and makes an interesting comment on what heroism really means. This film really embodies what epics are all about, especially considering that this film was released in 1962 and uses all practical effects. It’s stood up well over the years, and this film could hold its own against just about any other epic film out there.
“If I said I was madly in love with you, you’d know I was lying.”
Gone with the Wind is a film that almost needs no introduction. Directed by Victor Fleming (The Wizard of Oz), who took over after George Cukor (My Fair Lady, The Philadelphia Story) was let go, this four-hour epic is widely heralded as one of the best films of all time, and, when adjusted by inflation, it’s the highest-grossing film of all time by a very wide margin—over seven billion dollars in 2018’s money. But I’ll be honest: I didn’t really understand much about it until I watched it today. I’d heard it was a romance, but that’s only partly true; it’s also about the disintegration of the old South and its culture in the aftermath of the American Civil War. And it’s told from the perspective of the Confederacy, showing an interesting, if somewhat misleading, perspective. The idea of a four-hour romance movie initially didn’t interest me, but this film is every bit as epic as it is romantic—which is to say a lot. The scope is grand, the characters are deep, and the conflict is much bigger than one relationship. I’m a little late coming to the party of reviewing this film, but I think this still holds up pretty well today. It really is that good.
“My father taught me many things here—he taught me in this room. He taught me: keep your friends close, but your enemies closer.”
The Godfather was a cultural phenomenon when it came out in 1972 for many reasons. It was extremely well-written, and the cinematography and acting were great. Something that’s lost on modern viewers is how revolutionary the concept was. The Motion Picture Production Code, which was in effect until 1968, prevented things like violence and sex in movies, but it also forbid sympathetic portrayals of criminals. Some movies, like 1968’s Bonnie and Clyde, were quick to make use of this newfound freedom and featured criminals as the protagonists; but none had gone into as much depth as The Godfather. Showing a crime family as a real family, with family dinners and drama, had never been done before.
Two years later, The Godfather: Part II came out and delivered more of the same: fascinating character study and the smallest details of what had become the greatest crime empire in America. Once again directed by Francis Ford Coppola (Apocalypse Now) and starring Al Pacino, Robert de Niro, and Robert Duvall, this is a sequel that’s every bit as good as its predecessor—some say even better. It’s almost required to draw comparisons between the two, so here’s my take: the story was tighter and the quotes more memorable in the original, but the sequel goes into greater depth with the characters and has more emotion. For what it’s worth, I actually preferred the sequel, although both are amazing movies.
“The Ring remains hidden. And that we should seek to destroy it has not yet entered their darkest dreams. And so the weapon of the Enemy is moving towards Mordor in the hands of a Hobbit. Each day brings it closer to the fires of Mount Doom.”
Lord of the Rings: The Two Towers, the second film of the trilogy, picks up immediately where the first one left off. But with the groundwork of the plot and setting laid, it’s able to accomplish a lot more than its predecessor. The first film exuded a sense of wonder and magic as we discovered the world, got a taste of the power of Sauron and the orcs, and saw the heroics of its heroes. In this film, we see the full power of Sauron’s army and see the heroes begin to pull together an army of their own to counter it. The first film was magic and wonder, but this is pure, badass epic action, culminating in what may be the best battle sequence in any movie ever.