3 Films you need to see before you die!

Welcome to the third instalment of ‘3 films you need to see before you die!’ As you can probably anticipate, these lists will be unbelievably subjective and probably challenging for some people to read. With each small collection of films, I hope to shed light on the films that have captivated me in my own life and at the same time trying to sell them as an interest to you!

So, without waffling any further, here are 3 Films you need to see before you die! In my humble and biased opinion.

1. Good Time (2017) Dir. Benny & Josh Safdie

Before the widely acclaimed and brilliant Uncut Gems (2019) the Safdie brothers introduced us to their tense, climactic and ‘edge of the seat’ style of engaging cinema with Good Time. Revolving around the complicated relationship of two brothers, one mentally challenged and the other on the edge of society. After a bank robbery gone wrong Connie Nikas (played by Robert Pattinson) must find a way to protect his brother Nick (played by Benny Safdie), despite all of the barriers that harm him along the way. Good Time moves at such a pace in true Safdie style, you wonder how or if the Nikas brothers will ever come out unscathed. If you want to be unsettled, thrown from pillar to post all in the name of a good film, this is the picture for you.

As you will see from my previous blogs, I never hide my admiration for what Robert Pattinson has become since his twilight days. As Connie he is heartless and frantic in his relentless mission to elude the absurd circumstances, he discovers himself in, somehow slipping through the grasps of the chasing pack. The supporting characters are portrayed exceptionally well, primarily by rookie actors. Nevertheless, they reveal the gritty, immorality of crime and the out of control situations that hopeless young people can find themselves involved in.

As a product of the consistently brilliant A24 production company there is no surprise that the film has a brave, raw, and independent feel to it. You really feel as though Benny & Josh Safdie were able to let loose and have the freedom to make the film that they wanted to make. This independent feel coincides with the breath-taking score, beating and pounding away with an 80’s electronic undertone, Good Time holds you right until the end, and even then, you’re still not sure if you want to be set free. 

The dark, electronic vibes of Good Time fit perfectly within the style of films like Drive (2011), where the protagonists continually fall deeper and deeper into distress. The situation they begin the film in seems a million miles away from the place they find themselves in at the conclusion of the story, plus one key similarity, an exceptional lead figure who you cant help but get behind, no matter how terrible they may seem.

Good Time uncovers a pair of terrific new directors, and an actor understanding his potential and versatility as not just a good actor, but an Oscar worthy actor.

2. Half Nelson (2006) Dir. Ryan Fleck

Following on from The Notebook (2004) Half Nelson was the awakening of Ryan Gosling as the complex, personal and multifaceted actor that we all know today. Depicting a crack cocaine addicted inner city school teacher with a unique, but engaging teaching style. Gosling plays Dan Dunne as the teacher who struggles to cope with personal issues that plague his life outside of the classroom, leading him to find serenity in drugs. Inside the classroom, he excels, especially showing Drey (Shareeka Epps), a young adult who is on the brink of a life in crime that she doesn’t have to follow her peers on the same path. When Drey discovers Dan’s secret drug addiction, their relationship immediately becomes increasingly more personal. 

From an outside perspective, Half Nelson may seem rather dark and unappealing, but I find it to be a deeply powerful comment on the whole idea that you never really know what someone is going through on the inside. Dan feels unfulfilled in his life, emotionally distant from others and essentially lacking love for what he does. His drug habit allows him to forget his shortcomings.

Amazingly, it is drugs that connect them both, as Drey reluctantly gets lured into the world of selling drugs through Frank, a local drug dealer played magnificently by Anthony Mackie. Frank is a complex character like Dan, he isn’t simply a drug dealer, you get the feeling he does genuinely care for Drey, however his method of selling drugs is all that he knows and therefore proves to be a strong barrier to Dan and Drey’s complicated friendship. Through Mackie, Gosling and Epps you are able to understand the complex challenges that plague inner city areas of America. 

What makes Half Nelson so valuable is how clearly you can see that Dan wants to help Drey, but he is barely a role model. Gosling's portrayal of the charismatic but flawed teacher is outstanding, poignant in the way that we cheer for him despite his constant path into turmoil.

Addiction is sometimes unavoidable, whether it is yourself or someone close to you, no matter what your addiction is, you will find this film touching. It is not about the motives that lead to an addiction or the revival, it is about understanding the impact it has on you, and the scarring effect it has on the people you love. 

3. The Watermelon Man (1970) Dir. Melvin Van Peebles

Most films for established directors in the 1960’s took around 40 – 50 days to film, Melvin Van Peebles was given just 23 days, setting him up for failure. So, he shot it in 21. A man who understood first-hand the injustices of racism, Melvin Van Peebles’ The Watermelon Man is the story of a racist white man who one day wakes up as a black man in 1960’s America. The film is magnificent in shedding light on the disparities and challenges that black people have faced and continue to face now compared to equally qualified white people in simply existing as a valued a member of society. As systemic racism is an issue that has stained society all over the globe, The Watermelon Man offers an insightful probe for white people to understand the realities of systemic racism, doing so through characters and formats that are not preachy, or patronizing, but eye-opening and constructive. 

Godfrey Cambridge plays Jeff Gerber, the bigoted, casually racist insurance chap who suddenly wakes up one day as a black man. Van Peebles teases you at the beginning with Gerber taking to his new life change with satire and jokes. Nonetheless, as the film moves forward and he becomes more comfortable as a black man, a massive upheaval begins in his life. His bigoted friends no longer accept him, His wife no longer loves him, and he gradually becomes pushed out of his job. As a white man he was accepted, as a black man he was subtly pushed out of the society he once associated himself as a part of, without being able to fight back.

The Watermelon Man proved to be one of Godfrey Cambridge’s best pieces of work until his untimely death in 1976. The broad comedic approach taken by Van Peebles suited his natural charm and wit down to the core, but it was Cambridge’s ability to turn a heartfelt and emotional elegance to his already memorable performance which makes The Watermelon Man so effective. 

The score is ironic, well known and fun which helps to drive the ‘on the surface’ comedic energy to protect the films deeper messages. Once again, a masterstroke by the impressive Van Peebles. The most solemn thing that dominates my thoughts from this is the fact that Van Peebles never really got the chance to direct many more Hollywood feature films due to him being considered ‘too controversial’ to be able to take the reins. This for me is a tragedy as his clever blend of comedy and a striking use of emotion is not only rare but much needed now and forever.

Dated of course, but The Watermelon Man can provide a unique viewing experience if you are willing to give it a chance. Just like the other two films I have mentioned, it is definitely a film you need to see before you die.