Top 5 Reasons I Love Going to Movie Theaters

During the past decade, there have been so many new outlets for watching movies beyond going to the theater. Some bloggers even maintain excellent sites while barely seeing any films on the big screen. The number of times I visit the theater has decreased considerably during the past few years. That relates more to a busy schedule with work, home, and school than an ideological shift. I've discovered that getting fewer chances to visit my local movie houses actually makes this event feel more special. When you're only catching a movie or two in the theaters each month, it adds an extra touch to each visit. It's true that there are more distractions than ever at the theater. Commercials blare on the screen before we even get to the preview. Kids (and adults) play on their cell phones and chatter loudly with little regard for anyone else's enjoyment. The prices for tickets and concessions have risen sharply, and 3D and IMAX bring extra charges on top of it. Even with all these obstacles, I still really enjoy watching movies on the big screen. I'm taking a positive approach this week, and I've provided five reasons why it still works for me.

5. Trailers
This choice is tricky because it could show up on reasons for not wanting to visit theaters. I'm not someone who spends hours scouring the Internet for the latest trailers. Even this year, the first time I caught the previews for The Dark Knight Rises and Moonrise Kingdom was at the theater. It's still an amazing feeling to watch an exciting trailer for a highly anticipated film for the first time. I really try to avoid reading too much about a movie before I see it, so these clips can really raise my interest (or kill it). Theaters sometimes go overboard and show too many previews, but they're still a cool part of the experience.

4. Community Experience
When I speak about the "community experience" of seeing a movie, I'm not just referring to the atmosphere of seeing a new film in a packed house with an excited audience. That feeling is part of it, but it can also be a double-edged sword when comfort takes a back seat. What I've referring to is catching a movie with family or friends and just having a great time. I have no problem going to the theater by myself, and there are benefits of going that route. However, it's also fun to share this experience with others. Grabbing a drink and discussing our reactions after catching a film just adds to the fun.

3. Old or Renovated Movie Houses
Home theater technology has improved dramatically in recent years, and it doesn't take a fortune to build a solid system. Even so, it still doesn't compete with visiting a well-designed theater. I'm not referring to the giant multiplexes with 30 screens. These are smaller venues with just a few screens that have character. A great example in St. Louis is the Hi-Pointe Theatre, which is located right in the middle of the city. It can't compete with the big guns with technology, but it makes up for that fact with old-school charm. The single-screen theater is also locally owned, which is pretty rare these days. I also really enjoy the Tivoli Theatre, a renovated old movie house that's one of the most comfortable places to see a film. It has two small theaters that are nice, but the true draw is the giant center theater. Finally, there's the Moolah Theatre, which is easily my favorite place to see a movie in town. This massive single-screen location (pictured above) was once a temple and now offers a nearly perfect environment. The downstairs area has leather couches for a relaxing setting, but the best viewing spot comes from the balcony.

2. No Distractions
When I talk about theaters having no distractions, I'm not referring to the many obstructions from others who don't care as much about the viewing experience. Instead, what I mean is the lack of the other activities at home that draw my attention when I'm checking out a movie. Even when I'm trying to focus, it's easy to get sidetracked by the computer, my phone, and conversations at home. In a dark theater, I'm just watching the movie and giving it my full attention. While the idea of "forgetting your cares" is a cliche, it also is partially true because I'm separated for at least a few hours from everything. It's a lot easier to get sucked into a story when the other parts of my busy life aren't so readily accessible.

1. The Spectacle
With all the other entertainment options out there, few can compete with the spectacle of seeing a great movie on the big screen. When a master filmmaker has us in the palm of his hand, the effect can be magical. The routine of joining a group of strangers to see something amazing is really hard to match. Theater owners may try their best to ruin the spectacle by adding loud commercials and leaving the lights on during previews, but the excitement remains. I know this feeling isn't shared by a lot of moviegoers. It's just another way to pass the time when they're not working or doing other pursuits. In some cases, that's all a movie is, and there's nothing wrong with that. When a film goes beyond that level, it's hard to describe how well it works. This achievement doesn't happen every time, but it still affects me when everything comes together.

I'd love to hear your thoughts about this list. What draws you to the movie theaters? You should also check out the archive of past Top 5 Lists if you've missed them.

List of Shame Marathon - Continuing Series: Wild Strawberries (1957)

One of my serious blind spots in terms of legendary directors is Ingmar Bergman. The Swedish filmmaker created more than 60 films during a career that spanned more than 50 years. Woody Allen even cites him as "probably the greatest film artist". Before this viewing, I'm sad to admit that I'd seen only three other Bergman films, The Seventh Seal, Persona, and Fanny and Alexander. These are considered among his greatest pictures, along with this month's pick for the List of Shame continuing series. I knew little about Wild Strawberries beyond its description, which seemed to promise a dreary look at regret and death. Would it live up to these expectations? The answer lies below with my responses.

Wild Strawberries – Directed by Ingmar Bergman; Starring Victor Sjöström, Bibi Andersson, Ingrid Thulin, Gunnar Björnstrand, Jullan Kindahl, Folke Sundquist, and Björn Bjelfvenstam

So, what's this story about?
Dr. Isak Borg (Victor Sjöström) is heading back to Lund University to receive an honorary degree. The 78-year-old man is a serious guy who has strained relationships with his son Evald (Gunnar Björnstrand) and his daughter-in-law Marianne (Ingrid Thulin). She joins him for the car ride back to Lund from Stockholm, and they pick up several groups of passengers along the way. During this journey, Isak reflects on his life and experiences lucid dreams about his own death and guilt about the past. He remembers key moments from his youth and realizes how difficult he's become as an old man. While reliving the past is tough, he also starts learning what it truly means to be alive.

Why has it taken me so long to see this movie?
I hate to say it, but I've avoided much of Bergman's work because it seemed pretentious. This isn't a fair way to look at any filmmaker, especially when I've only seen a short group of movies. However, it does play a role when I'm picking which film to check out. Another barrier was the story, which promised a depressing experience. Here's the one-line description from IMDB: "After living a life marked by coldness, an aging professor is forced to confront the emptiness of his existence." This isn't the type of choice for a rousing Friday night viewing. Right from the start, it was pretty clear that my assumptions were false. It does focus on sad topics, but the story is fascinating and full of interesting moments.

Does the story hold up well today?
Wild Strawberries works because it's tackling universal themes of guilt, love, and fear of death that everyone can understand. Isak is a more serious guy, but I can see a little of myself in the way he looks at the world. Another positive is the surreal tone of the dream sequences, which bring a modern feeling to the story. The first example is the most eerie sequence and shows Isak in a world where clocks no longer have hands. He passes a man with no face and then confronts his mortality directly by seeing his own body. Using virtually no dialogue, Bergman cleverly presents Isak's greatest fears. It's a tense and strangely quiet scene that wouldn't seem out of place in today's films. Bergman doesn't overplay the shock moments and lets them play out slowly and enhance their effect on the audience.

Are the characters believable and fully drawn?
There are a limited number of characters in this movie, and the central figures are developed well. Isak is basically a static figure, but Sjöström must use subtle changes to indicate the evolution of his worldview. This was the final performance for the long-time actor, and he never misses a beat. The final shots of his face are pitch-perfect and convey all we need to know without a single line of dialogue. The revelation here is Ingrid Thulin, who brings great depth to the difficult role of the daughter-in-law. Marianne spends much of the story holding a big secret, which helps to explain her cold behavior towards Isak at the start. Her world-weary look contrasts sharply with the energy of young Sara (Bibi Andersson), who's full of life and ready for anything. She joins their drive along with her hithchiking buddies Viktor (Björn Bjelfvenstam) and Anders (Folke Sundquist). This trio plays a key role in reminding Isak (and Marianne) about what he's been missing.  The only false note comes from the brief appearance of Evald. He seems too obviously nasty and lacks the extra dimensions of the others. His thin role is likely by design from Bergman but hits the point too clearly.

What are some of the most memorable scenes?
Wild Strawberries has plenty of great scenes, particularly during the dreams. Along with the opening sequence mentioned earlier, there's an intriguing examination where Isak's subconscious nags at him about his guilt. We observe a key moment where he watched his wife cheating on him and start to understand his current state. This isn't the type of guy who can move forward and forget the past. Isak may be through with the past, but the past isn't through with him. Back in reality, the final act includes heart-warming moments that feel earned. He shares a tender moment with Marianne that shows how much each has learned about the other. The hitchhikers (particularly Sara) leave on just the right note and have clearly affected him. Another interesting scene involves the arrival of a married couple who fight constantly. Their bickering seems charming at first, but it quickly devolves into something much nastier. We don't know it at the time, but the connection to the relationships of both Isak and Marianne is too much for them to take. Without hitting us over the head, Bergman makes a key point that even the most promising relationship can reach this torturous level.

How does this beloved film live up to the hype?
Although I've read plenty of great things about Wild Strawberries, it isn't the type of movie people rave about constantly. I wasn't sure what to expect, which made the experience even more rewarding. I'm not sure that I'm ready to embark on a Bergman marathon, but I would like to check out more of his films. There's so much to like with this movie and it's more accessible than his other films that I've seen.  I really felt the heart in this story and enjoyed watching Isak start to fix his life. There's still a question on whether this will change him over the long term, but he's definitely on the right track to a better life.

Readers' Choice Marathon: Gone in 60 Seconds (1974)

It's hard not to love a great movie car chase, and there have been many thrilling scenes over the years. Recent examples have raised the stakes and used better effects, but it's hard to top the intense pursuits in Bullitt and The French Connection. Those sequences placed us directly in the car and sent us hurtling through the streets of San Francisco and Chicago, respectively. While a kick-ass chase can lift a mediocre film to greater heights, it really helps to be invested in the characters. If we don't care about their success, then we're just enjoying an exercise in style. That approach isn't necessarily a bad thing, but the lack of emotional stakes drops the scenes a few notches on my list. I haven't seen the 2000 remake of Gone in Sixty Seconds, but I suspect that many people aren't as aware of the low-budget 1974 original. For this Readers' Choice Marathon, Joel Burman of Deny Everything passed along a cool list of interesting movies. I choice this one because I'd heard raves about its high-octane chase. Joel is also the Shepard of the LAMB (Large Association of Movie Blogs) and does an amazing job running the show there. You should definitely visit both sites right away. Let's check out the questions!

Gone in 60 Seconds – Directed by H.B. Halicki; Starring H.B. Halicki, Marion Busia, Jerry Daugirda, and James McIntyre

So, what's this story about?
Maindrian Pace (H.B. Halicki) works on the level as an insurance investigator, but he also lives a double life as a car thief on the side. He takes on a daring job from a South American drug lord to steal 48 unique car models in five days. This seems like an impossible task, but the prize for completing this job is $400,000, so it's worth the risk. Pace has a certain code that requires that all the cars he steals are insured, which makes the job a lot trickier. The heist appears to be going really well, but nabbing the final car might be a different challenge. Attempting to grab this yellow Mustang sends Pace on a high-flying chase through Long Beach and the surrounding counties as the cops feverishly pursue him.

What are the major themes, and how do they connect to the key issues of that time?
Gone in 60 Seconds is not the type of movie that requires much delving into deep themes. We briefly meet the members of Pace's team and learn the basics of the plot, but there's little that's very interesting during that time period. There are some clever ways that the guys steal the cars that involve trickery more than superior lock-breaking skills. Drivers sometimes just leave the keys inside their vehicles, which makes it way too easy for the thieves to succeed. Having Pace only steal cars that are insured as an interesting touch, especially since he actually returns cars because they don't fit this rule. It makes him seem a bit more honorable, but he doesn't seem to mind creating serious havoc while zooming through the streets. This movie's all about showing the car chase, and the rest is mostly filler to prepare for that sequence.

Are the characters believable and fully drawn?
Although there are some oddball characters, they're not important to Halicki in this story. He tries to create a world of car thieves and other hoodlums, but it's again just a set-up for the final showdown. The most engaging character is Pace himself, and some of that is due to Halicki's more believable performance. He's still pretty flat, but he's memorable in comparison to most of his buddies. His girl Pumpkin (Marion Busia) is thin and spends the entire movie hanging out in the office and answering phones. We're pulling for Pace to escape the cops in the end to extend the chase, but I didn't really care if he actually finished the heist.

What are some of the most memorable scenes?
The definitive reason to see this movie is the 34-minute car chase, which is the longest is movie history. After a long set-up, the excitement picks up when the pursuit begins. Pace is driving the yellow 1973 Mustang Mach 1, known as "Eleanor". I enjoyed the touch of having each type of car known by a different woman's name, though it was a bit confusing at first. Many cop cars are destroyed during this chase, which is worth the price of admission. Even more interesting is what it took Halicki to pull off this sequence. He bought the police cars and other city vehicles at an auction for $200 each, which  made it a lot easier to destroy them. His style of putting the cameras right inside the cars also leads to a lot of intense moments, particularly as the stakes rise near the end. This is maverick filmmaking at the highest level, which gives it a different feeling than modern chases. The closing jump by Eleanor is a remarkable stunt and remains impressive when viewed nearly 40 years later.

How’s the direction? Is there an original vision?
Halicki (The Junkman) was involved in every aspect of this movie and served as the director, producer, and star. He even did his own stunts during the car chases. The entire production is definitely his vision, which served the driving scenes very well. The downside is that he cares little for the other parts and didn't even prepare a script for most of it. The non-professional actors improvised and did their best, but it's clear Halicki only really concerned about the big sequence. Sadly, he died in 1989 while filming a car chase for the sequel to this movie. It's a tragic end to an original guy, but it seems strangely fitting given his approach to this movie. He shoots the chase scenes well and understands how to make that action work. He just can't find a way to make the rest of the movie even passably engaging.

Would I recommend this film to another friend?
Gone in 60 Seconds is one of those tricky movies where you really need to know your friend before recommending it. Some viewers will drop out before we even get to the car chase, which occupies the final act. If they aren't interested in cars and action, they shouldn't even bother. The entire draw of this movie is this sequence, which is pretty awesome. That said, I'm still unsure if I liked it on the whole. It was worth seeing for the chase, but does that make the movie a success? If Halicki had even spent a little bit of time on the characters, it would have made that scene even more thrilling. I'm curious to see if the remake tries to fix that issue and can even come close to matching the big action moments. I'm planning to check it out later this summer.

Next week, I'm heading out to France to check out my wife Erin's pick of Micmacs.

The LAMBcast: Franchise Look-back - Jurassic Park

The Jurassic Park franchise is one of the rare examples of a series that showed a huge creative drop-off between the first and third movies. Even the difference between the original and its first sequel is extreme. Regardless of the quality of the follow-up movies, we discussed all three in detail on the LAMBcast this week. We also briefly talked about the fourth movie, which has been announced and may arrive in the next few years. With the regular hosts Nick and Dylan unable to appear, I took over and hosted the festivities this week, which was a personal first for me. Thankfully, I had a great group on hand to share their expertise and bring a lot of fun to this podcast. Joining me were Fogs from Fogs' Movie Reviews, Lindsay from French Toast Sunday, Ryan from Lord of the Films, and Mike from Man I Love Films. We had a great time dissecting the three Jurassic Park movies and digging through the positives and negatives of each one. Check out the latest episode of the LAMBcast and let me know what you think!

Top 5 Films of 1988

Connecting a  Top 5 List to this week’s post about Grave of the Fireflies was difficult. I’ve already covered Japanese films and anime, so I decided to focus on the excellent year of 1988. There was a good mix of big-budget and smaller films during that year, which occurred during the prime of the blockbuster. There still are plenty of movies that I haven’t seen yet from 1988, particularly independent and foreign films. The five (actually seven) picks come from the approximately 30 choices that I’ve caught so far. I’m pleased with this list but realize it’s obviously incomplete. Examples of movies that I haven’t seen yet include The Accused, Gorillas in the Mist, Rambo 3, Another Woman, and Action Jackson. I’m expecting a scolding below in the comments section for not checking out the Carl Weathers action thriller. Let’s check out the list to see what else is missing!

Honorable Mention: Beetlejuice, The Last Temptation of Christ
Tim Burton’s highly original comedy Beetlejuice is definitely a movie that I need to revisit soon. I watched it a few times years ago but expect I’d enjoy its dark humor even more today. Michael Keaton is nearly unrecognizable as the nasty title character that remains an iconic figure today. Living in a much-different realm is Martin Scorsese’s epic and controversial look at the life of Jesus Christ. Although it angered some viewers, I believe it’s one of the most convincing stories of Jesus ever put on screen. Willem Defoe does a remarkable job in the role and shows us the human side of the holy figure.

5. They Live
I adore much of John Carpenter’s work, and his run during the ‘70s and ‘80s includes a series of classic movies. One of my favorites is They Live, which stars Roddy Piper as a drifter who discovers the existence of aliens by pure chance. Sunglasses reveal their hidden presence in our world and the subliminal messages that keep humanity subservient. Functioning both as a dark comedy and as a convincing sci-fi thriller, it includes one of the great hand-to-hand fights in movie history. Piper and his buddy played by Keith David use all types of wrestling moves in a battle that goes on for a very long time. Carpenter use this genre film to attack the excesses of Reagan-era greed and delivers a highly entertaining movie.

4. Grave of the Fireflies
I watched this tragic story from Isao Takahata this week, and it already ranks among the most powerful war movies that I’ve seen. Instead of focusing on the soldiers, Grave of the Fireflies gives an intimate look at a teenage boy and his four-year-old sister trying to survive after their mom is killed. Even if they avoid the firebombing, the larger threat is malnutrition because resources are so thin. It’s an extremely sad movie, but there are moments of beauty and grace that keep it from becoming too morose.

3. Big
This Penny Marshall comedy is incredibly charming and includes one of Tom Hanks’ classic roles. He’s the perfect choice to play a 12-year-old trapped in a 30-year-old’s body, and the story never hits a wrong note. This is one of those movies that you can watch over and over and still enjoy because it’s such a fun experience. Classic movie moments like playing the giant keyboard with Robert Loggia at FAO Schwartz still work, and the romance is strangely effective. It’s a bit creepy when you think about it, but Marshall never delves too far into that realm of the story. It’s a fairly tale with plenty of humor that works because of Hanks’ wonderful performance. I really wish he could find another truly funny role soon (Larry Crowne doesn’t count) that really takes advantage of his comic skills.

2. Die Hard
Plenty has been written about the effect John McTiernan’s classic action film had on the genre. It spawned numerous imitators that took the premise and transferred it to a cruise liner, a train, a plane, and even a high-tech prison. It also differed from the huge-muscled action stars like Stallone and Schwarzenegger and presented a regular guy as the lead. The diminishing creative returns of the sequels don’t take away from just how awesome the original still is today. Along with providing great action and a star-making performance from Bruce Willis, it also functions as an excellent heist film. Alan Rickman’s Hans Gruber is one of the great movie villains, and the combination of humor and action works perfectly.

1. Eight Men Out
This one is a sentimental pick because of my love for John Sayles, but it also stands up really well as an excellent film. It’s my favorite baseball movie and contains a stellar young cast with John Cusack, David Strathairn, D.B. Sweeney, and even an understated Charlie Sheen. The story of the Black Sox scandal avoids the typical clichés and doesn’t condemn the players as obvious villains. Instead, it presents the reasons why a group of them decided to throw the series and the corruption involved in the sport. It’s a fascinating film that’s also really entertaining, which is a tricky combination. The period styles are excellent too, and Sayles creates a convincing look at the early days of baseball.

I'd love to hear your thoughts about this list. What are your favorite movies of 1988? You should also check out the archive of past Top 5 Lists if you've missed them.

Next week, I'll continue the Readers' Choice Marathon with the original Gone in 60 Seconds, which does not star Nicolas Cage.

Wong Kar-Wai Wednesdays: Happy Together (1997)

One of the main reasons I decided to dig further into Wong Kar-Wai's filmography was my enjoyment of the wonderful In the Mood for Love. That 2000 film includes a minimal number of characters and depicts unrequited love in a fascinating way. He delves into their personalities with minimal dialogue and a surprising lack of melodrama. I mention this because this post focuses on a similar film in terms of its focus on a few individuals and a difficult romance. The tone is very different this time, however. Happy Together shows two guys who are together but unhappy and don't even seem to get along very well. However, they seem to repeatedly drift back towards each other despite these differences. Released in 1997, it steps back from the more stylish presentation of Fallen Angels and takes an intimate look at struggling characters. Did I have the same type of glowing reaction to this story? Let's check out the questions and find out the answer!

Happy Together – Directed by Wong Kar-Wai; Starring Leslie Cheung, Tony Leung Chiu Wai, and Chen Chang

So, what's this story about?
Lai Yiu-fai (Tony Leung Chi Wai) and Ho Po-Wing (Leslie Cheung) have traveled to Argentina from Hong Kong and seem happy there. The two guys quickly devolve into bickering and break up, but this is just the beginning. Lai takes menial jobs as a doorman or in a kitchen, while Ho goes out at all hours and picks up other men. Their relationship is dysfunctional and seems ready to dissolve permanently at any moment. Working at the kitchen, Lai befriends Chang (Chang Chen), a Taiwanese guy who seems interested in becoming better friends. He might offer respite from the volatile Ho in this foreign environment.

What are the key themes of this film?
Although the focus is the degeneration of a relationship, Happy Together also shows the loneliness felt by characters living far from home. It's never stated explicitly, but we never really see Lai content until he heads back towards his country. Ho is his one connection to Hong Kong, and once that tie is severed, he drops quickly into a sad state. Kar-Wai's characters regularly feel out of place in their surroundings, even when they're living closer to home. They've often lost the ability to truly connect with other people. Lai discovers a friendly soul in Chang, but he's guarded and isn't sure how close to get. He also isn't sure about Chang's sexuality and is trying to avoid an awkward conflict. Lai repeatedly holds back and avoids the major issues, which is why he keeps letting Ho re-appear in his life. 

Are the characters believable and fully drawn?
The three main characters all have depth and avoid falling into a specific type. We spend the most amount of time with Lai, which aligns our sympathies with his plight. It also helps that he's played by Leung, who's very likable. Even when he's treating others poorly, we typically side with him. On the other hand, it's really hard to find anything to like with Ho. He drops Lai when he gets bored and then comes back to him when he falls into hard times. He's young and wants to party with other guys but needs the security. Ho takes advantage of Lai and doesn't seem to realize the harm he causes. It's only when Lai's finally left that his sad state makes sense. Cheung plays this scene really well and knows how to play this type of character. Ho's behavior has a lot of similarities with the self-centered Yuddy in Days of Being Wild.  The energy picks up after Chang arrives on the scene. He brings life that's missing from the central relationship.

What are some of the most memorable scenes?
This film gets off to a pretty slow start and meanders for a while, and the best scenes generally appear in the second half. The most effective sequence involves Chang's last night in town. He guzzles many beers with Lai at a local club, and they're just hanging out and having fun. A surprising moment comes when Chang hands over his tape recorder and asks his friend to leave him a message. All of Lai's bottled emotions come out as he tries to express his feelings, and he can't do anything but cry. Leung plays this moment perfectly and doesn't overplay the raw emotion. The final act following this scene is excellent and really lifts the movie as a whole. Lai goes to the massive Iguazu Falls, while Chang visits a lighthouse at the lowest point in South America. The momentum builds towards an convincing finale that lacks the claustrophobia of the opening act.

How does this movie fall within Wong Kar-Wai's career?
Happy Together ranks in the bottom half of the Kar-Wai films that I've watched thus far, but there's still plenty to like. I've yet to mention the consistently stunning work by Cinematographer Christopher Doyle, who frequently collaborates with Kar-Wai. The story opens in black-and-white, which enlivens the frustrating early scenes with Lai and Ho. When it transfers to color, it loses none of its effect despite some mediocre sequences. Kar-Wai is focusing on the darker side of ongoing relationships that can't seem to end despite the obvious problems. The characters are believable, but their interactions lack the crackle of his best work. It's definitely a noteworthy film in his career and worth seeing, but it's missing those extra touches that would place it on the upper tier.

Next week, I'm on my way to the future to check out 2046.

The Ten: Best Actresses of All Time Relay Race

Squasher 88 at Film Actually has been kind enough to ask me to take on the next leg of the Best Actresses of All Time Relay Race. This series was initiated by Nostra at My Filmviews and now includes the efforts of five other film bloggers. I'm proud to join the fun and look forward to seeing where this list goes as it travels to many knowledgeable sources. Here are the entries from the other participants so far:

My Filmviews
The Velvet Cafe
Martin Teller
The Movie Review Warehouse
Benefits of a Classical Education
Just Another Movie Blog
Film Actually

Here are the original rules for this relay race from Nostra:

"I’ve created a list of what I think are the best actresses of all time. At the end of the post I, just like in a real relay race, hand over the baton to another blogger who will write his own post. This blogger will have to remove one actress (that is an obligation) and add his/her own choice and describe why he/she did this. At the end the blogger chooses another blogger to do the same. The idea is to make this a long race, so that enough bloggers get a chance to remove and add an actress. We will end up with a list (not ranked in order) which represents a common agreement of the best actresses. It will also mean that those who follow this relay race will get to know new blogs as well!"

Here is the current list of 10 actresses that arrived on my doorstep:

Cate Blanchett

Katherine Hepburn

Frances McDormand

Julianne Moore

Barbara Stanwyck

Meryl Streep

Kate Winslet

Viola Davis

Juliette Binoche

Judy Garland

My Removal
Deciding which actress to remove was no easy task. Judy Garland seems like the obvious choice, but I don't think it's fair to cut the person that was just added. She deserves a chance! Another possibility was Viola Davis because I haven't seen much of her work. However, that also isn't a fair reason for dropping someone. The remaining picks are all excellent actresses, and I can see the logic for including each one in this type of list. It's time to get tough. I really like my pick for removal, but she doesn't stand out to me as being one of the best actresses of all time. I'm sorry to say that Frances McDormand has to go. I love her work in Coen Brothers' films like Fargo and Blood Simple plus Almost Famous, Wonder Boys, and many other films. That said, she's the odd woman out in this group.

My Addition
If removing someone was difficult, it was even harder to decide which talented actress to add. There are plenty of great choices out there. I don't feel it's fair to add a newcomer with a small number of parts. My pick has to be a legend, and one beautiful actress stands out from the rest. I've chosen to add Ingrid Bergman to the group. Her outstanding roles in Casablanca and Notorious are enough to warrant consideration. When you add her award-winning performances in Gaslight, Anastasia, Murder on the Orient Express, and many others, the choice is easy. I wouldn't call myself a Bergman expert, but I've never seen her give a bad performance. She's definitely a worthy candidate for a list of the greatest actresses, and I hope future participants give her a legitimate chance.

Who's Next?
I'm passing the baton to Ruth from FlixChatter to continue this relay. Her site is an excellent collection of reviews and features, so I expect she'll make the right choice.