Bring it On

2000

Director: Payton Reed

Writer: Jessica Bendinger

98 Minutes

Torrance Shipman (Kirsten Dunst) becomes the captain of the Rancho Carne High School Torros cheerleader squad only to discover the previous captain stole their cheers and Torrance has to rework their routine before the National Championships. 

It's of note that Kirsten Dunst and Gabreille Union were cheerleaders in high school. Eliza Dushku was not, which seems fitting. 

This monster hit brought in more than 90 million at the box office launching five sequels including Bring it On Again, All or Nothing, In It to Win It, Fight to the Finish, and Worldwide Cheersmack with an upcoming Bring it On: Cheer or Die releasing in 2022. The unrepresented genre of cheerleading films came hard with this franchise and opened the world up to cheerleading as a sport past the football fields and basketball courts. 

But at the heart of the first film, Torrance loves Cliff (Jesse Bradford), but doesn't know it yet. She has a shitty college boyfriend who is away at school and doesn't believe in her talents, which opens Torrance up to a forbidden love affair with her friend's brother. When she sleeps over at Missy's house, the scene above plays out. 

It's simple. It's subtle. Two people brushing their teeth. No words. A few smiles. They both glance. They spit. They keep brushing. They smile. They share a moment. 

This was the very last scene to be filmed, either because it was the last scene to filmed or they needed another moment between Torrance and Cliff. Sure, Torrance witnesses Cliff's rock & roll antics in his room and his playful banter alludes to his affection of her, but the scene above speaks to their connection. 

And that's what we want in cinema, right? We want to see characters connect, even if they're not supposed too. Here it's done brilliantly with no dialog, no special effects, no fuss. It's just two people brushing their teeth, except it's so much more. 

They really brought it. 

It's moments like this that makes Bring it On still hold up. Like most great films, it's not about the subject at hand, but the connection between two people. Yes, we love the routines at the end of the film, we love the respect between captains, and we love that Torrance breaks the curse. But in the end, it's all about two people brushing their teeth. 

Weirdly, we never find out what Big Red's real name. Probably because it's not a democracy, it's a cheerocracy. 

Spirit Fingers!

Charlie Wilson's War

Charlie Wilson's War

2007

Director: Mike Nichols

Writer: Aaron Sorkin (screenplay), George Crile (book)

102 Minutes

This was the final film of Mike Nichols. His filmography, including The Graduate, Birdcage, Working Girl, Closer, Biloxi Blues, is Hollywood history. But this collaboration between Nichols and Oscar-winning screenwriter Aaron Sorkin was American history and spoke about a conflict that used allies who became enemies.

Charlie Wilson's War is about a Texas Congressman who raises funds to arm the Afghan people to fight off the Soviets at the end of the Cold War. Wilson was a lame duck, but this task solidified his name both here and abroad. After the Soviet retreat, Wilson was the first civilian awarded the CIA's Honored Colleague Award and went onto become a lobbyist for Pakistan.

The original script for Charlie Wilson's War was supposed to end with the 9/11 attacks. The connection between arming the Afghan people to the birth of the Taliban was clear, but this plotline was vetoed by Nichols and lead Tom Hanks.

Instead, we have the scene above where Gust Avrakotos (the late Phillip Seymour Hoffman) briefs Charlie Wilson (Tom Hanks) on the new situation in Afghanistan after their operation is complete. Here is the scene:

Gust 

There's a little boy and on his 14th birthday he gets a horse... and everybody in the village says, "how wonderful. The boy got a horse" And the Zen master says, "we'll see." Two years later, the boy falls off the horse, breaks his leg, and everyone in the village says, "How terrible." And the Zen master says, "We'll see." Then, a war breaks out and all the young men have to go off and fight... except the boy can't cause his legs all messed up. and everybody in the village says, "How wonderful." 

Charlie

Now the Zen master says, "We'll see." 

The Zen master knows that change is based on perspective and timing. After this exchange, Gust hands Charlie a CIA classified document and tells him the shit is hitting the fan in Afghanistan. This "shit" in reference is the creation of the Taliban. The Taliban would later go onto attack the World Trade Center, Pentagon, and a failed attempt of the White House.

The reason this scene is special is the soundbite. A plane overhead. It's at the exact time the Zen master's message of "we'll see" hits Charlie meaning his war was great for now, but we'll see what happens. And what happens is 9/11. The plane soundbite is the keystone to that meaning.

These subtle moments in cinema are everywhere. If you pay close attention, it's like the director leaning over and whispering a secret in your ear. The great directors know their stories and where to put these moments, but this piece of American history echoes in the darkness of a soundbite.

Cheers to the late Charlie Wilson. I'll have a drink or six for you tonight. Though flawed, Charlie heroics is based on doing the right thing when no one is looking and he did that.

But we'll see.

American History X

American History X

1998

Director: Tony Kaye

Writer: David McKenna

119 Minutes

The curb scene. The scrapping of teeth on cement. A kick to the back of the head. The wide-eyed reveal of a character so hateful and unremorseful to his actions.

This is the scene most people remember from American History X. It’s a story of racism, white supremacy, and regret.

It’s a story of change.

Told in a stylistic manner, a balance between past and present, Derek (Edward Norton) reunites with his family after a short stint in prison to find his brother, Danny (Edward Furlong), following his path of foolishness.

Danny’s homework assignment is to write a paper about his Derek's release from prison for his new class American History X. In the paper, he comes to the conclusion that it wasn’t his father’s death that sparked hatred in his brother, but his father himself.

But change occurs for both bothers.

In the scene above, Derek told his story to Danny – a story of prison, hypocrisy, rape, and friendship – and Danny finally gets it. Derek showers off the night. When Derek exits and looks in the mirror, he stares at the swastika on his chest. He stares at his past. He stares at his mistakes.

In a moment, he covers it up with his hand. He regrets ever believing in such nonsense. He regrets the choices he made. He regrets a kick to the back of the head.

The opening and closing images of the ocean – one black & white and one color – says it all. The ocean has no memory (Shawshank Redemption).

In the end, this film is as controversial as they come. It’s theme is something no one cares to talk about at parties, but is on the forefront of many ideals people continue to believe.

Racism and regret.

On March 4th, 1961 Abraham Lincoln said this in his first inaugural address, which happens to be the closing voice-over to this fantastic film:

“We are not enemies, but friends. We must not be enemies. Though passion may have strained, it must not break our bonds of affection. The mystic chords of memory will swell when again touched, as surely they will be, by the better angels of our nature.”

And as of yet, not much as changed since then in the face of racism and regret.

Not much at all.

Best in Show

Best in Show

2000

Director: Christopher Guest

Writer: Christopher Guest and Eugene Levy

90 Minutes

Everyone loves dogs. There are apart of the American culture like apple pie, baseball games, and political corruption.

Years before Best in Show was made, writer/director Christopher Guest wrote down “catalog people” on a piece of paper. This eventually became the inspiration for the characters Meg Swan (Parker Posey) and Hamilton Swan (Michael Hitchcock) who are featured above.

Meg and Hamilton are dog owners who enjoy Starbucks, J Crew, and the Busy Bee. There are yuppies. They are lawyers. They have it all figured out, except for one thing: their dog has issues.

It once saw them having sex and was never the same.

They have tried therapy. They have tried love. They have tired toys. Nothing worked. When their dog enters the Mayflower Kennel Club Dog Show, they are disqualified when their dog jumps at one of the judges.

Embarrassment cannot express their feelings, but this act made them realize their dog was the problem. Not them. Their dog was the cause of all their issues. Their dog negatively affected their lives. And their dog had to go.

In the scene above, the Swan’s are back in therapy, except with a new dog. A dog that likes them having sex. A dog that doesn’t have issues. And a dog that loves it’s mommy and daddy.

This is why people love this film: it shows how unbelievable ridiculous people can be about their dogs. It mirrors the majority of dog owners in American and throws humor at people’s obsession over their pets.

Everyone can relate, even if you've never owned a dog.

Christopher Guest has a genius way of making films. It lets the camera roll, gives small details towards the story, and lets improv magic run. He has made films about dogs, the film business, folk singers, and the greatest band in history: Spinal Tap. He is an accomplished actor, writer, director, producer, and musician.

But at the heart of his films, he realizes people can relate and laugh at themselves through characters like, “catalog people.” We all know them, shared holidays with them, and leave parties going, “are they a little crazy over their dog or is it me?”

I think we’ve all said that at one time or another and this film helps us laugh about it.

Twleve Angry Men

12 Angry Men

1957

Director: Sidney Lumet

Writer: Reginald Rose

96 Minutes

What is justice? What is reasonable doubt? What if a young man’s life hung on your decision of guilty or not guilty?

Shot in one room for twenty days for 350,000 dollars to get a film that is apart of every top 100 best film list and regarded by law and business schools as a model for conflict resolution.

But why is this film one of the greats? Why does audiences love this film?

Because the main character, Juror#8 (Henry Fonda), has honor. Because when faced against the odds and the majority of angry men, he raises his hand and said, “I don’t know.”

Because he was a hero.

His heroics were not on the battlefield or in an operating room. He stood in a room with eleven other men and dissected an open-and-shut case to prove doubt. It’s not that he thought the accused wasn’t guilty. It’s not that he had a point.

He just didn’t know.

In the scene above, Juror#8 and Juror#9 meet outside on the courthouse steps. The verdict has been returned. Case is over. And these two can leave with a clear conscious knowing they were the first two to stand up and say, “not guilty.”

But before going their separate ways, Juror#9 asks for Juror#8’s name.

“Davis”
“McCardle”

That sign of respect is the entire film.

Davis led these angry men to a not guilty verdict and saved a young man’s life. He was innocent until proved guilty, yet without Davis leading the charge, no one would have questioned it. All the evidence was against him. All the remaining jurors were ready to convict.

But it took a hero to rise up and say, “I don’t know.”

In the end, it’s that type of honor that makes this film enjoyable. It’s that type of honor that explains what is right and what is wrong, not only in the courtroom, but in life. And it’s that type of honor that can only be exchanged with a handshake and a first name.

Davis.

Annie Hall

Annie Hall

1977

Director: Woody Allen

Writer: Woody Allen and Marshall Brickman

93 Minutes

Originally, this film was called Anhedonia. It means the inability to feel pleasure, a philosophy Woody Allen related to most of his life.

Annie Hall is about relationships. It’s about love and loss and moving on.

“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.”

It’s one of Woody Allen’s best included into a writer/director resume with such films as Match Point, Manhattan, and the recent Midnight in Paris.

In the scene above, Alvy (Woody Allen) talks with Annie (Diane Keaton) about photography. Much like a first date/encounter conversation, these two are talking about one subject, but thinking about another.

It’s all subtext, which Allen does brilliantly with subtitles.

When Annie says, “Aesthetic criteria? You mean whether is a good photo or not?” But, what she’s thinking is: I’m not smart enough for him. Hang in here.

Alvy replies, “The medium enters in as a condition of the art form itself. “ But he’s thinking is: I wonder what she looks like naked.

What we say and what we think are often two different ideas when talking with the opposite sex. We want to appear interesting. We want to appear desirable, yet we are often neither. And when conversation is pouring out of us, we often wonder what the other person is thinking, how the other person feels, or what that person looks like naked.

And Allen’s stroke of genius placing subtitles in the form of thoughts is why we love this scene.

We all have been there. And we can all relate. And no one does it better than Woody Allen.

This film, its theme, and its message cannot be explained by one scene. It’s a collection of instances and stories and ideas and feelings that make this a great film. It’s heartbreaking and cute and fun and true.

And that's why it won four Academy Awards.

But in the end, Allen leaves with you a quote about relationships that rings true for everyone who has ever loved and lost and moved on:

“After that it got pretty late, and we both had to go, but it was great seeing Annie again. I... I realized what a terrific person she was, and... and how much fun it was just knowing her; and I... I, I thought of that old joke, y'know, the, this... this guy goes to a psychiatrist and says, "Doc, uh, my brother's crazy; he thinks he's a chicken." And, uh, the doctor says, "Well, why don't you turn him in?" The guy says, "I would, but I need the eggs." Well, I guess that's pretty much now how I feel about relationships; y'know, they're totally irrational, and crazy, and absurd, and... but, uh, I guess we keep goin' through it because, uh, most of us... need the eggs.”

Anhedonia means the inability to feel pleasure. But, Mr. Allen has pleased hundreds of millions of people with his films.

And he continues today.

Conversations with Other Women

Conversations with Other Women

Director: Hans Canosa

Writer: Gabirelle Zevin

84 Minutes

Two lovers who can’t be together.

We have seen this a hundred times before in every romantic film from Casablanca to Brokeback Mountain. When you have loved and lost and reunited with love, it always makes for an interesting story.

In Conversations with Other Women, they do it a little differently. They use a split screen between the two characters, interweaving dialog with past memories, and different actions each character could take.

In the end, there is love. But it’s lost love, love that cannot be had, and love that will never see the light of day.

They have one night in a hotel room.

In the scene above, Man (Aaron Eckhart) listens in on Woman’s (Helena Bonham Carter) phone conversation to her husband. Man also has a girlfriend, but she doesn’t seem much concern. Man listens in, trying to find moments of love in the conversation, but secretly searching for why their relationship failed.

He loves her. He admits it. He wants to make it work. He loved her in the past. He loves her today. He sees their future together, though it will never happen.

Her love has gone away. It’s the past. And though they have one night of romance, discussing where their lives had gone, and reliving memories of love, reality catches up and she knows their lives go in separate directions.

It’s a real movie, which could explain why so many of us haven’t seen it. The film’s theme discusses the fundamental truth of loving and losing and reuniting and ending.

This is the ending.

It could have been a second chance, but life has pasted them by. Perhaps both man and woman’s past relationship would have ended up in the same place their current relationships lye. Perhaps it would have worked out better. Perhaps worse.

But we’ll never know. These two have one night to let it out, explain their truths, and leave it on the table.

He loves her. She doesn’t love him. Or if she does love him, she settles for life without him.

When the morning comes, all they have is an empty seat in the back of a taxi and a plane to catch.

But there is a moment:

Man: Why did you come, really?
Woman: Do you want me to say I was hoping I'd see you?
Man: Yes and I want you to mean it.
Woman: You're so romantic...
Man: By romantic, you mean old fashioned?
Woman: No, by romantic, I mean romantic.

Like I said, two lovers who can’t be together. We’ve seen it a hundred times before, yet it's always going to make for an interesting story.

SKS