Flash of Genius

Flash of Genius

2008

Director: Marc Abraham

Writer: Phillip Railsback and John Seabrook

119 Minutes

Detroit is a tough town. A town created around automobiles, Tiger baseball, and Coney Island dogs. Within that city, there was a story about a man named Bob Kearns who invented the intermittent windshield wiper. Once completed, brought it to the “Big Three Auto,” to make a deal. And after everyone rejected it, Ford and Chrysler started installing Kearns’s invention in 1969.

There’s the problem.

Bob Kearn (Greg Kinnear) had a flash of genius - a term used in patent law that describes someone inventing a product out of nowhere and without any prior knowledge or experience of the subject.

There’s the genius.

In the film, Bob Kearns fight against the U.S. automobile industry, while raising six children is the source of any conflict. He was an average man in an average city, trying to live the American Dream. He invented a great product, it was stolen, and he fought against the system losing everything he cared about in the process.

Losing everything but his integrity. And there’s the rub.

He eventually won over thirty million dollars by suing both Ford and Chrysler – the price of righteousness Bob Kearns wouldn’t back down from.

In the scene above, an automotive engineer explains to the court that their factories had all the pieces to make the intermittent windshield wiper, but hadn’t put it together until after Bob Kearns meeting. In a brilliant move, Kearns pulls out “A Tale of Two Cities…” and explains everyone had the words, “it was the best of times, it was the worst of times,” but it took Charles Dickens to put it together.

That’s the brilliant part.

That line was the entire film – it was the entire case. The auto industry might have had the products to make this invention, but it took Bob Kearns’s flash of genius to create it. He brought it to them and they exploited it. And he knew the correct way to explain to the court that right is right, fair is fair and even Charles Dickens would agree.

But, there is more.

The additional source of conflict in this film was Bob Kearns did not only want money for his stolen invention, he wanted this American automobile companies to admit he created the intermittent windshield wiper – he wanted them to admit what they did was wrong. They offered money and then more money, but Kearns never took it unless they admitted their mistake

He studied the law himself, helped by his son and took down two of the biggest auto names in the business.

He won.

This story is the most American story that can be told. It involves one man’s struggle against a large villain. Yet, it also involves two great American companies - companies we support - which could be why the film was only mildly successful. America has always prided themselves on their automotive industry and this film insults it.

But in the end, Bob Kearns’s invention is carried in over 145 million cars worldwide. And all the credit goes to him. In he won, but this film lost.

In this life, we could all be so lucky to have a flash of genius. In some cases, we already have, but we’re too scared to fight for it.

Don't be.

The Wizard of Oz

The Wizard of Oz

1939

Director: Victor Fleming, George Cukor, Mervyn LeRoy, King Vidor

Writer: L. Frank Baum, Noel Langley , Florence Ryerson, Edgar Allan Woolf , Irving Brecher, William H. Cannon, Herbert Fields, Arthur Freed, Jack Haley, E.Y. Harburg, Samuel Hoffenstein, Bert Lahr, John Lee Mahin, Herman J. Mankiewicz, Jack Mintz , Ogden Nash, Robert Pirosh, George Seaton, Sid Silvers

101 Minutes

Every year, around Easter, The Wizard of Oz played on television. It was a family event for a family film. Dorothy (Judy Garland) sang into our hearts by wishing “Over the Rainbow,” while her friends skipped down the yellow brick road singing “Off to See the Wizard.”

Dorothy was us, scared to be away from home and lost in an upside-down world.

She had her hair in pigtails, a beautiful blue dress, and striking ruby red slippers. Her best friend was a dog, while her biggest supporter a scarecrow, soulmate a tinman, and a cuddlely lion as escorts through pastures, forests, and fields. A wicked witched chased her. A wizard denied her. And a good witch saved her.

Her name was Glinda (Billie Burke), the beautiful good witch.

In the scene above, Dorothy has made it through the frightful task of retrieving the Wicked Witch of the West’s (Margaret Hamilton) broomstick and has delivered it to the Wizard of Oz (Frank Morgan). After some convincing, the Wizard grants three wishes to Scarecrow (Ray Bolger), Lion (Bert Lahr), and Tin Man (Jack Haley), but has nothing for Dorothy. Nothing, except a ride home.

One hot air balloon.

On the departure day, Dorothy misses her ride home when Toto jumps out of the hot air balloon. Suddenly, Glinda appears. The good witch informs Dorothy she has had the power to return home all along, but had to learn it for herself.

Tin Man asks, “What have you learned, Dorothy?”

“Well, I - I think that it - it wasn't enough to just want to see Uncle Henry and Auntie Em - and it's that - if I ever go looking for my heart's desire again, I won't look any further than my own back yard. Because if it isn't there, I never really lost it to begin with! Is that right?” she says.

A message for every child trying to leave home on an adventure; this film teaches us that life isn’t lived on the road, away from the ones you love. It’s about accepting the family around you and being grateful for a place called home, however difficult it can be. It’s about recognizing the loved ones around you. Most of all, it’s about appreciation.

Three clicks on the ruby slippers and “…there is no place like home.”

The Wizard of Oz remains in our hearts with one title: classic.

Dorothy’s ruby slippers remain in Washington D.C.’s Smithsonian Institution, though the red carpet in front of the attraction needed to be replaced numerous times due to wear and tear. The MGM casino in Las Vegas was build with a Wizard of Oz décor, including life-size models of each character. And in 2007, the Munchkins were giving a star on the Hollywood Walk of Fame.

The Wizard of Oz is a part of us, it's magic grabbed us, and somewhere over the rainbow there is a wizard waiting to save us.

Star Wars IV: A New Hope

Star Wars IV: A New Hope

1977

Director: George Lucas

Writer: George Lucas

121 Minutes

There is too much to write about. And like the story, this film is epic. It’s an adventure. It’s a space opera. It’s part of almost everyone’s childhood. Broomsticks used as lightsabors, action figures, and Halloween costumes made up the Star Wars infatuation, which continues even today.

But in the beginning, there was a boy with a dream to leave home.

Luke Skywalker (Mark Hamill) lives a rural life on his home planet of Tatooine. He is a farmer, but wishes to join the Imperial Academy to become a pilot. In short, he wants to leave his home – a theme most teenagers and young adults desire.

Luke is a part of another world, different than ours, in a galaxy far, far away. He knows there is more to this universe than crops, bandits, and the Toshi station, though he has responsibility to his Aunt and Uncle. Once they are killed by the evil Empire, Luke follows Jedi Master Obi-Wan Kenobi (Sir Alec Guinness) to Mos Eisley, eventually teaming with Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew) to start his adventure.

But again, it all started with a boy dreaming about leaving home.

In the scene above, Luke has an argument with his Uncle about joining the Imperial Academy a season early, skipping the harvest, and eventually “getting off this rock.” When his Uncle declines, Luke irritably rushes outside and looks towards the horizon at two setting suns.

This duel sunset creates a curiosity in Luke (and in the audience) that there is more to this universe – more we want to explore, investigate, and discover. There is an adventure beyond the sand – a rebellion against the Empire – and excitement past moisturizer evaporators, blue milk, and his chores.

Luke wants the adventure. We all do.

George Lucas created a world for his hero’s journey, which is the genius behind Star Wars. The STAR WARS UNIVERSE was the ultimate release, escaping audiences into a world of hot-rod spaceships, the force, jawas, a Western-style cantina, planetary space stations, golden droids, and the villainous Darth Vader. And after creating this universe, he placed our hero, an All-American boy, against a Galactic Empire - a classic hero's tale.

Simple, creative, and brilliant.

Once upon time, in a galaxy far, far away…there was a film that started a revolution. Star Wars went onto be the highest grossing film, keeping the title until E.T. the Extra-Terrestrial's release in 1983. It spawned two sequels, three prequels, an animated series, numerous video games, and list goes on.

But, it all started with Luke.

Like I said, there is too much to write about. This film is perfect, wonderful, and entertaining, even 34 years after it’s initial release. But in the end, Han Solo shot first. If you know what that means, you’re a true fan.

If not, watch it again.

Indiana Jones and the Last Crusade

Indiana Jones and the Last Crusade

1989

Director: Steven Spielberg

Writer: Jeffrey Boam, George Lucus, Menno Meyjes, and Philip Kaufman

127 Minutes

He was sent his father’s journal and with it, found the Knight’s shield, then named the city which the map begins, and escaped Nazi capture in addition to rescuing his father, then fled Germany only to be sitting next to a man he has nothing to say to, though has so much to explain.

In the scene above, Indiana Jones (Harrison Ford) shares a drink with his father.

Indiana Jones is the James Bond of Generation X. He’s a hero. He’s an adventurer. And he always manages to get out of impossible situations by using his charm, wits, and a big leather whip.

Everyone wants to be Indiana Jones, if only for a day.

But when facing Nazi Germany’s quest to find the Holy Grail, Dr. Jones will not only have to escape this evil enemy, but confront his repressed feelings over his absent father. That is his true test of character. Dr. Jones has beaten Nazi’s before. He has found mystical stones from a forbidden lands. He has discovered the Ark of the Covenant. And he’s even found two beautiful women to follow him on his journeys.

But, he has never faced his father. Until now.

During production of this film, the great Tom Stoppard, writer of Shakespeare in Love, Empire of the Sun, and Brazil, was brought in for additional dialog, specifically for Indiana and Professor Henry Jones’s (Sean Connery) interactions.

Spielberg said, “It was an emotional story, but I didn’t want to get sentimental. Their disconnection from each other was the basis for a lot of comedy. And it gave Tom Stoppard, who was uncredited, a lot to write. Tom is pretty much responsible for every line of dialog.”

In the scene above, both father and son have escaped every bit of danger, excitement, and thrills, though when they’re finally safe, they have one quiet moment together.

Indy comments, “Remember the last time we shared a drink. I had a milkshake.”

This moment means everything to a son. And even when Henry asks, “what do you want to talk about,” Indiana has no answers. He simply replies, ‘I can’t think of anything.”

But, he wished his father had been there. He wished to share his father’s adventures, asked for advice, and rode off into the sunset together. Every boy wishes that for his parental relationship. And if denied that, you are left with a certain disconnection that is so evident in this film. Perhaps that’s why most consider this film the best out of the series because of its emotional journey rather than simple action, adventure, and beautiful women plot lines.

Though Dr. Elsa Schneider (Alison Doody) is amazingly gorgeous.

In the end, Spielberg is the master at reconnecting failed relationships having the final shot of the film being Indiana and Henry riding into the sunset. Together.

The series of Indiana Jones is cinematic gold, holding up against Star Wars, Harry Potter, Lord of the Rings, and James Bond films. Dr. Jones, himself, is a character with humanistic actions, impeccable integrity, and a large fear of snakes. He doesn’t always say the right things, but he always does the right things.

“No ticket,” he says after tossing the Nazi Officer out the blimp window.

Well said, Dr. Jones.

Citizen Kane

Citizen Kane

1941

Director: Orson Welles

Writer: Herman J. Mankiewicz and Orson Welles

119 Minutes

Childhood memories hold a certain nostalgic emotion for most people, certainly for a man named Charles Foster Kane (Orson Welles).

Mainly because he never got a childhood.

In the opening scene of this film, the almost fading Kane whispers his final words, “Rosebud,” which opens a mystery to who was the man behind the money, fame, and fortune.

“Rosebud,” made every list of pivotal lines in American cinema and eventually answered what was important to Charles Foster Kane.

Citizen Kane, originally called “The American”, had an unique narrative structure, using advance cinematography techniques, and had creative uses of light and shadow; most of which were never seen before, changed the game of filmmaking, and are still used today. These elements are why Citizen Kane is called “one of the best films ever made.”

That’s it.

Then there was William Randolph Hearst, a newspaper tycoon and inspiration for Charles Foster Kane, who wanted to shut down the film, sending threats to Orson Welles and stating the first-time director was a communist. Hearst goal was the turn America against Welles, yes the newspaper tycoon eventually went bankrupt. This allowed Welles to finish his film. Though “Rosebud,” an underlining shot at the Hearst (a Hitler sympathizer) was Heart’s pet name for his mistress's clitoris.

But the question remains: What was Rosebud in the film?

In the scene above, Jed Leland (Joseph Cotton) had investigated the life of Charles Foster Kane, which ended at Kane’s kingdom called Xanadu. Surrounded by Kane’s materialistic goods, Jed Leland admits that a man cannot be summed up by one word and that we may never know who Kane was. Following Leland exit, several movers begin to burn Kane’s unneeded goods.

One of them was his childhood sled named Rosebud.

In the film, Kane was ripped from his childhood home and taken into a life of money, power, and wealth. This lead to his ultimate demise, yet he never forgot the happiness his meager childhood gave him; the happiness this sled gave him. And in the end, that sled - the memory - was the last time he was happy and content.

Kane is no different than any man. He wants to be happy and throughout the film, you understand that mistresses, castles, and a fortune does not ultimately make one content. Sometimes, it’s something very small, old, and worthless.

Something like a sled.

Had Kane never been taken away from his family, he would have lived a poor, mundane life. Perhaps that’s what he needed. Perhaps that's what he wanted. Because throughout the film, nothing else made him as happy as sledding down the snowy hill behind his childhood home.

This spoils of the film, but most will never see this film. And the ones that commit to watching “one of the greatest films of all time” will already know the ending.

It's a interesting film, but difficult to get into. And most question why it's one of the greats.

In the end, Citizen Kane – a story of the life of William Randolph Hearst - is no different than the man himself, Orson Welles. There is a large comparison behind these two men, which can explain how greed can destroy an individual, even if he has everything he wanted.

Both men discovered that, but it took Charles Foster Kane to tell us about it.

Pineapple Express

Pineapple Express

2008

Director: David Gordon Green

Writer: Seth Rogan, Evan Goldberg, and Judd Apatow

111 Minutes.

This was the first stoner comedy to gross over 100 million at the box office.

And why?

The past Freeks and Geeks relationship between these two stars, Spider-man’s James Franco and Knocked Up’s Seth Rogan, was already a wonderful mixture, but adding countless amount of marijuana tokes, one Danny McBride, and people getting shot at – then you have a hit.

And since most are completely stoned when they see these movies, who is not going to enjoy this film.

For argument sake, we can go down the list of the greatest stoner films around:

#1 Reefer Madness
#2 How High
#3 Half Basked
#4 Harold and Kumar
#5 Up in Smoke

Honorable mention for Dazed and Confused, PCU, Friday, and Fast Times and Ridgemont High.

Then there is Pineapple Express.

In the scene above, Saul (James Franco) is explaining to Dale (Seth Rogan) about Pineapple Express, a rare weed that can only grow in certain places involving Hawaiian-Candiania air flow, which mixes into the dirt, then into your weed.

Saul explains it as this, “This is like if that Blue Oyster shit met that Afghan Kush I had - and they had a baby. And then, meanwhile, that crazy Northern Light stuff I had and the Super Red Espresso Snowflake met and had a baby. And by some miracle, those two babies met and fucked - this would the shit that they birthed.”

This sets the entire movie. Without Dale buying and smoking this marijuana, it wouldn’t have lead to him parking outside a house where he witnesses a murder, throws his joint out the window, hits a cop car, and then gets tracked by killers who know the taste of this amazingly rare weed.

We need Pineapple Express.

But dealing with the stoner audience, this film dives into the importance of conversation. This conversation, about Blue Oyster shit and Snowflakes, is a piece of dialog most stoners have had at one time. Smoking and growing marijuana is a scientific art and the weed’s origin is a birth certificate to how incredible smoking can be.

Weed is important.

And here the stoner audience can relate. They’ve had this conversation. They’ve talked about the vast differences between Kit-Kats and Twix. They’ve dove into Star Wars philosophy or character-drive decisions in Art house films. And they have talked about religion, politics, culture, science, and sex as if they could focus enough pray, vote, work, or bang. In short, when you are stoned, you talk about the importance of the unimportant.

That’s why Pineapple Express succeeds. It takes serious situation and makes them dull, while taking pointless situations and making them epic.

And then there was Danny McBride.

In the end, Pineapple Express is a film you watch at the end of a party, three sheets to the wind, and smoking a joint talking about the girl you wish would’ve stayed.

But she didn’t, so you can enjoy the film.