Favourites lists are tricky things, whether they’re for books, films, games, songs or something else. People often rank a particular work highly merely for its personal nostalgia value. Fair enough, but don’t expect the same sentiments to reverberate in the reader. Other works might seem to deserve a place in the rankings because it was innovative in its day even if the techniques it pioneered has since been replicated and even improved upon elsewhere. Jurassic Park with its use of CGI is one such example for me: I shall never forget that magical first sight of the magnificent brachiosaurus towering above the awestruck humans while docilely munching from a tree.
Another reason to rank a film highly is because you enjoy watching it over and over again. Yet however much I enjoy action films like Raiders of the Lost Ark or The Matrix, I have reservations about including them in my list of favourite films. It feels to me that a film needs to be something a little more profound and substantial to merit special mention.
With all this in mind, here’s a selection of five of my favourite films, arranged in no particular order. They’re favourite films to me in the sense that I like them a lot, that I like others to watch them and hear what they think of them and that I greatly admire the people who crafted them and wish that I had a modicum of their talent. Do note however that I watch fewer films that I probably ought to so my list is only drawn from a fairly small sample. Spoilers follow by necessity.
Memento
I don’t have much to add that hasn’t already been said about Memento. The reverse chronological order of one of its two narratives strikes some as gimmicky, but I think that it is essential to placing the viewer in the shoes of the confused Leonard Shelby. The way the two narratives, one in colour, the other in black-and-white, merges into one as the film inexorably approaches its dread-filled climax is stylistically brilliant and makes the progression of the film feel like an unraveling puzzle.
Philosophically, it’s true that the film isn’t that deep, but the way it raises the questions of how central memories are to human personality and how easily we lie to ourselves in order to protect our own self-image is chilling. The people around Shelby viciously abuses his condition for their own ends, and director Christopher Nolan seems at first to draw audiences to be sympathetic to his unique plight through scenes such as Shelby’s Sisyphean efforts to expunge his pain of losing his wife by destroying mementos of their life together. But ultimately it is Shelby’s own willingness to manipulate himself just as callously and cynically as his abusers that is the greatest tragedy.
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