Every week at SiftPop.com, we challenge our writers to choose what they think is the best movie under a certain topic related to a recent release. So this week, with last week’s release of The French Dispatch, this week’s release of Passing and Belfast, and next week’s release of C’mon C’mon, we’re counting down our favorite black-and-white movies released after 1970! Let us know @SiftPop what your ranking is!
Why haven’t enough people spoken about Pawel Pawlikowski’s incredibly beautiful film, Cold War? Timing. Timing can be a real tough thing. This gorgeous black-and-white drama released in modern times just so happened to go head-to-head with another gorgeous black-and-white drama which was also competing for Foreign Language Film. Thanks, Roma. Despite most of its thunder being stolen that year, Pawlikowski’s film earned three Academy Award nominations. And you know what? They were totally deserved. This is an impeccably directed film with a striking and crisp atmosphere, thanks to the black and white creating a deeply moving feel. With a lean and impactful narrative, audiences are treated to a meaningful love story that is both tragic and bittersweet. Cold War will challenge you as a viewer, and this challenge is incredibly worth every moment. (Shane Conto)
Most viewers enter La Haine knowing nothing about the film beyond the fact that it’s an independent, French-language, black-and-white drama from 1995. Upon hearing this description, you — like many audience members — might immediately write off La Haine as a movie that’s “not for you.” Well, dear reader, I am here to tell you that this could not be further from the truth! La Haine is one of the most engaging and kinetic films you’ll ever find. The central friend group (led by the dynamic Vincent Cassel) makes for an unexpectedly likable and humorous batch of protagonists as we follow them over the course of one fateful day. La Haine can best be compared to films like Do the Right Thing and City of God in the sense that each of these three films appear to be heavy, important, but unpleasant to watch dramas from the outset, but actually feature some of the most engaging storytelling you will ever see. Though La Haine certainly packs an emotionally charged punch by the end of its runtime, this mostly plotless slice-of-life film is a must-see for any film fan in search of a thoughtful and high quality cinematic experience. (Foster Harlfinger)
One of the most intriguing time periods in filmmaking, in terms of the sheer cataclysmic change, has to be the transition from silent films to “talkies.” I always like to explore movies that explore how filmmaking changes and the effects on those directly impacted by these changes. Maybe that’s why I’ve always liked The Artist. You have the story of a man who has built his career on silent movies and whose life and livelihood is changed as the “fad” of sound film soon quickly becomes the norm, while at the same time someone he brings into the fold sees a meteoric rise. To see the rise and fall of two people’s careers almost side by side due to just one change in filmmaking fascinates me, and is just a fraction of what happened with many careers during this transition. The fact this film is mostly silent (the first film to be mostly or entirely silent to win best picture since Wings in 1929) makes this move even more fitting to tell this story. So take the chance to turn off the movies filled with bright lights and explosions, and turn on this movie and have a quiet night. (Joseph Davis)
From David Lynch, the master of weirdness, psychological thrillers, and “what did I just watch?” movies, comes The Elephant Man, the stunning black-and-white movie that… shows you in a quite simple and understandable way that you should not judge a person based on their looks…? What? Yes, you read that correctly. The Elephant Man still has some of Lynch’s signature hand-wringing, but it’s probably his most “viewer friendly” film. It’s a tender film about the basic concept of, how much does disfigurement define us? It also showcases people in a simplistic, yet kind of precise way of being fearful of someone they are not familiar with and don’t want to get too close to, because they look “weird” or “different.” And if you account for the fact this is Anthony Hopkins way before he became Anthony “Hannibal” Hopkins, you are in for a treat. It’s been a while since I watched this film, but writing about it, I have realized it deserves a re-watch. So I will do myself a favor and watch it again. And I would recommend the same to you. (Luke Burian)
We kind of already know how fantastic Mad Max: Fury Road is, mainly because of its practical effects, utterly engaging story, and chase through the stunning desert locale. However, if you are able, I can highly recommend checking out the Black & Chrome edition in the 4K release. The cinematography is elevated to a completely new level, and the film itself provides an entirely new perspective and viewing experience. Imagery and artistry pops off the screen and basically hollers at you to give it the love it is giving you. (Adam Ritchie)
Each time I watch a Christopher Nolan movie, I’m convinced that that one is my favorite of his filmography. I’ve settled at Inception as my favorite, but I really think Memento might be his best. It’s a story about finding purpose in your life, but not in the feel-good, happy-go-lucky way that a lot of movies show. Memento has an underlying darkness and sense of dread that feels more honest than you’d come to expect from Nolan. Alternating between scenes in color and scenes in black and white, the story is basically told in reverse. Since Guy Pearce’s Leonard has short-term memory loss, you only ever know as much as he does. The black-and-white scenes not only serve as a useful demarcation of which timeline you’re in, but they also portray an uneasy grittiness that’s hard to escape. Memento is simple compared to what the rest of Nolan’s filmography has turned out to be, but its simple genius is what sets it apart. (Robert Bouffard)
While I’ve loved pretty much all of the Martin Scorsese movies that I’ve seen, my favorite of his, which is also one of my all-time favorite movies, is Raging Bull. It tells the true story of boxer Jake LaMotta (Robert De Niro) and the challenges that he faces, both inside and outside the ring. De Niro gives one of the best performances of his career, inhabiting a character whose life is all about boxing and the vices of his personal life, creating a tragic character as we watch his downfall. Joe Pesci has terrific chemistry with De Niro, playing his brother Joey, and Cathy Moriarty delivers an understated, yet powerful breakout performance as Jake’s wife, Vickie. The story isn’t your typical, uplifting boxing story, and it feels as though it was made as an antithesis to Rocky (not to disparage Rocky at all), which was released just four years before. And, the black-and-white cinematography evokes the feel for the era in which the movie takes place, while also adding shades of hopelessness as the heartbreaking events unfold. This is an iconic filmmaking achievement from Scorsese, who makes us feel every physical and emotional hit that Jake suffers, making this an unforgettable viewing experience. (Vincent Abbatecola)
Maybe you didn’t know that Parasite got a black-and-white release. But also maybe you’re not the avid movie and Criterion Collection supporter that I am (the Criterion release is the only way to see this version of the film). Parasite is a film that deserves every accolade it receives. It’s a remarkable and filled with strong themes, characters, and filmmaking technique. Ultimately, that is why the black-and-white version is worth a watch. Parasite is such a spectacular film in all aspects that by taking away one of the senses, it allows the others to really shine. When you take away the color, you pay more attention to the other details like lighting, framing, and score. Sure, you could watch the color version and note the same things, but it is much easier to notice the things of this film that make it an absolute masterpiece. While I probably will still prefer to watch the color version moving forward, you should check out the black-and-white version at least once! (Aaron Schweitzer)
Roma is a singularly unique and emotionally stirring film, brought to us by esteemed director Alfonso Cuarón. It is pulled directly from his true life experiences as a child in Mexico City. The picture brilliantly showcases the hardships of life juxtaposed against the beauty of life’s growth. It captures the youthful innocence of childhood, the struggles of a young adult, and the hardships of marriage to an incredibly perceptive degree. All of this is captured in illuminous black and white cinematography. It’s as if the film, through the black-and-white lens, is taking us back in time to our own childhoods where we become weepy eyed and nostalgic for the easier times of our past. Cuarón won Best Cinematography and Best Director at the Oscars for this brilliant picture, and it was nominated for plenty other awards including Best Picture. If you have not gotten the opportunity to see this absolute masterpiece already, please set aside the time to take in this gem as soon as you can. Roma is truly a beautiful work of art. (Heath Lynch)
The only black-and-white film in Steven Spielberg’s directorial catalogue, Schindler’s List is all the more powerful for the creative choice. The film tells the true story of businessman Oskar Schindler’s efforts to save his Jewish workforce after witnessing their persecution by the Nazis. The performances of Liam Neeson as the titular Schindler and Ralph Fiennes as the absolutely sadistic Amon Goeth are spectacular. However, it’s in its technical aspects where the film truly cements itself as one of the greats. It earned seven Oscars for best picture, director, adapted screenplay, cinematography, set decoration, editing, and score. The way the film is directed by Spielberg and shot by Janusz Kaminski uses the black-and-white canvas to perfection. The starkness of those images adds to the power of the story, particularly when contrasted with the one minimal splash of color in the entire film. As with any cinematic tale about the Holocaust, it’s not an easy watching experience, but an important one, nonetheless. (Jake Bourgeois)
Ed Wood
If you are like me and grew up becoming a movie lover in the early 2000s, you remember discovering Tim Burton, as that was before he became obsessed with unnecessary remakes and… let’s face it, had a sharp decline regarding his movie output. Well Ed Wood is one of his last truly great films. It’s about a guy called Ed Wood (hey, that’s the name of the movie!). If you are not familiar with him, he is widely considered to be “the worst movie director of all time” for a variety of reasons. And yet, this movie doesn’t take any cheap shots. Yes, it showcases him being “a bit weird” (Johnny Depp shines in this role), but it manages to capture the essence of somebody, who at the end of the day, just wanted to make movies. He loved them so much, he wanted to make them. Whether he had talent for making them is an entirely different argument altogether. If you only have Tim Burton and Johnny Depp associated with “the classics” like Edward Scissorhands or the Charlie and the Chocolate Factory,give this film a shot. You might be surprised how different this duo could be. (Luke Burian)
American History X
The first time I had read about American History X, all I could read about was how all the behind the scenes stuff with the director and Edward Norton had turned ugly. I finally saw it and was blown away by the outcome. Norton crushes this role as reformed white supremacist Derek Vinyard. Derek’s path to white supremacy is shockingly relevant today, with impressionable kids being seduced by frustration and anger, which ultimately leads to hate. The use of black and white in this is also very effective. All the scenes in the past are in black and white and serves as a way Derek ultimately viewed the world. He later realizes the world is more complicated than that, and it has more shades of grey. The ending is heartbreaking as well, and Edward Furlong also plays a great part as Derek’s younger brother Danny, as he himself is also going down the same path of white supremacy. This is part of Norton’s murderers row of movies that are all top notch (Primal Fear, Everybody Says I Love You, The People vs. Larry Flynt, American History X, Rounders, and Fight Club). (Mike Hilty)
Frances Ha
Noah Baumbach makes some of the most personal and human modern movies out there, and Frances Ha is no exception. Starring Greta Gerwig before she quickly became one of the most beloved modern directors alongside her partner, Baumbach, the film captures the essence of a free spirit who doesn’t want to be tied down to a meaningless life, so she decides to chase her dreams. The black-and-white cinematography captures a feeling of fleetingness, as if this is a time in life that the filmmakers will never get back. You get a real sense of missed opportunity, but an emotionally true rendering of a character in this position. (Robert Bouffard)
Good Night, and Good Luck
The 2005 movie Good Night, And Good Luck has been on my list of shame for well over a decade. It’s one I’ve desperately wanted to see, yet I never have taken the chance to watch it ever since I first saw the trailers for it. However, this week I finally found an excuse to dive into this movie. This film, which was actually shot in greyscale color before being edited to the black and white of lead character Edward R. Murrow’s programming of the day, this movie does more than entertain. Much like The Great Dictator that I have gushed over before, this movie has a strong message that hits you like a ton of bricks: one of the media’s responsibility to provide fair and accurate news to the people against a politician whose arguments boil down to “you are either with us or you are the enemy.” David Strathian does an absolutely phenomenal job in the lead role, alongside titans of Hollywood in Robert Downey Jr., Jeff Daniels, Patricia Clarkson, and George Clooney in a film that is both artistically brilliant, and which grabs your attention and refuses to let it go. It’s a movie I can see going back to time and time again, and whose message I firmly believe will never not resonate. Without a shadow of a doubt, I would greatly suggest this movie. (Joseph Davis)
The Lighthouse
“Why’d y’spill yer beans?” Why indeed, Willem Dafoe, why indeed. One of the most surreal films I’ve ever seen is The Lighthouse, featuring Dafoe and Robert Pattinson as two “wickies,” lighthouse workers off the coast of New England who are trying their very best to keep from going insane. Since they don’t have too much of a job to do otherwise, we find ourselves stuck on a rock in the middle of the ocean, following our thick-accented protagonists on their road to madness. The monochromatic nature of The Lighthouse is a big factor in what makes it extremely unsettling, and makes otherwise ordinary set-ups like a candlelit dinner and a chance encounter with a gull all the more unnerving. I’ve come to love unconventional horror movies (perhaps even more than traditional horror entries), and The Lighthouse fits perfectly into that subgenre. It’s a slow ride, but a rewarding one, and writer-director Robert Eggers makes sure that there’s a satisfying, albeit shocking conclusion to the road to madness. If the road indeed has an end… (Rowan Wood)
Allegro Non Troppo
If you’ve ever thought to yourself, “What if Fantasia wasn’t so serious?” 1) That’s a very specific thought. 2) You’re in luck. Allegro Non Troppo (Italian for “fast, but not overly so”) follows the efforts of a bumbling director with the idea of setting animated shorts to classical music. Ticked off at the fact that an obvious Disney stand-in beat him to the idea, he plows ahead anyway. Utilizing a dictatorial maestro, the labor of elderly orchestra members kept like cattle, and a “liberated artist” literally in chains, the film alternates between the black-and-white sequences during the filmmaking sequences and colorfully animated, absurdist shorts set to classical music. As things spiral further out of control, the animated world starts to bleed into the “real” world. If Fantasia isn’t really your thing, or you’re put off by the more than two-hour runtime, this satirical take clocking in at 85 minutes might be more up your alley. (Jake Bourgeois)
Clerks
Clerks was written and directed by Kevin Smith, released in 1994, blah blah blah you know the rest. This cult flick ironically went on to be the number one stolen film from video rental stores, and introduced the world to Jay and Silent Bob. Smith, who was a lifelong fan of films, wanted to go off and make something on his own, said screw the system, racked up 30 grand in credit card debt, and made Clerks. How did that work out for him? Well, while some would debate about whether it was successful or not, you can’t argue that Smith gets to spend his days doing what he loves. Not all of us are that lucky. (Frank Kemp)
Kill Bill: Vol. I
Dear science, find a way to put this in my veins faster! Give me an opening sequence that involves Uma Thurman kicking all the butts, and I am here for it! I’m convinced Kill Bill: Vol I may be the closest humanity comes to giving us pure adrenaline shot of a dose of epinephrine. This is Quentin Tarantino at some of his best work, there are 10 gallon hats, bolo ties, and yellow title cards for all! This NSFW tale of revenge is some of the most beautifully shot and fun storytelling you can ever watch, and Uma fully sells every moment on her journey to destroy the titular Bill. At the very least, on your next drive listen to “Uma Thurman” by Fall Out Boy, be inspired, and then go watch this piece of history! P.S. Did I mention this is just Vol. I?!! (Matt Lawson)
Sin City
Comic Book adaptations can be tough to pull off, knowing what to keep and what to strip from the source material. For director Robert Rodriguez, when given the daunting task of bringing Sin City to the screen, he just completely adapted the graphic novel in every way possible, even going as far as to use the graphic novel as the script. The black-and-white approach to this film only enhances the experience, and truly feels like the characters have leapt straight off the page. The deep shadows give it the proper detective noir feel that resonates with Frank Miller’s original vision. Every frame of the film is nearly identical to each panel of the book and throws the viewer right in the middle of the depraved Basin City, which is better known as Sin City. The array of characters are expertly casted, especially the likes of Marv (Mickey Rourke) and Gail (Rosario Dawson); the resemblance to their characters is uncanny. Rodriguez has been known to be a notoriously fantastic collaborator, and this is where he really proves it, working side by side with Miller to make this film come to life. Sin City takes the idea of a comic book adaptation and pushes it to it’s very limits, bringing a graphic novel to the theaters like no other film has to date. (Joe Vargas)
Logan Noir
Comic book movies have come in all shapes and sizes over the years. Although there is still quite the stigma in Hollywood when it comes to treating them as serious films, there are a few gems which truly break the mold and do something different. The film that stands out to me as deserving of attention is Logan. Many people don’t know that there was a version released on Blu-ray called Logan: Noir in which the movie was converted to black and white. This version really pops visually and evokes feelings of the old black and white westerns. Logan is quite the departure from the comic book movie formula, and it really is a shame the movie didn’t receive more awards love. Patrick Stewart’s final performance as Professor X was funny, heartbreaking, and a fitting culmination of 16 years of work; it’s a shame he didn’t receive a nomination that year. Likewise, Hugh Jackman finishes his run as Wolverine with perfection. Even though the X-24 of it all was too on the nose for me, Logan is still one of my favorite movies of the last decade, and it’s “Hurt” trailer is the best movie trailer of all time! (Nick Ferro)
Zack Snyder’s Justice League: Justice Is Gray
We all remember Justice League (2017)and probably wanted to forget about it. After Zack Snyder stepped down and Joss Whedon came in to do reshoots, the 2017 version was a mangled and unforgivable mess. Until now. Snyder finally gave what the fans wanted this year with Zack Snyder’s Justice League. With a running time of 242 minutes and shot in six parts and epilogue, ZSJL happens to be superior to the 2017 version. Along with the Snyder Cut, Justice is Gray was released, where the film was shown in black and white. It’s the same cut as ZSJL, but its black-and-white visuals made the film moodier and grittier. The film is a better ride than before. The direction improved characterization, and Cyborg’s story being restored was the best part of the film. It isn’t your typical black-and-white film, but it’s an interesting watch. (Chantal Ashford)
Following
It can be really interesting to go back and watch the debut films of big time directors and see how they compare to their later work. In the case of Christopher Nolan’s Following, it does so in many ways. Shot in black and white simply because that was all Nolan could afford at the time, Following is about a young man (Jeremy Theobald) who — surprise, surprise — follows people around London, just to get a sense of how they behave. He keeps his distance until one day he meets Cobb (Alex Haw), who introduces him to a darker underworld, and the movie becomes a neo-noir thriller. Even though the black-and-white production began because of budgetary reasons, it makes the film stand out from Nolan’s filmography. It feels of a different time, and strips back the visual flair, where you can see Nolan begin to grapple with many of the ideas that he would begin to flesh out in the rest of his career. It won’t blow you away like lots of Nolan’s other work, but Following is totally worth a watch. (Robert Bouffard)
The Painted Bird
Do you wish to spend almost three hours watching a stunning black-and-white film that is so European you will feel awful a few days after? Have you ever said to yourself: “I am too damn happy today; let’s get depressed!” Have you ever thought about how it would feel to see the horrors of the second World War from the perspective of a child? Well, do I have a movie for you…? The Painted Bird is A) a movie you have never heard of, B) a movie you have heard of just because of the “drama” surrounding its release (people walking out, as some scenes might have been too much for them), or C) a film you have watched and won’t forget any time soon. I belong to the third camp — this movie might be one of the most stunning black-and-white movies that will truly make you feel miserable for the rest of your day. And it’s one you won’t want to watch ever again. It’s based on (now debunked, in a sense the author himself admitted most of the things in it “happened, but not to him that’s what he has heard from others”) controversial book about a young boy (around 12 years old), who is wandering through war torn Europe and meeting variety of different people. Most of them are awful, terrible people who have to be like that to survive, and some were probably like that prior to the war. It’s a film about a soul, whether it’s possible to truly lose your soul, your humanity, if you are put through hell and back. And trust me, this boy has gone through some stuff. If the ending of this movie won’t break you, nothing will. Usually this would be the place I’d recommend for you to watch it, but with this film, it’s complicated. Is it a stunning film about humanity? Yes. Is it also almost a three-hour-long film about some of the worst human behavior, all witnessed and felt by a young boy? Also yes. If you are a sensitive soul, you might want to avoid this film, or at the very least, do some “research” prior to watching it. (Luke Burian)
Mank
Modern films shooting in black and white can sometimes be saddled with the accusation that such a choice is purely for the gimmick. However, when you’ve got a director like David Fincher at the wheel, it can rise above that. Based on a screenplay from Fincher’s father, Jack, Mank tells the story of the writing of Citizen Kane, while providing a retrospective on Herman J. Mankiewicz’s (Gary Oldman) career and the Golden Age of Hollywood through flashbacks. There may not be any color, but that doesn’t mean the film isn’t gorgeous, earning its cinematography win. In addition to the throwback to black and white, the production work (also Oscar-winning) helps transport the viewer back to the time period. It’s also anchored by some great performances, notably Oldman and Amanda Seyfried. If you’re a fan of the Orson Welles classic, or even if you’re not, the picture Mank paints of classic Hollywood is worth checking out for cinephiles — particularly if you’re already paying for Netflix. (Jake Bourgeois)
Guy & Madeline on a Park Bench
Playing the role of Joseph this week is me, picking a film that I really wanted to check out for the first time. While this may not be a typical “list of shame” movie, it has been one that I have been dying to get around to and I finally had an excuse! Guy and Madeline on a Park Bench is Damien Chazelle’s film debut, and it really shows. It looks cheaply made in the same way that Christopher Nolan’s Following does, but much like Following for Nolan, you can really see the blueprint for the filmmaker Chazelle would become in this film. It’s most like La La Land in that it follows two musicians and their relationship parallel to striving towards their dreams. While this film probably won’t leave you screaming its praises, you can see how Chazelle utilizes character relationships set to music and dancing that reminisces of old Hollywood to tell a story that has a rather endearing finale. (Aaron Schweitzer)
Wolf
You all know what you come here for. You come here to hear about a Dutch movie you’ve never heard of, and today, you’re in luck. Wolf is as gritty a film as they come, and an excellent example of the kind of style a black-and-white color grading allows. The film follows Majid, played by Marwan Kenzari (who you might have seen in The Old Guard or Aladdin), a talented kickboxer who has had his run-ins with the law and lives a life of small crimes and misdemeanors to make ends meet. At its heart, Wolf is an examination of toxic masculinity, especially as it pertains to the immigrant subcultures in the Netherlands. All throughout the film, Majid’s obsession with being seen as a worthy man leads him down darker and darker paths of self-destructive behavior in the name of his pride, all the while trying to prove himself in the ring, among his friends and as a part of his family. Kenzari’s performance at its center is stellar, and the grainy, black-and-white stylings of the film give the entire movie an almost unsettling amount of character. (Chris Bakker)
Malcolm & Marie
Early in 2021, Netflix released the already-forgotten drama during awards bait season. Shot in black and white, Malcolm & Marie was (maybe) sadly overlooked in a stacked year for quality content. It’s written and directed by Sam Levinson, and starring only two people, John David Washington and Zendaya, who play the titular Malcolm & Marie. Malcolm is a director, and upon returning home from his film premiere, a long night of arguing and some romance (but mostly arguing) ensues. Malcolm & Marie is a character-driven story about a relationship in serious decline. Despite it not being well received, I found the story to be an authentic demonstration of the toxicity that creeps into your persona when blame for a situation is laid firmly in your corner. Both Malcom and Marie get to expunge their truths, and again, authenticity presents itself as both of them are right, but also wrong. It speaks volumes on the imperative need for open communication in a relationship. Being a performance-driven piece, I found Zendaya to be the standout. There is one particular moment that will live on Zendaya’s highlight reel for the rest of her career, and is worth watching just for this clip. I know I am on a bit of an island in liking this more than the collective consensus, but the best way to know is to check it out for yourself. (Adam Ritchie)
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