Yes­ter­day Mar­tin Scors­ese, the leg­endary direc­tor, list­ed the 15 gang­ster films that shaped the way he has por­trayed crime on film (Good­fel­las, Mean Streets, Taxi Dri­ver, etc.). Scors­ese watched these films as a young­ster and young direc­tor, dur­ing his big moment of influ­ence. The first film (The Pub­lic Ene­my) came out in 1931, and the last one (Point Blank) in 1967. Above, you can watch scenes from the orig­i­nal Scar­face (1932), which appears on his list.  The rest of Scors­ese’s picks, along with relat­ed film clips, can be found here.

PS Don’t miss our col­lec­tion of Free Movies Online. It now fea­tures 575 qual­i­ty films.

In 1989, Adam David­son, while still a stu­dent at Colum­bia Uni­ver­si­ty, direct­ed a short film called The Lunch Date. Although the film has a vin­tage look to it, the com­men­tary is entire­ly con­tem­po­rary – a prod­uct of 1980s debates on race in Amer­i­ca. The Lunch Date picked up the Short Film Palme d’Or at the 1990 Cannes Film Fes­ti­val and then an Acad­e­my Award for the best Live Action Short Film in 1991. Not too shab­by for a stu­dent film that hap­pens to run a quick 9:10.

The Lunch Date now appears in our col­lec­tion of Free Movies Online along with many oth­er award win­ning movies. Many thanks to Patrick for send­ing this short our way.

In 1939, Alfred Hitch­cock gave a lec­ture at Radio City Music Hall orga­nized by The Muse­um of Mod­ern Art and Colum­bia Uni­ver­si­ty. The talk (read the full tran­script here) takes you inside the cre­ative evo­lu­tion of Hitchcock’s film­mak­ing. First comes the bare bones plot, then a fuller treat­ment, com­plete with the dia­logue and a sus­pense­ful sto­ry that dri­ves the movie along for two hours. Hitch­cock was the mas­ter of cre­at­ing sus­pense – of giv­ing the audi­ence the “dope,” as he oth­er­wise calls it – that strings view­ers along. And, just what was in that “dope”? He describes it below:

That is the one thing that dis­turbs me a lit­tle. You see mod­ern nov­els, psy­cho­log­i­cal nov­els, with frank char­ac­ter­i­za­tions and very good psy­chol­o­gy, but there has been a ten­den­cy, with the nov­el and with a lot of stage plays, to aban­don sto­ry. They don’t tell enough sto­ry or plot. For a motion pic­ture, we do need quite an amount of sto­ry.

Now the rea­son we need a lot of sto­ry is this: a film takes an hour and twen­ty min­utes to play, and an audi­ence can stand about an hour. After an hour, it starts to get tired, so it needs the injec­tion of some dope. One might also say there should be a slo­gan, “Keep them awake at the movies!”

That dope, as one might call it, is action, move­ment, and excite­ment; but more than that, keep­ing the audi­ence occu­pied men­tal­ly. Peo­ple think, for exam­ple, that pace is fast action, quick cut­ting, peo­ple run­ning around, or what­ev­er you will, and it is not real­ly that at all. I think that pace in a film is made entire­ly by keep­ing the mind of the spec­ta­tor occu­pied. You don’t need to have quick cut­ting, you don’t need to have quick play­ing, but you do need a very full sto­ry and the chang­ing of one sit­u­a­tion to anoth­er. You need the chang­ing of one inci­dent to anoth­er, so that all the time the audience’s mind is occu­pied.

Now so long as you can sus­tain that and not let up, then you have pace. That is why sus­pense is such a valu­able thing, because it keeps the mind of the audi­ence going. Lat­er on I will tell you how I think the audi­ence should par­tic­i­pate in those things.

The rest of the lec­ture con­tin­ues here. And be sure to find many Hitch­cock films in our col­lec­tion of Free Movies Online.