The Top 10 EDITED Films Ever - Videos Included (of course!) #6 to #10
April 19th 2007 14:22
There has been a spate of Top Ten Film lists here on Orble in recent days. Not to be outdone by JohnDoe, Cibbuano, or Bryn, I have decided to compile my own top ten list – with a distinctly yoda76 twist.
Being a film and TV editor by trade, I have compiled the Top Ten EDITED films of all time according to yours truly. Due to the size of the post and the videos, I've split it into 2 parts.
I must say that sitting down to rank these films in a top ten hierarchy is a process akin to asking me to pick which one of my children is my favourite. But I have pressed on and here’s what I’ve come up with.
And asking me to write about editing is like… well… this could take a while – take a deep breath:
[Warning: Some of these videos are certainly NOT for the easily offended]
# 6 - Road To Perdition (2002)
Edited by Jill Bilcock ASE
After Sam Mendes took two knockbacks from Jill to work on this film, she figured she’d better do it when he called the third time!
Road To Perdition is a departure from the traditional Hollywood style of editing. Much of the film is dialogue, and Jill completely resists the temptation to overlap it. The absence of overlapping dialogue means that you don’t get a reaction shot until after the line is delivered. It creates a very odd sense of unease and a detachment between the characters, and creates a beautiful, measured pace to the film that, in my opinion, elevates it from a well-directed, beautifully shot film, to a piece of cinematic storytelling of the highest order.
A couple of scenes from Road To Perdition:
#7 - Any Given Sunday (1999)
Edited by Stuart Levy, Tom Nordberg, Keith Salmon, Stuart Waks
Love it or loathe it, this is a well-edited film. The kilometres of rushes that these guys must have had to work with is suggested by the fact that there are four of them!
Oliver Stone, while rarely working with the same editor from film to film (unlike the Scorsese/Schoonmaker and Spielberg/Kahn for example), still manages to find a consistent editing style that serves the story well.
The highlights for me are anything on the field, and the scene between Al Pacino and Jamie Foxx interspersed with shots from the Ben Hur Chariot Race. Continuity be damned, this film shows what it needs to show in order to get across the story and emotions of the moment.
One for the MTV (A.D.D.) Generation ;o)
Here’s an excerpt from the “Ben Hur” Scene:
#8 - The Godfather (1972)
Edited by William Reynolds, Peter Zinner
As a viewer, when you see a shot in a film, you expect to glean what you need to know from it in a very short time. This is something that has been instilled in us through the very nature of editing. As a result, when a shot is held for much longer than expected, you are forced to re-evaluate, and re-invest in that shot: “Did I miss something? What am I looking for?”
This is why the first shot of the Coppola’s Godfather, a pleading Italian man telling his story, is riveting. It’s long, and uncut. We are forced to watch him unravel his tale, and by the time the second shot arrives – we’re hooked:
Masterful pace throughout, and highly skilled storytelling at it’s best.
#9 - Baraka (1992)
Edited by David Aubrey, Ron Fricke, Mark Magidson
Baraka is an experience. One not to be missed.
Not a single spoken word of dialogue makes Baraka a very daring film. And even with a complete lack of plot, or traditional narrative devices, this film sends a solid message home, loud and clear.
Simple juxtaposition of images, and some wonderful sound design (see the baby chicks and thumping city scenes), create a feature-length epic spanning the globe. Some of the most awesome shots in cinema history can be found right here:
#10 - Moulin Rouge! (Tango Scene – 2001)
Edited by Jill Bilcock ASE
This is a personal favourite – not the greatest film in my opinion, but the Tango scene is an exceptional piece of film editing. There is little to say other than watch:
Being a film and TV editor by trade, I have compiled the Top Ten EDITED films of all time according to yours truly. Due to the size of the post and the videos, I've split it into 2 parts.
I must say that sitting down to rank these films in a top ten hierarchy is a process akin to asking me to pick which one of my children is my favourite. But I have pressed on and here’s what I’ve come up with.
And asking me to write about editing is like… well… this could take a while – take a deep breath:
[Warning: Some of these videos are certainly NOT for the easily offended]
# 6 - Road To Perdition (2002)
Edited by Jill Bilcock ASE
After Sam Mendes took two knockbacks from Jill to work on this film, she figured she’d better do it when he called the third time!
Road To Perdition is a departure from the traditional Hollywood style of editing. Much of the film is dialogue, and Jill completely resists the temptation to overlap it. The absence of overlapping dialogue means that you don’t get a reaction shot until after the line is delivered. It creates a very odd sense of unease and a detachment between the characters, and creates a beautiful, measured pace to the film that, in my opinion, elevates it from a well-directed, beautifully shot film, to a piece of cinematic storytelling of the highest order.
A couple of scenes from Road To Perdition:
#7 - Any Given Sunday (1999)
Edited by Stuart Levy, Tom Nordberg, Keith Salmon, Stuart Waks
Love it or loathe it, this is a well-edited film. The kilometres of rushes that these guys must have had to work with is suggested by the fact that there are four of them!
Oliver Stone, while rarely working with the same editor from film to film (unlike the Scorsese/Schoonmaker and Spielberg/Kahn for example), still manages to find a consistent editing style that serves the story well.
The highlights for me are anything on the field, and the scene between Al Pacino and Jamie Foxx interspersed with shots from the Ben Hur Chariot Race. Continuity be damned, this film shows what it needs to show in order to get across the story and emotions of the moment.
One for the MTV (A.D.D.) Generation ;o)
Here’s an excerpt from the “Ben Hur” Scene:
#8 - The Godfather (1972)
Edited by William Reynolds, Peter Zinner
As a viewer, when you see a shot in a film, you expect to glean what you need to know from it in a very short time. This is something that has been instilled in us through the very nature of editing. As a result, when a shot is held for much longer than expected, you are forced to re-evaluate, and re-invest in that shot: “Did I miss something? What am I looking for?”
This is why the first shot of the Coppola’s Godfather, a pleading Italian man telling his story, is riveting. It’s long, and uncut. We are forced to watch him unravel his tale, and by the time the second shot arrives – we’re hooked:
Masterful pace throughout, and highly skilled storytelling at it’s best.
#9 - Baraka (1992)
Edited by David Aubrey, Ron Fricke, Mark Magidson
Baraka is an experience. One not to be missed.
Not a single spoken word of dialogue makes Baraka a very daring film. And even with a complete lack of plot, or traditional narrative devices, this film sends a solid message home, loud and clear.
Simple juxtaposition of images, and some wonderful sound design (see the baby chicks and thumping city scenes), create a feature-length epic spanning the globe. Some of the most awesome shots in cinema history can be found right here:
#10 - Moulin Rouge! (Tango Scene – 2001)
Edited by Jill Bilcock ASE
This is a personal favourite – not the greatest film in my opinion, but the Tango scene is an exceptional piece of film editing. There is little to say other than watch:
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Comment by Mrs M
Mum's Word
Comment by yoda76
The Tube Blog
;o)
Comment by JohnDoe
Film & TV on DVD
Scorsese's Goodfellas, Raging Bull are mighty efforts cut with precise care. Personally though I think Taxi Driver takes the cake for editing
Oliver Stone's JFK and Any given Sunday are great choices too, though again I think Natural Born Killers is cut with a skill seldom seen.
Baraka is indeed a dazzling choice, hypnotic and moving combination of image and sound.
The Godfather is a worthy contender, not out of place in a list like this.
A few films I despise made your list like-Moulin Rouge, Romeo and Juliet, Road to Perdition, admittedly though their is editing is their main strength.
Fun topic, will come back with my list of 10 shortly
Comment by yoda76
The Tube Blog
JD, you're gonna make me cry.
I can understand Moulin Rouge - I don't really like the film, but this scene I could watch over and over.
Romeo and Juliet? Road to Perdition? Despise? Such a harsh word!!
I look forward to what you some up with...
Comment by JohnDoe
Film & TV on DVD
For me Bazz turned Shakespeare's Romeo and Juliet into a fairy floss story that had zero emotional gravity or anything other than empty gratification lacking the weight inherent within the story. Thats OK for a music video, but not for one of the greatest romantic tragedies ever penned.
Road To Perdition is a great idea that fails to explore its potential. Miscast with uneven, displaced melodrama I found myself laughing when i know it was meant to be serious.
Cornball Hanks pretending to be a tough guy, performing the part with no imagination or believability pulled me out of the moment constantly....highlighted in any of scenes where he appears opposite Paul Newman
In both films defence, the cinematography, sound design and technical skills were superb.
Comment by yoda76
The Tube Blog
Wow - it never ceases to amaze me how subjective viewing films can be...
I can see your point about Hanks, but I totally disagree about Romeo and Juliet. I still reckon it's a great piece of storytelling, and a clever interpretation of the original.
So where's your list? I'm hangin' here...
;o)
Comment by JohnDoe
Film & TV on DVD
Comment by yoda76
The Tube Blog
Yes, but I want details!!
;o)
Comment by JohnDoe
Film & TV on DVD
Comment by yoda76
The Tube Blog