A quote–on Howard Hawks, as it happens, the irrelevance of which is parsed below:
A filmmaker of such varied skills also affected the outcome of a game played by my friends and me while waiting for our Film 101 course to start. We’d ask: “What was the best private eye movie ever made?” and “What was the best gangster film?” And so on till we had covered every genre from westerns to science fiction to screwball comedy. Then we’d vote and total up the score. The final list usually included these titles:
Best gangster film: “The Godfather,” “The Godfather II,” “Scarface” (the original).
Best private eye film: “The Maltese Falcon,” “The Big Sleep.”
Best western: “Red River,” “My Darling Clementine,” “Rio Bravo.”
Best screwball comedy: “Bringing Up Baby,” “The Lady Eve.”
Best comedy: “Duck Soup,” “His Girl Friday,” “A Night at the Opera.”
Best science fiction: “The Thing” (the original). (We could never decide if “2001” qualified.)
Six categories, 13 titles; six of the films belong to Hawks, who also directed our list’s fourth-best Hollywood musical, “Gentlemen Prefer Blondes.”
(Source: Allen Barra, “Deep Shallow Enigma” Los Angeles Times, July 13, 1997)
Now, this is nothing to do with Howard Hawks* or movies generally because I’d say the same about any list a bunch of college kids came up with regarding pretty much any subject.
But, please, critics everywhere–including those who don’t share pure delusions like “Gentlemen Prefer Blondes” being the “fourth-best Hollywood musical,”** or Barra’s “six categories” covering “every genre,”***–do remember this, the Seventh Maxim:
“What happens in college should stay in college.”
*(Another silly game people like to play is the “What movie can you sit down and watch any time?” Mine is El Dorado. Like I say, this isn’t about Howard Hawks.)
**(Though I do love it and actually prefer it to “Singin’ In the Rain,” which is regarded as the best by general consensus. But fourth best?….Uh, no.)
***(Barra’s categories are pretty much the ones regarded as important by collegiate sensibilities. Especially male collegiate sensibilities which tend to automatically reduce everything to the level of sports statistics. As someone who used to be trotted out in the pre-internet age if somebody wanted, say, to know who won the World Series in 1912 or the American League batting title in 1926, believe me, I know. Among the categories Barra and his friends left out: Horror, Women’s Pictures, Swashbucklers, Social Melodramas, Epics (Biblical and otherwise), Thrillers, Noir and War Movies. Not to mention that, as with other art forms, really great movies tend to defy genre anyway. Which is doubtless why, for instance, that most transcendent of all collegiate movies Citizen Kane is conveniently missing.)