Four Quintessential Films—As Chosen by Colm Feore ’77

In an immersive Literature & Performance classroom discussion with Colm Feore, Performance English students (such as myself) delved into the world of acting. While receiving advice and feedback from the esteemed Canadian play and film actor, I was able to inquire about Feore’s 4 most quintessential films that shaped the trajectory of his life or that may have shaped his passion for the dramatic arts. Below are 4 brief media reviews of each of his chosen films, in order of my highest to lowest rating (rated on a Letterboxd scale out of 5 stars), examining their impact on filmmaking and including my personal opinion.

The Godfather (1972): 4.5☆

Few films have left such a lasting impact on cinema as The Godfather. Directed by Francis Ford Coppola, set in 1940s New York, The Godfather opens in a dark, wood-panelled office where a desperate man pleads for justice. Marlon Brando and Al Pacino deliver career-defining performances as Vito and Michael Corleone, respectively. Of course, the soundtrack is magnificent, unique, and highly iconic (one of my favourite scores of all time). Gordon Willis’s moody cinematography bathes the film in shadow and warmth, blending perfectly with the scoring.

The Good, the Bad and the Ugly (1966): 4☆

Sergio Leone’s The Good, the Bad and the Ugly is an enduring classic in the Western film genre. Colm Feore notes that any Clint Eastwood film is essential for him. I believe one of the most notable pieces of cinematography in the movie is The Ecstasy of Gold scene, where the camera is seen to pan across, spinning around Tuco’s run through the Sad Hill Cemetery. Ennio Morricone is a highly talented scorer, having worked on the scores for A Fistful of Dollars (1964), which happened to be Clint Eastwood’s first lead role. My favourite score of his to this day is The Ecstasy of Gold, in which he uses a woman’s vocals in accompaniment with the instrumentals.

Withnail and I (1987): 4☆

Bruce Robinson’s darkly comic story follows two struggling actors navigating their lives in 1969 London. Richard E. Grant’s performance as Withnail is hilarious yet extremely poignant—and the titular character “I” (Marwood), played by Paul McGann, is quieter but equally as compelling. The film is filled with absurd encounters and run-ins with their uncle, Monty, and some aggressive locals. The film’s final moments are forlorn, featuring a monologue in the rain that reflects on disillusionment and the passage of time. Their soundtrack is as deeply affecting as the compelling performances by both main characters.

Local Hero (1983): 3.5☆

Bill Forsyth’s Local Hero is a quiet gem. The film follows Mac, a young, ambitious oil executive sent to a small Scottish Village to negotiate a corporate buyout of land. Mac slowly finds himself captivated by the town’s residents and coastal scenery. His growing friendship with some residents steers the narrative in unexpected directions. This movie is a melodrama that will tug at your heartstrings. Forsyth’s direction and Mark Knopfler’s score lends an air of wistfulness to the cinema. The camerawork in this film is seriously good, and it was all produced by Chris Menges. This film highlights connection and belonging above all else, and actor Peter Reigert (who plays Mac MacIntyre) works with his role brilliantly.