So glorious, in fact, that it's easy to get a little spoiled. A constant in our generation of film geeks (I'm talking about millenials here, but I wouldn't hesitate to apply this criticism to the generations preceding us as well as following us) seems to be that we are really out of touch with classic cinema. And frankly, that is kind of pathetic. As I suspect anybody reading this blog is already aware, there are literally thousands of movies that you can watch for free, any time, streamed right over this magical series of tubes, and among those movies is a good chunk of what cinephiles consider to be the "canon," the great works of cinema that no self-respecting film fan should go without seeing.
Now I'm no better than anybody else. I have ignored this embarrassment of riches for far too long, and my cinematic diet is a bit too rich in junk food while lacking some serious nutrients. I mean, really, what film student in the 70's wouldn't have jumped at the chance to spend an afternoon taking in a couple of classic movies, on his own schedule, for free? So I'm making it my mission to watch as many classic films as I can, write my thoughts about them, and then share them with you, along with links so that you can watch any of them yourself. I'm calling the project Eat Your Vegetables because it kind of feels like what I'm doing: I'm watching everything that I have always felt like I should be watching but have eschewed in favor of more attractive but likely less satisfying options.
Every movie I write about under this heading will be one that I have never seen before, and one that is available to watch legally and for free somewhere on the internet. I will keep a schedule for four or five posts ahead of where I am to try and make it easy in case anybody wants to follow along or join the conversation, and the only reason I would drop a movie from the schedule is if it ceases to be freely available. Without any further blathering, here are the first five movies I will cover: Fritz Lang's M, Stanley Kubrick's Spartacus, Howard Hawks' His Girl Friday, Sergei Eisenstein's Battleship Potemkin, and Orson Welles' The Stranger. Stay tuned.