Title Screen Film Genre(s), Title, Year, (Country), Length, Director, Description
An American Werewolf in London (1981, US/UK), 97 minutes, D: John Landis
Arthur (1981), 117 minutes, D: Steve Gordon
Atlantic City (1981), 104 minutes, D: Louis Malle
French director Louis Malle's tense, unsentimental, evocative and bleak character study was about an aging, has-been, small-time hood and numbers-runner named Lou Pascal (Burt Lancaster at age 68) who lived in the gray, depressing Atlantic City boardwalk area. Threatened to be put out of business by the casinos, he's forced to be the kept man of a miserly and abusive aging beauty queen - a feisty, broken-down gangster's widow named Grace Pinza (Kate Reid). His only source of escape and pleasure is secretively watching his neighbor - a younger, cynical clam-bar waitress named Sally Matthews (Susan Sarandon), who performs a sexy lemon-wash of herself at her window within his apartment's view. She aspires to become a blackjack dealer/croupier in one of the more glamorous resort casinos in Monte Carlo. Their lives are turned upside-down when Sally's deceitful, estranged husband Dave (Robert Joy) and her eight-months pregnant sister Chrissie (Hollis McLaren) show up on Sally's doorstep to sell a stolen shipment of high-quality cocaine. Lou befriends all three and promises he can sell the drugs due to his connections with the underworld. When Dave gets killed by the former owners of the drugs in the Philadelphia mob, Lou is able to keep the stash to himself as a financial windfall. He finally gets to play the role of his vain dreams as a big-time, respected, confident gangster, however illusory and dangerous, and is able to woo and show lavish generosity toward Sally as her self-appointed protector. After killing two gangland hoods to protect her, he admits his life was exaggerated up until then: "I never killed anybody in my life...But I did tonight", and he gleefully watches the report of the murders on the TV news: "Hey, that's me!...This story is going to be big all over the country: 'Gangland slaying rips apart Atlantic City!'" In the final sequence, Lou makes a final promenade down the Boardwalk with Grace - with a panning shot up to a view of a wrecker's ball smashing into an apartment before the closing credits.
Blow Out (1981), 107 minutes, D: Brian De Palma
Body Heat (1981), 113 minutes, D: Lawrence Kasdan
Chariots of Fire (1981, UK), 123 minutes, D: Hugh Hudson
Das Boot (1981, W. Germ.) (aka The Boat), 145 minutes, D: Wolfgang Petersen
Diva (1981, Fr.), 117 minutes, D: Jean-Jacques Beineix
The Evil Dead (1981), 85 minutes, D: Sam Raimi
The French Lieutenant's Woman (1981, UK), 124 minutes, D: Karel Reisz
Gallipoli (1981, Australia), 110 minutes, D: Peter Weir
Gregory's Girl (1981, UK), 91 minutes, D: Bill Forsyth
Mad Max 2 (1981, Australia) (aka The Road Warrior (1982)), 94 minutes, D: George Miller
Writer/director George Miller's imaginative, post-apocalyptic action sci-fi (western) film about a burned-out, ex-cop named "Mad" Max (Mel Gibson in a star-making role) (his last name from the first film in the trilogy, Rockatansky, is never uttered). In this comic book-styled B-film, the road warrior wanders the barren, lawless highways of an Australian outback wasteland in his black interceptor along with his dog. Living only to survive while dealing with anarchic crazies and violent road gangs, his main mission in life is to acquire enough precious petrol to keep nomadic. He agrees to help save a besieged, oil-producing colony (established as a small fuel depot at a refinery) from a crazed, marauding wasteland warlord, the evil Humungus (Kjell Nilsson), by promising to help the refugee community of survivors with a rush for the coast in a tanker-truck in exchange for gas. The entire film has the same formula as The Magnificent Seven (1960) or a Sergio Leone 'spaghetti western', with Gibson providing the Clint Eastwood "Man With No Name" legendary hero - or anti-hero role. This film is best known for its non-stop car action and amazing stuntwork in its dazzling climax, as well as its stark, naturalistic depiction of a post-apocalyptic future that nearly every film has imitated ever since. This sequel film, superior to the original film - an even darker revenge film Mad Max (1979), was followed by a nuclear post-apocalyptic sequel, Mad Max Beyond Thunderdome (1985), memorably featuring a co-starring role by rock star Tina Turner.
Mephisto (1981, Hungary), 144 minutes, D: István Szabó
My Dinner with Andre (1981), 110 minutes, D: Louis Malle
On Golden Pond (1981), 109 minutes, D: Mark Rydell
Pixote (1981, Brazil) (aka Pixote: A Lei Do Mais Fraco, or Survival of the Weakest), 128 minutes, D: Hector Babenco
Ragtime (1981), 155 minutes, D: Milos Forman
Raiders of the Lost Ark (1981), 115 minutes, D: Steven Spielberg
Spielberg's thrilling, entertaining homage to 1930's cliff-hanging adventure serials/films at Saturday matinees. One of the greatest action films ever made - led to a trilogy. Mid-1930s, pre-WWII comic-bookish, globe-trotting, bull-whip toting adventurer/archaeologist Dr. Indiana Jones (Harrison Ford) searches for rare antiquities. The film's opening sequence is a white-knuckled experience in a South American rainforest and cave with poisonous darts and a threatening boulder. In a race with the Nazis, dashing Dr. Jones is enlisted to locate the Biblical Ark of the Covenant before the evil agents of Hitler use its powers to win the war. From Nepal to Cairo, the self-effacing hero is aided by tough, hard-drinking, spunky and feisty ex-girlfriend Marion Ravenwood (Karen Allen), as he escapes one life-threatening situation, fight, scrape, and chase after another - especially venomous snakes and the mysterious wrath of God in its finale. Followed by three sequels: Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989), and Indiana Jones and the Kingdom of the Crystal Skull (2008).
Reds (1981), 200 minutes, D: Warren Beatty
The sprawling and overly-ambitious political biopic was an ill-fated, sweeping, and tumultuous love story between American journalist-activist John "Jack" Reed (Warren Beatty, the producer/director/co-writer), a naive yet charming radical revolutionary, and strong-willed aspiring writer-photographer Louise Bryant (Diane Keaton with a Best Actress nomination). She abandoned her dull dentist husband and middle-class, provincial life and followed the idealistic Reed and other leftist bohemians and free-thinking members of the intelligentsia to Greenwich Village and Provincetown. As a feminist and advocate of free love, she had an intense romance with Reed (involving many spats, partings and reuniting make-ups, due to their frequent separations). The assertive Louise became frustrated and self-angry at being underappreciated and marginal to Reed's heroics and fame, and she made efforts to strike out and establish her own identity. In a side-plot, Louise engaged in a brief, but tumultuous summer affair with playwright Eugene O'Neill (Jack Nicholson) - in the love triangle, he served as a rival for Louise's affection. O'Neill glibly provided a 'devil's advocate' counterpoint to the romantically-idealistic viewpoints of revolutionaries Louise and Reed. She secretly married Reed, and then sparks flew when they worked together in Russia during the Bolshevik Revolution and Reed wrote Ten Days That Shook the World, but soured once their lives as writer-colleagues ended. She was loyally propelled back into the arms of Reed at the Moscow train-station - the film's finale, but he was soon on his death-bed.
Whose Life Is It Anyway? (1981), 119 minutes, D: John Badham
This provocative film asked the question: Does a patient have the right to choose to die? 32 year-old gifted sculptor and art teacher Ken Harrison (Richard Dreyfuss) suffered horrible injuries following a car crash - a severed spinal cord. After six months, it was determined that he was paraplegic and paralyzed from the neck down. On a life-support machine in ICU with cameras monitoring him, he came to the conclusion that he wanted to die, if he could only get the hospital to discharge him. He told his dedicated girlfriend/dancer Pat (Janet Eilber) that he was terminating their relationship - and that he wanted her to regard him as dead ("I don't want to go on living like this"). Nonetheless, he kept an acerbic sense of humor, but mostly with one-liners about his 'vegetable' condition and his sexual impotence. The strict and stubborn Chief of Medicine Dr. Michael Emerson (John Cassavetes) was opposed to Harrison's wish to die, judged him to be too clinically depressed (and therefore incompetent) to make a logical decision, and injected him with Valium (against his wishes) to keep him comfortable and less anxious. Another physician Dr. Clare Scott (Christine Lahti) eventually came to be sympathetic and agree with Harrison that he had a right to decide his own fate. He was also supported by free-spirited, black orderly John (Thomas Carter) with a love of reggae music, and pretty young novice nurse Mary Jo Sadler (Kaki Hunter). The embittered Harrison hired personal injury lawyer Carter Hill (Bob Balaban) to represent him in a right-to-die case. He wanted a final ruling on whether he could legally be forced (or not) to stay in the hospital for treatment. The judge in the case, which was held in a hospital office, was Judge Wyler (Kenneth McMillan). The hospital countered Harrison's wishes by threatening to order him involuntarily committed (under the Mental Hygiene Law) to remain in the hospital. Harrison's lawyer argued that he was being held without his consent, by bringing a pre-emptive action against the hospital with a writ of habeas corpus. The hospital's psychiatrist Dr. Jacobs (George Wyner) agreed with Dr. Emerson's adversarial position. Harrison defended his right to die in an eloquent speech, by claiming that he was completely helpless and imprisoned inside an already dead body. The Judge finally decided that Harrison could remain at the hospital, but remove his life-support and dialysis, meaning that he would die within a few weeks.
Zoot Suit (1981), 103 minutes, D: Luis Valdez