American director Francis Ford Coppola joins Letterboxd weeks ahead of his film’s release Megacity A list of movies titled “My Highly Recommended Movies” for movie fans and filmmakers around the world. Featuring 20 films – several dating from the end of the silent film era – this list explores some of the best and most experimental films of all time.
“This is a list of movies that I love and recommend to any movie fan or aspiring filmmaker,” Coppola wrote on the film-based social media platform. “This list is not complete because there are so many. So many – the list is exhausting and keeps growing. Thanks to Letterboxd for providing a platform for me to share these meaningful films, and for the images that inspire me!
Whether you’re writing your first screenplay or drafting your 50th, there are plenty of great movies on this list. We take lessons from every film Coppola recommends to you and apply them to your writing workflow.
French Cancan (1955)
There’s a lot going on in this rich French-Italian musical by Jean Renoir. The film follows Henri (Jean Gabin) as he attempts to revitalize his café through cancan dancing. While the film is a gorgeous piece of work, the attention to detail and chunking of every scene adds a certain depth to an already textured story. Although screenwriters shouldn’t add too much detail to action scenes, using sharp and insightful language can help readers flesh out your world.
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People who don’t sleep well (1960)
In this loose adaptation of Shakespeare villageKurosawa breathed new life into this well-known story by infusing it with cruel and wry humor. From wedding cakes designed to look like corporate headquarters to the moral conflicts in corrupt boardrooms in postwar Japan, People who don’t sleep well Perfectly blending Shakespeare’s themes with the contemporary culture of the time.
General Yen’s Bitter Tea (1933)
although General Yen’s Bitter Tea A little-seen work by Frank Capra, the film reflects many of Coppola’s tendencies in storytelling. It’s worth noting that the film stars white actors playing Asian characters, but the film’s value lies in the risk it takes to offend in its story. The film touches on politics, religion, culture, and sexuality—all topics that have been extremely taboo in American culture until now.
Shanghai Express (1932)
Roughly based on the Lincheng Incident, Shanghai Express is one of the most technically stunning films ever made. However, writers should focus on how these relationships are represented on screen. Subtle details – whether in action or dialogue – reveal the relationships between the characters and their expectations of each other and themselves.
The terrible truth (1937)
Adapted from the stage play of the same name, The terrible truth It’s a screwball comedy driven by the pride and stubbornness of protagonists Jerry (Cary Grant) and Lucy (Irene Dunne), whose actions create more problems than they solve. While Quentin Tarantino is best known for his lyrical dialogue, writer Vinia Delmar’s script The terrible truth With a similar graceful flow, the audience is drawn into the rhythm of the characters’ bickering. The dialogue not only enhances the comedy, but also sets the stage for physical humor, creating visual contrast and enhancing the film’s wit.
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ladies man (1961)
Jerry Lewis, the only man working in a women-only hotel ladies man It might sound like a raunchy sex comedy – one that seems to flourish every 20 years. However, this character-driven comedy is unlike anything seen before because of its willingness to stray from traditional storytelling structures. Rather than following a traditional plot, the film takes an episodic approach, with Herbert H. Hibbert (Lewis) moving from one hilariously comedic scene to another as he interacts with different women. Comedy scenes.
Burmese harp (1956)
This war drama delves into the moral confusion caused by the conflict and the impact of blind patriotism. Burmese harp tells a simple story with universal humanistic appeal. Its narrative is clear and executed to near perfection, telling screenwriters that the best stories focus on moral considerations.
Tokyo Story (1953)
Often regarded as Ozu Yasujirō’s masterpiece, Tokyo Story The book stands out for its ability to examine the mundane and common challenges faced by families as members of the middle class in their daily lives. The characters’ actions and motivations are instantly recognizable to anyone, no matter how selfish their actions may be. Because of the universal nature of the story, the action or dialogue of the story cannot be too explicit, giving the audience more room to explore the complexities of family drama.
last laugh (1924)
Many of the films of this era of cinema are often the most revolutionary. last laugh It’s no different as it allows the camera to freely explore the scene rather than get stuck in it. This German tragedy can teach screenwriters how to write and convey tone through action, regardless of the constraints of the format.
blue angel (1930)
Josef von Sternberg’s groundbreaking film stands out for its pioneering use of sound in cinema, but the screenwriters should have focused on rich character development rather than relying on stereotypes that were considered outdated and archaic from the 1930s. Characters can demonstrate complexity without negatively reproducing their trope elements, allowing them to become three-dimensional characters who explore their own arcs throughout the film’s plot.
Splendor in the grass (1961)
Hollywood loves a happy ending, but not every story ends up having an impact. Splendor in the grass is a film with a bittersweet ending that leaves a lasting emotional impact. Although the film’s ending finds closure for Dini (Natalie Wood), it’s not a traditional “happy ending.” Impactful endings don’t always need to be cleverly resolved. Rather, they reflect the complexity of the themes the story deals with.
drunken love (2002)
Paul Thomas Anderson lends Adam Sandler’s comic persona the same way Jim Carry’s physical comedy lends itself to drama. drunken love It’s a whirlwind of romance that leans toward the unconventional. But that’s thanks to the sympathetic energy with which PTA brings to life its anxious, lonely, lovesick characters. Even if the character flies to Hawaii on a whim to chase a girl, it feels strangely romantic. Writing a character who doesn’t fit in with the world can be challenging if you can’t find the threads of empathy that bring the character into their arc.
empire of the sun (1987)
Despite being one of Steven Spielberg’s most underrated films empire of the sun It is a wonderful war epic told through a child’s perspective. Screenwriter Tom Stoppard blends real events with fictional stories to create a story that is both true and cinematic. It’s a tricky balance to strike – one that historians often comment on – but it’s crucial when crafting a compelling story that doesn’t feel like a history lesson.
Read more: 5 trademarks of Steven Spielberg’s movies
Sunrise: A song for two people (1927)
usually regarded as this silent films in the silent film era, sunrise Crafted with care to set cinematic standards. The film uses a three-act structure, and its simple plot effectively uses simple narrative to construct themes, characters, and tone. By the time the performance ends, the pacing effectively builds and releases tension as the story progresses.
boring street (1925)
While GW Pabst’s silent films may seem far removed from contemporary screenwriting, it can still teach screenwriters about the power of subtlety. The film integrates social issues about living conditions in post-World War I Vienna into the narrative in an organic way. Rather than openly talking about their problems, the characters show the audience their daily struggles while maintaining a compelling storyline.
place in the sun (1951)
While reviews of the film are not revolutionary in modern times, many consider this slow-paced melodrama to be a staple of American cinema. The film touches on taboo topics through subtext, subtly hinting at a key plot point through poignant dialogue between Angela (Elizabeth Taylor) and her doctor. If a writer wants to touch on a topic that is taboo to the public, using clever dialogue can add power to the story without having to say anything directly.
king of comedy (1982)
Martin Scorsese has long been known for his complex antiheroes, and Rupert Pupkin (Robert De Niro) is no exception. Scorsese taps into America’s obsession with celebrity and media, balancing humor and tragedy from a comedian hungry for his moment in the spotlight. Rupert’s conflict makes the antihero sympathetic enough to root for him even as he gives us goosebumps. Writers can learn how to create a compelling antihero who will stop at nothing to get what they want and believe that what they’re doing is the right thing (well, most of the time).
after get off work (1985)
What could possibly go wrong in one night? Scorsese returns to brutal streets after get off work For his comedy of errors. Each scene bleeds into the next, building on the madness Paul (Griffin Dunne) endures in one night. Writing a movie that takes place in a limited time frame and is driven by outside forces that push the characters further into madness is no easy task, but it’s a huge challenge for the screenwriter.
Ashes and diamonds (1958)
This typically Polish film walks a tightrope with its audience, touching on themes that might offend either the audience or the regime. Andrzej Wajda’s awareness of tightrope walking can be felt in the story, drawing the viewer to look closely at the text. Sometimes ambiguity is a good thing. Writers can use it to omit their opinions on sensitive topics and let the art spark conversation with the audience.
prom invitation (1956)
What can a screenwriter learn from a movie that has essentially no dialogue? They can learn a lot about action. Similar to the silent film era, Gene Kelly’s dance anthology films tell stories through movement. The best movies can convey tone and themes through action alone, without relying on dialogue. Try writing a script without dialogue as an exercise to see how well you tell a story through actions rather than words.
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Whether it’s a silent film, a foreign film, or some personal favorite that has inspired your work, Coppola’s endorsement shows that he found something special and important in each story.
As writers, an important part of our craft is observing, learning, and experimenting to improve our skills. Don’t be afraid to take this advice and try and fail. After all, progress can only come from a willingness to try.
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