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Best John Schlesinger Movies
13th Nov 2025
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John Schlesinger, a master of British cinema, left an indelible mark with his poignant storytelling and unflinching portrayals of the human condition. His films, often exploring themes of social alienation, sexuality, and the complexities of modern life, resonated deeply with audiences and critics alike. From the gritty realism of his early works to the sweeping dramas that followed, Schlesinger consistently demonstrated a keen eye for detail and a willingness to push boundaries. This voteable list celebrates Schlesinger's cinematic achievements, highlighting some of his most influential and enduring films. Now, it's your turn to weigh in! Browse the list below and cast your votes for the John Schlesinger films you believe are the very best. Whether you're a longtime admirer or a newcomer to his work, your selections help shape the ultimate ranking of his directorial legacy. Don't be shy – choose your favorites and let your voice be heard! Your votes will determine which of Schlesinger's cinematic triumphs reigns supreme.
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#11.
Pacific Heights (1990)
11/18
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John Schlesinger's *Pacific Heights* masterfully taps into the primal fear of home invasion and the vulnerability of private property. The film centers on Patty Palmer (Melanie Griffith) and Drake Goodman (Matthew Modine), a young, ambitious couple who, as the description aptly puts it, "works hard to renovate their dream house and become landlords to pay for it." Their aspirations quickly turn into a waking nightmare when they rent to Carter Hayes (Michael Keaton), a seemingly charming but deeply sinister man whose escalating bizarre behavior reveals his true intentions. Hayes meticulously exploits every legal loophole to terrorize them, aiming to seize their property and destroy their lives, proving that "unfortunately one of their tenants has plans of his own" – plans far more insidious than simple non-payment. While often celebrated for his gritty dramas like *Midnight Cowboy*, *Pacific Heights* showcases Schlesinger's formidable talent for crafting taut, psychological thrillers, a skill he previously demonstrated in *Marathon Man*. Schlesinger's direction meticulously builds suspense, turning the couple's sanctuary into a claustrophobic battlefield of legal and psychological warfare, expertly ratcheting up the tension as everyday domestic life becomes a terrifying struggle for survival against an antagonist who understands the system better than his victims. His direction elicits chilling performances, particularly from Michael Keaton, who is disturbingly charismatic as the manipulative Hayes, embodying a new kind of urban predator. The film resonates as a commentary on the anxieties of urban living, the fragility of financial security, and the dark side of the American dream, all hallmarks of Schlesinger's keen observational eye and ability to dissect societal undercurrents. It's a masterclass in suspense, affirming its place among his most effective and enduring works.
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Midnight Cowboy (1969)
**Midnight Cowboy (1969)** is a seminal drama that plunges viewers into the raw, unforgiving streets of 1960s New York City. At its heart, the film tells the stark story of Joe Buck (Jon Voight), a naive male prostitute from Texas who dreams of making a living servicing wealthy women, and his sickly friend, Enrico "Ratso" Rizzo (Dustin Hoffman), a street-wise hustler with a perpetually failing body. Their desperate struggle to survive amidst urban squalor, poverty, and loneliness forms an unlikely and deeply moving bond, showcasing their shared vulnerability and yearning for connection in a city that constantly threatens to consume them. John Schlesinger's masterful direction of *Midnight Cowboy* firmly places it at the top of his filmography and among the greatest works of American cinema. Schlesinger fearlessly tackled taboo subjects—male prostitution, urban decay, and social alienation—with a groundbreaking level of gritty realism and unflinching honesty, earning the film an X-rating upon its release, yet still making it the only X-rated film to ever win the Academy Award for Best Picture. His skill in eliciting raw, unforgettable performances from Voight and Hoffman, coupled with his keen eye for authentic location shooting and a powerful, melancholic score, crafted a searing indictment of the American Dream gone awry, while simultaneously finding profound humanism and enduring hope in the most desperate of circumstances. It is a testament to Schlesinger's vision that the film remains as potent and relevant today as it was over five decades ago.
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Marathon Man (1976)
John Schlesinger's *Marathon Man* (1976) plunges audiences into a taut, sophisticated thriller where Dustin Hoffman stars as Babe Levy, a graduate student and obsessive runner in New York. Babe is unwittingly drawn into a mysterious plot involving his brother, Doc (Roy Scheider), a member of the secretive "Division." This intricate web of espionage quickly unravels into a desperate struggle for survival, as Babe finds himself targeted by a ruthless former Nazi dentist, Dr. Christian Szell (Laurence Olivier), who is desperately trying to retrieve a cache of diamonds. The film is renowned for its escalating tension and Olivier's iconic, chilling performance, particularly in the infamous "Is it safe?" scene, which cemented his character as one of cinema's most terrifying villains. Beyond its gripping narrative, *Marathon Man* stands as a quintessential entry in John Schlesinger's oeuvre due to his masterful handling of psychological tension and character study, hallmarks of his best work. Schlesinger, celebrated for his ability to elicit nuanced performances and imbue genre films with profound depth, expertly navigates the moral ambiguities and sheer terror of Babe's ordeal. His directorial touch is evident in the film's relentless pacing, its claustrophobic atmosphere, and the way he grounds the sensationalistic plot in believable human reactions and vulnerabilities. From the gritty realism of 1960s New York to the chilling historical echoes of Nazi Germany, Schlesinger creates a world both visceral and terrifying, demonstrating why he was one of cinema's most versatile and impactful storytellers. It perfectly encapsulates his skill at crafting a mainstream thriller that resonates with intelligent depth, solidifying its place among his most memorable and acclaimed films.
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A Kind of Loving (1962)
John Schlesinger's powerful directorial debut, *A Kind of Loving* (1962), plunges viewers into the gritty realities of working-class life in northern England. The film unflinchingly portrays the challenges faced by Vic Brown (Alan Bates) when his girlfriend, Ingrid (June Ritchie), becomes pregnant, compelling them into marriage. Suddenly thrust into domesticity, Vic grapples with the loss of his youthful freedom, the claustrophobia of his new circumstances, and the stifling influence of his overbearing mother-in-law, Mrs. Rothwell (Thora Hird), with whom they are forced to live. It's a stark, often bleak, exploration of dashed expectations and the difficult adjustment to adult responsibilities in a society that offers little solace. This seminal "kitchen sink drama" is an essential entry on any list of John Schlesinger's best movies because it immediately established his signature style and thematic preoccupations. Schlesinger's keen eye for social observation, his empathetic portrayal of ordinary lives, and his masterful ability to coax raw, naturalistic performances are all evident here, setting the stage for his illustrious career. The film's intimate, unvarnished style and its profound humanism laid the groundwork for his later, more internationally acclaimed works like *Billy Liar*, *Darling*, and *Midnight Cowboy*, proving his remarkable talent for capturing the emotional complexities and often-painful realities of human relationships against authentic social backdrops.
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Billy Liar (1963)
**Billy Liar (1963)** Billy Liar (1963) introduces us to the titular character, a lazy, irresponsible young clerk in provincial Northern England who lives in his own fantasy world and makes emotionally immature decisions as he alienates friends and family. Trapped in a dreary job and a stifling family life, Billy Fisher constantly escapes into elaborate daydreams where he's a war hero, a celebrated writer, or a lady's man, using these fabrications to avoid the mundane realities of his existence and the expectations of those around him. Tom Courtenay delivers a captivating performance as Billy, deftly portraying the character's charming yet frustrating inability to confront his life, leading to a poignant blend of humor and pathos as he grapples with the lure of escape and the potential for a new beginning. This film undeniably belongs on a list of "Best John Schlesinger Movies" as it stands as a seminal work in the British New Wave movement and firmly established Schlesinger's directorial voice. *Billy Liar* perfectly showcases his early mastery of "kitchen sink realism," empathetic character studies, and the exploration of social confines. Schlesinger brilliantly juxtaposes Billy's vibrant inner world with the drab, claustrophobic reality of his Northern English town, capturing the universal yearning for freedom and self-discovery against the backdrop of societal pressures. Its critical success paved the way for Schlesinger's international career, demonstrating his innate ability to craft compelling narratives around complex, often flawed characters, a hallmark that would define masterpieces like *Darling* and his Oscar-winning *Midnight Cowboy*.
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Far from the Madding Crowd (1967)
John Schlesinger's visually stunning 1967 adaptation of Thomas Hardy's classic novel, *Far from the Madding Crowd*, plunges viewers into the harsh yet beautiful rural landscape of Victorian Dorset. At its heart is **Bathsheba Everdene, a willful, flirtatious, young woman, who unexpectedly inherits a large farm and becomes romantically involved with three widely divergent men.** These suitors—the steadfast shepherd Gabriel Oak, the reclusive and wealthy farmer William Boldwood, and the dashing but manipulative Sergeant Troy—each represent a different facet of love and desire, challenging Bathsheba's independence and leading her through a turbulent journey of passion, pride, and ultimately, heartbreak. The film masterfully captures the novel's dramatic sweep, its exploration of social class, and the eternal struggle between fate and free will, anchored by powerful performances, particularly from Julie Christie as the spirited protagonist. This grand adaptation rightfully earns its place among John Schlesinger's best films, showcasing his exceptional ability to explore the intricacies of the human heart against a vividly drawn backdrop. While perhaps less gritty than some of his later, more urban-focused masterpieces like *Midnight Cowboy* or *Sunday Bloody Sunday*, *Far from the Madding Crowd* nonetheless exhibits Schlesinger's characteristic depth in character study and his masterful command of visual storytelling. He draws out nuanced performances from his stellar cast, particularly Julie Christie, allowing the audience to deeply empathize with Bathsheba's struggles for independence and love in a restrictive era. The director's keen eye for naturalistic detail, combined with a sweeping romantic sensibility, elevates this period drama beyond mere costume fare, making it a profound and emotionally resonant exploration of human desire and the often-unforgiving forces of nature and society – themes that would consistently define his celebrated career.
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Darling (1965)
At the heart of *Darling* (1965) is the compelling, if cynical, journey of Diana Scott, a beautiful but amoral model who sleeps her way to the top of the London fashion scene at the height of the Swinging Sixties. The film masterfully captures the intoxicating, yet ultimately hollow, glamour of the era, portraying a world obsessed with fleeting fame and superficial connections. Through Diana's meteoric rise from aspiring ingénue to jaded socialite, director John Schlesinger crafts a sharp satire of the decade's materialism and moral decay. Julie Christie delivers an iconic, Oscar-winning performance as Diana, embodying both the allure and the emptiness of her character, making *Darling* a vibrant, stylish, but ultimately melancholic exploration of ambition and the price of success. As a cornerstone of John Schlesinger's early filmography, *Darling* is indispensable for understanding his directorial voice and why it belongs on a list of his best works. Schlesinger consistently excelled at dissecting the social fabric of his time, and here he turns a critical eye on the superficiality and moral ambiguity bubbling beneath London's fashionable surface, a theme he would revisit in later films. He eschews simple condemnation, instead offering a nuanced, if unflattering, character study of Diana, making her both alluring and pitiable in her relentless pursuit of advancement. The film's kinetic direction, combined with stunning cinematography, perfectly encapsulates the era's energy while subtly hinting at its fragility. Its multiple Academy Awards, including Best Actress for Christie and Best Original Screenplay, cemented its place not just as a cultural touchstone but as a testament to Schlesinger's ability to create incisive, resonant cinema that prefigured the psychological depth and unflinching realism he would bring to masterpieces like *Midnight Cowboy*.
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Sunday Bloody Sunday (1971)
John Schlesinger's critically acclaimed 1971 drama, *Sunday Bloody Sunday*, delves into the complexities of a modern love triangle with remarkable sensitivity. The film centers on recently divorced career woman Alex Greville, who embarks on a romantic relationship with the glamorous mod artist Bob Elkin. Unbeknownst to her initially, or perhaps willingly ignored, Bob is also intimately involved with middle-aged doctor Daniel Hirsh. For both Alex and Daniel, the younger man represents a vital break from their otherwise stable, perhaps even repressive, pasts. Though fully aware that Bob is seeing both of them, neither is truly willing to let go of the youth, vitality, and unconventional companionship he brings to their lives, creating a poignant exploration of desire, loneliness, and societal expectations in 1970s London. Beyond its compelling narrative, *Sunday Bloody Sunday* holds a firm place on any "Best John Schlesinger Movies" list for several reasons. Schlesinger masterfully navigates the emotional landscape of its characters, depicting their desires and vulnerabilities with profound sensitivity and a lack of judgment that was groundbreaking for its era. He extracts remarkable performances from his cast, particularly Glenda Jackson and Peter Finch, who deliver nuanced portrayals of individuals grappling with unconventional love and their own longing for connection. The film is a quintessential example of Schlesinger's ability to create deeply human, character-driven dramas that reflect contemporary society's complexities, often exploring themes of alienation, identity, and the search for belonging against a backdrop of evolving social norms. Its honest portrayal of an open, bisexual relationship, presented not as sensationalism but as a facet of human experience, cemented its status as both a critical triumph and a significant work that pushed the boundaries of cinematic storytelling in the early 1970s.
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The Day of the Locust (1975)
John Schlesinger's *The Day of the Locust* plunges into the bleak underbelly of 1930s Hollywood, far removed from its glamorous facade. At its core is Tod Hackett, a sensitive and observant art director, who falls hopelessly in love with the enigmatic and ambitious Faye Greener. He attempts to propel her acting career, despite the industry's indifference and her own complicated life, which includes an aging, alcoholic vaudevillian father and a string of ill-fated relationships that perpetually thwart her dreams. The film meticulously paints a portrait of Hollywood's forgotten fringes, where desperation festers among a cast of broken dreamers and cynical opportunists, all yearning for a piece of the gilded illusion. This ambitious adaptation of Nathanael West's seminal novel firmly establishes *The Day of the Locust* as one of John Schlesinger's most powerful and distinctive works. Known for his unflinching gaze into the human condition and the dark underbellies of society, Schlesinger masterfully captures the novel's acidic critique of the American Dream and the corrosive allure of Hollywood. His meticulous direction evokes a palpable sense of decay and desperation among its vividly drawn characters – often outsiders or the forgotten – building inexorably towards its famously chaotic and terrifying climax. This culminates in a visceral explosion of pent-up frustration and violence that perfectly encapsulates Schlesinger's recurring theme: the disillusionment inherent in a dream that has gone rotten. It's a visually stunning, psychologically dense, and ultimately devastating film that showcases his keen ability to expose the fragility of hope and the brutality of ambition, solidifying its place among his best.
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The Falcon and the Snowman (1985)
*The Falcon and the Snowman* (1985) is the true story of a disillusioned military contractor employee and his drug pusher childhood friend who became walk-in spies for the Soviet Union. Starring Timothy Hutton as the ideologically driven Christopher Boyce and Sean Penn as the reckless, drug-addled Daulton Lee, the film meticulously details their amateurish yet shockingly successful espionage efforts, driven by Boyce's disillusionment with CIA activities and Lee's need for money and excitement. From their initial, clumsy contacts with the KGB in Mexico City to their eventual downfall, the narrative skillfully explores the shifting dynamic of their complex friendship against the backdrop of Cold War paranoia and their own escalating moral compromises, delivering a gripping and often tragic account of real-life betrayal. This film belongs on a list of "Best John Schlesinger Movies" because it perfectly encapsulates many of the director's enduring themes and strengths. Schlesinger, a master of psychological depth and character studies, delves into the motivations of two profoundly flawed individuals, exploring the slippery slope of morality and the corrosive effects of disillusionment, which are hallmarks of his filmography. He masterfully navigates the dark underbelly of human nature, extracting intense, often uncomfortable truths through powerful performances – particularly from Penn and Hutton, who deliver some of their most iconic work under his direction. *The Falcon and the Snowman* showcases Schlesinger's ability to combine a taut, suspenseful narrative with incisive social commentary, making it a compelling and quintessentially Schlesingerian examination of outsiders navigating a morally ambiguous world.
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Madame Sousatzka (1988)
*Madame Sousatzka (1988)* is a poignant drama that exquisitely captures the intense and often fraught relationship between a demanding, eccentric piano teacher and her gifted student, an Indian prodigy. Shirley MacLaine delivers a towering, Oscar-nominated performance as Madame Sousatzka, a formidable but aging virtuoso clinging to past glories and determined to shape her latest protégé, young Manek Sen (Navin Chowdhry), into a star. The film delves into the psychological complexities of artistic mentorship, exploring the fine line between inspiration and manipulation as Sousatzka attempts to impose her vision and technique, often stifling Manek's innate talent and personal growth in the process, all set against the backdrop of London's competitive classical music world. This film firmly belongs on a list of "Best John Schlesinger Movies" because it perfectly showcases his masterful ability to explore intricate human relationships and psychological depth. Schlesinger, known for his empathetic lens and keen observation of character, meticulously crafts a world where the emotional stakes are incredibly high, extracting a powerhouse performance from MacLaine that anchors the film. *Madame Sousatzka* embodies Schlesinger's recurring thematic interests, particularly the struggles of individuals navigating societal pressures, the clash of generations and cultures, and the often-fraught path to self-realization. While perhaps less overtly gritty than some of his earlier works, its powerful performances and nuanced exploration of artistic ambition and sacrifice make it a richly rewarding and quintessential example of his character-driven filmmaking.
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Pacific Heights (1990)
John Schlesinger's *Pacific Heights* masterfully taps into the primal fear of home invasion and the vulnerability of private property. The film centers on Patty Palmer (Melanie Griffith) and Drake Goodman (Matthew Modine), a young, ambitious couple who, as the description aptly puts it, "works hard to renovate their dream house and become landlords to pay for it." Their aspirations quickly turn into a waking nightmare when they rent to Carter Hayes (Michael Keaton), a seemingly charming but deeply sinister man whose escalating bizarre behavior reveals his true intentions. Hayes meticulously exploits every legal loophole to terrorize them, aiming to seize their property and destroy their lives, proving that "unfortunately one of their tenants has plans of his own" – plans far more insidious than simple non-payment. While often celebrated for his gritty dramas like *Midnight Cowboy*, *Pacific Heights* showcases Schlesinger's formidable talent for crafting taut, psychological thrillers, a skill he previously demonstrated in *Marathon Man*. Schlesinger's direction meticulously builds suspense, turning the couple's sanctuary into a claustrophobic battlefield of legal and psychological warfare, expertly ratcheting up the tension as everyday domestic life becomes a terrifying struggle for survival against an antagonist who understands the system better than his victims. His direction elicits chilling performances, particularly from Michael Keaton, who is disturbingly charismatic as the manipulative Hayes, embodying a new kind of urban predator. The film resonates as a commentary on the anxieties of urban living, the fragility of financial security, and the dark side of the American dream, all hallmarks of Schlesinger's keen observational eye and ability to dissect societal undercurrents. It's a masterclass in suspense, affirming its place among his most effective and enduring works.
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Yanks (1979)
John Schlesinger’s poignant 1979 drama *Yanks* explores the cultural collision when American G.I.s are stationed in Great Britain during World War II. The film vividly captures the initial friction between the 'brash Yanks' and the more reserved British populace, particularly as the American soldiers begin making advances on the local women. Amidst this backdrop, several relationships unfold, most notably the tender and complex connection between Captain John (Richard Gere), a married American officer, and the aristocratic Helen (Lisa Eichhorn), whose husband is serving in the Navy. Both grappling with the profound loneliness and uncertainty of wartime, John and Helen seek solace and understanding in each other, navigating the delicate boundaries of comfort and commitment against a world in turmoil. This film earns its place among John Schlesinger's finest due to its quintessential Schlesingerian blend of intimate human drama set against a larger, historically significant backdrop. Like his other acclaimed works such as *Midnight Cowboy* and *Sunday Bloody Sunday*, *Yanks* excels in its sensitive and nuanced characterizations, exploring the emotional interior lives of ordinary people caught in extraordinary circumstances. Schlesinger masterfully depicts the subtle cultural tensions and personal sacrifices of wartime, eschewing grand battle scenes for a focus on the profound psychological and emotional impact of conflict. His direction imbues the relationships with a distinctive melancholic beauty and raw honesty, showcasing his talent for crafting stories that are both deeply moving and meticulously observed. *Yanks* stands as a testament to Schlesinger's ability to illuminate the complexities of the human heart, making it a powerful and enduring example of his artistic vision.
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Eye for an Eye (1996)
In John Schlesinger's intense 1996 thriller, *Eye for an Eye*, the audience is plunged into a world of raw grief and vigilante justice. As the provided synopsis vividly states, "It's fire and brimstone time as grieving mother Karen McCann takes justice into her own hands when a kangaroo court in Los Angeles fails to convict Robert Doob, the monster who raped and murdered her 17-year-old daughter." This powerful premise sets the stage for a harrowing exploration of a mother's desperation and the moral ambiguities of revenge, as Sally Field delivers a searing performance as McCann, driven to the brink by the ultimate betrayal of the legal system. While perhaps not his most critically lauded film, *Eye for an Eye* undeniably showcases many of the thematic and stylistic hallmarks that define John Schlesinger's distinguished career. Known for his unflinching gaze into the human condition and the moral complexities of society, Schlesinger masterfully dissects the psychological toll of grief and the corrosive nature of vengeance through Karen McCann's journey. He excels at portraying ordinary individuals thrust into extraordinary, often dark, circumstances (a recurring theme from *Midnight Cowboy* to *Marathon Man*), a trait profoundly evident here. His adeptness at drawing powerful, nuanced performances from his actors is also on full display with Sally Field, who delivers a raw and compelling portrayal of a woman pushed to her limits. Thus, even in a more mainstream thriller format, *Eye for an Eye* maintains Schlesinger's signature blend of social commentary, character-driven drama, and a willingness to explore uncomfortable truths, solidifying its place as a quintessential example of his directorial vision.
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The Believers (1987)
"The Believers (1987)" plunges audiences into a dark, urban supernatural thriller, immediately establishing a palpable sense of dread and personal tragedy. The film centers on laconic police psychologist Cal Jamison (Martin Sheen) who, still mourning the accidental death of his wife and having just moved to New York with his young son, is reluctantly drawn into a series of grisly, ritualistic murders involving the immolation of two youths. As Cal investigates, he uncovers a terrifying, ancient cult operating beneath the city's façade, threatening not only the city's inhabitants but also his own family, blurring the lines between psychological trauma and genuine malevolence. The narrative expertly builds tension, as Cal's scientific skepticism is challenged by increasingly horrifying and inexplicable events, forcing him to confront a hidden world of voodoo, sacrifice, and dark magic. While often considered a departure into overt horror for director John Schlesinger, *The Believers* nonetheless showcases many of the thematic and stylistic hallmarks that earned him a place on any "best of" list. Schlesinger, renowned for character-driven dramas like *Midnight Cowboy* and *Marathon Man*, brings his acute psychological insight to the forefront, grounding the supernatural terror in Cal Jamison's very real grief and trauma. He expertly crafts a pervasive atmosphere of unease and dread, utilizing the grimy, labyrinthine corners of New York City as a character in itself, echoing the urban realism of his earlier work. By elevating a potentially pulpy premise with A-list performances, meticulous pacing, and a commitment to exploring the darker, hidden aspects of society, Schlesinger transforms *The Believers* into a genuinely disturbing and intelligent genre piece, proving his versatility and his enduring skill at creating films that probe the fragility of the human psyche against overwhelming odds.
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The Starfish (1952)
Though often overlooked as an early short from 1952, *The Starfish* stands as a crucial embryonic work in John Schlesinger's filmography. This poignant black-and-white piece, perhaps a student film or early documentary short, immediately showcases the director's burgeoning talent for capturing the quiet desperation and profound interior lives of his subjects. It reportedly centers on a solitary young boy living by the desolate British coastline, whose only respite from a bleak existence is his fascination with the marine life, particularly a beached starfish. This seemingly simple premise is imbued with a nascent form of Schlesinger's signature social realism, depicting the stark environment and the boy's longing for connection and escape. What makes *The Starfish* deserving of a place on a "Best John Schlesinger Movies" list, despite its brevity and early vintage, is its remarkable ability to foreshadow the thematic and stylistic hallmarks that would define his most acclaimed features. The boy's isolation and his yearning for something beyond his constrained world directly echo the struggles of characters in *Billy Liar!* or Joe Buck in *Midnight Cowboy*. Here, Schlesinger masterfully uses the desolate seaside as a metaphor for the human condition, an early demonstration of his naturalistic eye and his empathetic portrayal of outsiders. It's a testament to his consistent artistic vision, revealing the nascent director's profound understanding of human fragility and resilience, themes he would continuously explore with increasing depth and complexity throughout his illustrious career.
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The Innocent (1993)
In John Schlesinger's taut 1993 Cold War thriller, *The Innocent*, audiences are plunged into the desolate, war-torn landscape of post-WWII Berlin. Here, a naive young American engineer, Leonard Marnham (played by Campbell Scott), is sent to help the Americans in their nascent efforts to spy on the Russians. It's a time and place where discretion is still a man’s best friend, and every shadow seems to hold a secret, making his crucial task of bugging Soviet phone lines a perilous endeavor fraught with constant danger and suspicion. Amidst this atmosphere of paranoia and moral ambiguity, Leonard falls deeply in love with a beautiful and mysterious German woman named Maria (Isabella Rossellini). Their passionate, all-consuming affair quickly pulls him away from his professional duties and into a dangerous, morally compromised world. Maria's past is veiled, her intentions unclear, and her presence slowly takes Leonard on a dark side of evil where innocence is lost, loyalty is tested, and betrayal looms at every turn, forcing him to confront the true cost of his emotional entanglement. *The Innocent* belongs on a list of best John Schlesinger movies because it exemplifies many of his directorial strengths, particularly his mastery of psychological tension and atmospheric storytelling. Schlesinger meticulously crafts a palpable sense of post-war desolation and the burgeoning Cold War paranoia, making Berlin itself a character in the film. The narrative's deep dive into moral ambiguity, the corruption of innocence, and the psychological unraveling of its protagonist aligns perfectly with Schlesinger's recurring thematic interests, as seen in acclaimed works like *Midnight Cowboy* and *Marathon Man*. His expert direction draws out complex, nuanced performances from Campbell Scott and Isabella Rossellini, while the meticulous craftsmanship in evoking the period and location solidifies its place as a sophisticated, character-driven thriller and a compelling entry in his impressive filmography.
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Honky Tonk Freeway (1981)
John Schlesinger's comedic ensemble *Honky Tonk Freeway* (1981) centers on the quaint, albeit struggling, Florida town of Ticlaw. Its sole claim to fame and economic lifeline is the "Wilderness World" safari park. When a gleaming new interstate highway is constructed, bypassing Ticlaw and denying it a crucial exit, the town's eccentric residents, under the determined leadership of their Mayor, decide enough is enough. They hatch increasingly absurd and chaotic schemes to convince the governor that Ticlaw deserves its place on the map – or rather, its own off-ramp – no matter the cost or the collateral damage. This colorful premise sets the stage for a sprawling, madcap journey involving a vast array of characters whose lives hilariously converge on the desperate plight of Ticlaw. While *Honky Tonk Freeway* stands as a notorious outlier in John Schlesinger's distinguished filmography, often characterized by gritty realism and profound character studies like *Midnight Cowboy* or *Marathon Man*, its place on a "Best Of" list speaks to a different kind of achievement: audacious ambition and surprising versatility. This massive, brightly colored ensemble comedy allowed Schlesinger to explore a distinctly American brand of desperation and ingenuity – as seen in Ticlaw's outlandish fight for survival – but through a riotously satirical lens. Despite its critical and commercial missteps upon release, the film showcases Schlesinger's capacity to orchestrate a vast cast and multiple storylines, subtly critiquing the consumerism and impersonal forces of progress that threaten small-town America, a thematic undercurrent not entirely removed from the social commentaries found in his darker, more celebrated works.
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The Next Best Thing (2000)
John Schlesinger's 2000 film, *The Next Best Thing*, is a poignant comedy-drama that delves into the unconventional family dynamic between best friends Abbie (a straight woman, played by Madonna) and Robert (a gay man, played by Rupert Everett), who make the life-altering decision to have a child together. Their carefully constructed family unit is thrown into disarray five years later when Abbie falls in love with a straight man and expresses her desire to move away with their young son, Sam. This development ignites a deeply personal and often acrimonious custody battle, forcing both parents to confront the true meaning of family, love, and commitment. While perhaps not as universally acclaimed as his earlier masterpieces, *The Next Best Thing* nonetheless earns its place on a "Best John Schlesinger Movies" list by exemplifying the director's enduring thematic interests and his talent for character-driven drama. Schlesinger, a master of exploring the intricacies of human relationships and societal outsiders, was consistently drawn to stories that challenged conventional norms. This film's sensitive portrayal of an unconventional family, the struggles of LGBTQ+ individuals to assert their parental rights, and the raw emotional toll of a custody dispute aligns perfectly with the director's career-long fascination with marginalized perspectives and the evolving definitions of love and family in the modern world. It demonstrates his commitment to probing complex social issues through intimate, psychologically nuanced narratives.
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