2003 saw the ending of one of the greatest trilogies of all-time as well as some great indie films and big-budget animation giants. An eclectic year that saw a return to form for directors like Clint Eastwood and the emergence of new greats like Sofia Coppola.
Best Film – The Lord of the Rings: The Return of the King
Capping off one of the greatest trilogies of all-time, director Peter Jackson delivered his most grandiose and dramatic Lord of the Rings film in The Return of the King.
As Frodo (Elijah Woods) has journeyed throughout these three films, the quest has taken a drastic toll on him. On the last leg of the journey, the evil forces opposing him and his shattered fellowship push forward with devastating effect. Aragorn (Viggo Mortensen) must ascend to the throne he has so long hidden from and Gollum (Andy Serkis) continues to plot his own nefarious deeds that could spell doom for all the world. Furious battles culminate in a final strategic gamble that gives the series a fitting finale.
Relieved of the pressures of needing to introduce realms and species to an audience, all of the building storylines are brought to a close that is both heartfelt, intimate and epic, creating a sensation few films have ever been able to achieve. In due time of course, Jackson would return to Middle-earth to complete another trilogy in The Hobbit series, but he needn’t have mattered. With The Return of the King, Jackson delivered an emotional epic that may never be topped.
Pixar delivered one of their greatest hits and most memorable films in Finding Nemo.
The tale of a father clownfish, Marlin (voiced by Albert Brooks), searching for his young son Nemo (voiced by Alexander Gould), Marlin is forced to swim across half the ocean, aided by his bumbling sidekick, Dory (voiced by Ellen DeGeneres). They come across sharks and jellyfish and all sorts of dangerous environments and creatures, forever pushing forward to find young Nemo, who must confront his own mortality in a dentist’s fish tank.
Featuring great comedic moments, mesmerizing animation and a heartwarming message, the film still stands today as one of Pixar’s finest achievements.
Lost in Translation
Sofia Coppola’s masterpiece of finding simple connections between people regardless of gender, age or status, Lost in Translation features two of the best, if not the best, performances of Bill Murray and Scarlett Johansson’s careers.
Bob Harris is a past-his-prime film star scraping work out in Japan, where he is completely out of his element. He meets Charlotte, similarly lost, her husband a photographer on assignment. Finding each other and trying to find themselves on the crazy streets of Tokyo, they learn about the nature of connection and what their futures entail, whether it is what they want or not.
Understated in its approach, strong in its emotional power, Lost in Translation succeeds by using Bill Murray’s brilliant sense of comic timing to punctuate the laughs and bring meaning to the story.
Clint Eastwood had been a touch out of step after his instant classic film Unforgiven (1992) won him two Academy Awards in 1993. Making rather average films such as The Bridges of Madison County (1995) and Blood Work (1992), it was natural to wonder whether the movie icon would ever reclaim the glory that the Western had brought him. With Mystic River (2003), those fears were laid to rest.
Dave (Tim Robbins), Jimmy (Sean Penn) and Sean (Kevin Bacon) are three friends growing up together in Boston in 1975. When Dave is kidnapped by two mysterious men and sexually abused for days, their friendship wanes. Now adults, they are drawn together once again as Jimmy’s daughter Katie (Emmy Rossum) is found murdered with Dave the prime suspect and Sean the police detective working the case. Fate has brought them together again and their destinies are all intertwined, for better or worse.
The film is about childhood loss of innocence and how that loss of innocence impacts us for the rest of our lives. Dave, Jimmy and Sean are all tied together through their past, present and future, helpless against the pain of time and regret. Eastwood may have stumbled a bit throughout the 1990s, but with Mystic River, he creates a haunting, beautiful film that truly explores the connections between people and the past.
Spring, Summer, Fall, Winter… and Spring
Ki-duk Kim’s Spring, Summer, Fall, Winter… and Spring (2003) is a story of rebirth. The soul, the body and the world are reborn over the course of its telling, set in the Korean countryside.
A young boy (Jae-kyeong Seo) is raised by an elderly Buddhist master (Yeong-su Oh), who yearns to teach him the ways of peace and solitude. But the young boy, as all boys do, is impatient and gives in to his emotions, torturing animals and acting destructively. Once he gains sexual lust, he abandons the master and ventures off into the world. Only after he commits a heinous crime does he return to try and find the peace that the monk had tried to teach him. But both wonder whether it is too late, too late for the boy to find the inner peace he desires and too late for the master to overcome his previous failure and purpose in life.
Featuring beautiful cinematography and a deliberate pace, the film is a touching examination of the essential forces at work in the world: love, nature, teacher, anger, desire and the continual rebirth of those forces over and over again.