At 83 years old,Ridley Scottis still as prolific as ever with two exciting upcoming projects slated for this year. Both the controversial medieval revenge filmThe Last Dueland the star-studded biopicHouse of Guccienter 2021’s awards season, and regardless of the reception they receive, it’s impressive that Scott is debuting two elaborate historical epics within a month of each other. This isn’t even a first for Scott; he debuted both the horror sequelHannibaland the war dramaBlack Hawk Downin 2001, and later released the sci-fi prequelAlien: Covenantand the kidnapping thrillerAll the Money in the Worldin 2017.
Directing two films released the same year is impressive in its own right, but some filmmakers managed to direct two genuine masterpieces within a twelve month span. Whether they speak to similar themes or showcase different sides of the director’s talents, these successive runs show filmmakers at their creative peaks.
Alfred Hitchcock, 1954 (Rear WindowandDial M For Murder)
Alfred Hitchcockisn’t just one of the greatest filmmakers of all-time, but one of the most prolific. With a career spanning over five decades, Hitchcock has over fifty credited directorial works to his name. Although the majority of his output is strong, in 1954 he reached a peak with the voyeruistic chamberpieceRear Windowand the untraditional murder mysteryDial M For Murder.
Not only are both films among Hitchcock’s best, but they both did something new with a familiar subgenre of thriller.Rear Windowmined tension from an isolated environment;James Stewart’s protagonist is distanced from engaging in the conflict, isolated from the action in the same way the viewer is.Dial M For Murdersimilarly plays with perspective, revealing the plot to killGrace Kelly’s character within the opening scene, but only steadily letting her unravel the clues. Hitchcock’s inventiveness and intimate relationship with his audience was highlighted during this stage of his career.
Ingmar Bergman, 1957 (The Seventh SealandWild Strawberries)
Ingmar Bergmanwas highly influential for 1970s filmmakers includingMartin Scorsese, as the Swedish filmmaker’s extensive contributions to film, theater, and television were a wealth of originality. 1957 saw the release of two of Bergman’s best films: the metaphorical medieval fantasyThe Seventh Sealand the sentimental dramaWild Strawberries. While both films feature characters confronting their own death, they approach the themes through different genres.
The Seventh Sealfollows a knight (Max von Sydow) as he plays a game of chess with the personification of Death (Bengt Ekerot), and infuses religious and philosophical metaphors within a period adventure. While it’s tough to call any of Bergman’s films “heartwarming,”Wild Strawberriesfollows the more optimistic reflections of an aging professor (Victor Sjöström) as he celebrates his career. Bergmanwrote this existential double featurewhile hospitalized.
Mel Brooks, 1974 (Blazing SaddlesandYoung Frankenstein)
Mel Brookshad already proven he could translate the satirical comedy of his television and stand up career to the big screen with his directorial debutThe Producersin 1967. In 1974 Brooks created two of the greatest spoof films of all-time. Drawing from the films he’d loved growing up,Young Frankensteinretold the story of Victor Frankenstein through the eyes of his incompetent descendant, andBlazing Saddleslampooned the cliches of western adventure stories and offered searing commentary on racism.
Both films featured innovative directorial choices that distinguished them from other spoofs. Brooks shotYoung Frankensteinin black-and-white and emulated the stylistic flourishes of early monster movies.Blazing Saddlesfrequently broke the fourth wall, but also generated controversy due to its depiction of race relations. Brooks continued with these ambitions as he critiqued other genres throughout his career, but he never topped the iconic double feature of 1974.
Francis Ford Coppola, 1974 (The ConversationandThe Godfather: Part II)
Francis Ford Coppolawas already a household name thanks to the success ofThe Godfather, and he faced heightened expectations in 1974.The Godfather: Part IIwas an ambitious sequel to what at the time was the highest grossing film ever made, andThe Conversationexplicitly depicted government surveillance mere months after the Watergate scandal (even if the film wasn’t specifically about Nixon).
It was an ambitious undertaking, and Coppola crafted two masterpieces: one a timeless epic and the other a timely commentary on current anxieties.The Godfather: Part IIexpanded upon the Corleone family’s history across several decades, following the perspectives of an expanded cast of characters.The Conversationis more tightly wound, condensing a complex moral dilemma through the eyes ofGene Hackman’s protagonist who is given only limited access to information. Coppola’s success with stories of wildly different scopes resulted in a novelty at the Academy Awards; both films competed against each other for Best Picture.
Steven Spielberg, 1993 (Schindler’s ListandJurassic Park)
In 1993,Steven Spielberglanded two distinct honors.Jurassic Parktook over the cultural zeitgeist and became the highest grossing film of all-time, and withSchindler’s ListSpielberg finally earned the Academy Awards for Best Picture and Best Director that had long eluded him. Balancing breakthrough visual effects innovations with a personal story about his heritage, Spielbergsilenced doubters that he had peaked.
Spielberg is among the hardest working directors in Hollywood, but this ambitious directorial undertaking pushed him to his limits. Spielberg had waited over ten years to adapt the story ofSchindler’s Listbecausehe felt he wasn’t mature enoughto depict the Holocaust, and he’d picked up the rights toJurassic Parkbefore the novel had even hit shelves. He edited the unprecedented digital recreation of prehistoric creatures at night while shooting the gruelling emotional story of Oskar Schindler during the day. It was a feat of dexterity that only Spielberg could handle.
Steven Soderbergh, 2000 (TrafficandErin Brockovich)
WhileSteven Soderberghis one of the icons of the streaming era thanks to his innovative release strategies, in 2000 he was firmly within the studio system. However, the meticulous attention-to-detail that had distinguished his breakout films wasn’t lost with higher budgets. At the turn of the century, he helmed two extensively researched dramas that tackled relevant issues.Erin Brokovichis among Soderbergh’s most inspirational crowd pleasers, butTrafficis a hopeless window into the War on Drugs.
Few directors weaponize star power like Soderbergh, and withErin Brokovichhe gaveJulia Robertsone of her most iconic roles as the unemployed single mother who built a case against the Pacific Gas and Electric Company.Trafficbalanced a stacked ensemble of characters in order to cover the perspectives of law enforcement, politicians, drug traffickers, and victims of addiction, told across three interconnected storylines. For this challenging undertaking, Soderbergh became the first director sinceMichael Curtizin 1938 to earn two nominations in the same year for Best Director, winning forTraffic.
Steven Spielberg (Again), 2002 (Catch Me If You CanandMinority Report)
Spielberg pops up again with his subversion of two familiar genres.Catch Me If You Canmay seem like a fun heist caper from its plot synopsis, but the story of teenage con artist Frank Abegnale Jr. (Leonardo DiCaprio) explored the damaged psyche of a character unable to form permanent connections.Minority Reporttackled weighty themes of free will and determinism through the prism of a sci-fi noir, but also featured some of Spielberg’s most innovative action sequences.
The 2002 double header showed Spielberg’s dedication to grounding his films in lived-in environments. Whileelements of the true story were changed(and the “truth” of the storyis somewhat dubious), Spielberg conducted extensive research in order to authentically recreate period details of the 1960s forCatch Me If you may.Minority Reportwas a vision of the future created from Spielberg’s imagination, and many of his predictions on technological developments have made their way into reality. What’s incredible is this wasn’t even the last great double feature from Spielberg; in 2005 he helmed both the grizzly espionage thrillerMunichand the underrated sci-fi disaster filmWar of the Worlds.
Jeff Nichols, 2016 (Midnight SpecialandLoving)
One of the greatest independent filmmakers working today,Jeff Nicholsoften tells beautiful stories about sensitive characters cut off from society. In 2016, Nichols used this intimate approach to spotlight an important moment in history and reimagine the superhero origin story from the perspective of a loving father. The events ofLovinghave important historical ramifications, andMidnight Specialdevelops a unique sci-fi mythology. Nichols chooses to focus on families torn apart by forces they can’t control.
Lovingtells the story of Mildred (Ruth Negga) and Richard (Joel Edgerton) Loving, an interracial couple in the 1960s prohibited from marriage, and how they brought their case to the Supreme Court.Midnight Specialfollows the journey of a single father (Michael Shannon) to protect his superpowered child (Jaeden Martell) from the pursuits of government forces. Both films are underrated; although Negga received an Academy Award nomination,Lovingdeserved to be a major awards contender due to its timely subject matter, andMidnight Specialis an underseen throwback to ‘80s Spielbergian sci-fi classics.
Martin Scorsese, 2019 (Rolling Thunder RevueandThe Irishman)
2019 was the culmination of two of Martin Scorsese’s key interests.The Irishmanis Scorsese’s reflection on the gangster genre he’s closely associated with, andRolling Thunder Revueis one of his more unusual forays into music documentaries. Scorsese used Netflix’s resources to fund two unique passion projects that both shed insight on his earlier work.
The Irishmanexplores the consequences of the gangster lifestyle on familial life. WhileMean StreetsorGoodfellascertainly don’t romanticize the mafia,The Irishman’s epic 209-minute runtime examines how isolating a lifelong pursuit of crime can be as the characters age and have no one to care for them. Scorsese has been actively involved in music documentaries sinceThe Last Waltzin 1978, andRolling Thunder Revuereunited him withBob Dylanafter telling the singer’s life story in 2005 withNo Direction Home. This time Scorsese spotlighted a specific moment in Dylan’s career, but also included fictitious elements framed as facts, creating an amusing series of half-truths. Both films are welcome rewards for Scorsese’s fans.
Spike Lee, 2020 (Da 5 BloodsandAmerican Utopia)
Few filmmakers are as in sync with socially conscious topics asSpike Lee, and last year Lee reinvented two familiar subgenres with his unique voice.Da 5 Bloodsdraws inspiration from classic adventure films likeThe Treasure of the Sierra Madreand war epics likeApocalypse Nowfor a complex morality tale that explores the trauma of black Vietnam veterans. WhileAmerican Utopiais a filmed version ofDavid Byrne’s stage show, Lee includes elements of performance art, theater, comedy, and inserts of relevant news stories for an immersive cross genre experience.
Both films show Lee’s ability to recraft stories from his perspective. Lee and co-writerKevin Willmontrewrote a 2013 spec script byDanny BilsonandPaul De Meoto tellDa 5 Bloodsfrom a black perspective, andincluded flashback sequencesthat make the central treasure hunt more tragic. There were high expectations for a new David Byrne concert film, as the classicStop Making SensebyJonathan Demmeis often cited as one of the greatest concert films ever made, butAmerican Utopiainclusion of underrepresented voices updated the music for 2020 audiences.
