Where exactly does Bonnie and Clyde rank in the American pantheon? It's a bona-fide classic, to be sure. It placed on the American Film Institute's Top 100 in 1998 and again in 2007. It's also on the IMDB's Top 250 list. Upon closer inspection, however, it's far more than a perfect, polished gemstone. Rather, it's a bundle of contradictions. Everyone knows that it was a groundbreaking film of its day, the first to incorporate a new kind of violence and moral complexity into the mainstream. But screenwriters Robert Benton and David Newman borrowed these elements directly from French New Wave films like Jean-Luc Godard's Breathless (1959) and Francois Truffaut's Shoot the Piano Player (1960). In fact, Truffaut was the first director approached for the project. Despite this, Bonnie and Clyde somehow transcends time. More than just a moldy relic of the 1960s, it has aged much better and is far more watchable today than, say, Easy Rider (1969) or even The Graduate (1967).

I live a ten minute walk from the Arclight Cinema in Los Angeles, easily one of the best movie theaters in the country. The American Film Institute hosts awesome screenings of new and classic films there weekly, and I try to see as many as I can. Just last week, I enjoyed the new Michael Douglas flick King of California, which was followed by an enlightening talk with the movie's writer and director -- Mike Cahill. Neat, right? But nothing could prepare me for the event that hit my inbox just now. Had I been a cartoon character, my bow tie would have spun around rapidly and smoke would have blasted out of my ears. Readers, if you live in Los Angeles -- KEEP OCTOBER 3RD FREE!

The AFI is celebrating its 40th anniversary with an almost unbelievably cool event. On October 3rd, they will screen eleven classic movies at the Arclight, all at the same time. But what truly sets this event apart are the people they've booked to host the screenings. Check this lineup out, and try to keep your jaw attached to your face: One Flew Over the Cuckoo's Nest, presented by Jack Nicholson. Spartacus, presented by Kirk Douglas. The Birds, presented by Tippi Hedren. The Sound of Music, presented by Julie Andrews. Bonnie and Clyde, presented by Warren Beatty. Rocky, presented by Sylvester Stallone. Star Wars, presented by George Lucas (settle down!). When Harry Met Sally, presented by Rob Reiner and Billy Crystal. Beauty and the Beast, presented by Angela Lansbury. The Shawshank Redemption, presented by Morgan Freeman. And Unforgiven, presented by Clint Eastwood. Um...wow. Just wow.

Here is the official site for the event. Tickets go on sale September 19th. which is this Wednesday. Tickets are $25, and include popcorn and soda. The first 100 people to show up for each screening get a 40th Anniversary AFI Book. Dress is "festive attire," all screenings begin at 7PM, and doors are at 5:30. For you non-Angelinos, which screening would you choose if you could go? And if you plan on attending, which one are you going to? I'll be at either Unforgiven or One Flew Over the Cuckoo's Nest for sure. Both movies are in my personal top ten, and where else am I going to be up close and personal with Jack Freaking Nicholson or Clint Freaking Eastwood? This is going to be a tough choice! See you there?

I don't know about you, but I just couldn't see Warren Beatty playing Richard Nixon. Fortunately he won't be, but for some reason he was almost cast as the former U.S. President in Ron Howard's next project, Frost/Nixon. If you think it would have been a good idea, then maybe you should write up a script about the Nixon and Kennedy debates -- and if you get Beatty to play Tricky Dick, then maybe you can get Leonardo DiCaprio to play JFK.

Apparently now that Beatty is no longer in talks for Howard's film, which you may recall is based on the play by Peter Morgan, a more proper choice for the role is being considered. Frank Langella, who played the part on stage, is in negotiations to reprise his performance for the screen. The casting of Langella will certainly make more sense than the casting of Beatty, because the play's other star, Michael Sheen, has also been in talks to reprise his own role, as television interviewer David Frost.

Langella should have been considered from the beginning, but obviously he isn't a big enough star for Hollywood to think of right away, despite all the acclaim he received for his work in the play. So as payback, I hope the actor, who long, long ago was nominated for a Golden Globe for Most Promising Newcomer (he lost to James Earl Jones), not only gets the part, but also wins some awards for playing it. I'm surprised that Hollywood still continues to pass over great stage actors for more well-known names when a play is turned into a film. They should have learned 40 years ago with the whole Julie Andrews-My Fair Lady thing.

In the ever-apologetic tradition of honorary and lifetime achievement Oscars, composer Ennio Morricone will receive an Academy Award on February 25. It is hard to believe that one of the most recognized names in film scoring has never been graced with an Oscar before. He's been nominated, sure -- five times to be exact (for Days of Heaven, The Mission, The Untouchables, Bugsy and Malèna) -- but he's never won.

Morricone shouldn't be bitter about losing those five times, especially considering he lost to other greats (Moroder, Hancock, Byrne, Menken and Dun). It should be a big enough lifetime honor for him to know that people around the world regularly hum, whistle or howl along to his theme to The Good, The Bad and the Ugly. But in 2001 the composer told The Guardian, "if it was up to me, every two years I would win an Oscar." In the same interview, Morricone did express some bitterness with not winning for The Mission, stating that Hancock's score for 'Round Midnight was not technically original.

Ennio Morricone has scored more than 350 films and not all of them are masterpieces. He has been nominated twice for Razzie awards (for Butterfly and The Thing) and he even considers his score to A Fistful of Dollars to be his worst. But the 78-year-old is certainly deserving of recognition for his contributions to cinema. Other important scores of his include Cinema Paradiso, The Battle of Algiers and Once Upon a Time in America, which supposedly wasn't considered by the Academy because of an unfulfilled paperwork requirement.

The celebration of Morricone's music on Oscar night should make for an enjoyable program, and not just because his scores will be heard. Morricone seems via interviews to be an honest and, reportedly, grumpy old man, and he will hopefully have some interesting things to say in his acceptance speech.

Back in 1981, Warren Beatty was still known as an unrepentant ladies man and party boy. Having made his name in films like Splendor in the Grass and Shampoo, Beatty was still the go-to guy when a romantic lead was required. Everyone was happy with the arrangement -- except Warren Beatty. Tired of being a sex symbol, he wanted to make films with substance and a point of view, and Reds was the perfect opportunity. After the success of Heaven Can Wait, he could pretty much call the shots on his next project and of course, what he really wanted to do was direct.

Written and directed by Beatty, Reds was considered the ultimate vanity project; at over 200 minutes long, the film is the story of American journalist John Reed and his coverage of the Russian Revolution. Critics thought that Beatty was in way over his head, but they were wrong; the film became a hit and garnered 21 Oscar nominations, including three wins; Beatty (as director), Maureen Stapleton, and Vittorio Storaro (cinematography). The film also starred some of Reed's famous friends; Diane Keaton (Louise Bryant), Jack Nicholson (Eugene O'Neil), and Paul Sorvino (Louis Fraina).

Check out this great video with Warren as he discusses Reds and why its subject matter is still important 25 years later.

[via Yahoo! Movies-DVD]

Netscape's Karina Longworth gamely edited down 40 minutes of Warren Beatty talking at the New York Film Festival into nine minutes of fascinating commentary on why contemporary audiences are better able to appreciate Reds, his 1981 epic drama about John Reed, the American journalist, Communist and American war activisist who was buried in the Kremlin Wall than audiences when the film was made. You can watch the video right here, above, or pop on over to Netscape if you want to download it.

Whenever I think about actors running for office, I think about Back to the Future, specifically Doc Brown's shocked response when Marty tells him that Ronald Reagan is President of the United States in 1985. "Then who's vice president?" asks Doc, "Jerry Lewis? I suppose Jane Wymann is the first lady. And Jack Benny is secretary of the Treasury." It's a little joke that is so perfect, I wouldn't be surprised if Bob Gale and Robert Zemeckis revolved the entire script based on that one scenario of trying to explain to someone from the past that a B-movie actor has become the head of the nation.

Nowadays the idea of actors becoming politicians isn't as funny, because there have been so many in office. From the very famous Arnold Schwarzenegger to the lesser known Fred Thompson, they are/were mayors, governors, senators, diplomats, you name it. Apart from those who actually run and/or are elected, there are a number of celebrities with political interests that don't include holding office. Actors such as Warren Beatty, George Clooney and Sean Penn continually gain media attention for their activist campaigns and charity work, and are constantly asked about their desire to run in the future. Just yesterday, Clooney had to remind us that, we "don't want (him) in office," while appearing at an event for his Batman & Robin co-star, Schwarzenegger. Meanwhile, Sean Penn, who plays a politician in his latest film, All the King's Men, and who is controversially known for his liberal politics, recently stated that he also has no desire to run. Of course, this probably won't stop reporters from asking again in the future.

I wonder if the media obsession with politically minded celebrities will ever quit. Will it last until actors no longer hint at being interested? And did all this begin after Reagan took his seat as Governor of California? The thing is, stars of old would probably have made better officials than those of today. The difference is that reporters are now concerned with getting the most controversial scoop possible. But the scary part is the people would more than likely vote a celebrity into office than the best candidate, and for that reason, the star who knows his political limits, and stays within them, is doing the best possible service to his country.

A few weeks ago, the people at the New York Film Festival proudly announced that The Queen, a film about the English royal family's handling of the death of Princess Di (which is getting a ton of Oscar buzz for star Helen Mirren), would have its US premiere here in New York at the Festival's opening night. Though there has been speculation for some time that big names from Toronto and Cannes would make the trip to New York, no details about the rest of the NYFF slate had been officially revealed. This morning, though, some titles were announced, and the speculation was correct: Guillermo del Toro's Pan's Labyrinth and Pedro Almodóvar's Volver (once scheduled for US release this summer) will both make their American debuts at NYFF. Del Toro's film scored the Festival's closing slot, while Volver has been declared the official "Centerpiece" film, an appellation that grants prestige and not much else. In addition, a restored print of Warren Beatty's multiple Oscar-winner Reds will be shown at the Festival in recognition of the film's 25th anniversary.

This year's New York Film Festival will run from September 29 to October 15.

Warren Beatty took one step forward and two steps back in his bid to obtain full rights to the Dick Tracy comic book character. A few months back, he scored a victory in US district court when a judge granted him the right to sue Tribune Media Services after they supposedly snatched the Tracy rights from him. Now, a hearing in federal court has ended without a ruling and the judge gave no indication as to when that might happen.

But why does he want the rights so badly? Well, because he wants to legally change his name to Dick Tracy and fight crime -- duh, why did you think he wanted them? Actually, Beatty would like to make a sequel to the popular 1990 film and, as part of his lawsuit, claims Tribune has made it "commercially impossible" for that to happen. A lawyer for Tribune argued that, as part of a deal Beatty made with Disney, the actor/director has to acquire permission from Tribune in order to move forward with a sequel. However, Beatty's representation feels Dick Tracy don't gotta ask permission from no one.

Heck, I'm with Tribune -- who wants a Dick Tracy sequel anyway? Sure, the original film was colorful and pretty to look at, but the ending will always go down as one of my least favorite of all time. In fact, I will often refer to films that kill off a bunch of critical bad guys in one scene as pulling a "Dick Tracy." Here's hoping the judge sides with me and kills off Beatty's dreams of Dick Tracy 2 real soon.