Rewatchable Films Are The Best Films

I love The Taking of Pelham One Two Three (1974).  I watch the film at least once a year.  It's a perfect film that never fails to entertain me.  The plain fact is that it gets more enjoyable with each viewing.  Most films drift in and out of my life.  This film has found a permanent place in my life. 

A typical argument is that, while highly rewatchable films often excel in entertainment value, relatability or comfort, they do not necessarily represent the best films in terms of artistic achievement, innovation, and emotional impact.  Some films, like Schindler's List and Requiem for a Dream, are critically acclaimed but emotionally heavy, which makes them less likely to be revisited.  Conversely, lighthearted, crowd-pleasing films, like Jurassic Park and Mean Girls, may lack the depth or complexity that some associate with greatness, yet they remain beloved for their enduring charm.  So, in the end, the thinking is that the best films balance entertainment and artistic value, resonating with audiences on multiple levels — whether they demand rewatching or leave a lasting impression after just one viewing.

But is that true?  It's a Mad, Mad, Mad, Mad World (1963) is a film that I often watch.  It is, in my opinion, as much an epic masterpiece as Lawrence of Arabia (1962).  It is a light-hearted, crowd-pleasing film, but it also checks the boxes for artistic achievement, innovation, and emotional impact.  The fact that I laugh constantly while watching the film is proof of its emotional impact.  Crafting an entertaining film that resonates across generations is a great artistic achievement.  I argue that highly rewatchable films are the greatest films for their amazing durability and the important place they occupy in our lives.

Let's look closely at the artistic and cultural significance of It's a Mad, Mad, Mad, Mad World.  The film was one of the earliest to utilize the widescreen Cinerama process, which was innovative for its time, offering a panoramic view that was both visually engaging and technically ambitious. The use of such technology in a comedy was groundbreaking, showcasing how comedy could be just as epic in scope as any drama.

With an unprecedented ensemble of comedy legends, the film's casting was a feat of coordination and vision. The interactions among these comedians parallel the great character interactions in drama.

The film satirizes human greed, ambition and the American Dream through its treasure hunt plot.  It presents a microcosm of society, much like how prestige films use personal narratives to comment on larger societal issues. The humor here serves as both entertainment and critique, offering insights into human nature.

The film's narrative structure with multiple intersecting stories is complex, demonstrating that comedies can have as intricate a plot as any serious drama.  The way these stories converge towards the end is a narrative triumph, showing that comedy can handle sophisticated storytelling.

In conclusion, It's a Mad, Mad, Mad, Mad World stands as a testament to the artistic, technical, and cultural value of comedy.  It challenges the notion that only films dealing with heavy emotional or societal issues can be considered "art."  By pushing the boundaries of what comedy can achieve in terms of scope, commentary, and storytelling, it deserves recognition alongside any prestige film for its contributions to cinema.