There's not much we can say about Rob Reiner's untimely passing beyond our reactions of total shock and immense sadness. But what we can express in more detail is just how much his work has meant to us over the decades in which he's been part of our lives. Reiner was a fine actor, no doubt, but where he impacted us most was as a director. It started in our formative years, and our affinity and respect for him has only blossomed in the years since.
So we're going to present three favorite Rob Reiner films apiece. We'll be leaving some other films behind in doing this list, but his work will continue to be part of our lives now and in the future.
Misery (1990): This is one of those times I read the book before I saw the movie. Reiner paired with legendary screenwriter William Goldman, who wrote the script based on Stephen King’s best seller about a writer’s No. 1 fan. Reiner did what King couldn’t (or chose not to) do: his Annie Wilkes had some bouts of likeability. There are brief moments where you almost root for Kathy Bates’ character over James Caan’s Paul Sheldon. But then you learn her backstory, witness the hideous hobbling and mourn the loss of the inquisitive local sheriff. I’m sure many squeamish viewers preferred the movie version of hobbling over the book version, but Rob surely raised the tension for that scene. Fun fact: This is the only movie in which Reiner directed someone (Kathy Bates) to an Oscar win. --Leah
The Princess Bride (1987): I think we first saw this one at a local theater together. At the time, it was nice to know a cynical 15-year-old could still find something -- anything -- enchanting. Twenty-eight years after its release, it remains my favorite Rob Reiner movie. Goldman wrote the script based on his own novel -- he wisely kept the good parts and ignored the not-so-good parts. Reiner and his cast brought those scenes to life and told a story that truly seemed to have something for everyone. It’s not a perfect movie; someone really needed to have a talk with the editor (best example: the scenes after Fezzik dunks Inigo’s head into buckets of water). But great movies are allowed to have flaws. Not-as-fun fact: Rob Reiner is the voice you hear on the audio book version of The Princess Bride. As you know, in the movie, a grandfather is reading the story to his grandson. On the audio book, a father is reading it to his son. You’ll never listen to it the same way again. --Leah
Stand by Me (1986): It is no easy feat to adapt Stephen King's work for the big screen because the legendary author is so great at what he does that even the most talented of visionaries has trouble translating the vivid imagery we conjure up in our heads to the big screen. The fact that Reiner was able to do that on more than one occasion is another testament to the man's talent, his openness and the fact that he truly understood the assignment. And not only did he do that, but he also excelled on another front that historically proves difficult for filmmakers -- bringing the aches and pains of adolescents to the big screen in a way that is heartfelt and not cloying while also remaining accessible to people not of the same age group. As a result, Stand by Me isn't just a kids' story, it's a tale that reminds us of when we were young and naive and the tell-tale moments in which all of that changes forever. --Paige
The Sure Thing (1985): Another great example of a genre that it's tough for moviemakers to get a decent grasp on, Reiner reflected upon the coming-of-age children from 1959 in Stand by Me hot off this often-overlooked gem of young modern-day college students trying to figure out who they are, and literally and figuratively deciding what path they're going to take in the world while being subjected to ridicule and derision of their peers' whims. Movies about this age group -- as well as the teenage years that preceded them -- were a dime a dozen in the '80s, because John Hughes had shown there was a sustainable market for them. But out of the lion's share of them, you'd be hard-pressed to find one better than The Sure Thing. In fact, I prize this more highly than Sixteen Candles or Pretty in Pink, because it does a better job of defining characters beyond the film's emotional core. And it's certainly head and shoulders above the allegedly titillating likes of Porky's. --Paige
This Is Spinal Tap (1984): The groundbreaking mockumentary that forever will have us cranking it up to 11 gave rise to all such films that have come since (particularly the hilarious works of one of the film's stars, Christopher Guest). It succeeds in this endeavor because it takes the title faux heavy-metal band seriously while pointing out the foibles of its members (including their dubious drummer tales of woe) and the absurdity of the record industry at the same time. Reiner played the part of the director documenting the band on camera while also harnessing all the ridiculousness from the outside for the actual movie. He gave his stars -- Guest, Michael McKean and Harry Shearer -- the green light for improvisation and then basically got out of their collective way. And the band members had such fun doing it that the "fake" band resurfaced as a real group, releasing records and giving concerts en route to a recent return to the screen in a sequel. --Paige
When Harry Met Sally (1989): Too bad we don’t have access to multiverses so we could see how movies like Misery, The Princess Bride and When Harry Met Sally would’ve ended up if they had different directors. It’s easy to give credit to writers and assume anyone can turn a stellar script into a fantastic movie. But in someone else’s hands, I don’t think Nora Ephron’s script would resonate the way it did. Casting for this one was just as important as the timely hairstyles. And Reiner’s use of Harry Connick, Jr.’s jaunty, jazzy music is just perfect in the background. The chapter intros -- couples talking about how they met -- are a great structure for the movie. Fun fact: In an interview, Reiner once described demonstrating Meg Ryan’s orgasm scene in the deli to show her what he wanted her to do. Everyone knows Reiner’s mother Estelle had the movie's best one-liner because of that scene, but not as many people probably think about how awkward it had to be for Rob to perform that scene in front of his mom. --Leah
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