Lawrence of Arabia (1962) is one of the greatest films ever made and a tie for my number one favorite film alongside Dr. Strangelove (1964). It is one of director David Lean’s most lasting legacies in Hollywood and a truly epic one-of-a-kind film. It was a film that was the inspiration to future filmmakers Steven Spielberg, Sam Peckinpah, Martin Scorsese, and George Lucas.

I first saw the film at the age of twelve when my father took me to the Ziegfeld Theater in New York City in 1989 for the film’s restored re-release. My father told me that it was his most favorite film and that I was very privileged to see it on the big screen. I will never forget when the lights dimmed and Maurice Jarre’s score played before the opening credits of the film. It was the first film that I can remember where my eyes were completely fixed to the screen in fear that if I turned away for a spilt second that I might miss a pivotal moment.

As I began rummaging through the popcorn bag, I looked over to my father who smiled and gave me a wink. My experience seeing the film on the big screen was like for so many others, a film, which made me want to become a director and it solidified my love of cinema from that moment forward.

In The Pardoner’s Tale, three drunk scallywags stumble out of a pub in the middle of the Black Death.  In their alcohol inspired brilliance, they decide to go looking for Death so they can kill him in retaliation.  A strange old man hears their request, and informs them they can find Death beneath a particular tree.

When they arrive, they find not the Grim Reaper figure they (and readers) were expecting, but a bag of gold.   Greed overtakes them, and they wind up killing each other.

MacKenna’s Gold is that story. It’s also a remake of It’s a Mad, Mad, Mad, Mad World. I would argue that Geoffrey Chaucer was able to get “Gold is death, greed is bad” a lot more effectively and simply than either film, but that’s just me. Besides, if MacKenna’s Gold stripped the movie down to its essentials, you wouldn’t have a corny theme song (which was at the heart of long running David Letterman gag), ponderous narration, psychedelic effects, and terrible miniature work.

You also wouldn’t have gotten to see Omar Sharif or Julie Newmar naked. What? Yes. And you thought gratuitous nudity didn’t exist before the 1970s.