That “Midnight Express” didn’t make Time’s All-Time 100 Movies confirms my opinion of the magazine. (Thankfully that 1952 classic, “Ikiru,” made the cut. I’m a big fan of Akira Kurosawa’s work. You bought that last statement? It was a joke; I was just mimicking the pretentious pseudos at Time.)

These days, a man’s home is considered the government’s castle. The case of Cory Maye, unjustly placed on death row for defending his home during a drug bust (the intrepid Tom Knapp elaborates on the case here, as does Radley Balko) conjures the achingly beautiful words of the convicted protagonist in “Midnight Express”:

“Mr. Prosecutor, I just wish you could stand right here where I am standing and feel what that feels like…cause then you’d know something you don’t know—you’d know what mercy means, Mr. Prosecutor—and you’d know the concept of a society is based on the quality of its mercy, of its sense of fair play, its sense of justice…”

That “Midnight Express” didn’t make Time’s All-Time 100 Movies confirms my opinion of the magazine. (Thankfully that 1952 classic, “Ikiru,” made the cut. I’m a big fan of Akira Kurosawa’s work. You bought that last statement? It was a joke; I was just mimicking the pretentious pseudos at Time.)

These days, a man’s home is considered the government’s castle. The case of Cory Maye, unjustly placed on death row for defending his home during a drug bust (the intrepid Tom Knapp elaborates on the case here, as does Radley Balko) conjures the achingly beautiful words of the convicted protagonist in “Midnight Express”:

“Mr. Prosecutor, I just wish you could stand right here where I am standing and feel what that feels like…cause then you’d know something you don’t know—you’d know what mercy means, Mr. Prosecutor—and you’d know the concept of a society is based on the quality of its mercy, of its sense of fair play, its sense of justice…”