AFI's 100 Years...100 Laughs
AFI's 100 Years...100 Laughs is a list compiled by the American Film Institute (AFI) in 2000, ranking the 100 funniest American films of all time, selected by more than 1,500 leaders from the film community who voted on a ballot of 500 nominated comedies.[1][2] The list was revealed during a three-hour television special broadcast on CBS on June 13, 2000, hosted by Billy Crystal and featuring clips, interviews, and tributes to celebrate American cinematic humor.[3][2] The ranking encompasses films across genres and eras, from silent comedies to contemporary works, emphasizing those that have profoundly influenced American laughter and storytelling in cinema.[1] Topping the list is Billy Wilder's Some Like It Hot (1959), a Prohibition-era farce starring Marilyn Monroe, Tony Curtis, and Jack Lemmon, followed by Dustin Hoffman's cross-dressing comedy Tootsie (1982) and Stanley Kubrick's satirical Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964).[1] Other notable entries include Woody Allen's Annie Hall (1977) at number four and the Marx Brothers' Duck Soup (1933) at number five, showcasing a blend of slapstick, satire, and romantic comedy that defines the genre's breadth.[1] This AFI initiative, part of its broader "100 Years...100" series honoring milestones in American film, aimed to recognize comedy's enduring role in cultural reflection and entertainment, with the full list serving as a benchmark for film scholars, enthusiasts, and awards considerations.[4][3] The selection process involved nominations from film artists, critics, and historians, ensuring a diverse representation of comedic excellence from the early 20th century onward.[2]Background
Overview
AFI's 100 Years...100 Laughs is a list compiled by the American Film Institute (AFI) ranking the 100 funniest American films of all time, selected for their total comedic impact across various genres including slapstick, romantic comedy, satire, and musical comedy.[1][5] The list was announced on June 13, 2000, during a three-hour CBS television special titled AFI's 100 Years...100 Laughs: America's Funniest Movies, hosted by Drew Barrymore with guest appearances by comedians such as Billy Crystal and Robin Williams.[6][7] The ranking is limited to feature-length American films that possess significant elements of production within the United States, emphasizing works that have enduringly shaped the nation's comedic cinematic heritage.[3] As part of the broader AFI 100 Years series celebrating the centennial of American cinema, the special generated notable media coverage and public interest in highlighting comedy's role in film history.[4]Series Context
The AFI's 100 Years... series comprises a set of annual ranked lists compiled by the American Film Institute (AFI) from 1998 to 2008, designed to honor the centennial of American cinema by recognizing excellence across various aspects of filmmaking.[4] Launched to foster public and expert discourse on the cultural significance of American films, the initiative involved ballots distributed to leaders in the film community, including directors, actors, producers, and critics, resulting in authoritative rankings that reflected collective judgment on cinematic achievements.[8] Produced in partnership with CBS, the series typically culminated in Emmy-nominated or award-winning television specials that broadcast the lists, blending archival footage, celebrity commentary, and countdown formats to engage audiences nationwide.[9] The series evolved progressively, beginning with AFI's 100 Years...100 Movies in 1998, which established the model by selecting the greatest American films overall, followed by 100 Stars in 1999 honoring legendary performers.[10] Subsequent installments expanded thematically to explore diverse elements of film history, such as thrills (2001), passions (2002), heroes and villains (2003), songs (2004), quotes (2005), musicals and cheers (both 2006), and culminating in the 10 Top 10 genres list in 2008, totaling 13 specials that collectively spotlighted over 1,000 cinematic milestones.[4] This progression allowed the series to broaden its scope beyond general acclaim, incorporating genre-specific and inspirational categories to highlight the multifaceted impact of American movies on culture and society.[11] As the third entry in the series, AFI's 100 Years...100 Laughs (2000) marked a deliberate shift toward humor, emphasizing comedy's role in American storytelling and its enduring appeal, while maintaining the expert-voted format that defined the initiative.[1] Airing as a three-hour CBS special in June 2000, it continued the tradition of using television to democratize film appreciation, drawing millions of viewers and sparking conversations about the artistry of laughter in cinema.[11]Selection Process
Nomination Ballot
The nomination phase for AFI's 100 Years...100 Laughs began with the compilation of a ballot featuring 500 American comedy films, selected to represent the breadth of comedic cinema. This initial pool was drawn primarily from AFI's extensive archives and curated with input from film historians, scholars, and industry professionals to ensure a comprehensive overview of influential works.[11][12] AFI's nomination process emphasized diversity across comedy subgenres, including slapstick, screwball, satire, romantic comedy, and black comedy, to capture the evolution of humor in American filmmaking. The selected films spanned the full history of U.S. cinema up to the year 2000, with a focus on those demonstrating enduring comedic impact, from early silent-era classics like The General (1926) to late-20th-century releases such as Home Alone (1990). This approach allowed for inclusion of works from various production eras, highlighting both pioneering innovations and culturally resonant narratives.[1][7][12] The purpose of this expansive ballot was to establish a representative foundation for subsequent evaluation, promoting inclusivity across decades and styles while prioritizing films with lasting legacy in evoking laughter and shaping the genre. By drawing on expert consensus rather than public input at this stage, AFI aimed to create a balanced starting point that reflected scholarly and professional perspectives on comedic excellence.[11][1]Jury and Criteria
The jury for AFI's 100 Years...100 Laughs was composed of over 1,500 leaders from the American film community, encompassing directors, actors, producers, screenwriters, editors, cinematographers, critics, historians, and film executives.[13] This diverse panel was selected to represent a broad spectrum of expertise in cinema, ensuring a comprehensive assessment of comedic contributions to American film.[14] Jurors evaluated nominees according to three primary criteria. First, films had to be feature-length fiction works in a narrative format, typically exceeding 60 minutes in duration. Second, they qualified as American films if produced in the English language with substantial creative or financial elements originating from the United States. Third, the defining standard was "funny," measured by the film's total comedic impact in provoking laughter, irrespective of genre or historical period.[14] These guidelines placed particular emphasis on cultural resonance and innovation in humor, prioritizing comedic elements that endure over time, enrich the nation's film heritage, and continue to inspire both artists and audiences.[14] To compile the list, AFI distributed ballots containing 500 nominated films to the jury, who ranked their selections based on the established criteria; the organization then aggregated the votes to determine and rank the top 100 funniest American movies.[1]The List
Top 10 Films
The top 10 films on AFI's 100 Years...100 Laughs represent the pinnacle of American comedic cinema, selected by a jury of film artists, critics, and historians for their enduring humor, innovative storytelling, and cultural resonance in evoking laughter.[1] These rankings highlight a blend of screwball classics, satirical masterpieces, and farce-driven narratives that have shaped the genre.- Some Like It Hot (1959, directed by Billy Wilder): This screwball comedy follows two musicians who witness a mob hit and disguise themselves as women to join an all-female band, leading to chaotic romantic entanglements with Marilyn Monroe's character; its comedic elements shine through cross-dressing farce, rapid-fire dialogue, and situational absurdity, making it a benchmark for gender-bending humor.[1][15]
- Tootsie (1982, directed by Sydney Pollack): An out-of-work actor (Dustin Hoffman) poses as a woman to land a soap opera role, navigating workplace dynamics and unexpected romances; the film's humor derives from sharp satire on gender roles, theatrical exaggeration, and the protagonist's dual-identity mishaps.[1][16]
- Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964, directed by Stanley Kubrick): A Cold War satire depicting a rogue general's order to launch nuclear strikes, featuring bumbling military officials and a mad scientist; its laughs stem from dark absurdity, Peter Sellers' multiple roles, and biting parody of political paranoia.[1]
- Annie Hall (1977, directed by Woody Allen): A neurotic comedian reflects on his failed relationship with a free-spirited singer through nonlinear vignettes; comedic elements include observational wit, fourth-wall breaks, and surreal interludes that capture urban romance's awkwardness.[1]
- Duck Soup (1933, directed by Leo McCarey): The Marx Brothers as leaders of a fictional nation engage in anarchic diplomacy and war with a rival country; the film's humor explodes via verbal puns, visual gags, and nonsensical slapstick that mocks authority.[1]
- Blazing Saddles (1974, directed by Mel Brooks): A Black sheriff and his Native American sidekick combat corruption in a Wild West town; it delivers parody through anachronistic jokes, racial satire, and over-the-top genre subversion with fourth-wall breaks.[1]
- MAS*H (1970, directed by Robert Altman): Surgeons in a Korean War mobile army unit cope with chaos through pranks and irreverent antics; the comedy arises from anti-war satire, overlapping dialogue, and dark humor amid battlefield absurdity.[1]
- It Happened One Night (1934, directed by Frank Capra): A spoiled heiress hitches rides with a sly reporter during her runaway escapade; screwball charm fuels the laughs with class-clash banter, romantic tension, and improvised physical comedy.[1]
- The Graduate (1967, directed by Mike Nichols): A recent college graduate drifts into an affair with an older woman and falls for her daughter; its wit emerges from generational satire, Simon & Garfunkel-scored awkwardness, and Simon's sharp one-liners.[1]
- Airplane! (1980, directed by Jim Abrahams, David Zucker, Jerry Zucker): A former pilot must land a passenger plane amid escalating disasters and neurotic crew; the film spoofs disaster movies with nonstop puns, sight gags, and deadpan delivery for relentless parody.[1]
Complete Ranked List
The complete ranked list from AFI's 100 Years...100 Laughs, as compiled by the American Film Institute in 2000, features 100 American comedy films selected for their humor and cultural significance.[1] This list highlights the evolution of American comedy across decades, from silent-era classics like Buster Keaton's The General (1926) to contemporary satires such as the Farrelly brothers' There's Something About Mary (1998), encompassing styles ranging from slapstick and screwball to dark humor and mockumentaries, with no ties in ranking but several entries crediting multiple directors.[1]| Rank | Film Title | Director(s) | Year |
|---|---|---|---|
| 1 | Some Like It Hot | Billy Wilder | 1959 |
| 2 | Tootsie | Sydney Pollack | 1982 |
| 3 | Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb | Stanley Kubrick | 1964 |
| 4 | Annie Hall | Woody Allen | 1977 |
| 5 | Duck Soup | Leo McCarey | 1933 |
| 6 | Blazing Saddles | Mel Brooks | 1974 |
| 7 | MAS*H | Robert Altman | 1970 |
| 8 | It Happened One Night | Frank Capra | 1934 |
| 9 | The Graduate | Mike Nichols | 1967 |
| 10 | Airplane! | Jim Abrahams, David Zucker, Jerry Zucker | 1980 |
| 11 | The Producers | Mel Brooks | 1967 |
| 12 | A Night at the Opera | Sam Wood | 1935 |
| 13 | Young Frankenstein | Mel Brooks | 1974 |
| 14 | Bringing Up Baby | Howard Hawks | 1938 |
| 15 | The Philadelphia Story | George Cukor | 1940 |
| 16 | Singin' in the Rain | Gene Kelly, Stanley Donen | 1952 |
| 17 | The Odd Couple | Gene Saks | 1968 |
| 18 | The General | Buster Keaton, Clyde Bruckman | 1926 |
| 19 | His Girl Friday | Howard Hawks | 1940 |
| 20 | The Apartment | Billy Wilder | 1960 |
| 21 | A Fish Called Wanda | Charles Crichton | 1988 |
| 22 | Adam's Rib | George Cukor | 1949 |
| 23 | When Harry Met Sally... | Rob Reiner | 1989 |
| 24 | Born Yesterday | George Cukor | 1951 |
| 25 | The Gold Rush | Charlie Chaplin | 1925 |
| 26 | Being There | Hal Ashby | 1979 |
| 27 | There's Something About Mary | Bobby Farrelly, Peter Farrelly | 1998 |
| 28 | Ghostbusters | Ivan Reitman | 1984 |
| 29 | This Is Spinal Tap | Rob Reiner | 1984 |
| 30 | Arsenic and Old Lace | Frank Capra | 1944 |
| 31 | Raising Arizona | Joel Coen | 1987 |
| 32 | The Thin Man | W. S. Van Dyke | 1934 |
| 33 | Modern Times | Charlie Chaplin | 1936 |
| 34 | Groundhog Day | Harold Ramis | 1993 |
| 35 | Harvey | Henry Koster | 1950 |
| 36 | National Lampoon's Animal House | John Landis | 1978 |
| 37 | The Great Dictator | Charles Chaplin | 1941 |
| 38 | City Lights | Charles Chaplin | 1931 |
| 39 | Sullivan's Travels | Preston Sturges | 1941 |
| 40 | It's a Mad, Mad, Mad, Mad World | Stanley Kramer | 1963 |
| 41 | Moonstruck | Norman Jewison | 1987 |
| 42 | Big | Penny Marshall | 1988 |
| 43 | American Graffiti | George Lucas | 1973 |
| 44 | My Man Godfrey | Gregory La Cava | 1936 |
| 45 | Harold and Maude | Hal Ashby | 1971 |
| 46 | Manhattan | Woody Allen | 1979 |
| 47 | Shampoo | Hal Ashby | 1975 |
| 48 | A Shot in the Dark | Blake Edwards | 1964 |
| 49 | To Be or Not to Be | Ernst Lubitsch | 1942 |
| 50 | Cat Ballou | Elliot Silverstein | 1965 |
| 51 | The Seven Year Itch | Billy Wilder | 1955 |
| 52 | Ninotchka | Ernst Lubitsch | 1939 |
| 53 | Arthur | Steve Gordon | 1981 |
| 54 | The Miracle of Morgan's Creek | Preston Sturges | 1944 |
| 55 | The Lady Eve | Preston Sturges | 1941 |
| 56 | Bud Abbott and Lou Costello Meet Frankenstein | Charles T. Barton | 1948 |
| 57 | Diner | Barry Levinson | 1982 |
| 58 | It's a Gift | Norman McLeod | 1934 |
| 59 | A Day at the Races | Sam Wood | 1937 |
| 60 | Topper | Norman Z. McLeod | 1937 |
| 61 | What's Up, Doc? | Peter Bogdanovich | 1972 |
| 62 | Sherlock Jr. | Buster Keaton | 1924 |
| 63 | Beverly Hills Cop | Martin Brest | 1984 |
| 64 | Broadcast News | James L. Brooks | 1987 |
| 65 | Horse Feathers | Norman McLeod | 1932 |
| 66 | Take the Money and Run | Woody Allen | 1969 |
| 67 | Mrs. Doubtfire | Chris Columbus | 1993 |
| 68 | The Awful Truth | Leo McCarey | 1937 |
| 69 | Bananas | Woody Allen | 1971 |
| 70 | Mr. Deeds Goes to Town | Frank Capra | 1936 |
| 71 | Caddyshack | Harold Ramis | 1980 |
| 72 | Mr. Blandings Builds His Dream House | H. C. Potter | 1948 |
| 73 | Monkey Business | Norman McLeod | 1931 |
| 74 | Nine to Five | Colin Higgins | 1980 |
| 75 | She Done Him Wrong | Lowell Sherman | 1933 |
| 76 | Victor/Victoria | Blake Edwards | 1982 |
| 77 | The Palm Beach Story | Preston Sturges | 1942 |
| 78 | Road to Morocco | David Butler | 1942 |
| 79 | The Freshman | Sam Taylor, Fred Newmeyer | 1925 |
| 80 | Sleeper | Woody Allen | 1973 |
| 81 | The Navigator | Donald Crisp, Buster Keaton | 1924 |
| 82 | Private Benjamin | Howard Zieff | 1980 |
| 83 | Father of the Bride | Vincente Minnelli | 1950 |
| 84 | Lost in America | Albert Brooks | 1985 |
| 85 | Dinner at Eight | George Cukor | 1934 |
| 86 | City Slickers | Ron Underwood | 1991 |
| 87 | Fast Times at Ridgemont High | Amy Heckerling | 1982 |
| 88 | Beetlejuice | Tim Burton | 1988 |
| 89 | The Jerk | Carl Reiner | 1979 |
| 90 | Woman of the Year | George Stevens | 1942 |
| 91 | The Heartbreak Kid | Elaine May | 1972 |
| 92 | Ball of Fire | Howard Hawks | 1942 |
| 93 | Fargo | Joel Coen | 1996 |
| 94 | Auntie Mame | Morton DaCosta | 1958 |
| 95 | Silver Streak | Arthur Hiller | 1976 |
| 96 | Sons of the Desert | William A. Seiter | 1933 |
| 97 | Bull Durham | Ron Shelton | 1988 |
| 98 | The Court Jester | Norman Panama, Melvin Frank | 1956 |
| 99 | The Nutty Professor | Jerry Lewis | 1963 |
| 100 | Good Morning, Vietnam | Barry Levinson | 1987 |