| |
|
251
|
|
252
|
|
253
|
|
Germany, Year Zero |
|
ROBERTO ROSSELLINI (236) |
 |
| Germania
anno zero (original title) |
|
1947 | 74m | BW |
Italy-West Germany | War Drama, Childhood Drama |
|
Edmund Moeschke, Ernst
Pittschau, Barbara Hintz, Ingetraud Hinze, Franz-Otto Kruger, Erich
Guhne, Alexandra Manys, Babsi Schultz-Reckewell, Hans Sangen, Hedi
Blankner |
|
"To the critics of the
time, it seemed that
Rossellini had betrayed the tenets of
neo-realism by introducing melodrama, an elliptical narrative, and
intimations of a Christian consciousness. It now appears as
Rossellini's first mature work,
pointing to his masterpieces of the 50s."
- Dave
Kehr, Chicago Reader |
|
Selected by
Michael Haneke,
Bernardo
Bertolucci,
Claire Denis, Wally Hammond, Jean-Max Mejean. |
|
224 → 223 → 236 →
251 |
|
Amazon
Senses of Cinema
Strictly Film School |
|
|
|
Two
or Three Things I Know About Her |
|
JEAN-LUC GODARD (224) |
 |
| 2 ou 3
choses que je sais d'elle (original title); Deux ou trois choses
que je sais d'ellee (original title/alternative spelling) |
|
1966 | 95m | Col | France
| Essay Film, Psychological Drama |
|
Marina Vlady, Anny Duperey,
Roger Montsoret, Joseph Gehrard, Raoul Levy, Jean Narboni, Yves Beneyton,
Juliet Berto, Christophe Bourseiller, Marie Bourseiller |
|
"Two or Three
Things I Know About Her is one of the most beautiful films of the
young Jean-Luc Godard...
All of Godard's
various roles and grand illusions fuse in this ironic and passionate
1967 work: a largely improvised examination into 24 hours in the life of
a young, working-class woman." - Michael Wilmington,
Chicago Tribune, 2007 |
|
Selected by
Amy Taubin, Laura Mulvey, Gavin Smith, James Naremore,
James Quandt. |
|
154 → 191 → 224 →
252 |
|
Amazon
The New York Sun
Strictly Film School |
|
|
|
Salo, or the 120 Days of Sodom |
|
PIER PAOLO PASOLINI
(244) |
 |
| Salς o le
120 giornate di Sodoma (original title) |
|
1975 | 117m | Col | Italy
| Drama, Political Drama |
|
Paolo Bonacelli, Giorgio
Cataldi, Umberto Paolo Quintavalle, Aldo Valletti, Caterina Boratto,
Helene Surgere, Sonia Saviange, Elsa De Giorgi, Ines Pellegrini, Rinaldo
Missaglia |
|
"Pasolini's
last feature is a shockingly literal and historically questionable
transposition of the Marquis de Sade's 120 Days of Sodom to the
last days of Italian fascism... It's certainly the film in which
Pasolini's
protest against the modern world finds its most extreme and anguished
expression. Very hard to take, but in its own way an essential work. "
-
Jonathan Rosenbaum, Chicago Reader |
|
Selected by
David
Ehrenstein, Michael
Haneke,
Catherine Breillat, Joel David,
John Greyson. |
|
248 → 240 → 244 →
253 |
|
Amazon
BFI Feature
Senses of Cinema |
|
| |
|
| |
|
|
|
|
|
254
|
|
255
|
|
256
|
|
The
Story of the Late Chrysanthemums |
|
KENJI MIZOGUCHI
(228) |
 |
| Zangiku
monogatari (original title) |
|
1939 | 143m | BW | Japan |
Period Film, Romantic Drama |
|
Shotaro Hanayagi, Kokichi
Takada, Gonjuro Kawarazaki, Kakuko Mori, Tokusaburo Arashi, Yoko Umemura,
Nobuko Fushimi, Kikuko Hanaoka, Kisho Hanayagi, Ryotaro Kawanami |
|
"Not the best known of
Kenji Mizoguchi's
period masterpieces, but conceivably the greatest... Never before nor
after (with the possible exception of The 47 Ronin) would
Mizoguchi's
refusal to use close-ups have more telling effect, and the theme of
female sacrifice that informs most of his major works is given a
singular resonance and complexity here."
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Jonathan Rosenbaum, Ian Christie, Derek Malcolm, Pierre Rissient, Tadao
Sato. |
|
184 → 212 → 228 →
254 |
|
Amazon
Senses of Cinema
Derek Malcolm's Century of Films |
|
|
|
High Noon |
|
FRED ZINNEMANN (271) |
 |
|
1952 | 84m | BW | USA | Western, Psychological Western |
|
Gary Cooper, Grace Kelly,
Lloyd Bridges, Thomas Mitchell, Katy Jurado, Otto Kruger, Lon Chaney
Jr., Harry Morgan, Ian MacDonald, Eve McVeagh |
|
"High Noon is
a scorching and sour portrait of American complacence and capacity for
collaborationism. A depressed witness to the nation's self-obsessed
relativism, Cooper's lawman isn't heroic but resigned and bitter." -
Michael Atkinson, Village Voice, 2004 |
|
Selected by
George A. Romero,
Paolo D'Agostini, Fernando Vizcaino Casas, Pedro Maso, Czeslaw Dondzillo. |
|
264 → 283 → 271 →
255 |
|
Amazon
Film Reference
Images Journal |
|
|
|
Ninotchka |
|
ERNST LUBITSCH (282) |
 |
|
1939 | 110m | BW | USA |
Romantic Comedy, Sophisticated Comedy |
|
Greta Garbo, Melvyn
Douglas, Ina Claire, Sig Ruman, Felix Bressart, Bela Lugosi, Alexander
Granach, Gregory Gaye, Richard Carle, Edwin Maxwell |
|
"A sparkling, witty
political fairy tale from 1939, about a cold but beautiful lady
commissar (Greta Garbo) who melts to the bourgeois charms of Paris and
Melvyn Douglas... The satire may be mostly a matter of easy contrasts,
but the lovers inhabit a world of elegance and poise that is uniquely
and movingly
Lubitsch's."
- Dave Kehr, Chicago Reader |
|
Selected by Carrie
Rickey, Marc Cerisuelo, Jean Dutourd, Marta Balletbo Coll,
Simon Relph. |
|
243 → 249 → 282 →
256 |
|
Amazon
Time Out
Combustible Celluloid |
|
| |
|
|
|
|
|
|
|
|
257
|
|
258
|
|
259
|
|
Wings of Desire |
|
WIM WENDERS
(247) |
 |
| Der
Himmel όber Berlin (original title) |
|
1987 | 130m | Col-BW |
France-West Germany | Fantasy, Romantic Fantasy |
|
Bruno Ganz, Solveig
Dommartin, Otto Sander, Curt Bois, Peter Falk, Lajos Kovacs, Hans Martin
Stier, Elmar Wilms, Sigurd Rachmann, Beatrice Manowski |
|
"Wings of Desire
works hard to be both an essay and a love story, a mural and an
intimate portrait. To savor this film, the viewer must work hard too.
But when the artists behind the screen and the angels in the audience
meet, it's like a smoke and coffee: fantastic!"
- Richard Corliss, Time, 1998 |
|
Selected by
Shawn
Levy, Jorge Gorostiza, Alain Masson,
Stanley Kwan, Verina Glaessner. |
|
214 → 237 → 247 →
257 |
|
Amazon
Strictly Film School
Pop Matters |
|
|
|
The Life of Oharu |
|
KENJI MIZOGUCHI (258) |
 |
| Saikaku
ichidai onna (original title) |
|
1952 | 146m | BW | Japan |
Melodrama, Period Film |
|
Kinuyo Tanaka, Tsukie
Matsuura, Ichiro Sugai, Toshiro Mifune, Toshiaki Konoe, Kiyoko Tsuji,
Hisako Yamane, Jukichi Uno, Eitaro Shindo, Masao Shimizu |
|
"What made the film
so exceptional was the camera perspective which was omniscient yet
sympathetic. As Oharu descends from a privileged life at court down the
ladder to the untouchable, nameless, mendicant nun at the end, she
achieves nobility and wisdom... Long and solemn, The Life of Oharu
is an immensely mature work of art."
- Dudley
Andrew, Film Reference |
|
Selected by
Julian Graffy, Joan Mellen, Howard Feinstein, Ed Buscombe, Jacques
Aumont. |
|
228 → 248 → 258 →
258 |
|
Amazon
Bright Lights Film Journal
Senses of Cinema |
|
|
|
The Terminator |
|
JAMES CAMERON (294) |
 |
|
1984 | 108m | Col | USA | Science Fiction, Action |
|
Arnold Schwarzenegger,
Michael Biehn, Linda Hamilton, Paul Winfield, Lance Henriksen, Rick
Rossovich, Bess Motta, Earl Boen, Dick Miller, Shawn Schepps |
|
"The pacing and the
action are terrific, revelling in the feral relentlessness which
characterised Assault on Precinct 13 and
Mad Max 2; even the future visions of a wasted LA
are well mounted. More than enough violence to make it a profoundly
moral film; and Arnold's a whizz."
- Chris Peachment, Time Out |
|
Selected by
Kathryn Bigelow,
Mark Jancovich, Shinya Tsukamoto,
Justine Elias,
Anita Chaudhuri. |
|
304 → 324 → 294 →
259 |
|
Amazon
Eye for Film
Ozu's World Movie Reviews |
|
| |
|
|
|
|
|
|
|
|
260
|
|
261
|
|
262
|
|
To Have and Have Not |
|
HOWARD HAWKS (300) |
 |
|
1944 | 100m | BW | USA | Drama, Romance |
|
Humphrey Bogart, Lauren
Bacall, Walter Brennan, Dolores Moran, Hoagy Carmichael, Dan Seymour,
Marcel Dalio, Walter Molnar, Sheldon Leonard, Walter Sande |
|
"Howard
Hawks's 1944 answer to Casablanca (which he was
originally set to direct but lost to
Michael Curtiz) is a far superior film
and every bit as entertaining... In many ways the ultimate
Hawks film:
clear, direct, and thoroughly brilliant."
- Dave
Kehr, Chicago Reader |
|
Selected by
Peter Bogdanovich, Todd McCarthy, Kim Newman,
Tom Ryan, Mercedes Frutos. |
|
296 → 319 → 300 →
260 |
|
Amazon
Bright Lights Film Journal
Filmsite |
|
|
|
The Blue Angel |
|
JOSEF VON STERNBERG (255) |
 |
| Der Blaue
Engel (original title) |
|
1930 | 103m | BW | Germany | Melodrama, Psychological Drama |
|
Emil Jannings, Marlene
Dietrich, Kurt Gerron, Rosa Valetti, Hans Albers, Eduard von Winterstein,
Reinhold Bernt, Hans Roth, Rolf Muller, Robert Klein-Lork |
|
"A tragedy? A comedy? It's
actually a surprisingly complex morality play: a celebration of Lola's
sexuality (it was Dietrich's first major role) and an ironic observation
of Rath's repression and masochism (Jannings never suffered more or
better). The film looks and sounds its age, but remains enthralling."
- Tony
Rayns, Time Out |
|
Selected by
Seijun Suzuki, Barthelemy Amengual, Jovan Jovanovic, Nancy Berthier,
Italo Manzi. |
|
281 → 285 → 255 →
261 |
|
Amazon
Kamera
Roger Ebert (Chicago Sun-Times) |
|
|
|
The
Tree of Wooden Clogs |
|
ERMANNO OLMI (246) |
 |
| L'Albero
degli zoccoli (original title) |
|
1978 | 185m | Col | Italy
| Rural Drama, Family Drama |
|
Luigi Ornaghi, Francesca
Moriggi, Omar Brignoli, Antonio Ferrari, Teresa Brescianini, Giuseppe
Brignoli, Carlo Rota, Pasqualina Brolis, Massimo Fratus, Francesco Villa |
|
"By showing peasant
exploitation as neither triumphant Calvary nor action-packed drama,
Olmi refutes
both 1900 and Padre Padrone, and creates a near-perfect
hermetic universe, punctured only in those rare moments when, as
tautologous as the film's English title, he dots the 'i's on the amply
demonstrated Marxist message. Still, a near faultless and major film."
- Geoff Andrew, Time Out |
|
Selected by
Charles Burnett,
Ken Loach,
Mike Leigh,
Robert Benton,
Sheila Whittaker. |
|
232 → 243 → 246 →
262 |
|
Amazon
Derek Malcolm's Century of Films
Chicago Sun-Times (Roger Ebert) |
|
| |
|
| |
|
|
|
|
|
263
|
|
264
|
|
265
|
|
Day for Night |
|
FRANΗOIS TRUFFAUT (274) |
 |
| La Nuit
amιricaine (original title) |
|
1973 | 120m | Col | France | Comedy Drama, Showbiz Drama |
|
Jacqueline Bisset,
Valentina Cortese, Jean-Pierre Aumont, Francois Truffaut, Jean-Pierre
Leaud, Dani, Alexandra Stewart, Jean Champion, Nathalie Baye, Bernard
Menez |
|
"Day for Night is a
hilarious, wise and moving chronicle about the members of a crew who
come together for seven weeks at the Victorine Studios in Nice to
manufacture a movie, an illusion that is, for the period of its
production, more important than life itself... Day for Night is
Truffaut's
fondest, most compassionate film."
- Vincent Canby, The New York Times, 1973 |
|
Selected by
Roger Michell, Alan Rudolph, Michael Dwyer,
Jean-Max Mejean,
Steven Spielberg. |
|
268 → 278 → 274 →
263 |
|
Amazon
Roger Ebert's Great Movies
Senses of Cinema |
|
|
|
Fantasia |
|
BEN SHARPSTEEN
(279) |
 |
|
1940 | 120m | Col | USA | Animated Musical, Children's Fantasy |
|
Deems Taylor, Leopold
Stokowski, The Philadelphia Symphony Orchestra, Walt Disney, Julietta
Novis, James MacDonald, Paul J. Smith |
|
"Walt
Disney did not invent animation,
but he nurtured it into an art form that could hold its own against any
"realistic" movie, and when he gathered his artists to create
Fantasia he felt a restlessness, a desire to try something new." -
Roger Ebert, Chicago Sun-Times, 1990 |
|
Selected by
Ken Russell, Fredric R. Jameson, Fritz Gottler, Michael Koresky, Michael J. Kutza. |
|
292 → 255 → 279 →
264 |
|
Amazon
Washington Post
Reverse Shot |
|
|
|
The Piano |
|
JANE CAMPION (261) |
 |
|
1993 | 121m | Col | Australia | Romantic Drama, Period Film |
|
Holly Hunter, Harvey
Keitel, Sam Neill, Anna Paquin, Kerry Walker, Tungia Baker, Genevieve
Lemon, Ian Mune, Peter Dennett, Alison Barrett |
|
"Judging from
Campion's
previous films, her primary affliction is femininity itself. In
Sweetie, An Angel at My Table and now The Piano, her
women are haunted creatures at the mercy of their emotions. Their blood
runs with sadness, and it is out of this sexual despair that
Campion
forges her melancholy poetry. The Piano is dark, sublime music,
and after it's over, you won't be able to get it out of your head." -
Hal Hinson, Washington Post, 1993 |
|
Selected by
Sofia Coppola, Xavier Dolan,
Sam Mendes, Yvonne Tasker, Anneke Smelik. |
|
475 → 345 → 261 →
265 |
|
Amazon
Metacritic
Variety |
|
| |
|
| |
|
|
|
|
|
266
|
|
267
|
|
268
|
|
Shane |
|
GEORGE STEVENS
(249) |
 |
|
1953 | 118m | Col | USA |
Western, Psychological Western |
|
Alan Ladd, Jean Arthur,
Van Heflin, Brandon de Wilde, Jack Palance, Ben Johnson, Edgar Buchanan,
Elisha Cook Jr., Emile Meyer, John Dierkes |
|
"What makes Shane
so good a film is its combination of simplicity and warmth of feeling
with grandeur of composition. The human figures with their humble show
of courage and loyalty are set against a magnificent panorama of plain
and mountain."
- Dilys Powell |
|
Selected by
Charles Burnett,
Roger Corman,
Paul Morrissey,
Woody Allen,
Antonio Gimenez-Rico. |
|
252 → 247 → 249 →
266 |
|
Amazon
Roger Ebert's Great Movies
Images Journal |
|
|
|
Day of Wrath |
|
CARL DREYER (266) |
 |
| Vredens
dag (original title) |
|
1943 | 110m | BW | Denmark | Period Film, Psychological Drama |
|
Thorkild Roose, Lisbeth
Movin, Sigrid Neiiendam, Preben Lerdorff, Albert Hoeberg, Anna Svierkier,
Olaf Ussing, Sigurd Berg, Harald Holst, Preben Neergaard |
|
"Day of Wrath is
about the persecution of witches in the 17th century and is sometimes
seen as an allegory of the German occupation of Denmark...
Dreyer's
measured pace and stark visuals, long, horizontal pans and close-ups of
riven faces, accompanied as they are by acting of intense realism, make
this a morality play of enormous power." - Derek Malcolm, The
Guardian, 2000 |
|
Selected by
Tom Gunning, Shinozaki Makoto, Gary Morris, Zivojin Pavlovic, Tote Trenas. |
|
231 → 280 → 266 →
267 |
|
Amazon
Criterion Collection Essay
Strictly Film School |
|
|
|
Fargo |
|
JOEL COEN & ETHAN COEN
(288) |
 |
|
1995 | 97m | Col | USA | Crime Comedy, Black Comedy |
|
Frances McDormand, Steve
Buscemi, Peter Stormare, William H. Macy, Harve Presnell, Kristin Rudrud,
John Carroll Lynch, Steve Reevis, Larry Brandenburg, Jose Feliciano |
|
"The
Coens are at
their clever best with this snowbound film noir, a crazily mundane crime
story set in their native Midwest. Purportedly based on real events, it
brings them as close as they may ever come - not very - to everyday life
and ordinary people... Fargo has been hauntingly photographed by
Roger Deakins with great, expressive use of white-outs that sometimes
make the characters appear to be moving through a dream."
- Janet Maslin, New York Times |
|
Selected by Tom Hanks, Philip Kemp, Glenn Myrent, Hulya Ucansu, Karlheinz Oplustil. |
|
332 → 292 → 288 →
268 |
|
Amazon
Washington Post
Metacritic |
|
| |
|
| |
|
|
|
|
|
269
|
|
270
|
|
271
|
|
In the Realm of the Senses |
|
NAGISA OSHIMA
(257) |
 |
| Ai No
Corrida (original title); Empire of the Senses (alternative
title) |
|
1976 | 108m | Col | France-Japan | Erotic Drama, Psychological Drama |
|
Tatsuya Fuji, Eiko
Matsuda, Aoi Nakajima, Yasuko Matsui, Meika Seri, Kanae Kobayashi, Taiji
Tonoyama, Kyoji Kokonoe, Naomi Shiraishi, Hiroko Fuji |
|
"Nagisa
Oshima's depiction of the obsessive lovemaking between a
prostitute and the husband of a brothel keeper, which leads ultimately
to the death of the man (with his own consent), is one of the most
powerful erotic films ever made, but it certainly isn't for every
taste."
-
Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Catherine Breillat,
Linda Williams, Hans-Jόrgen Syberberg, Colin MacCabe, Rod Stoneman. |
|
242 → 272 → 257 →
269 |
|
Amazon
Midnight Eye
Reel Views |
|
|
|
1900 |
|
BERNARDO BERTOLUCCI (267) |
 |
| Novecento
(original title) |
|
1976 | 311m | Col | France-Germany-Italy | Political Drama, Rural Drama |
|
Burt Lancaster, Robert De
Niro, Gerard Depardieu, Dominique Sanda, Francesca Bertini, Laura Betti,
Sterling Hayden, Donald Sutherland, Stefania Sandrelli, Romolo Valli |
|
"A well-plotted history
play studded with artful sequences and
Bertolucci's particular brand of
earthiness, bordering on vulgarity. 1900 may seem too
conventional compared to the blazing fire of
Bertolucci's
previous films, but as the film rambles toward its beautifully symbolic
final shot of a man on train tracks, it takes its place at the center of
the director's career-long, fragmentary 20th-century mosaic." -
Noel Murray, The A.V.
Club, 2006 |
|
Selected by Alan Parker, Stig Bjorkman, Angela Baldassare,
Oliver Stone,
Jan-Olov Andersson. |
|
258 → 251 → 267 →
270 |
|
Amazon
Film Reference
Roger Ebert (Chicago Sun-Times) |
|
|
|
Floating Clouds |
|
MIKIO NARUSE
(259) |
 |
| Ukigumo
(original title) |
|
1955 | 123m | BW | Japan |
Psychological Drama, Urban Drama |
|
Hideko Takamine, Masayuki
Mori, Mariko Okada, Isao Yamagata, Chieko Nakakita, Daisuke Kato, Mayuri
Mokusho, Roy H. James, Haruna Kaburagi, Nobuo Kaneko |
|
"The elegance and
indisputable hard punch of
Naruses's storytelling become
immediately clear the moment the lovers kiss and the director cuts,
mid-clinch, to an almost identical shot of them kissing in the past, an
edit that suggests this is a passion that transcends even time and
space."
- Manohla Dargis, New York Times |
|
Selected by
Ann Hui, Shunichi Nagasaki, Edna
Fainaru, Li Cheuk-To,
Hou Hsiao-Hsien. |
|
256 → 242 → 259 →
271 |
|
Amazon
Strictly Film School
Slant Magazine |
|
| |
|
| |
|
|
|
|
|
272
|
|
273
|
|
274
|
|
Mouchette |
|
ROBERT BRESSON (269) |
 |
|
1966 | 80m | BW | France | Psychological Drama, Childhood Drama |
|
Nadine Nortier, Marie
Cardinal, Paul Hebert, Jean Vimenet, J-C Guilbert, Suzanne Huguenin,
Raymonde Chabrun, Marie Susini, Marine Triche |
|
"Mouchette,
one of the purest
Bressons, is the story of a teenage outcast (Nadine Nortier)
so abused by everyone in her village that death seems like God's caress,
and so maladroit that she must try three times before she succeeds in
drowning herself. Its effect as you watch it is beautifully unforgiving;
as you recall it, brutally radiant."
-
Richard Corliss, Time, 2005 |
|
Selected by Jim Jarmusch,
Jon Jost, Veronique Godard, John Siegel,
Olivier Smolders. |
|
218 → 260 → 269 →
272 |
|
Amazon
Strictly Film School
TCM (Michael Atkinson) |
|
|
|
Lola Montθs |
|
MAX OPHάLS (276) |
 |
| The Sins
of Lola Montes (alternative title) |
|
1955 | 110m | Col | France | Period Film, Biography |
|
Martine Carol, Peter
Ustinov, Anton Walbrook, Ivan Desny, Will Quadflieg, Oskar Werner, Lisa
Delamare, Pauline Dubost, Henri Guisol, Helena Manson |
|
"There are films that
demand undivided attention, Lola Montθs is one of them. The
film is constructed rigorously; if it throws some viewers off, its
because for 50 years most films have been narrated in an infantile way.
From this point of view, Lola Montθs is not only like
Citizen Kane, but also The Barefoot Contessa, Les
Mauvaises Recontres, and all these films that turn chronology
around for poetic effect." - Andrew Sarris, The New York
Observer, 2008 |
|
Selected by
David Ehrenstein, Kevin Thomas,
Mike Hodges, Juan Cobos,
Dominik Graf. |
|
265 → 256 → 276 →
273 |
|
Amazon
Senses of Cinema
LA Weekly |
|
|
|
The Empire Strikes Back |
|
IRVIN KERSHNER (306) |
 |
| 1980 | 124m | Col | USA | Science Fiction, Space Adventure |
|
Mark Hamill, Harrison
Ford, Carrie Fisher, Billy Dee Williams, Anthony Daniels, David Prowse,
Kenny (2) Baker, Alec Guinness, Peter Mayhew, Frank Oz |
|
"The Empire Strikes
Back is the best of three Star Wars films, and the most
thought-provoking. After the space opera cheerfulness of the original
film, this one plunges into darkness and even despair, and surrenders
more completely to the underlying mystery of the story. It is because of
the emotions stirred in Empire that the entire series takes on a
mythic quality that resonates back to the first and ahead to the third.
This is the heart." -
Roger Ebert, Chicago
Sun-Times, 1997 |
|
Selected by Dane Cook, Kevin Feige, Louis
Leterrier, Nigel Kendall, Noel Murray. |
|
356 → 332 → 306 →
274 |
|
Amazon
San Francisco Chronicle
Metacritic |
|
| |
|
| |
|
|
|
|
|
275
|
|
276
|
|
277
|
|
West Side Story |
|
ROBERT WISE & JEROME ROBBINS
(250) |
 |
|
1961 | 151m | Col | USA | Musical, Juvenile Delinquency Film |
|
Natalie Wood, Richard
Beymer, George Chakiris, Russ Tamblyn, Rita Moreno, Tucker Smith, Simon
Oakland, Tony Mordente, Eliot Feld, David Winters |
|
"So
the dancing is remarkable, and several of the songs have proven
themselves by becoming standards, and there are moments of startling
power and truth. West Side Story remains a landmark of musical
history." - Roger Ebert, Chicago Sun-Times, 2004 |
|
Selected by
Gurinder Chadha, John Woo, Ngozi Onwurah, Scott Meek, Gilles Gressard. |
|
255 → 259 → 250 →
275 |
|
Amazon
Film Reference
AFI |
|
|
|
Dawn of the Dead |
|
GEORGE A. ROMERO
(353) |
 |
|
1978 | 126m | Col | USA |
Horror |
|
David Emge, Ken Foree,
Scott Reiniger, Gaylen Ross, David Crawford, David Early, George A.
Romero, Tom Savini, James A. Baffico, Howard Smith |
|
"George
Romero's sequel to Night of the Living Dead is a more
accomplished and more knowing film, tapping into two dark and dirty
fantasieswholesale slaughter and wholesale shoppingto create a grisly
extravaganza with an acute moral intelligence...
Romero's
sensibility approaches the Swiftian in its wit, accuracy, excess, and
profound misanthropy." -
Dave Kehr, Chicago Reader |
|
Selected by
Peter Jackson,
Mark Borchardt, Bruce LaBruce, Doris Kuhn, Frank Schnelle. |
|
310 → 365 → 353 →
276 |
|
Amazon
Senses of Cinema
Rolling Stone |
|
|
|
The Crime of Monsieur Lange |
|
JEAN RENOIR (238) |
 |
| Le Crime
de Monsieur Lange (original title) |
|
1936 | 90m | BW | France |
Drama, Crime Drama |
|
Rene Lefevre, Jules Berry,
Odette Florelle, Marcel Levesque, Nadia Sibirskaia, Sylvia Bataille,
Henri Guisol, Odette Talazac, Maurice Baquet, Marcel Duhamel |
|
"The movies' great
humanist made more famous and warmly received films than this one, but
none that was more intricate or insinuating... A lovely, totally
engaging portrait of ordinary people pressed down by the Depression but
lifted up by their passionate decency."
- Richard Schickel, Time |
|
Selected by
Tom Charity, David Bordwell, Todd McCarthy,
Gilberto Perez, Charles Barr. |
|
205 → 198 → 238 →
277 |
|
Amazon
Film Reference
Slant Magazine |
|
| |
|
|
|
|
|
|
|
|
278
|
|
279
|
|
280
|
|
All That Heaven Allows |
|
DOUGLAS SIRK (281) |
 |
|
1955 | 89m | Col | USA | Melodrama, Romantic Drama |
|
Jane Wyman, Rock Hudson,
Agnes Moorehead, Conrad Nagel, Virginia Grey, Charles Drake, Gloria
Talbott, William Reynolds, Jacqueline de Wit, Leigh Snowden |
|
"A
masterpiece by one of the most inventive and recondite directors ever to
work in Hollywood,
Douglas Sirk. The story concerns a romance between a
middle-aged, middle-class widow (Jane Wyman) and a brawny young gardener
(Rock Hudson)... Sirk's meaning is conveyed almost entirely by his mise-en-scene
- a world of glistening, treacherous surfaces, of objects that take on a
terrifying life of their own; he is one of those rare filmmakers who
insist that you read the image."
-
Dave Kehr, Chicago Reader |
|
Selected by
John Waters,
Richard Dyer, Todd Haynes, Allison Anders,
Hazel-Dawn Dumpert. |
|
245 → 269 → 281 →
278 |
|
Amazon
Criterion Collection Essay
Film Reference |
|
|
|
The Big Sleep |
|
HOWARD HAWKS (263) |
 |
|
1946 | 114m | BW | USA | Mystery, Film Noir |
|
Humphrey Bogart, Lauren
Bacall, John Ridgely, Elisha Cook Jr., Martha Vickers, Dorothy Malone,
Regis Toomey, Louis Jean Heydt, Sonia Darrin, Bob Steele |
|
"Hawks never allows
the plot to get in the way of his real interest: the growing love, based
on remarkably explicit sexual attraction, between Bogie and Bacall... In
fact, the story is virtually incomprehensible at points, but who cares
when the sultry mood, the incredibly witty and memorable script, and the
performances are so impeccable?" - Geoff Andrew, Time Out |
|
Selected by Thomas Elsaesser, Andrew O'Hehir, Sheila Whittaker, David Ansen, James Monaco. |
|
241 → 258 → 263 →
279 |
|
Amazon
Senses of Cinema
Images Journal |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
Miracle in Milan |
|
VITTORIO DE SICA (251) |
 |
| Miracolo
a Milano (original title) |
|
1951 | 95m | BW | Italy | Fantasy Comedy, Satire |
|
Francesco Golisano, Paolo
Stoppa, Emma Gramatica, Guglielmo Barnabo, Brunello Bovo, Anna Carena,
Alba Arnova, Flora Cambi, Virgilio Riento, Arturo Bragaglia |
|
"Made the year
after Bicycle Thieves, this is a less coherent
but more exuberant film, with
De Sica injecting a stiff dose of
fantasy into what could have been another plangent tale of gentleman
tramps and shantytown life... Outrageous sentimentality undercut by
outrageous cheek."
- Chris Auty,
Time Out |
|
Selected by
Milos Forman, Yvette Biro, Ed Lachman, Manuel Antin,
Ivan Passer. |
|
295 → 271 → 251 →
280 |
|
Amazon
Eye for Film
Films de France |
|
| |
|
| |
|
|
|
|
|
281
|
|
282
|
|
283
|
|
Cabaret |
|
BOB FOSSE (270) |
 |
|
1972 | 128m | Col | USA | Musical, Drama |
|
Liza Minnelli, Michael
York, Helmut Griem, Joel Grey, Fritz Wepper, Marisa Berenson, Elisabeth
Neumann-Viertel, Sigrid von Richthofen, Helen Vita, Gerd Vespermann |
|
"A great movie musical.
Taking its form from political cabaret, it's a satire of temptations. We
see the decadence as garish and sleazy; yet we also see the animal
energy in it - everything seems to become sexualized. The movie does not
exploit decadence; rather, it gives it its due." -
Pauline Kael |
|
Selected by
Michael Koresky,
David Fincher, David Ansen, Edward Margulies, Eric Gutierrez. |
|
341 → 357 → 270 →
281 |
|
Amazon
Senses of Cinema
Kamera |
|
|
|
My Night
at Maud's |
|
ERIC ROHMER (278) |
 |
| Ma nuit
chez Maud (original title); My Night with Maud (alternative
title) |
|
1969 | 105m | BW | France | Comedy Drama, Romantic Drama |
|
Jean-Louis Trintignant,
Francoise Fabian, Marie-Christine Barrault, Antoine Vitez, Leonide Kogan,
Anne Dubot, Guy Leger, Marie Becker, Marie-Claude Rauzier |
|
"Eric
Rohmer's droll and delicate comedy of language... Number
three in Rohmer's series of Six Moral Tales, it is probably the
most pure: the plotline transpires entirely in the central character's
mind and is never explicitly acknowledged by
Rohmer's direction, which concentrates
instead on the elaborate gambits of a style of speech meant to do
anything but communicate."
- Dave Kehr, Chicago Reader |
|
Selected by Geoff Andrew,
Krzysztof Zanussi, Susan Sontag, Robert Benton,
Kent Jones. |
|
282 → 254 → 278 →
282 |
|
Amazon
Senses of Cinema
Strictly Film School |
|
|
|
The Last Picture Show |
|
PETER BOGDANOVICH (264) |
 |
|
1971 | 118m | BW | USA | Ensemble Film, Coming-of-Age |
|
Timothy Bottoms, Jeff
Bridges, Cybill Shepherd, Ben Johnson, Cloris Leachman, Ellen Burstyn,
Eileen Brennan, Clu Gulager, Sam Bottoms, Randy Quaid |
|
"Bogdanovich
may have proved a wayward disappointment, but along with
Targets this is a reminder that somewhere inside
him the man has talent... Superb performances all round add to the charm
of this fine, if now unfashionable film."
- Geoff Andrew, Time Out |
|
Selected by Lukas Moodysson, Doug Block, David Rooney, Martin Casariego,
Robert Fischer. |
|
327 → 329 → 264 →
283 |
|
Amazon
Jigsaw Lounge
Roger Ebert's Great Movies |
|
| |
|
|
|
|
|
|
|
|
284
|
|
285
|
|
286
|
|
Night and Fog |
|
ALAIN RESNAIS
(372) |
 |
| Nuit et
brouillard (original title) |
|
1955 | 32m | Col-BW |
France | Military & War, Documentary |
|
Michel Bouquet |
|
"Certainly it is one of
the two or three most powerful and intelligent nonfiction films ever
made; and it is also, among those many movies that have taken on the
loaded subject matter of the Holocaust, perhaps the most aesthetically
sophisticated and ethically irreproachable."
- Phillip Lopate, The Criterion Collection, 2003 |
|
Selected by Alex Gibney, Veronique Godard, Srinivas Krishna, Sanjeev Verma, Patricia Rozema. |
|
381 → 364 → 372 →
284 |
|
Amazon
Pop Matters
Strictly Film School |
|
|
|
Le Million |
|
RENΙ CLAIR (275) |
 |
|
1931 | 85m | BW | France | Musical, Musical Comedy |
|
Rene Lefevre, Annabella,
Jean-Louis Allibert, Raymond Cordy, Vanda Greville, Paul Ollivier,
Constantin Siroesco, Odette Talazac, Pedro Elviro, Jane Pierson |
|
"The
Clair style,
most brilliantly exemplified in Le Million, is a
synthesis, a perfect fusion of sound, dialogue, camera placement and
editing. The mood may be ironic, sad or happy, but music and song are
never far away... While a good deal of European cinema of the 1930s has
not stood the test of time, Le Million hasnt aged a
bitseeing it today, nearly 70 years after its release, one still cannot
help feeling exhilarated by its sheer audacity and grace."
- Elliott Stein, Criterion Collection |
|
Selected by
D.A. Pennebaker,
Raymond Chirat, Leslie Halliwell, Dilys Powell, Richard Barkley. |
|
448 → 277 → 275 →
285 |
|
Amazon
Bright Lights Film Journal
Film Reference |
|
|
|
Make Way for Tomorrow |
|
LEO MCCAREY (280) |
 |
|
1937 | 92m | BW | USA | Family Drama, Marriage Drama |
|
Victor Moore, Beulah Bondi,
Fay Bainter, Thomas Mitchell, Porter Hall, Barbara Read, Maurice
Moscovich, Elisabeth Risdon, Minna Gombell, Louise Beavers |
|
"With the possible
exception of Yasujiro
Ozu's Tokyo Story, this 1937 drama by
Leo McCarey is
the greatest movie ever made about the plight of the elderly... It's a
profoundly moving love story and a devastating portrait of how society
works, and you're likely to be deeply marked by it. Hollywood movies
don't get much better than this."
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by Carlos Diegues, Errol Morris, Tom Luddy, Peter von Bagh,
Robin Wood. |
|
289 → 304 → 280 →
286 |
|
Amazon
Slant Magazine
Culture Cartel |
|
| |
|
| |
|
|
|
|
|
287
|
|
288
|
|
289
|
|
Salvatore Giuliano |
|
FRANCESCO ROSI (273) |
 |
|
1961 | 125m | BW | Italy | Political Drama, Crime Drama |
|
Frank Wolff, Salvo Randone,
Frederico Zardi, Sennuccio Benelli, Giuseppe Calandra, Pietro Cammarata,
Max Cartier, Nando Cicero, Giuseppe Teti, Cosimo Torino |
|
"Salvatore Giuliano
has never been bettered as an interpretation of history without resort
to special pleading. It's as if the film-maker is standing back and
providing clues that we have to interpret ourselves. This is something
Hollywood would never do, and justifies European cinema as much as any
other film of what now looks like a golden period."
- Derek
Malcolm, The Guardian, 2001 |
|
Selected by Michel Ciment, Gary Crowdus, Dan Georgakas,
Jon Jost, Les Blair. |
|
267 → 275 → 273 →
287 |
|
Amazon
Criterion Collection Essay
DVD Savant |
|
|
|
Laura |
|
OTTO PREMINGER (304) |
 |
|
1944 | 85m | BW | USA | Film Noir, Romantic Mystery |
|
Gene Tierney, Dana
Andrews, Clifton Webb, Vincent Price, Judith Anderson, Dorothy Adams,
James Flavin, Clyde Fillmore, Ralph Dunn, Grant Mitchell |
|
"Quietly
Godardian
before the factdoes a story's architecture matter as much as our ardor
for imagery?Laura is a hypnotic and deathlessly interpretable
experience, what with Clifton Webb's sexually contradictory
presence, Vincent Price (!) as a smug paramour, and Andrews gilding the
tough-dick paradigm with his own distinct brand of grieving lostness." -
Michael Atkinson,
Village Voice, 2005 |
|
Selected by John Baldessari, Dan Georgakas, David
Meeker, Albert Montagne,
Frederic Vitoux. |
|
317 → 320 → 304 →
288 |
|
Amazon
Slant Magazine
Film Reference |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
Midnight Cowboy |
|
JOHN SCHLESINGER (285) |
 |
|
1969 | 113m | Col | USA | Urban Drama, Buddy Film |
|
Jon Voight, Dustin
Hoffman, Sylvia Miles, John McGiver, Brenda Vaccaro, Barnard Hughes,
Jennifer Salt, Ruth White, Gil Rankin, Gary Owens |
|
"Long
after it was first released, Midnight Cowboy remains one of a
handful of films that stay in our memory after the others have
evaporated. Its love story between two drifters, the naοve Joe Buck and
the street-savvy Ratso Rizzo, is a reference point for other films. Some
of its moments, like the one where Ratso pounds on a nudging taxi and
shouts, "I'm walking here!" have entered into the folklore." -
Roger Ebert, Chicago
Sun-Times, 1994 |
|
Selected by Jack Stevenson, Michael Caton-Jones,
Nick Love, Bruce Ricker, Lizzie Borden. |
|
309 → 351 → 285 →
289 |
|
Amazon
Film Reference
Washington Post |
|
| |
|
| |
|
|
|
|
|
290
|
|
291
|
|
292
|
|
Meshes of the Afternoon |
|
MAYA DEREN (254) |
 |
|
1943 | 15m | BW | USA |
Avant-garde/Experimental, Surrealist Film |
|
Maya Deren, Alexander
Hammid |
|
"A still-startling
16mm work of surrealism and feminism, akin to, in its female-based
paranoia and death-wish longing, Charlotte Perkins Gillman's late 19th
century The Yellow Wallpaper. Floating gorgeously through the
film was Deren
herself, and who, male or female, seeing Meshes, hasn't been
smitten by Maya's
rescue-me-the-suffering-princess, slow-mo beauty?"
- Gerald Peary, 2003 |
|
Selected by
Chris Hegedus, Barbara Hammer, David Hanan, Lizzie Francke,
Derek Jarman. |
|
297 → 239 → 254 →
290 |
|
Amazon
Strictly Film School
Film Reference |
|
|
|
The Wind |
|
VICTOR SJΦSTRΦM
(308) |
 |
|
1928 | 88m | BW | USA | Drama, Psychological Drama |
|
Lillian Gish, Lars Hanson,
Montagu Love, Dorothy Cumming, Edward Earle, William Orlamond, Leon
Janney, Carmencita Johnson, Billy Kent Schaefer |
|
"A silent classic,
revived in recent years by producer/director Kevin Brownlow with a Carl
Davis score, which gave the great Lillian Gish one of the finest parts
of her career... No one would deny that The Wind is a work of art
or, after seeing it, cavil much at the opinion of a French critic, who
said that Sjostrom
was capable of making "the most beautiful films in the world."
- Derek Malcolm, The Guardian, 1999 |
|
Selected by
Vincent Ward, Charles Barr, Tomas Perez Turrent, Judith Williamson, Dusan Stojanovic. |
|
333 → 287 → 308 →
291 |
|
Amazon
Senses of Cinema
Museum of Modern Art |
|
|
|
An Autumn Afternoon |
|
YASUJIRO OZU
(396) |
 |
| Sanma no
aji (original title) |
|
1962 | 115m | Col | Japan
| Family Drama, Romantic Drama |
|
Chishu Ryu, Shima
Iwashita, Keiji Sada, Shinichiro Mikami, Mariko Okada, Nobuo Nakamura,
Ryuji Kita, Eijiro Tono, Teruo Yoshida, Noriko Maki |
|
"An Autumn
Afternoon is not the directors best-known film, nor is it the title
that most of those familiar with his work would cite as his greatest
achievement... Still, in its exquisite refinement of
Ozus style
and themes, and its general air of nostalgia and loss, An Autumn
Afternoon does in fact feel like a summation of his careerand it
is, after all, his final masterpiece."
- Geoff Andrew, The Criterion Collection, 2008 |
|
Selected by
John Powers, M.K. Raghavendra, Olivier Smolders, Jacques Aumont, Geoffrey Nowell-Smith. |
|
331 → 372 → 396 →
292 |
|
Amazon
Midnight Eye
Strictly Film School |
|
| |
|
| |
|
|
|
|
|
293
|
|
294
|
|
295
|
|
Strangers on a Train |
|
ALFRED HITCHCOCK (253) |
 |
|
1951 | 101m | BW | USA | Psychological Thriller, Crime Thriller |
|
Farley Granger, Robert
Walker, Ruth Roman, Leo G. Carroll, Patricia Hitchcock, Laura Elliott,
Marion Lorne, Howard St. John, Jonathan Hale, John Brown |
|
"Strangers on a Train
is not a psychological study, however, but a first-rate thriller with
odd little kinks now and then. It proceeds, as
Hitchcock's
films so often do, with a sense of private scores being settled just out
of sight... The
movie is usually ranked among Hitchcock's best (I would put it below
only Vertigo, Notorious, Psycho and perhaps
Shadow of a Doubt), and its appeal is probably the linking of an
ingenious plot with insinuating creepiness."
- Roger Ebert, Chicago Sun-Times, 2004 |
|
Selected by Albert Maysles,
Karel Reisz,
Derek Adams, Jonathan Lynn, Whit Stillman. |
|
246 → 273 → 253 →
293 |
|
Amazon
Slant Magazine
Bright Lights Film Journal |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
Kings of the Road |
|
WIM WENDERS (268) |
 |
| Im Lauf
der Zeit (original title) |
| 1976 | 176m | BW | Germany | Drama, Road Movie |
|
Rudiger Vogler, Hanns
Zischler, Lisa Kreuzer, Rudolf Schundler, Marquard Bohm, Dieter Traier,
Franziska Stommer, Patric Kreuzer, Wim Wenders, Peter Kaiser |
|
"The first
masterpiece of the New German Cinema.
Wim Wenders's existentialized road
movie follows two drifters in a three-hour ramble through a deflated
Germany, touching on their private pasts and their hopes for the
future... An engrossing, enveloping film, made with great craft and
photographed in highly textured black-and-white by Robby Muller."
- Dave Kehr, Chicago Reader |
|
Selected by
Hal Hartley, Phillip Noyce, Hou Hsiao-Hsien, Michel Boujut, Shinji Aoyama. |
|
251 → 284 → 268 →
294 |
|
Amazon
Derek Malcolm's Century of Films
Roger Ebert (Chicago Sun-Times) |
|
|
|
Aparajito |
|
SATYAJIT RAY (289) |
 |
|
1956 | 108m | BW | India |
Coming-of-Age, Family Drama |
|
Pinaki Sengupta, Smaran
Ghosal, Karuna Banerji, Kanu Banerji, Ramani Sen Gupta, Charu Ghosh,
Subodh Ganguly, Kali Charan Ray, Santi Gupta, K.S. Pandey |
|
"In Aparajito (The
Unvanquished), the second installment in his Apu Trilogy,
Indian film maker
Satyajit Ray created one of the screen's great family tales
-- the story of a mother's love for her son, and the son's conflicting
need for adventure and independence."
- Edward Guthmann, San Francisco Chronicle, 1995 |
|
Selected by
Mrinal Sen, Iqbal Masud, Joe Wright,
Wong Kar-Wai,
Dennis Hopper. |
|
277 → 286 → 289 →
295 |
|
Amazon
Reel Views
Strictly Film School |
|
| |
|
| |
|
|
|
|
|
296
|
|
297
|
|
298
|
|
The African Queen |
|
JOHN HUSTON
(303) |
 |
|
1951 | 105m | Col | USA | Romance, Adventure |
|
Katharine Hepburn,
Humphrey Bogart, Robert Morley, Peter Bull, Theodore Bikel, Walter
Gotell, Gerald Onn, Peter Swanwick, Richard Marner, Errol John |
|
"Without two
accomplished players, Mr.
Huston could never have achieved his highly audacious purpose
of a virtually two-character film, but Miss Hepburn and Mr. Bogart are
entirely up to their jobs, outside of their lack of resemblance to the
nationals they're said to be." -
Bosley Crowther, New York
Times, 1952 |
|
Selected by
Ronald Neame, Nicholas Meyer, Jaime de Arminan,
Annick Demeule, Virginia Dignam. |
|
336 → 305 → 303 →
296 |
|
Amazon
Film Reference
Filmsite |
|
|
|
The
Kid |
|
CHARLES CHAPLIN (291) |
 |
|
1921 | 60m | BW | USA | Comedy Drama, Melodrama |
|
Charles Chaplin, Edna
Purviance, Jackie Coogan, Baby Hathaway, Carl Miller, Granville Redmond,
May White, Tom Wilson, Henry Bergman, Lita Grey |
|
"The most Dickensian
of Chaplin's
features, with a Victorian street atmosphere and a sentimentality to
match... It was
Chaplin's first full-length film, and the action is perhaps
too episodic; he hadn't yet mastered the structural demands of the long
form. But several of the episodes -Charlie and Coogan in the plate-glass
business, the poor boy's dream of heaven, which comes out nicely
tattered and tacky -are sublime." -
Dave Kehr, Chicago
Reader |
|
Selected by David Robinson,
Krzysztof Kieslowski,
Wayne Wang,
Jean-Max Mejean, Freddy Buache. |
|
291 → 261 → 291 →
297 |
|
Amazon
Combustible Celluloid
Bright Lights Film Journal |
|
|
|
Kiss Me Deadly |
|
ROBERT ALDRICH
(265) |
 |
|
1955 | 105m | BW | USA | Film Noir, Detective Film |
|
Ralph Meeker, Albert
Dekker, Maxine Cooper, Paul Stewart, Gaby Rodgers, Cloris Leachman, Jack
Lambert, Wesley Addy, Nick Dennis, Marian Carr |
|
"At the end of the
film noir period come the two ultimate examples of the form,
Touch of Evil and Kiss Me Deadly. Kiss Me Deadly is also in
many ways, the ultimate film of 1950s America, with its themes of speed,
money, power, sex, and the atomic bomb intertwined in a tale of a
detective who becomes an extortionist in an attempt to turn a chance
discovery into personal gain." -
Fred Camper, Film Reference |
|
Selected by
Tom Milne, Michael Sicinski, Jose Luis Cienfuegos, Guillermo Cabrera Infante,
Hassan Hosseini. |
|
389 → 265 → 265 →
298 |
|
Amazon
Images Journal
The Guardian (Alex Cox) |
|
See Also:
250 Quintessential
Noir Films |
|
| |
|
| |
|
|
|
|
|
299
|
|
300
|
|
|
|
The Scarlet Empress |
|
JOSEF VON STERNBERG (298) |
 |
|
1934 | 110m | BW | USA | Historical Film, Period Film |
|
Marlene Dietrich, John
Lodge, Louise Dresser, Sam Jaffe, C. Aubrey Smith, Gavin Gordon, Maria
Sieber, Ruthelma Stevens, Olive Tell, Jameson Thomas |
|
"The Scarlet Empress
was the penultimate work in the series of six films
Josef von
Sternberg made with Marlene Dietrich for Paramount. The
series must stand, taken in toto, as one of the most remarkable
achievements within the Hollywood cinema, and The Scarlet Empress
as one of its peaks, yet its relationship to that cinema is highly
ambiguous." - Robin Wood, Film Reference |
|
Selected by
Todd McCarthy, Jean-Louis Leutrat, Scott Meek, Callisto Cosulich, Claude Beylie. |
|
359 → 291 → 298 →
299 |
|
Amazon
Bright Lights Film Journal
Criterion Collection Essay |
|
|
|
Rebel Without a Cause |
|
NICHOLAS RAY (293) |
 |
|
1955 | 111m | Col | USA | Juvenile Delinquency Film, Family Drama |
|
James Dean, Natalie Wood,
Sal Mineo, Jim Backus, Ann Doran, Corey Allen, Edward Platt, Dennis
Hopper, Nick Adams, William Hopper |
|
"Nicholas
Ray's moving 1955 tale of teenage romanticism thwarted by an
adult world of televisions and atomic bombs established James Dean as
America's first underage icon. Dean's alienation is perfectly expressed
through Ray's vertiginous mise-en-scene: the suburban LA setting becomes
a land of decaying Formica and gothic split-levels. An unmissable film,
made with a delirious compassion."
- Dave Kehr, Chicago Reader |
|
Selected by Matt Zoller Seitz, Brandon Judell, Constantine Giannaris,
Alain Ferrari, Manuela Reichart. |
|
323 → 360 → 293 →
300 |
|
Amazon
Slant Magazine
Film Reference |
|
|
To 301-350
 |
|
|
