| |
|
251 |
|
252 |
|
253 |
|
Germany, Year Zero |
|
ROBERTO ROSSELLINI (243) |
 |
| • 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. |
| 206 → 224 → 223 → 236 →
251 → 243 → 251 |
|
Amazon
Senses of Cinema
Strictly Film School |
|
|
|
Senso |
|
LUCHINO VISCONTI (251) |
 |
| • The
Wanton Countess (USA title) |
|
1954 | 115m | Col | Italy | Period Film, Melodrama |
|
Alida Valli, Farley
Granger, Massimo Girotti, Heinz Moog, Rina Morelli, Marcella Mariani,
Christian Marquand, Tonio Selwart, Sergio Fantoni, Cristoforo De
Hartungen |
|
"Like other
Visconti
melodramas, sumptuous in its Technicolor expressionism,
Senso sees heterosexual love through homosexual
eyes... Visconti,
using English dialogue by
Tennessee Williams and Paul Bowles, generates emotions so violent that
even his operatic vision can barely contain them." -
Tony Rayns, Time Out |
|
Selected by Richard Dyer,
Pedro Almodóvar,
Freddy Buache, Roberto Nepoti, Hans Gunther Pflaum. |
| 301 → 302 → 276 → 262 →
249 → 251 → 252 |
|
Amazon
Eye for Film
All-Movie Guide |
|
|
|
Zero for Conduct |
|
JEAN VIGO
(252) |
 |
| • Zéro de
conduite (original title) |
|
1933 | 41m | BW | France | Drama, Childhood Drama |
|
Louis Lefevre, Gilbert
Pluchon, Gerard de Bedarieux, Jean Daste, Constantine Goldstein-Kehler,
Robert Le Flon, le nain Delfin, Louis de Gonzague-Frick, Du Verron, Leon
Larive |
|
"Jean
Vigo's 1933 masterpiece charts the rebellion of three young
French boys in a sordid little provincial boarding school. A wholly
original creation, the film walks a narrow line between surrealist farce
and social realism."
- Dave Kehr, Chicago Reader |
|
Selected by
Yvonne Rainer, James Naremore, Lindsay Anderson,
Penelope Gilliatt,
Orlando Lubbert. |
| 219 → 211 → 263 → 239 →
247 → 252 → 253 |
|
Amazon
Film Reference
Films de France |
|
| |
|
| |
|
|
|
|
|
254↑ |
|
255 |
|
256 |
|
Wings of Desire |
|
WIM WENDERS
(259) |
 |
| • Der
Himmel über 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, Jane Bartlett. |
| 215 → 214 → 237 → 247 →
257 → 259 → 254 |
|
Amazon
Strictly Film School
Pop Matters |
|
|
|
A
Night at the Opera |
|
SAM
WOOD
(253) |
 |
|
1935 | 92m | BW | USA |
Anarchic Comedy, Farce |
|
Groucho Marx, Chico Marx,
Harpo Marx, Kitty Carlisle, Allan Jones, Margaret Dumont, Sig Ruman,
Walter Woolf King, Edward Keane, Robert Emmett O'Connor |
|
"It's
a top budget job, opulent and meticulous, with its fair share of vices:
this is the first Marx Brothers film where you really feel like
strangling the romantic leads. But it has even more virtues: there's no
Zeppo, the script's generally great (Kaufman and Ryskind), Dumont's
completely great, and the Brothers get to perform some of their most
irresistible routines - the stateroom scene and all." -
Geoff Brown, Time Out |
|
Selected by
Ken Russell,
Frederick Wiseman,
Jean-Jacques
Beineix, Martyn Auty, John Siegel. |
| 223 → 223 → 196 → 202 →
237 → 253 → 255 |
|
Amazon
Derek Malcolm's Century of Films
Film Reference |
|
|
|
Two
or Three Things I Know About Her |
|
JEAN-LUC GODARD (250) |
 |
| • 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. |
| 135 → 154 → 191 → 224 →
252 → 250 → 256 |
|
Amazon
The New York Sun
Strictly Film School |
|
| |
| |
|
|
| |
| |
|
257↑ |
|
258 |
|
259↑ |
|
Midnight Cowboy |
|
JOHN SCHLESINGER (275) |
 |
|
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 naďve 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, Robert Siegel,
Fernando Leon de Aranoa. |
| 306 → 309 → 351 → 285 →
289 → 275 → 257 |
|
Amazon
Film Reference
Washington Post |
|
|
|
Salo, or the 120 Days of Sodom |
|
PIER PAOLO PASOLINI
(256) |
 |
| • Salň 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. |
| 243 → 248 → 240 → 244 →
253 → 256 → 258 |
|
Amazon
BFI Feature
Senses of Cinema |
|
|
|
Fargo |
|
JOEL COEN & ETHAN COEN
(267) |
 |
|
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,
Frank Schnelle. |
| 349 → 332 → 292 → 288 →
268 → 267 → 259 |
|
Amazon
Washington Post
Metacritic |
|
| |
|
| |
|
|
|
|
|
260↑ |
|
261↑ |
|
262↑ |
|
The Terminator |
|
JAMES CAMERON (264) |
 |
|
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. |
| 308 → 304 → 324 → 294 →
259 → 264 → 260 |
|
Amazon
Eye for Film
Ozu's World Movie Reviews |
|
|
|
In the Realm of the Senses |
|
NAGISA OSHIMA
(262) |
 |
| • 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-Jürgen Syberberg, Colin MacCabe,
Callisto Cosulich. |
| 254 → 242 → 272 → 257 →
269 → 262 → 261 |
|
Amazon
Midnight Eye
Reel Views |
|
|
|
Dawn of the Dead |
|
GEORGE A. ROMERO
(271) |
 |
|
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
fantasies—wholesale slaughter and wholesale shopping—to 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, Claudius Seidl. |
| 319 → 310 → 365 → 353 →
276 → 271 → 262 |
|
Amazon
Senses of Cinema
Rolling Stone |
|
| |
|
| |
|
|
|
|
|
263 |
|
264↑ |
|
265 |
|
The Life of Oharu |
|
KENJI MIZOGUCHI (260) |
 |
| • 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, Edward Buscombe, Jacques
Aumont. |
| 234 → 228 → 248 → 258 →
258 → 260 → 263 |
|
Amazon
Bright Lights Film Journal
Senses of Cinema |
|
|
|
Cabaret |
|
BOB FOSSE (273) |
 |
|
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
Iciar Bollain, Michael Koresky,
David Fincher, David Ansen, Edward Margulies. |
| 345 → 341 → 357 → 270 →
281 → 273 → 264 |
|
Amazon
Senses of Cinema
Kamera |
|
|
|
The
Story of the Late Chrysanthemums |
|
KENJI MIZOGUCHI
(255) |
 |
| • 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,
Gilbert Adair. |
| 168 → 184 → 212 → 228 →
254 → 255 → 265 |
|
Amazon
Senses of Cinema
Derek Malcolm's Century of Films |
|
| |
|
| |
|
|
|
|
|
266 |
|
267 |
|
268 |
|
Shane |
|
GEORGE STEVENS
(266) |
 |
|
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. |
| 241 → 252 → 247 → 249 →
266 → 266 → 266 |
|
Amazon
Roger Ebert's Great Movies
Images Journal |
|
|
|
The Crime of Monsieur Lange |
|
JEAN RENOIR (257) |
 |
| • 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. |
| 190 → 205 → 198 → 238 →
277 → 257 → 267 |
|
Amazon
Film Reference
Slant Magazine |
|
|
|
The Blue Angel |
|
JOSEF VON STERNBERG (261) |
 |
| • 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,
Steven Bach. |
| 316 → 281 → 285 → 255 →
261 → 261 → 268 |
|
Amazon
Kamera
Roger Ebert (Chicago Sun-Times) |
|
| |
|
| |
|
|
|
|
|
269 |
|
270 |
|
271 |
|
To Have and Have Not |
|
HOWARD HAWKS (258) |
 |
|
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, Kim Newman,
Todd McCarthy, Mercedes Frutos, Mark Jancovich. |
| 292 → 296 → 319 → 300 →
260 → 258 → 269 |
|
Amazon
Bright Lights Film Journal
Filmsite |
|
|
|
Ninotchka |
|
ERNST LUBITSCH (265) |
 |
|
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. |
| 229 → 243 → 249 → 282 →
256 → 265 → 270 |
|
Amazon
Time Out
Combustible Celluloid |
|
|
|
Day of Wrath |
|
CARL DREYER (263) |
 |
|
• 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. |
| 242 → 231 →
280 → 266 → 267 → 263 → 271 |
|
Amazon
Criterion Collection Essay
Strictly Film School |
|
| |
|
| |
|
|
|
|
|
272↑ |
|
273↑ |
|
274↑ |
|
The Big Sleep |
|
HOWARD HAWKS (282) |
 |
|
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. |
| 260 → 241 → 258 → 263 →
279 → 282 → 272 |
|
Amazon
Senses of Cinema
Images Journal |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
Yojimbo |
|
AKIRA KUROSAWA (279) |
 |
| • The
Bodyguard (English title) |
|
1961 | 110m | BW | Japan |
Samurai Film, Costume Adventure |
|
Toshiro Mifune, Eijiro
Tono, Kamatari Fujiwara, Tatsuya Nakadai, Yoko Tsukasa, Isuzu Yamada,
Daisuke Kato, Seizaburo Kawazu, Takashi Shimura, Hiroshi Tachikawa |
|
"Akira
Kurosawa has any number of dramatic and cinematic clichés to
overcome—and does so brilliantly—in this action-packed, highly comic
translation of Dashiell Hammett's Red Harvest to the samurai
movie tradition. Toshiro Mifune is again incomparable as the masterless
samurai who wanders into a small war between two rival gangs and
proceeds to set things right by further stirring them up."
- Don
Druker, Chicago Reader |
|
Selected by
Darren Aronofsky,
John Sayles, Jonathan Demme,
Duncan Jones, Dominic Wells. |
| 354 → 373 → 339 → 363 →
336 → 279 → 273 |
|
Amazon
The Criterion Collection
Roger Ebert's Great Movies |
|
|
|
West Side Story |
|
ROBERT WISE & JEROME ROBBINS
(276) |
 |
|
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. |
| 275 → 255 → 259 → 250 →
275 → 276 → 274 |
|
Amazon
Film Reference
AFI |
|
| |
|
| |
|
|
|
|
|
275↑ |
|
276↑ |
|
277↑ |
|
Harold and Maude |
|
HAL ASHBY
(354) |
 |
|
1971 | 90m | Col | USA |
Black Comedy, Coming-of-Age |
|
Ruth Gordon, Bud Cort,
Vivian Pickles, Cyril Cusack, Charles Tyner, Ellen Geer, Eric Christmas,
G. Wood, Judy Engles, Shari Summers |
|
"A box office failure
upon its initial release in 1971 which slowly but surely amassed a
global cult following, Harold and Maude is one of those cinematic
oddities that is hard to imagine being made within the confines of
today's film industry...
Harold and Maude works because it takes a stylized screwball comedy
approach to the characters but grounds them in a believable milieu."
- Jeff Stafford, TCM |
|
Selected by
George Clooney,
Jason Reitman,
Fred Durst, Garth Jennings, Arthur Borman. |
| 486 → 418 → 439 → 493 →
415 → 354 → 275 |
|
Amazon
The New York Times
MUBI |
|
|
|
Mulholland Dr. |
|
DAVID LYNCH (293) |
 |
| •
Mulholland Drive (alternative spelling) |
|
2001 | 146m | Col |
France-USA | Mystery, Psychological Thriller |
|
Justin Theroux, Naomi
Watts, Laura Elena Harring, Ann Miller, Dan Hedaya, Mark Pellegrino,
Brent Briscoe, Robert Forster, Katharine Towne, Lee Grant |
|
"While watching Mulholland
Drive, you might well wonder if any film maker has taken the cliché of
Hollywood as "the dream factory" more profoundly to heart than
David Lynch.
The newest film from the creator of Blue Velvet and Twin Peaks
is a nervy full-scale nightmare of Tinseltown that seizes that concept
by the throat and hurls it through the looking glass."
- Stephen Holden, The New York Times,
2001 |
|
Selected by Shunichi Nagasaki, Jeff Goldblum, Sophie Barthes,
Sam Wigley, Ed
Gonzalez. |
| 589 → 650 → 588 → 654 →
374 → 293 → 276 |
|
Amazon
Metacritic
Bright Lights Film Journal |
|
See Also:
The 21st Century's Most Acclaimed Films |
|
|
|
The Asphalt Jungle |
|
JOHN HUSTON
(288) |
 |
|
1950 | 112m | BW | USA | Crime Thriller, Film Noir |
|
Sterling Hayden, Louis
Calhern, Jean Hagen, James Whitmore, Sam Jaffe, John McIntire, Marilyn
Monroe, Marc Lawrence, Barry Kelley, Anthony Caruso |
|
"With The Asphalt
Jungle, John Huston
laid down the definitive pattern of the heist movie...
Huston's spare, uncluttered style conveys tension and
urgency, but no sense of spurious excitement. Violence is staged without
ceremony; shots are fired at close quarters in sudden, edgy confusion,
and death strikes more by accident than by design." -
Philip Kemp,
Film Reference |
|
Selected by
Dusan Makavejev,
Philip Kaufman, John Baldessari,
Ralph Bakshi,
Andrzej Wajda. |
| 283 → 294 → 315 → 314 →
306 → 288 → 277 |
|
Amazon
Filmsite
Film Noir of the Week |
|
See Also:
250 Quintessential
Noir Films |
|
| |
|
| |
|
|
|
|
|
278 |
|
279 |
|
280↑ |
|
The
Tree of Wooden Clogs |
|
ERMANNO OLMI (268) |
 |
| • 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
Ken Loach,
Mike Leigh,
Charles Burnett,
Robert Benton,
Sheila Whittaker. |
| 231 → 232 → 243 → 246 →
262 → 268 → 278 |
|
Amazon
Derek Malcolm's Century of Films
Chicago Sun-Times (Roger Ebert) |
|
|
|
Day for Night |
|
FRANÇOIS TRUFFAUT (269) |
 |
| • La Nuit
américaine (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. |
| 270 → 268 → 278 → 274 →
263 → 269 → 279 |
|
Amazon
Roger Ebert's Great Movies
Senses of Cinema |
|
|
|
Easy Rider |
|
DENNIS HOPPER (340) |
 |
|
1969 | 94m | Col | USA |
Road Movie, Biker Film |
|
Peter Fonda, Dennis
Hopper, Antonio Mendoza, Phil Spector, Jack Nicholson, Warren Finnerty,
Mac Mashourian, Tita Colorado, Luke Askew, Luana Anders |
|
"This
is the movie by which Hollywood discovered the commercial power of
“youth culture.” Fonda and
Hopper’s now-classic film hit the old
guard with the force of a rifle shot to the head. Today, Easy Rider
may be seen as an old hippies’ road movie, but once upon a time it was
the road least traveled." -
Marjorie Baumgarten, The Austin Chronicle, 2000 |
|
Selected by
Mario Van Peebles, Roger Donaldson, Shinji Aoyama, Jan Schulz-Ojala, Ralph Umard. |
| 0 → 386 → 361 → 331 →
343 → 340 → 280 |
|
Amazon
Roger Ebert's Great Movies
LA Weekly |
|
| |
|
| |
|
|
|
|
|
281↑ |
|
282↑ |
|
283 |
|
Night and Fog |
|
ALAIN RESNAIS
(286) |
 |
| • 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. |
| 352 → 381 → 364 → 372 →
284 → 286 → 281 |
|
Amazon
Pop Matters
Strictly Film School |
|
|
|
Dog Day Afternoon |
|
SIDNEY LUMET
(377) |
 |
|
1975 | 130m | Col | USA |
Crime Drama, Urban Drama |
|
Al Pacino, John Cazale,
Sully Boyar, Charles Durning, Chris Sarandon, Penelope Allen, Beulah
Garrick, Carol Kane, James Broderick, Sandra Kazan |
|
"It's an actor's
picture. Lumet
and his editor, Dede Allen, take the time to allow the actors to live
within the characters; we forget we're watching performances. Although
the movie contains tragedy and the potential for greater tragedy, it is
also tremendously funny. But Frank Pierson's Oscar-winning screenplay
never pauses for a laugh; the laughter grows organically out of people
and situations."
- Roger Ebert, Chicago Sun-Times, 2008 |
|
Selected by Bruce Robinson,
Bong
Joon-ho, Nancy Savoca,
R.J. Cutler, David Dobkin. |
| 496 → 472 → 523 → 472 →
427 → 377 → 282 |
|
Amazon
Wikipedia
Allmovie |
|
|
|
1900 |
|
BERNARDO BERTOLUCCI (277) |
 |
| • 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. |
| 250 → 258 → 251 → 267 →
270 → 277 → 283 |
|
Amazon
Film Reference
Roger Ebert (Chicago Sun-Times) |
|
| |
|
|
|
|
|
|
|
|
284 |
|
285↑ |
|
286 |
|
Floating Clouds |
|
MIKIO NARUSE
(272) |
 |
| • 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,
Edward Yang. |
| 245 → 256 → 242 → 259 →
271 → 272 → 284 |
|
Amazon
Strictly Film School
Slant Magazine |
|
|
|
Halloween |
|
JOHN CARPENTER (291) |
 |
|
1978 | 93m | Col | USA | Horror, Slasher Film |
|
Donald Pleasence, Jamie
Lee Curtis, Nancy Loomis, P.J. Soles, Charles Cyphers, Kyle Richards,
Brian Andrews, John Michael Graham, Nancy Stephens, Arthur Malet |
|
"Halloween is an
absolutely merciless thriller, a movie so violent and scary that, yes, I
would compare it to Psycho... We see movies for a lot of reasons.
Sometimes we want to be amused. Sometimes we want to escape. Sometimes
we want to laugh, or cry, or see sunsets. And sometimes we want to be
scared. I'd like to be clear about this. If you don't want to have a
really terrifying experience, don't see Halloween."
- Roger Ebert, Chicago Sun-Times, 1979 |
|
Selected by
John Singleton, Dane Cook, Kevin
Williamson, Tom Tykwer,
Edgar Wright. |
| 479 → 474 → 386 → 465 →
367 → 291 → 285 |
|
Amazon
Metacritic
The A.V. Club |
|
|
|
Lola Montčs |
|
MAX OPHÜLS (278) |
 |
| • 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 Montčs is one of them. The
film is constructed rigorously; if it throws some viewers off, it’s
because for 50 years most films have been narrated in an infantile way.
From this point of view, Lola Montčs 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. |
| 327 → 265 → 256 → 276 →
273 → 278 → 286 |
|
Amazon
Senses of Cinema
LA Weekly |
|
| |
|
| |
|
|
|
|
|
287 |
|
288 |
|
289 |
|
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. |
| 295 → 289 → 304 → 280 →
286 → 280 → 287 |
|
Amazon
Slant Magazine
Culture Cartel |
|
|
|
The
Kid |
|
CHARLES CHAPLIN (281) |
 |
|
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, Ralph Ziman. |
| 278 → 291 → 261 → 291 →
297 → 281 → 288 |
|
Amazon
Combustible Celluloid
Bright Lights Film Journal |
|
|
|
Mouchette |
|
ROBERT BRESSON (285) |
 |
|
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. |
| 207 → 218 → 260 → 269 →
272 → 285 → 289 |
|
Amazon
Strictly Film School
TCM (Michael Atkinson) |
|
| |
|
| |
|
|
|
|
|
290↑ |
|
291 |
|
292↑ |
|
Shadows |
|
JOHN CASSAVETES (298) |
 |
|
1959 | 87m | BW | USA | Drama, Ensemble Film |
|
Lelia Goldoni, Ben
Carruthers, Hugh Hurd, Anthony Ray, Rupert Crosse, Dennis Sallas, Tom
Allen, David Pokitillow, David Jones, Pir Marini |
|
"Cassavetes's
first feature was a one-film American new wave; with his aggressive
sincerity and swaggering integrity,
Cassavetes became the prototype for the
American independent director—the Method actor turned filmmaker.
Shadows can be bracketed with Breathless, completed the same
year, as a low-budget, post-neorealist, pre-cinema-verité Something
New."
- J. Hoberman, Village Voice, 2003 |
|
Selected by
Carlos Diegues, Eva Zaoralova, Rajko Grlic, Pam Cook, June Givanni. |
| 304 → 271 → 293 → 302 →
309 → 298 → 290 |
|
Amazon
Slant Magazine
Criterion Collection Essay |
|
|
|
Strangers on a Train |
|
ALFRED HITCHCOCK (290) |
 |
|
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. |
| 232 → 246 → 273 → 253 →
293 → 290 → 291 |
|
Amazon
Slant Magazine
Bright Lights Film Journal |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
Network |
|
SIDNEY LUMET (348) |
 |
|
1976 | 121m | Col | USA | Media Satire, Black Comedy |
|
Faye Dunaway, William
Holden, Peter Finch, Robert Duvall, Wesley Addy, Ned Beatty, Arthur
Burghardt, Bill Burrows, John Carpenter, Jordan Charney |
|
"So the movie's flawed. So
it leaves us with loose ends and questions. That finally doesn't bother
me, because what it does accomplish is done so well, is seen so sharply,
is presented so unforgivingly, that Network will outlive a lot of
tidier movies."
- Roger Ebert, Chicago Sun-Times |
|
Selected by George Clooney,
Bennett Miller, Tim Robbins, Danny Cannon, David Roland. |
| 293 → 270 → 267 → 283 →
324 → 348 → 292 |
|
Amazon
Village Voice
Reel Views |
|
| |
| |
|
|
| |
| |
|
|
|
|
|
293↑ |
|
294↑ |
|
295 |
|
Come and See |
|
ELEM KLIMOV (300) |
 |
| • Idi i
smotri (original title) |
|
1985 | 142m | Col | Russia
| War Drama, Coming-of-Age |
|
Aleksei Kravchenko, Olga
Mironova, Liubomiras Lauciavicius, Vladas Bagdonas, Juris Lumiste,
Viktor Lorents, Kazimir Rabetsky, Yevgeni Tilicheyev, Aleksandr Berda,
G. Velts |
|
"Klimov's prowess is his
visual poetry, muscular and animistic... Come and See, an
impassioned, pastoral indictment of the Nazis, haunts us with its
painterly after-images of World War II as seen through a 14-year-old
farm boy's eyes." - Rita Kempley, Washington Post, 1987 |
|
Selected by
Ari
Folman, Gillies MacKinnon, Dina Iordanova,
Roger Deakins, Fernando Leon de Aranoa. |
| 398 → 340 → 391 → 357 →
312 → 300 → 293 |
|
Amazon
Senses of Cinema
Reverse Shot |
|
|
|
Black God, White Devil |
|
GLAUBER ROCHA
(308) |
 |
| • Deus e o
Diabo na Terra do Sol (original title) |
|
1964 | 110m | BW | Brazil
| Road Movie, Crime Drama |
|
Yona Magalhaes, Geraldo
Del Rey, Othon Bastos, Sonia Dos Humildes, Mauricio do Valle, Joao Gama,
Marrom, Antonio Pinto, Milton Rosa, Lidio Silva |
|
"Widely regarded as the
first major film by
Glauber Rocha, one of the key figures of the cinema nuovo,
this exciting 1964 Brazilian feature draws on myth and folklore in
exploring the sertao in 1940. Strongly recommended."
-
Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Arturo Ripstein,
Klaus Eder, Teshome Gabriel, Alfredo Guevara,
Fernando Solanas. |
| 287 → 305 → 300 → 323 →
342 → 308 → 294 |
|
Amazon
Time Out
Film Reference |
|
|
|
Red Desert |
|
MICHELANGELO ANTONIONI (284) |
 |
| • Il
Deserto rosso (original title) |
|
1964 | 118m | Col |
France-Italy | Drama, Psychological Drama |
|
Monica Vitti, Richard
Harris, Carlo Chionetti, Xenia Valderi, Rita Renoir, Lili Rheims, Aldo
Grotti, Valerio Bartoleschi, Emanuela Paola Carboni, Bruno Borghi |
|
"Perhaps
the most extraordinary and riveting film of
Antonioni's
entire career; and correspondingly impossible to synopsise. Monica Vitti
is an electronics engineer's neurotic wife, wandering in bewilderment
through a modern industrial landscape (the film is set in Ravenna) which
Antonioni
has coloured in the most startling and original way imaginable."
- David
Pirie, Time Out |
|
Selected by
Marc Forster, Yomota Inuhiko, Park Kiyong, Chris Chang,
Alistair Banks Griffin. |
| 402 → 427 → 421 → 358 →
310 → 284 → 295 |
|
Amazon
Bright Lights Film Journal
Strictly Film School |
|
| |
|
| |
|
|
|
|
|
296 |
|
297 |
|
298 |
|
My Night
at Maud's |
|
ERIC ROHMER (283) |
 |
| • 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,
Chris Fujiwara. |
| 261 → 282 → 254 → 278 →
282 → 283 → 296 |
|
Amazon
Senses of Cinema
Strictly Film School |
|
|
|
The King of Comedy |
|
MARTIN SCORSESE (294) |
 |
|
1983 | 109m | Col | USA | Showbiz Comedy, Black Comedy |
|
Robert De Niro, Jerry
Lewis, Diahnne Abbott, Sandra Bernhard, Ed Herlihy, Lou Brown, Whitey
Ryan, Doc Lawless, Marta Heflin, Katherine Wallach |
|
"The
King of Comedy guarantees a split even at the
level of expectations: it's definitively not a comedy, despite being
hilarious; it pays acute homage to
Jerry Lewis, while requiring of the man
no hint of slapstick infantilism; its uniquely repellent prize nerd is
De Niro himself... Creepiest movie of the year in every sense, and one
of the best.
" -
Paul Taylor, Time Out |
|
Selected by Bryan Singer, Kim Newman, Wim Wenders, Mike Hodges,
Edward Norton. |
| 411 → 442 → 370 → 415 →
330 → 294 → 297 |
|
Amazon
Salon
David Ehrenstein |
|
|
|
In a Lonely Place |
|
NICHOLAS RAY (292) |
 |
|
1950 | 91m | BW | USA | Psychological Drama, Film Noir |
|
Humphrey Bogart, Gloria
Grahame, Frank Lovejoy, Carl Benton Reid, Robert Warwick, Jeff Donnell,
Martha Stewart, Art Smith, Morris Ankrum, William Ching |
|
"As ever,
Ray composes
with symbolic precision, confounds audience expectations, and deploys
the heightened lyricism of melodrama to produce an achingly poetic
meditation on pain, distrust and loss of faith, not to mention an
admirably unglamorous portrait of Tinseltown. Never were despair and
solitude so romantically alluring."
- Geoff Andrew, Time Out |
|
Selected by
Tom Charity, Lizzie Francke, Ed Gonzalez, Tom Ryan, Ry Russo-Young. |
| 330 → 315 → 253 → 286 →
301 → 292 → 298 |
|
Amazon
Bright Lights Film Journal
Film Reference |
|
See Also:
250 Quintessential
Noir Films |
|
| |
|
| |
|
|
|
|
|
299 |
|
300 |
|
• To 301-350 |
|
The Scarlet Empress |
|
JOSEF VON STERNBERG (295) |
 |
|
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. |
| 376 → 359 → 291 → 298 →
299 → 295 → 299 |
|
Amazon
Bright Lights Film Journal
Criterion Collection Essay |
|
|
|
Le Million |
|
RENÉ CLAIR (297) |
 |
|
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 hasn’t aged a
bit—seeing 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. |
| 424 → 448 → 277 → 275 →
285 → 297 → 300 |
|
Amazon
Bright Lights Film Journal
Film Reference |
|
|
|
|