| |
|
301
|
|
302
|
|
303
|
|
In a Lonely Place |
|
NICHOLAS RAY (286) |
 |
|
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, David Thomson. |
|
315 → 253 → 286 →
301 |
|
Amazon
Bright Lights Film Journal
Film Reference |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
The Time to Live and the Time to Die |
|
HOU HSIAO-HSIEN (287) |
 |
| • Tong nien
wang shi (original title) |
| 1985 | 137m | Col | Taiwan | Drama, Family Drama |
|
Ann-Shuin Yiu, Feng Tien,
Mei-Feng, Yu-Yuen Tang, Shufen Xin, Xiao Ai |
|
"The style of this family
saga is spare and simple but eloquence itself...
Hou went on
to make more audaciously structured films like the magisterial The
Puppetmaster, the true story of a famous old folk artist. And
Flowers of Shanghai was certainly one of the most visually
satisfying you could wish to see. But his style is now more minimalist
and more introspective. The Time to Live and the Time to Die is
one of his simplest films, and one of his most universal." -
Derek Malcolm, The Guardian, 2000 |
|
Selected by John Powers, Derek Malcolm,
Ann Hui, Heddy Honigmann, Yiwen Chen. |
|
254 → 282 → 287 →
302 |
|
Amazon
Reverse Shot
Senses of Cinema |
|
|
|
Aliens |
|
JAMES CAMERON
(319) |
 |
|
1986 | 137m | Col | USA |
Horror, Sci-Fi Action |
|
Sigourney Weaver, Carrie
Henn, Michael Biehn, Paul Reiser, Lance Henriksen, Bill Paxton, William
Hope, Jenette Goldstein, Al Matthews, Mark Rolston |
|
"The
director,
James Cameron,
has been assigned to make an intense and horrifying thriller, and he has
delivered. Weaver, who is onscreen almost all the time, comes through
with a very strong, sympathetic performance: She's the thread that holds
everything together." -
Roger Ebert, Chicago Sun-Times, 1986 |
|
Selected by
Ty Burr, Justine Elias, Jason Reitman, Stefan Schwartz, Paul Anderson. |
|
306 → 302 → 319 →
303 |
|
Amazon
Reel Views
Time Out |
|
| |
|
| |
|
|
|
|
|
304
|
|
305
|
|
306
|
|
El Verdugo |
|
LUIS GARCÍA BERLANGA (277) |
 |
| • Not on
Your Life (English title); Executioner (alternative title) |
|
1963 | 90m | BW | Spain-Italy | Comedy Drama, Black Comedy |
|
Nino Manfredi, Emma
Penella, Jose Isbert, Jose Luis Lopez Vazquez, Angel Alvarez, Guido
Alberti, Julia Caba Alba, Maria Luisa Ponte, Maria Isbert, Erasmo
Pascual |
|
"Berlanga's
finest film, El Verdugo, is a somewhat
Buñuelian black tragicomedy about a
mild-mannered undertaker's assistant who, through a bizarre series of
circumstances, becomes a public executioner. Formally
Berlanga's
most elegant film, it was shot by
Pasolini and
Leone's cinematographer, the great
Tonino Delli Colli." -
Elliott Stein, Village
Voice, 2001 |
|
Selected by Alejandro Amenábar, Matias Valles, Antonio Isasi Isasmendi, Javier Angulo, Nancy Berthier. |
|
0 → 358 → 277 →
304 |
|
Amazon
Film Reference
Shooting Down Pictures |
|
|
|
Strike |
|
SERGEI EISENSTEIN
(284) |
 |
| • Stachka
(original title) |
|
1924 | 73m | BW | USSR | Propaganda Film, Political Drama |
|
Maksim Shtraukh, Grigori
Aleksandrov, Mikhail Gomorov, Alexander Antonov, Yudif Glizer, I. Ivanov,
Ivan Klyukvin, Anatoli Kuznetsov, M. Mamin, Vladimir Uralsky |
|
"Eisenstein's
first feature also remains his most watchable; if his theories of
montage and typage were already much in evidence, at least they had not
yet turned into the over-emphatic academic tropes that marred so much of
his later work... Its relentless energy and invention transform the
whole thing into a raucous, rousing hymn to human dignity and courage."
- Geoff Andrew, Time Out |
|
Selected by
Michael Sragow, Alexei Balabanov, David Hanan, Peter Greenaway, Oleg Kovalov. |
|
240 → 290 → 284 →
305 |
|
Amazon
Derek Malcolm's Century of Films
Films de France |
|
|
|
The Asphalt Jungle |
|
JOHN HUSTON
(314) |
 |
|
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, Franc Roddam,
Andrzej Wajda. |
|
294 → 315 → 314 →
306 |
|
Amazon
Filmsite
Film Noir of the Week |
|
See Also:
250 Quintessential
Noir Films |
|
| |
|
|
|
|
|
|
|
|
307
|
|
308
|
|
309
|
|
How Green Was My Valley |
|
JOHN FORD (355) |
 |
|
1941 | 118m | BW | USA | Family Drama, Rural Drama |
|
Walter Pidgeon, Maureen
O'Hara, Roddy McDowall, Donald Crisp, Anna Lee, John Loder, Barry
Fitzgerald, Patric Knowles, Sara Allgood, Morton Lowry |
|
"John
Ford's Oscar winner is an immensely moving study of stresses,
changes, and heroism in a Welsh coal-mining family as it passes from the
blissful 19th century to the grim 20th. As in all the best
Fordian cinema,
though everything changes and most things die or disappear, what remains
in memory and in spirit triumphs—and what on the surface is a tender and
sad film becomes instead joyous and robust."
- Don
Druker, Chicago Reader |
|
Selected by
Peter Bogdanovich,
Hideo Nakata,
Paul Morrissey, David Schwartz, Hans Gunther Pflaum. |
|
394 → 367 → 355 →
307 |
|
Amazon
Filmsite
Undercurrent (Adrian Martin) |
|
|
|
Carrie |
|
BRIAN DE PALMA (316) |
 |
|
1976 | 97m | Col | USA | Horror, Supernatural Thriller |
|
Sissy Spacek, Piper
Laurie, Amy Irving, William Katt, John Travolta, Nancy Allen, Betty
Buckley, P.J. Soles, Sydney Lassick, Stefan Gierasch |
|
"Brian
De Palma's Carrie is an
absolutely spellbinding horror movie, with a shock at the end that's the
best thing along those lines since the shark leaped aboard in Jaws.
It's also (and this is what makes it so good) an observant human
portrait."
- Roger Ebert, Chicago
Sun-Times, 1976 |
|
Selected by
Nancy Savoca, Quentin Tarantino,
Edgar Wright, Yojira Takita, Tom Tykwer. |
|
365 → 348 → 316 →
308 |
|
Amazon
Bright Lights Film Journal
Reverse Shot |
|
|
|
Shadows |
|
JOHN CASSAVETES (302) |
 |
|
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. |
|
271 → 293 → 302 →
309 |
|
Amazon
Slant Magazine
Criterion Collection Essay |
|
| |
|
|
|
|
|
|
|
|
310
|
|
311
|
|
312
|
|
Red Desert |
|
MICHELANGELO ANTONIONI (358) |
 |
| • 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, Ben Gibson. |
|
427 → 421 → 358 →
310 |
|
Amazon
Bright Lights Film Journal
Strictly Film School |
|
|
|
The Hustler |
|
ROBERT ROSSEN (336) |
 |
|
1961 | 135m | BW | USA | Psychological Drama, Sports Drama |
|
Paul Newman, Jackie
Gleason, George C. Scott, Piper Laurie, Myron McCormick, Murray
Hamilton, Michael Constantine, Stefan Gierasch, Jake LaMotta, Gordon B.
Clarke |
|
"Newman
is Fast Eddie, doing his best to convince the world that he can take on
Minnesota Fats (Gleason) at pool and walk away with the world title...
Rossen
allows much space to the essentially concentrated, enclosed scenes of
the film, and so it rests solidly on its performances. A wonderful hymn
to the last true era when men of substance played pool with a vengeance." -
Chris Peachment, Time
Out |
|
Selected by Montxo Armendariz, Bruce Ricker, Hans
Schifferle, Tino Pertierra, Lluis Bonet Mujica. |
|
480 → 382 → 336 →
311 |
|
Amazon
Film Reference
Roger Ebert's Great Movies |
|
|
|
Come and See |
|
ELEM KLIMOV (357) |
 |
| • 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, Gary Sinyor. |
|
340 → 391 → 357 →
312 |
|
Amazon
Senses of Cinema
Reverse Shot |
|
| |
|
| |
|
|
|
|
|
313
|
|
314
|
|
315
|
|
Paris, Texas |
|
WIM WENDERS (299) |
 |
|
1984 | 150m | Col | USA | Drama, Road Movie |
|
Harry Dean Stanton, Dean
Stockwell, Aurore Clement, Nastassja Kinski, Hunter Carson, Bernhard
Wicki, Viva, Socorro Valdez, Tom Farrell, John Lurie |
|
"Paris, Texas is a
movie with the kind of passion and willingness to experiment that was
more common fifteen years ago than it is now. It has more links with
films like Five Easy Pieces and Easy Rider and Midnight
Cowboy, than with the slick arcade games that are the box-office
winners of the 1980s. It is true, deep, and brilliant."
- Roger Ebert, Chicago Sun-Times, 1984 |
|
Selected by Cedric Kahn,
Gael Garcia Bernal, Roger Deakins, Martyn Auty, Umberto Valverde. |
|
370 → 299 → 299 →
313 |
|
Amazon
The A.V. Club
Kamera |
|
|
|
Rebecca |
|
ALFRED HITCHCOCK (312) |
 |
|
1940 | 130m | BW | USA | Romantic Mystery, Gothic Film |
|
Laurence Olivier, Joan
Fontaine, George Sanders, Judith Anderson, Nigel Bruce, Gladys Cooper,
Reginald Denny, C. Aubrey Smith, Florence Bates, Melville Cooper |
|
"Adapted from the Daphne
du Maurier bestseller and created under the aegis of producer David O
Selznick, it was
Hitchcock's first American film, and a fascinatingly
auspicious start to a legendary Hollywood career. The sheer, swooning
pleasure that this film affords - its melodrama, its romance, its
extravagant menace - makes it a must-see."
- Peter Bradshaw, The Guardian |
|
Selected by Yvonne Tasker,
Hideo Nakata, Sally Hibbin, Nebojsa Pajkic, Gil Parrondo. |
|
392 → 343 → 312 →
314 |
|
Amazon
A.V. Club
Chicago Reader |
|
|
|
White Heat |
|
RAOUL WALSH (290) |
 |
|
1949 | 114m | BW | USA | Gangster Film, Crime Thriller |
|
James Cagney, Virginia
Mayo, Edmond O'Brien, Margaret Wycherly, Steve Cochran, John Archer,
Paul [I] Guilfoyle, Fred Clark, Wally Cassell, Ford Rainey |
|
"The film that can,
perhaps, be read as an unannounced satire on the gangster genre, but it
still leaves you breathless at the sheer anarchy of the crime wave he
[James Cagney] and his mob loose on an innocent world." -
Richard Schickel, Time, 2005 |
|
Selected by
Michel Ciment,
Jonathan Kaplan, Woody Allen,
Richard Schickel, Bertrand Tavernier. |
|
290 → 257 → 290 →
315 |
|
Amazon
Film Reference
Combustible Celluloid |
|
See Also:
250 Quintessential
Noir Films |
|
| |
|
| |
|
|
|
|
|
316
|
|
317
|
|
318
|
|
Top Hat |
|
MARK SANDRICH
(307) |
 |
|
1935 | 99m | BW | USA | Musical Romance, Romantic Comedy |
|
Fred Astaire, Ginger
Rogers, Edward Everett Horton, Helen Broderick, Erik Rhodes, Eric Blore,
Lucille Ball, Leonard Mudie, Donald Meek, Florence Roberts |
|
"The
third Astaire-Rogers movie (not counting Flying Down to Rio) and
one of the best, with a superlative Irving Berlin score (it includes 'No
Strings', 'Isn't This a Lovely Day?', 'Top Hat, White Tie and Tails' and
'Cheek to Cheek'), and equally superlative Hermes Pan routines which
spark a distinct sexual electricity between the pair."
- Tom Milne, Time Out |
|
Selected by Richard Leacock, Pat Thomson, Julian Mateos, Gil Parrondo, George Perry. |
|
344 → 338 → 307 →
316 |
|
Amazon
Roger Ebert's Great Movies
Slant Magazine |
|
|
|
Wavelength |
|
MICHAEL SNOW
(339) |
 |
|
1967 | 45m | Col | Canada | Abstract Film |
|
Hollis Frampton, Amy
Taubin |
|
"Wavelength
describes a single zoom movement for three quarters of an hour across an
almost empty New York loft... The decisiveness with which Snow
staked out a territory for investigation, the simplicity and clarity of
the film's overall gesture, and the intricacy of its details, were
factors in the immediate and continuing attention this film has
claimed."
- P. Adams Sitney, Film Reference |
|
Selected by
Atom Egoyan, Michael Sicinski, Peter Tscherkassky, Keith Griffiths, Annette Michelson. |
|
324 → 297 → 339 →
317 |
|
Amazon
AllMovie
Cinepassion |
|
|
|
Eraserhead |
|
DAVID LYNCH (406) |
 |
|
1976 | 90m | BW | USA |
Avant-garde/Experimental, Surrealist Film |
|
Jack Nance, Charlotte
Stewart, Allen Joseph, Jeanne Bates, Judith Anna Roberts, Laurel Near,
V. Phipps-Wilson, Jack Fisk, Jean Lange, Thomas Coulson |
|
"By
now, the most interesting thing about Lynch’s cult-classic debut may be
the evidence it offers of how fully his sensibility was formed...
No matter where he went, however, he
never made another movie with a mutant baby or a radiator creature.
Those pleasures are all Eraserhead’s own."
- Ben Kenigsberg, Time Out New York, 2007 |
|
Selected by Claire Binns, A. Hans Scheirl, Luke Y.
Thompson, Jean-Claude Romer, Carl Hubert Felix. |
|
628 → 479 → 406 →
318 |
|
Amazon
Senses of Cinema
The Village Voice |
|
| |
|
| |
|
|
|
|
|
319
|
|
320
|
|
321
|
|
Charulata |
|
SATYAJIT RAY
(324) |
 |
| • The
Lonely Wife (English title) |
|
1964 | 124m | BW | India |
Psychological Drama, Romantic Drama |
|
Soumitra Chatterjee,
Madhabi Mukherjee, Shailen Mukherjee, Shyamal Ghoshal, Gitali Roy,
Bholanath Koyal, Suku Mukherjee, Dilip Bose, Joydeb, Bankim Ghosh |
|
"Charulata ,
one of Ray's undoubted masterpieces... Charulata, the sensitive but
bored wife of a westernized newspaper publisher finds herself drawn
sexually to her husband's young cousin who comes to stay and shares her
taste for literature. The film moves with beautiful precision from
flirtation and almost childish competitiveness to near tragedy amid a
lovingly reconstructed period setting."
- Roy Armes, Film Reference |
|
Selected by
Philip Kemp, Digvijay Singh, Santosh Sivan, Terrence Rafferty,
John Gillett. |
|
275 → 318 → 324 →
319 |
|
Amazon
Senses of Cinema
Slant Magazine |
|
|
|
Chungking Express |
|
WONG KAR-WAI (328) |
 |
| • Chung
Hing sam lam (original title) |
|
1994 | 104m | Col | Hong
Kong | Urban Drama, Romantic Drama |
|
Brigitte Lin, Tony Leung,
Faye Wong, Takeshi Kaneshiro, Valerie Chow, Piggy Chan, Guan Lina, Huang
Zhiming, Liang Zhen, Zuo Songshen |
|
"Wong
Kar-Wai's movie tells two
loosely interlinked stories, both about lovelorn cops who get involved
with women who are wrong for them... This is what
Godard
movies were once like: fast, hand-held, funny and very, very catchy.
The year's zingiest visit to Heartbreak
Hotel." - Tony Rayns, Time Out |
|
Selected by
Jessica Winter, Julian Graffy, Manohla Dargis, Paul Julian Smith, Hans
Schifferle. |
|
438 → 333 → 328 →
320 |
|
Amazon
Time
Slant Magazine |
|
|
|
All Quiet on the Western Front |
|
LEWIS MILESTONE (296) |
 |
|
1930 | 105m | BW | USA | War Drama, Anti-War Film |
|
Lew Ayres, Louis Wolheim,
John Wray, Slim Summerville, Russell Gleason, Ben Alexander, William
Bakewell, Scott Kolk, Walter Rogers, Owen Davis Jr. |
|
"Lewis
Milestone's powerful 1930 adaptation of Erich Maria
Remarque's antiwar novel, starring Lew Ayres and Louis Wolheim, deserves
its reputation as a classic...
Milestone's other 30s work (e.g.,
Hallelujah, I'm a Bum) is sorely in need of reappraisal."
-
Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Ronald Neame,
Fred Zinnemann,
Barthelemy Amengual, Alexander Korda, Edward Dmytryk. |
|
303 → 274 → 296 →
321 |
|
Amazon
Film Reference
Filmsite |
|
| |
|
| |
|
|
|
|
|
322
|
|
323
|
|
324
|
|
The Awful Truth |
|
LEO MCCAREY
(297) |
 |
|
1937 | 92m | BW | USA | Romantic Comedy, Screwball Comedy |
|
Cary Grant, Irene Dunne,
Ralph Bellamy, Alex D'Arcy, Cecil Cunningham, Molly Lamont, Esther Dale,
Joyce Compton, Robert Allen, Robert Warwick |
|
"Zappy, sophisticated
screwball comedy with Grant and Dunne displaying perfect timing as the
husband and wife who get divorced and then, after enjoying quick flings
with a cabaret artiste and an oil tycoon respectively, decide to get
together again. A routine story perhaps, but
McCarey transforms it , through his
customary affection for his characters and taut pacing, into
delightfully effective entertainment."
- Geoff Andrew, Time Out |
|
Selected by Molly Haskell, Adrian Martin,
Michael Caton-Jones, Tom Ryan, Kent Jones. |
|
236 → 264 → 297 →
322 |
|
Amazon
Pop Matters
Bright Lights Film Journal |
|
|
|
Amadeus |
|
MILOS FORMAN
(341) |
 |
|
1984 | 158m | Col | USA |
Biography, Period Film |
|
F. Murray Abraham, Tom
Hulce, Elizabeth Berridge, Simon Callow, Roy Dotrice, Christine Ebersole,
Jeffrey Jones, Charles Kay, Kenny (2) Baker, Lisabeth Bartlett |
|
"Amadeus is
constructed in wonderfully well-written and acted scenes -- scenes so
carefully constructed, unfolding with such delight, that they play as
perfect compositions of words. Most of them will be unfamiliar to those
who have seen Peter Shaffer's brooding play, on which this film is
based; Shaffer and
Forman have brought light, life, and laughter to the
material, and it plays with grace and ease."
- Roger Ebert, Chicago Sun-Times, 1984 |
|
Selected by Kevin Feige, Suzi Feay, Zhou Xiaowen, Gary Sinyor,
Gerard Corbiau. |
|
355 → 350 → 341 →
323 |
|
Amazon
Metacritic
Reel Views |
|
|
|
Network |
|
SIDNEY LUMET (283) |
 |
|
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
Bennett Miller, Tim Robbins, Danny Cannon, David Roland,
Garth Jennings. |
|
270 → 267 → 283 →
324 |
|
Amazon
Village Voice
Reel Views |
|
| |
|
| |
|
|
|
|
|
325
|
|
326
|
|
327
|
|
Triumph of the Will |
|
LENI RIEFENSTAHL (347) |
 |
| • Triumph
des Willens (original title) |
|
1935 | 110m | BW | Germany
| Propaganda Film, Documentary |
|
Adolf Hitler, Max Amann,
Martin Bormann, Walter Buch, Walter Darre, Otto Dietrich, Sepp Dietrich,
Hans Frank, Josef Goebbels, Hermann Goring |
|
"Riefenstahl's
record of the sixth Nazi congress at Nuremberg in 1934, a massive
documentary tribute to the German concept of the Aryan super-race.
Technically brilliant, and still one of the most disturbing pieces of
propaganda around." -
Chris Peachment, Time Out |
|
Selected by Dusan Makavejev, Denys Arcand, Stuart Klawans, Khosrow-Sinai, Nenad Polimac. |
|
253 → 301 → 347 →
325 |
|
Amazon
Roger Ebert's Great Movies
DVD Savant Review |
|
|
|
Killer of Sheep |
|
CHARLES BURNETT
(350) |
 |
|
1977 | 83m | Col | USA |
Drama, Family Drama |
|
Henry G. Sanders, Kaycee
Moore, Charles Bracy, Angela Burnett, Eugene Cherry, Jack Drummond |
|
"A dollar really means
something in Charles
Burnett's Killer of Sheep, a milestone of eloquent
understatement that captures the daily life of have-nots as few American
movies have... The film he [Burnett] made is a major landmark in
American moviemaking: a vivid ballad for life as it was lived by people
whom movie cameras could rarely seem to find."
- Wesley
Morris, The Boston Globe, 2007 |
|
Selected by
Sukhdev Sandhu, Raoul Peck, Michael Tolkin, Manthia Diawara, Isaac
Julien. |
|
467 → 508 → 350 →
326 |
|
Amazon
Village Voice
Images Journal |
|
|
|
High and Low |
|
AKIRA KUROSAWA
(310) |
 |
| • Tengoku
to jigoku (original title) |
|
1963 | 142m | BW | Japan | Post-Noir (Modern Noir), Urban Drama |
|
Toshiro Mifune, Kyoko
Kagawa, Tatsuya Mihashi, Tatsuya Nakadai, Isao Kimura, Kenjiro Ishiyama,
Takeshi Kato, Takashi Shimura, Jun Tazaki, Yutaka Sada |
|
"Based on Ed McBain's
novel, King's Ransom, High and Low illuminates its world
with a wholeness and complexity you rarely see in film. As
Akira Kurosawa
weaves together character study, social commentary and police procedure,
he combines what might have been a whole series of movies for another,
lesser director." - Paul Attanasio, Washington Post, 1986 |
|
Selected by
David Siegel, Fredric R. Jameson, Joel Coen, Lodge Kerrigan, Chuck Stephens. |
|
301 → 309 → 310 →
327 |
|
Amazon
Senses of Cinema
Criterion Collection Essay |
|
| |
|
| |
|
|
|
|
|
328
|
|
329
|
|
330
|
|
The 39 Steps |
|
ALFRED HITCHCOCK (309) |
 |
| • The
Thirty-Nine Steps (alternative spelling) |
|
1935 | 87m | BW | UK | Thriller, Spy Film |
|
Robert Donat, Madeleine
Carroll, Godfrey Tearle, Lucy Mannheim, Peggy Ashcroft, John Laurie,
Wylie Watson, Helen Haye, Frank Cellier, Peggy Simpson |
|
"As an artist,
Alfred Hitchcock
surpassed this early achievement many times in his career, but for sheer
entertainment value it still stands in the forefront of his work. Robert
Donat is the dapper young man who stumbles across a spy ring; Madeleine
Carroll is the cool, luminous blond with whom he shares a pair of
handcuffs." - Dave Kehr, Chicago Reader |
|
Selected by
Ken Russell, Jacques Lourcelles,
Paul Bartel, Bruce Goldstein, Nicolas Saada. |
|
328 → 306 → 309 →
328 |
|
Amazon
Film Reference
The Criterion Collection |
|
|
|
A City of Sadness |
|
HOU HSIAO-HSIEN (305) |
 |
| • Beiqing
chengshi (original title) |
|
1989 | 158m | Col | Taiwan | Family Drama, War Drama |
|
Wou Yi Fang, Nakamura
Ikuyo, Jack Kao, Tony Leung, Tianlu Li, Shufen Xin |
|
"Structurally and
stylistically, City of Sadness is
Hou's most audacious and uncompromising
film up to that date, the first complete elaboration of the stylistics
that dominate his subsequent work. One can define his style partly by
reference to two great Japanese masters who may or may not be direct
influences. Like Ozu,
he prefers a static camera, but, like
Mizoguchi, long takes." - Robin
Wood, Film Reference |
|
Selected by Jean-Michel Frodon, Clara Law, Park Kiyong, Kim Ji-Seok, Peggy Chiao. |
|
279 → 308 → 305 →
329 |
|
Amazon
Strictly Film School
Chicago Reader |
|
|
|
The King of Comedy |
|
MARTIN SCORSESE (415) |
 |
|
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,
Nick Love. |
|
442 → 370 → 415 →
330 |
|
Amazon
Salon
David Ehrenstein |
|
| |
|
| |
|
|
|
|
|
331
|
|
332
|
|
333
|
|
Ben-Hur |
|
WILLIAM WYLER (321) |
 |
|
1959 | 212m | Col | USA | Religious Epic, Sword-and-Sandal |
|
Charlton Heston, Jack
Hawkins, Haya Harareet, Stephen Boyd, Hugh Griffith, Martha Scott, Sam
Jaffe, Finlay Currie, Cathy O'Donnell, Frank Thring |
|
"Although
a bit like a four-hour Sunday school lesson, Ben-Hur is not
without its compensations, above all, of course, the chariot race (which
was directed not by
Wyler but by
Andrew Marton, and it
shows). The rest is made interesting by the most sexually ambivalent
characters sporting togas this side of
Satyricon."
- Scott Meek, Time Out |
|
Selected by
Camille Paglia, Adrian Turner, Cherd Songsri, Clive Barker, Florian Henckel von Donnersmarck. |
|
343 → 334 → 321 →
331 |
|
Amazon
Filmsite
Time |
|
|
|
October |
|
SERGEI EISENSTEIN (292) |
 |
| • Oktyabr
(original title) |
|
1927 | 103m | BW | USSR | Historical Film, Propaganda Film |
|
Vasili Nikandrov, Vladimir
Popov, Boris Livanov, Layaschenko, Chibisov, Mikholyev, N. Podvoisky,
Smelsky, Eduard Tisse |
|
"Sergei Eisenstein was
given a free hand and a mammoth budget to re-create the October
Revolution for its tenth anniversary, but the results displeased the
authorities--for reasons both political and aesthetic. Much of the
montage plays better in analytical retrospect than it does on the
screen, but much of the film is genuinely stirring--when he wasn't
theorizing, the man really could cut film." -
Dave Kehr, Chicago
Reader |
|
Selected by
Fernando Martin Pena, Jytte Jensen, Fernando Solanas, Verina Glaessner,
Agustin L. Sotto. |
|
278 → 307 → 292 →
332 |
|
Amazon
Films de France
Time Out |
|
|
|
El |
|
LUIS BUÑUEL (315) |
 |
| • This
Strange Passion (English title) |
|
1952 | 91m | BW | Mexico |
Black Comedy, Satire |
|
Arturo de Cordova, Delia
Garces, Luis Beristain, Aurora Walker, Carlos Martinez Baena, Manuel
Donde, Rafael Banquells, Fernando Casanova, Jose Pidal, Roberto Meyer |
|
"Released at the
pinnacle of his prolific Mexican period, Él remains one of
Luis Buñuel's
crowning achievements... Though set in Mexico and ripe with authentic
details from daily life, Él is less a portrait of machismo gone
awry than it is a brutal and absurd glimpse at one man's runaway
paranoia."
- Ed Gonzalez, Slant Magazine, 2001 |
|
Selected by Charles Tesson, David Meeker, Tomas Perez Turrent, Francisco Llinas,
Gene Moskowitz. |
|
412 → 327 → 315 →
333 |
|
Amazon
Strictly Film School
Chicago Reader |
|
| |
|
|
|
|
|
|
|
|
334
|
|
335
|
|
336
|
|
Pinocchio |
|
BEN SHARPSTEEN & HAMILTON LUSKE (346) |
 |
|
1940 | 88m | Col | US | Fairy Tale, Animated Musical |
|
Dickie Jones, Christian
Rub, Cliff Edwards, Mel Blanc, Don Brodie, Walter Catlett, Marion
Darlington, Frankie Darro, Charles Judels, Evelyn Venable |
|
"Pinocchio
is tops for its blending of the animator's craft and a theme—that a
child is not human until he can feel loss and act with spontaneous
generosity—that can move viewers of every age, and for all ages." -
Richard Corliss,
Time, 2005 |
|
Selected by Joe Dante, Terry Gilliam, Paul Bartel, Gene Siskel, Clive Barker. |
|
318 → 408 → 346 →
334 |
|
Amazon
Roger Ebert (Chicago Sun-Times)
Slant Magazine |
|
|
|
The Thief of Bagdad |
|
MICHAEL POWELL & LUDWIG BERGER & TIM WHELAN
(320) |
 |
| • The Thief
of Bagdad: An Arabian Fantasy in Technicolor (alternative title) |
|
1940 | 106m | Col | UK |
Fantasy, Costume Adventure |
|
Conrad Veidt, Sabu, June
Duprez, John Justin, Rex Ingram, Miles Malleson, Mary Morris, Morton
Selten, Bruce Winston, Hay Petrie |
|
"This 1940 movie is
one of the great entertainments. It lifts up the heart. An early
Technicolor movie, it employs colors gladly and with boldness, using
costumes to introduce a rainbow... It remains one of the greatest of
fantasy films, on a level with The Wizard of Oz."
- Roger
Ebert, Chicago Sun-Times, 2009 |
|
Selected by
Peter Hames, Diego Galan, Fredric R. Jameson,
Ivan Passer, John Russell Taylor. |
|
397 → 337 → 320 →
335 |
|
Amazon
The Criterion Collection
The A.V. Club |
|
|
|
Yojimbo |
|
AKIRA KUROSAWA (363) |
 |
| • 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
John Sayles, Jonathan Demme,
Duncan Jones, Mark Adams, Dominic Wells. |
|
373 → 339 → 363 →
336 |
|
Amazon
The Criterion Collection
Roger Ebert's Great Movies |
|
| |
|
| |
|
|
|
|
|
337
|
|
338
|
|
339
|
|
Shadow of a Doubt |
|
ALFRED HITCHCOCK (330) |
 |
|
1943 | 108m | BW | USA | Thriller, Psychological Thriller |
|
Joseph Cotten, Teresa
Wright, Macdonald Carey, Henry Travers, Patricia Collinge, Hume Cronyn,
Wallace Ford, Edna May Wonacott, Irving Bacon, Charles Bates |
|
"Alfred
Hitchcock's first indisputable masterpiece...
Hitchcock's
discovery of darkness within the heart of small-town America remains one
of his most harrowing films, a peek behind the facade of security that
reveals loneliness, despair, and death."
- Dave Kehr, Chicago Reader |
|
Selected by James Mangold,
Justine Elias, Zoran Sinobad, Raymond Bellour, Jerry Lewis. |
|
283 → 310 → 330 →
337 |
|
Amazon
Filmsite
Images Journal |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
Tootsie |
|
SYDNEY POLLACK
(436) |
 |
|
1982 | 116m | Col | USA | Showbiz Comedy, Romantic Comedy |
|
Dustin Hoffman, Jessica
Lange, Teri Garr, Dabney Coleman, Charles Durning, Bill Murray, Sydney
Pollack, George Gaynes, Geena Davis, Doris Belack |
|
"Tootsie is
the kind of Movie with a capital M that they used to make in the 1940s,
when they weren't afraid to mix up absurdity with seriousness, social
comment with farce, and a little heartfelt tenderness right in there
with the laughs. This movie gets you coming and going."
- Roger Ebert, Chicago Sun-Times, 1982 |
|
Selected by Judd Apatow,
Cameron Crowe,
Sofia Coppola,
J.J. Abrams, Clive Parsons.. |
|
0 → 0 → 436 → 338 |
|
Amazon
Metacritic
The A.V. Club |
|
|
|
Le Plaisir |
|
MAX OPHÜLS
(375) |
 |
| • House of
Pleasure (English title) |
|
1951 | 97m | BW | France | Romance, Drama |
|
Claude Dauphin, Gaby
Morlay, Madeleine Renaud, Jean Servais, Daniel Gelin, Simone Simon,
Danielle Darrieux, Ginette Leclerc, Jean Gabin, Pierre Brasseur |
|
"Max
Ophuls's anthology film collects three short stories by Guy
de Maupassant, each dealing with the ideal of “pleasure” in a different
context: old age, sex, and sacrifice. On the whole, the film falls below
the level of the work that surrounds it, La Ronde and The
Earrings of Madame de..., but it unmistakably belongs to
Ophuls's
postwar period, one of the most extraordinary creative peaks in film
history."
-
Dave Kehr, Chicago Reader |
|
Selected by Robin Wood, Alexandre Astruc, Jean-Pierre Berthome, Claude Beylie,
Alain Ferrari. |
|
320 → 416 → 375 →
339 |
|
Amazon
Slant Magazine
Criterion Collection Essay (Robin Wood) |
|
| |
|
| |
|
|
|
|
|
340
|
|
341
|
|
342
|
|
F for Fake |
|
ORSON WELLES
(318) |
 |
| • Vérités
et mensonges (original title) |
|
1973 | 85m | Col | France-Iran-West Germany | Avant-garde/Experimental, Essay Film |
|
Orson Welles, Oja Kodar,
Elmyr de Hory, Joseph Cotten, Francois Reichenbach, Richard Wilson, Paul
Stewart, Clifford Irving, Edith Irving, Laurence Harvey |
|
"Orson
Welles's underrated essay film—made from discarded
documentary footage by Francois Reichenbach and new material from
Welles—forms
a kind of dialectic with
Welles's never-completed It's All
True... Alternately superficial and profound, the film also enlists
the services of Oja Kodar,
Welles's principal collaborator after
the late 60s, as actor, erotic spectacle, and cowriter."
-
Jonathan Rosenbaum, Chicago Reader |
|
Selected by
James Toback, Glenn Myrent, Dan Fainaru, Klaus Lemke, Jorge Gorostiza. |
|
319 → 316 → 318 →
340 |
|
Amazon
Bright Lights Film Journal
Criterion Collection Essay (Jonathan
Rosenbaum) |
|
|
|
Accattone |
|
PIER PAOLO PASOLINI (348) |
 |
| • Accatone
(alternative spelling) |
|
1961 | 120m | BW | Italy |
Urban Drama, Psychological Drama |
|
Franco Citti, Franca Pasut,
Roberto Scaringella, Silvana Corsini, Paola Guidi, Adriana Asti, Adele
Cambria, Luciano Conti, Luciano Gonini, Renato Capogna |
|
"Treating
a social milieu Pasolini knew at first hand, his first film as a
director was misunderstood by many critics when it was first released as
a return to the canons of Italian neo-realism of the '40s and '50s. In
fact, its editing style, use of close-ups, dialogue in the Romanesco
vernacular all betray an originality much more of a piece with
Pasolini's later work than with neo-realism." - Rod
McShane, Time Out |
|
Selected by
Bernardo Bertolucci, Yomota Inuhiko, Wally Hammond, Verina Glaessner,
Alberto Farassino. |
|
388 → 383 → 348 →
341 |
|
Amazon
Senses of Cinema
Film Reference |
|
|
|
Black God, White Devil |
|
GLAUBER ROCHA
(323) |
 |
| • 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 Klaus Eder, Teshome Gabriel, Alfredo Guevara,
Hector Babenco,
Fernando Solanas. |
|
305 → 300 → 323 →
342 |
|
Amazon
Time Out
Film Reference |
|
| |
|
| |
|
|
|
|
|
343
|
|
344
|
|
345
|
|
Easy Rider |
|
DENNIS HOPPER (331) |
 |
|
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 Roger Donaldson, Shinji Aoyama, Thomas Hesterberg, Jan Schulz-Ojala, Ralph Umard. |
|
386 → 361 → 331 →
343 |
|
Amazon
Roger Ebert's Great Movies
LA Weekly |
|
|
|
Five Easy Pieces |
|
BOB RAFELSON (313) |
 |
|
1970 | 98m | Col | USA |
Drama, Road Movie |
|
Jack Nicholson, Karen
Black, Lois Smith, Billy Green Bush, Susan Anspach, Helena Kallianiotes,
William Challee, Fannie Flagg, Sally Struthers, Marlena MacGuire |
|
"Easy
Rider proved in 1969 that
Jack Nicholson
was a great character actor. Five Easy Pieces proved in 1970 that
he was a great actor and a star... Five Easy Pieces has the
complexity, the nuance, the depth, of the best fiction. It involves us
in these people, this time and place, and we care for them, even
though they don't request our affection or applause." -
Roger Ebert, Chicago Sun-Times, 2003 |
|
Selected by
Jonathan Demme,
Scott Hicks, Rajko Grlic,
Antonia Bird, Ben Gibson. |
|
286 → 295 → 313 →
344 |
|
Amazon
Filmsite
Time Out |
|
|
|
Man of Aran |
|
ROBERT FLAHERTY
(311) |
 |
|
1934 | 77m | BW | UK | Anthropology, Documentary |
|
Colman "Tiger" King,
Maggie Dillane, Michael Dillane, Pat Mullin, Patch Ruadh, Patcheen
Faherty, Tommy O'Rourke, "Big Patcheen" Conneely, Stephen Dirrane, Pat
McDonough |
|
"The photography is
brilliant, the best of any of
Flaherty's work. Though many reviewers
have criticized the film for being overly picturesque and stagy,
Flaherty's
use of new (for 1934) long lenses allowed him to capture some of the
most breathtaking imagery ever put into a documentary film."
- Don Druker, Chicago Reader |
|
Selected by
Pervaiz Khan, Hans Gunther Pflaum, Vicente Antonio Pineda, Ronald Holloway, René Clément. |
|
424 → 322 → 311 →
345 |
|
Amazon
Screen Online
Film Reference |
|
| |
|
| |
|
|
|
|
|
346
|
|
347
|
|
348
|
|
Marnie |
|
ALFRED HITCHCOCK
(337) |
 |
|
1964 | 129m | Col | USA |
Romantic Mystery, Psychological Thriller |
|
Sean Connery, Tippi Hedren,
Diane Baker, Martin Gabel, Louise Latham, Alan Napier, Mariette Hartley,
Bruce Dern, Bob Sweeney, Milton Selzer |
|
"Universally despised on
its first release, Marnie remains one of
Alfred Hitchcock's
greatest and darkest achievements... The mise-en-scene tends toward a
painterly abstraction, as
Hitchcock employs powerful masses,
blank colors, and studiously unreal, spatially distorted settings. Theme
and technique meet on the highest level of film art." - Dave
Kehr, Chicago Reader |
|
Selected by
Bernardo Bertolucci,
Wim Wenders, Ken Mogg, David Meeker,
John Russell Taylor. |
|
260 → 296 → 337 →
346 |
|
Amazon
The A.V. Club
Slant Magazine |
|
|
|
Mad Max 2 |
|
GEORGE MILLER (399) |
 |
| • The Road
Warrior (alternative title) |
|
1981 | 94m | Col |
Australia | Action, Science Fiction |
|
Mel Gibson, Bruce Spence,
Vernon Wells, Emil Minty, Mike Preston, Kjell Nilsson, Virginia Hey, Syd
Heylen, Moira Claux, David Slingsby |
|
"Mad Max 2 is a
film of pure action, of kinetic energy organized around the barest
possible bones of a plot. It has a vision of a violent future world, but
it doesn't develop that vision with characters and dialogue. It would
rather plunge headlong into one of the most relentlessly aggressive
movies ever made... This is very skillful filmmaking, and Mad Max 2
is a movie like no other."
- Roger Ebert,
Chicago Sun-Times, 1981 |
|
Selected by
Guillermo del Toro,
Zack Snyder, David
Fincher, Harlan Jacobson, Jurgen Egger. |
|
479 → 399 → 391 →
347 |
|
Amazon
Culture Vulture
Time |
|
|
|
Eyes Without a Face |
|
GEORGES FRANJU
(354) |
 |
| • Les Yeux
sans visage (original title) |
|
1959 | 88m | BW |
France-Italy | Horror, Gothic Film |
|
Pierre Brasseur, Alida
Valli, Edith Scob, Francois Guerin, Juliette Mayniel, Beatrice Altariba,
Alexandre Rignault, Rene Genin, Claude Brasseur, Michel Etcheverry |
|
"Georges
Franju's Eyes Without a
Face is a masterpiece of poetic horror and tactful, tactile
brutality... Like
Jean Cocteau's Orpheus, Eyes
Without a Face is enriched by free-floating allusions to then-recent
European history. It takes no stretch of the imagination to hear the
hounds of "night and fog" or see the coldly psychopathic Génessier as a
Nazi scientist." -
J. Hoberman,
The Village Voice, 2003 |
|
Selected by Mark Kermode, Brian Frye, Tom Milne, Suzanne Liandrat-Guigues, Noel Purdon. |
|
308 → 352 → 354 →
348 |
|
Amazon
The Criterion Collection
Strictly Film School |
|
| |
|
| |
|
|
|
|
|
349
|
|
350
|
|
|
|
Spartacus |
|
STANLEY KUBRICK (326) |
 |
|
1960 | 184m | Col | USA | Sword-and-Sandal, Historical Epic |
|
Kirk Douglas, Laurence
Olivier, Jean Simmons, Tony Curtis, Charles Laughton, Peter Ustinov,
John Gavin, Nina Foch, Woody Strode, John Ireland |
|
"Stanley
Kubrick's Oscar-winning
Technicolor ’Scope sandal saga – centred on a Roman slave revolt headed
by Kirk Douglas’s titular folklore hero – has aged amazingly well...
This is
widescreen, epic filmmaking on a massive scale."
- Derek Adams, Time Out, 2009 |
|
Selected by Tanvir Mokammel, Philip Saville, Mark Jancovich, Sally Hibbin,
Gerard Langlois. |
|
378 → 410 → 326 →
349 |
|
Amazon
The Criterion Collection
Images Movie Journal |
|
|
|
The Wedding March |
|
ERICH VON STROHEIM (322) |
 |
|
1928 | 113m | BW | USA | Drama, Melodrama |
|
Erich von Stroheim, Fay
Wray, Matthew Betz, ZaSu Pitts, George Fawcett, Maude George, George
Nichols, Dale Fuller, Hughie Mack, Cesare Gravina |
|
"Like
Foolish Wives, Greed and Queen Kelly, The
Wedding March (originally made in two parts, of which only the first
is extant) survives as a mutilated masterpiece... it is the love scenes,
played beneath shimmering apple blossoms in lyrical soft focus, that
stick in the memory, ironically turning what is now the film's ending -
the frustration of that love - into one of the director's most bitterly
pessimistic scenes." - Geoff Andrew, Time Out |
|
Selected by
Peter von Bagh, Stefan Grissemann, Claus Philipp, Agustin L. Sotto,
Hans Schifferle. |
|
498 → 356 → 322 →
350 |
|
Amazon
Chicago Reader (Jonathan Rosenbaum)
Allmovie |
|
|
• To 351-400
 |
|
|