| |
|
26 |
|
27↑ |
|
28 |
|
City
Lights |
|
CHARLES
CHAPLIN (24) |
 |
|
1931
| 86m | BW | USA | Comedy Drama, Romance |
|
Charles Chaplin, Virginia
Cherrill, Florence Lee, Harry Myers, Hank Mann, Allan Garcia, Henry
Bergman, Albert Austin, John Rand, James Donnelly |
|
"Chaplin's
sentimental side was never more delicately stated. But his funny side,
as he desperately tries to earn money for the operation that will
restore the girl's sight, was never more hilariously deployed than it
was in this spare, curiously haunting film."
- Richard Schickel, Time, 2005 |
|
Selected by
Carlos Diegues, Irene Bignardi,
Bernardo Bertolucci,
Michel Chion, Jonathan
Lynn. |
| 22 → 21 → 21 → 23 → 25
→ 24 → 26 |
|
Amazon
Filmsite
Roger Ebert's Great Movies |
| |
|
|
|
|
|
The
Third Man |
|
CAROL
REED (29) |
 |
|
1949
| 104m | BW | UK | Mystery, Psychological Thriller |
|
Joseph Cotten, Orson
Welles, Alida Valli, Trevor Howard, Paul Horbiger, Bernard Lee, Ernst
Deutsch, Wilfred Hyde-White, Erich Ponto, Siegfried Breuer |
|
"The Third Man
is one of those rare films that captured its audience immediately and
was regarded as a classic almost from its first release. It marks one of
those unusual conjunctions of script, director, subject, cast and
setting—and, of course, music—in which everything works... This was the
one time Reed,
as a director, reached perfection; and he did it as much by assembling
and marshalling a brilliantly talented company as by the power of his
own vision."
- Michael Wilmington, The Criterion Collection, 1999 |
|
Selected by
Philip Kaufman,
Alan
Parker, David Denby,
Frank Darabont,
Bryan Forbes. |
| 21 → 20 → 23 → 24 → 30
→ 29 → 27 |
|
Amazon
Bright Lights Film Journal
Chicago Reader |
|
See Also:
250 Quintessential
Noir Films |
| |
|
|
|
|
|
Apocalypse
Now |
|
FRANCIS
FORD COPPOLA (27) |
 |
|
1979
| 150m | Col | USA | Anti-War Film, Adventure Drama |
|
Martin Sheen, Robert
Duvall, Marlon Brando, Frederic Forrest, Albert Hall, Dennis Hopper,
Laurence Fishburne, Sam Bottoms, G.D. Spradlin, Harrison Ford |
|
"Apocalypse Now
is more clearly than ever one of the key films of the century. Most
films are lucky to contain a single great sequence. Apocalypse Now
strings together one after another, with the river journey as the
connecting link... Apocalypse
Now is the best Vietnam film, one of the greatest of all films,
because it pushes beyond the others, into the dark places of the soul.
It is not about war so much as about how war reveals truths we would be
happy never to discover."
- Roger Ebert, Chicago Sun-Times, 1999 |
|
Selected by
Joel Schumacher,
Renny Harlin,
Danny Boyle,
Terry Jones,
Iain Softley. |
| 39 → 44 → 44 → 35 → 35
→ 27 → 28 |
|
Amazon
Images Journal
Roger Ebert’s Great Movies |
| |
|
|
|
| |
|
| |
|
|
|
|
|
29↑ |
|
30↑ |
|
31 |
|
Dr. Strangelove or: How I
Learned to Stop Worrying and Love the Bomb |
|
STANLEY
KUBRICK (33) |
 |
| • Dr.
Strangelove (alternative title) |
|
1964
| 93m | BW | UK | Military Comedy, Political Satire |
|
Peter Sellers, George C.
Scott, Sterling Hayden, Keenan Wynn, Slim Pickens, Peter Bull, Tracy
Reed, James Earl Jones, Jack Creley, Frank Berry |
|
"Dr.
Strangelove is, first and foremost, absolutely unflinching... Kubrick's
precise use of camera angles, his uncanny sense of lighting, his
punctuation with close-ups and occasionally with zoom shots, all
galvanize the picture into macabre yet witty reality."
- Stanley Kauffman |
|
Selected
by
George Clooney, James
Cameron, Alex
Proyas,
Jason Reitman,
Cameron Crowe. |
| 34 → 35 → 39 → 39 → 33
→ 33 → 29 |
|
Amazon
Derek Malcolm’s Century of Films
Strictly Film School |
| |
|
|
|
|
|
Psycho |
|
ALFRED
HITCHCOCK (32) |
 |
|
1960
| 109m | BW | USA | Thriller, Psychological Thriller |
|
Anthony Perkins, Janet
Leigh, Vera Miles, John Gavin, Martin Balsam, John McIntire, Simon
Oakland, John Anderson, Lurene Tuttle, Frank Albertson
|
|
"No introduction needed,
surely, for
Hitchcock's best film, a stunningly realised (on a relatively
low budget) slice of Grand Guignol in which the Bates Motel is the arena
for much sly verbal sparring and several gruesome murders... A
masterpiece by any standard."
- Geoff Andrew, Time Out |
|
Selected by
Bruce Robinson,
Sam Raimi,
Christopher Frayling, Gavin Smith,
Iain Softley. |
| 30 → 29 → 30 → 32 → 28
→ 32 → 30 |
|
Amazon
MovieMaker
Roger Ebert's Great Movies |
| |
|
|
|
|
|
The
General |
|
BUSTER
KEATON
&
CLYDE BRUCKMAN (28) |
 |
|
1927
| 74m | BW | USA | Adventure Comedy, Slapstick |
|
Buster Keaton, Marion
Mack, Glen Cavender, Jim Farley, Frederick Vroom, Joe Keaton, Charles
Smith, Frank Barnes, Mike Donlin, Tom Nawn
|
|
"Only superlatives
will do to describe
Keaton’s hilarious Civil War dramatic comedy. Made in 1927,
at the culmination of the silent era, it sees the graceful, stone-faced
genius at his inventive best... a thrilling adventure yarn, based
essentially upon a pair of hurtling and symmetrically opposed train
chases, that is as superbly structured as it is executed."
- Wally Hammond, Time Out, 2006 |
|
Selected by
Peter Jackson,
John Lasseter, Andrew Sarris,
Terry Jones,
David
Stratton. |
| 26 → 27 → 27 → 30 → 27
→ 28 → 31 |
|
Amazon
Images Journal
Derek Malcolm's Century of Films |
| |
|
|
|
| |
| |
|
|
| |
| |
|
32 |
|
33↑ |
|
34 |
|
Breathless |
|
JEAN-LUC
GODARD (30) |
 |
| • À bout de
souffle (original title) |
|
1959 | 89m | BW | France |
Drama, Crime Drama |
|
Jean-Paul Belmondo, Jean
Seberg, Daniel Boulanger, Jean-Pierre Melville, Van Doude, Liliane
Robin, Henri-Jacques Huet, Claude Mansard, Michel Fabre, Jean-Luc Godard |
|
"Fast and
loose, with a buzzing sense of the potential of the cinema undercut by
the beginnings of
Godard’s intellectual rigour, this is at once a
homage to the American gangster film, and an attack on the very ideas of
Americans, gangsters and films."
- Kim Newman, Empire |
|
Selected by
Sofia Coppola,
Wong Kar-wai,
Jan Nemec,
Michael Winterbottom,
Andrey Plakhov. |
| 32 → 30 → 29 → 33 → 34
→ 30 → 32 |
|
Amazon
Senses of Cinema
Roger Ebert’s Great Movies |
| |
|
|
|
|
|
The
Gold Rush |
|
CHARLES
CHAPLIN (35) |
 |
|
1925
| 82m | BW | USA | Comedy,
Slapstick |
|
Charles Chaplin, Mack
Swain, Georgia Hale, Tom Murray, Betty Morrissey, Henry Bergman, Kay
Deslys, Joan Lowell, Malcolm Waite, John Rand |
|
"Charles
Chaplin's best-loved film, with the tramp down-and-out (as
usual) in Alaska, where he looks for gold, falls in love with a
dance-hall girl (Georgia Hale), eats his shoes for Thanksgiving dinner,
and ends up a millionaire. The blend of slapstick and pathos is
seamless, although the cynicism of the final scene is still surprising.
Chaplin's
later films are quirkier and more personal, but this is quintessential
Charlie, and unmissable." - Dave Kehr, Chicago Reader |
|
Selected by
Bruce Robinson,
Guillermo del Toro,
Michael Haneke,
Theo Angelopoulos,
Lewis Gilbert. |
| 37 → 37 → 34 → 27 → 32
→ 35 → 33 |
|
Amazon
Senses of Cinema
Filmsite |
| |
|
|
|
|
|
Sunset
Blvd. |
|
BILLY
WILDER (31) |
 |
| • Sunset
Boulevard (alternative spelling) |
|
1950
| 110m | BW | USA | Showbiz Drama,
Satire |
|
Gloria Swanson, William
Holden, Erich von Stroheim, Nancy Olson, Fred Clark, Jack Webb, Cecil B.
DeMille, Buster Keaton, Hedda Hopper, Lloyd Gough |
|
"It is a delicious
comedy with a psycho edge, as hard-up screenwriter Joe Gillis (William
Holden) has car trouble and pulls off Sunset Boulevard into a strange
driveway, at the top of which lies a veritable Bates motel of sociopathy
and rage: Norma's (Gloria Swanson) creepy mansion. He is sucked into the
world of a kept man, with horrifying results. This is an unmissable
commentary on Hollywood's rejection of its silent past: a kind of Sobbin'
in the Rain."
- Peter Bradshaw, The Guardian, 2003 |
|
Selected by
Kevin Thomas, Molly Haskell,
Iain Softley,
Harold Becker,
John Boorman. |
| 28 → 28 → 31 → 29 → 31
→ 31 → 34 |
|
Amazon
Boston Phoenix
Philadelphia City Paper |
|
See Also:
250 Quintessential
Noir Films |
| |
|
|
|
| |
|
| |
|
|
|
|
|
35↑ |
|
36 |
|
37 |
|
The
400 Blows |
|
FRANÇOIS
TRUFFAUT (36) |
 |
| • Les
Quatre cents coups (original title); The Four Hundred Blows
(alternate spelling) |
|
1959
| 99m | BW | France | Childhood Drama, Coming-of-Age |
|
Jean-Pierre Leaud, Albert
Remy, Claire Maurier, Guy Decomble, Patrick Auffay, Georges Flamant,
Yvonne Claudie, Robert Beauvais, Claude Mansard, Jacques Monod |
|
"The
later films have their own merits, and Stolen Kisses is one of
Truffaut's
best, but The 400 Blows, with all its simplicity and feeling, is
in a class by itself. It was
Truffaut's first feature, and one of
the founding films of the French New Wave. We sense that it was drawn
directly out of Truffaut's heart."
- Roger Ebert, Chicago Sun-Times, 1999 |
|
Selected by
Julian Schnabel,
Greg Mottola,
Mike Leigh,
Sukhdev Sandhu,
Dennis Hopper. |
| 46 → 48 → 46 → 44 → 41
→ 36 → 35 |
|
Amazon
Senses of Cinema
Strictly Film School |
| |
|
|
|
|
|
Les
Enfants du paradis |
|
MARCEL
CARNÉ (34) |
 |
| • Children
of Paradise (English title) |
|
1945
| 195m | BW | France | Period Film, Romantic Drama |
|
Pierre Brasseur, Arletty,
Jean-Louis Barrault, Pierre Renoir, Maria Casares, Gaston Modot, Fabien
Loris, Marcel Herrand, Louis Salou, Jane Marken |
|
"Children Of
Paradise is the ultimate theater-as-life movie, rich in historical
allusions past and present, a landmark production that overcame constant
harassment by the Germans and stands as a key testament to the spirit of
the French Resistance. But apart from mere dissertation fodder, the film
remains an exemplary piece of popular entertainment, full of vibrancy
and wit, with unforgettable characters and a delicate, bittersweet tone
that considers their emotions in balance."
- Scott Tobias, The A.V. Club, 2002 |
|
Selected by
Marc Forster,
Kevin Thomas, David Robinson, Guy
Hamilton,
Lewis Gilbert. |
| 24 → 24 → 25 → 31 → 29 → 34 → 36 |
|
Amazon
Derek Malcolm's Century of Films
Senses of Cinema |
| |
|
|
|
|
|
Chinatown |
|
ROMAN
POLANSKI (37) |
 |
|
1974
| 131m | Col | USA | Mystery, Post-Noir (Modern Noir) |
|
Jack Nicholson, Faye
Dunaway, John Huston, Perry Lopez, John Hillerman, Darrell Zwerling,
Diane Ladd, Roman Polanski, Roy Jenson, Dick Bakalyan |
|
"Chinatown is
unquestionably one of the best films to emerge from the 1970s... The
production, which went in front of the cameras without a final script,
marks the high-water point in the careers of both lead actor
Jack Nicholson
and director Roman
Polanski. It also represents the finest color entry into the
film noir genre."
- James Berardinelli, Reel Views, 2001 |
|
Selected by
Hubert Cornfield,
Carl Franklin,
Floyd Mutrux,
Gillian Armstrong,
Andy Medhurst. |
| 50 → 40 → 35 → 36 → 36
→ 37 → 37 |
|
Amazon
Roger Ebert’s Great Movies
Metacritic |
| |
|
|
|
| |
|
| |
|
|
|
|
|
38 |
|
39↑ |
|
40 |
|
Blade
Runner |
|
RIDLEY
SCOTT (38) |
 |
|
1982
| 118m | Col | USA | Science Fiction, Tech Noir |
|
Harrison Ford, Rutger
Hauer, Sean Young, Edward James Olmos, M. Emmet Walsh, Daryl Hannah,
William Sanderson, Brion James, Joseph Turkel, Joanna Cassidy |
|
"The most remarkably and
densely imagined and visualized SF film since 2001: A Space Odyssey,
a hauntingly erotic meditation on the difference between the human and
the nonhuman. Set in a grungy LA of the 21st century characterized by
nearly constant rain and a good many Chinese restaurants--yielding
textures worthy of
Welles or
Sternberg--the plot involves a former
cop (Ford) hired to track down and kill a series of androids."
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Joel Schumacher,
Julio Medem,
Robert Rodriguez,
Guillermo Del Toro,
Irene Bignardi. |
| 68 → 66 → 55 → 46 → 40
→ 38 → 38 |
|
Amazon
Washington Post
Roger Ebert (Chicago Sun-Times) |
| |
|
|
|
|
|
Ordet |
|
CARL
DREYER (40) |
 |
| • The Word
(English title) |
|
1955
| 125m | BW | Denmark | Drama, Religious Drama |
|
Henrik Malberg, Emil Hass
Christensen, Preben Lerdoff-Rye, Cay Kristiansen, Birgitte Federspiel,
Ejner Federspiel, Ove Rud, Ann Elisabeth Rud, Susanne Rud, Gerda Nielsen |
|
"Carl
Dreyer's great 1954 film is concerned with the moral and metaphysical
shadings of love: Is it a thing of sex or of the spirit?...
Dreyer's
direction has been described as too theatrical, perhaps because the
action is largely confined to the farmhouse set, yet the spatial
explorations of his camera and cutting are profoundly cinematic and
expressive.
The film is
extremely sensual in its spareness, a paradox always at the center of
Dreyer's work." - Dave Kehr,
Chicago Reader |
|
Selected by
Carrie Rickey, Geoff Andrew,
Barbet Schroeder,
Catherine Breillat,
Charles Tesson. |
| 38 → 41 → 37 → 34 → 38
→ 40 → 39 |
|
Amazon
Strictly Film School
Senses of Cinema |
| |
|
|
|
|
|
The
Night of the Hunter |
|
CHARLES
LAUGHTON (39) |
 |
|
1955
| 93m | BW | USA | Crime Thriller,
Psychological Thriller |
|
Robert Mitchum, Lillian
Gish, Shelley Winters, Peter Graves, Billy Chapin, James Gleason, Sally
Ann Bruce, Evelyn Varden, Don Beddoe, Gloria Castillo |
|
"Agee's
screenplay—from Davis Grubb's relatively graphic, forgotten novel—was a
fearless evocation of revival-tent axiomism that shouldn't have gotten
arrested in Eisenhower-era Hollywood. But
Laughton understood Agee's proximity to
Grimm vaudeville, and fashioned the most intensely expressionistic movie
of its day, outside of
Welles... Few "Golden Age" movies are as visually fecund, and
few have been so ruthlessly plundered."
- Michael Atkinson, The Village Voice, 2001 |
|
Selected by
David Ehrenstein, Joe Dante, Stig Bjorkman, Nigel Andrews,
Gore Verbinski. |
| 52 → 52 → 43 → 37 → 37
→ 39 → 40 |
|
Amazon
Derek Malcolm’s Century of Films
Gerald Peary |
|
See Also:
250 Quintessential
Noir Films |
| |
|
|
|
| |
|
| |
|
|
|
|
|
41 |
|
42↑ |
|
43 |
|
L'Avventura |
|
MICHELANGELO ANTONIONI
(41) |
 |
| • The
Adventure (English title) |
|
1960 | 145m | BW |
Italy-France | Drama, Psychological Drama |
|
Monica Vitti, Gabriele
Ferzetti, Lea Massari, Dominique Blanchar, James Addams, Lelio Luttazi,
Esmeralda Ruspoli, Renzo Ricci, Dorothy De Poliolo, Giovanni Petrucci |
|
"More than any other film
L’Avventura seems to define the spirit of a time in cinema when
anything seemed possible and there was no territory into which it could
not venture. Above all what it seeks to capture is the world of fleeting
emotion, feelings which are unstable and crystallize only momentarily in
the camera’s gaze... L’Avventura is the one that started
Antonioni
on his quest, and remains the one that most clearly represents the
unique nature of his art."
-
Geoffrey Nowell-Smith, The Criterion Collection, 2001 |
|
Selected by Albert Maysles,
Catherine Breillat,
Alexander Walker, Armond White, David Denby. |
| 29 → 31 → 33 → 38 → 39
→ 41 → 41 |
|
Amazon
Senses of Cinema
Images Journal |
| |
|
|
|
|
|
Andrei
Rublev |
|
ANDREI
TARKOVSKY
(46) |
 |
| • Andrey
Rublyov (original title) |
|
1966
| 185m | Col-BW | USSR |
Historical Film, Biography |
|
Anatoli Solonitsyn, Ivan
Lapikov, Nikolai Grinko, Nikolai Sergueiev, Irma Raouch, Nikolai
Bourliaiev, Youn Nasarov, Yuri Nikulin, Rolan Bykov, Nikolai Grabbe |
|
"Its greatness as
moviemaking immediately evident, Andrei Rublev was the
most historically audacious production in the twenty-odd years since
Sergei Eisenstein’s
Ivan the Terrible.
Tarkovsky’s epic—and largely
invented—biography of Russia’s greatest icon painter, Andrei Rublev (c.
1360–1430), was a superproduction gone ideologically berserk. Violent,
even gory, for a Soviet film, Andrei Rublev is set against
the carnage of the Tatar invasions and takes the form of a
chronologically discontinuous pageant."
- J.
Hoberman, The Criterion Collection, 1999 |
|
Selected by
Julian Schnabel, Nick James, Jonathan Glazer,
Leonardo Garcia-Tsao,
Olivier Assayas. |
| 36 → 38 → 48 → 41 → 43
→ 46 → 42 |
|
Amazon
Strictly Film School
Senses of Cinema |
| |
|
|
|
|
|
It's a Wonderful Life |
|
FRANK
CAPRA (43) |
 |
|
1946
| 129m | BW | USA | Comedy Drama, Fantasy |
|
James Stewart, Donna Reed,
Lionel Barrymore, Thomas Mitchell, Henry Travers, Beulah Bondi, Gloria
Grahame, H.B. Warner, Ward Bond, Frank Faylen |
|
"Capra's
Dickensian masterpiece... James Stewart is a vision of decency as the
selfless guy George Bailey who finds himself deeply loved in the
smalltown community he'd once dreamed of leaving: a redemptive discovery
that follows his suicidal despair one snowy Christmas night. Every time
I watch it, I am surprised afresh by how late in the story Clarence the
angel appears, on his mission to show George how bad the world would
have looked without him. The film is gripping enough simply with the
telling of George's lifestory. A genuine American classic."
- Peter Bradshaw, The Guardian, 2007 |
|
Selected by
Frank Darabont,
Monte Hellman, Jonathan Romney, Mark Kermode,
Graham Fuller. |
| 51 → 43 → 47 → 45 → 45 → 43 → 43 |
|
Amazon
Roger Ebert's Great Movies
Reel Views |
| |
|
|
|
| |
| |
|
|
| |
| |
|
44 |
|
45 |
|
46↑ |
|
M |
|
FRITZ
LANG (44) |
 |
| • M - Eine
Stadt sucht einen Mörder (alternative title) |
|
1931
| 99m | BW | Germany | Thriller, Psychological Thriller |
|
Peter Lorre, Otto Wernicke,
Ellen Widmann, Gustaf Grundgens, Theodor Loos, Inge Landgut, Theo Lingen,
Georg John, Ernst Stahl-Nachbaur, Paul Kemp |
|
"It’s hard to believe that
M was made in 1931. If we allow for the fact that it’s in black
and white, it is more engaging to the eye, more incisive in its irony,
more firm in its grasp of social complications than most of the films
that come along today...
Fritz Lang had been directing in Berlin since 1919, and by
1931 he had made more than a dozen films. M was his first sound
film, but no one could know that from the film itself. His use of that
new instrument, the soundtrack, leaps at once past mere verisimilitude
to evocation."
- Stanley Kaufmann, The Criterion Collection, 2004 |
|
Selected by
Jesus Franco,
Michael
Moore, Jonathan Rosenbaum, Ian Christie, Jean-Michel Frodon. |
| 53 → 53 → 51 → 53 → 48
→ 44 → 44 |
|
Amazon
Bright Lights Film Journal
Chicago Reader |
| |
|
|
|
|
|
Persona |
|
INGMAR
BERGMAN (42) |
 |
|
1966
| 81m | BW | Sweden | Drama, Psychological Drama |
|
Liv Ullmann, Bibi
Andersson, Margaretha Krook, Gunnar Bjornstrand, Jorgen Lindstrom |
|
"Persona is a film we
return to over the years, for the beauty of its images and because we
hope to understand its mysteries. It is apparently not a difficult film:
Everything that happens is perfectly clear, and even the dream sequences
are clear--as dreams. But it suggests buried truths, and we despair of
finding them."
- Roger Ebert, Chicago Sun-Times, 2001 |
|
Selected by
Paul Schrader,
István Szabó, Geoff Andrew,
Molly Haskell,
Albert Maysles. |
| 41 → 34 → 32 → 40 → 42 → 42
→ 45 |
|
Amazon
Strictly Film School
Kinoeye |
| |
|
|
|
|
|
Rear
Window |
|
ALFRED
HITCHCOCK (47) |
 |
|
1954
| 112m | Col | USA | Mystery, Thriller |
|
James Stewart, Grace
Kelly, Wendell Corey, Thelma Ritter, Raymond Burr, Judith Evelyn, Ross
Bagdasarian, Georgine Darcy, Sara Berner, Frank Cady |
|
"The most densely
allegorical of
Alfred Hitchcock's masterpieces, moving from psychology to
morality to formal concerns and finally to the theological. It is also
Hitchcock's
most innovative film in terms of narrative technique, discarding a
linear story line in favor of thematically related incidents, linked
only by the powerful sense of real time created by the lighting effects
and the revolutionary ambient sound track."
- Dave Kehr, Chicago Reader |
|
Selected by Carrie Rickey, Peter Hames, Ty Burr,
David Siegel, Ginette Vincendeau. |
| 43 → 45 → 41 → 47 → 44
→ 47 → 46 |
|
Amazon
Senses of Cinema
Boston Phoenix |
| |
|
|
|
| |
|
| |
|
|
|
|
|
47 |
|
48 |
|
49 |
|
Jules
et Jim |
|
FRANÇOIS
TRUFFAUT (45) |
 |
| • Jules and
Jim (English title) |
|
1961
| 104m | BW | France | Drama,
Romance |
|
Jeanne Moreau, Oskar
Werner, Henri Serre, Marie Dubois, Vanna Urbino, Sabine Haudepin, Boris
Bassiak, Kate Noelle, Anny Nelsen, Christiane Wagner |
|
"Jules and Jim is
among the masterpieces of the French New Wave and may be considered the
high achievement of that movement... We have a film that is at once
vital, astonishing, and mature. Its solidity as well as its richness
have kept it from fading even under the intense light of scholarship and
criticism to which it has been continually subject."
- Dudley
Andrew, Film Reference |
|
Selected by
Peter Cowie, Armond White, Irene Bignardi,
Paul Mazursky,
Floyd Mutrux. |
| 33 → 33 → 40 → 42 → 49
→ 45 → 47 |
|
Amazon
Derek Malcolm’s Century of Films
Strictly Film School |
| |
|
|
|
|
|
The
Wild Bunch |
|
SAM
PECKINPAH (48) |
 |
|
1969
| 144m | Col | USA | Western, Revisionist Western |
|
William Holden, Ernest
Borgnine, Robert Ryan, Edmond O'Brien, Warren Oates, Jaime Sanchez, Ben
Johnson, Emilio Fernandez, Strother Martin, L.Q. Jones |
|
"From the opening
sequence, in which a circle of laughing children poke at a scorpion
writhing in a sea of ants, to the infamous blood-spurting finale,
Peckinpah
completely rewrites John
Ford's Western mythology... In purely cinematic terms, the
film is a savagely beautiful spectacle, Lucien Ballard's superb
cinematography complementing
Peckinpah's darkly elegiac vision."
- Nigel Floyd, Time Out |
|
Selected by
Kathryn Bigelow,
Martin Campbell,
Jonathan Kaplan,
Michael
Mann,
Bong Joon-ho. |
| 59 → 55 → 56 → 58 → 51
→ 48 → 48 |
|
Amazon
Images Journal
Filmsite |
| |
|
|
|
|
|
Ugetsu monogatari |
|
KENJI
MIZOGUCHI (49) |
 |
| • Ugetsu
(alternative title) |
|
1953
| 96m | BW | Japan | Romantic
Fantasy, Period Film |
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Masayuki Mori, Machiko Kyo,
Eitaro Ozawa, Kinuyo Tanaka, Mitsuko Mito, Sugisaku Aoyama, Ryosuke
Kagawa, Kichijiro Tsuchida, Mitsusaburo Ramon, Ichisaburo Sawamura |
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"No clear line of
demarcation separates the realms of the real and the supernatural in
Kenji Mizoguchi's
1953 masterpiece Ugetsu, and every time the director pulls out
the rug, it seems freshly devastating. Though Ugetsu deserves a
place among cinema's great ghost stories, its hauntings are never
explicit or frightening like a horror movie; in fact, they're so subtly
integrated into the narrative fabric that the film seems to exist on
another plane." -
Scott Tobias, The A.V.
Club, 2005 |
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Selected by Andrew Sarris, Michel Ciment,
Theo Angelopoulos,
Mika Kaurismäki,
Tom Gunning. |
| 47 → 47 → 50 → 54 → 47
→ 49 → 49 |
|
Amazon
Strictly Film School
Senses of Cinema |
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50 |
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• To 51-75 |
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Contempt |
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JEAN-LUC
GODARD (50) |
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| • Le Mépris
(original title) |
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1963
| 103m | Col | France-Italy | Drama, Satire |
|
Brigitte Bardot, Michel
Piccoli, Jack Palance, Fritz Lang, Giorgia Moll, Jean-Luc Godard, Linda
Veras, Raoul Coutard |
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"A
film about - among other things - integrity. The basic situation,
faithfully adapted from Moravia's novel A Ghost at Noon, concerns
a young woman (Bardot) who is gradually possessed by an overwhelming
contempt for her husband (Piccoli), a writer beset by doubts when he is
called in as script-doctor to a film of The Odyssey, being made
by a director (Lang) who wants to capture the reality of Homer's world,
and a crass producer (Palance) who just wants more mermaids...
Magnificently shot by Raoul
Coutard, it's a dazzling
fable."
-
Tom Milne, Time
Out |
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Selected by
Michael Radford, Ginette Vincendeau,
Ian Christie, Jonathan
Romney, Philip Strick. |
| 45 → 49 → 45 → 56 → 52
→ 50 → 50 |
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Amazon
Salon
Criterion Collection Essay |
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