| |
76
|
|
77
|
|
78
|
|
Amarcord |
|
FEDERICO FELLINI
(82) |
 |
|
1973
| 127m | Col | Italy | Comedy Drama, Ensemble Film |
|
Pupella Maggio, Magali
Noel, Armando Brancia, Ciccio Ingrassia, Nando Orfei, Luigi Rossi, Bruno
Zanin, Gianflippo Carcano, Josiane Tanzilli, Maria Antonietta Beluzzi |
|
"Amarcord
is as full of tales as Scheherazade, some romantic, some slapstick, some
elegiacal, some bawdy, some as mysterious as the unexpected sight of a
peacock flying through a light snowfall. It's a film of exhilarating
beauty." - Vincent Canby, New York Times |
|
Selected by
Ari Folman,
Michael Winterbottom,
Roy Andersson, Roger Michell, Milos Forman. |
| 97 → 92 →
82 → 76 |
|
Amazon
Roger Ebert's Great Movies
Criterion Collection Essay |
|
|
|
Notorious |
|
ALFRED
HITCHCOCK
(75) |
 |
|
1946
| 101m | BW | USA | Thriller, Romantic Mystery |
|
Cary Grant, Ingrid
Bergman, Claude Rains, Louis Calhern, Leopoldine Konstantin, Reinhold
Schunzel, Moroni Olsen, Ivan Triesault, Alexis Minotis, Wally Brown |
|
"One
of Hitchcock's finest films of the '40s. Suspense there is, but what
really distinguishes the film is the way its smooth, polished surface
illuminates a sickening tangle of self-sacrifice, exploitation,
suspicion, and emotional dependence."
- Geoff Andrew, Time Out |
|
Selected by
Robert Rodriguez, Molly Haskell, Gavin Lambert, Todd McCarthy,
Mike Newell. |
| 86 → 75 →
75 → 77 |
|
Amazon
Senses of Cinema
Criterion Collection Essay |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
Madame de... |
|
MAX OPHÜLS (78) |
 |
| • The
Earrings of Madame de... (USA title) |
|
1953
| 105m | BW | France-Italy | Period Film, Romantic Drama |
|
Danielle Darrieux, Charles
Boyer, Vittorio De Sica, Mireille Perrey, Jean Debucourt, Lia de Lea,
Jean Galland, Serge Lecointe, Hubert Noel, Leon Walther |
|
"Certainly
one of the crowning achievements in film.
Ophüls' gliding camera follows
Danielle Darrieux, Charles Boyer, and
Vittorio De Sica through a circle
of flirtation, passion, and disappointment, a tour that embraces both
sophisticated comedy and high tragedy."
- Dave Kehr, Chicago Reader |
|
Selected by
Andrew Sarris, Carrie Rickey, Molly Haskell, Michel Ciment, Gavin Lambert. |
| 68 → 73 →
78 → 78 |
|
Amazon
Roger Ebert’s Great Movies
Senses of Cinema |
|
| |
|
| |
|
|
|
|
|
79
|
|
80
|
|
81
|
|
Ikiru |
|
AKIRA
KUROSAWA
(81) |
 |
| • To Live
(English title); Living (alternative title) |
|
1952
| 143m | BW | Japan | Drama, Psychological Drama |
|
Takashi Shimura, Nobuo
Kaneko, Kyoko Seki, Shinuchi Himori, Haruo Tanaka, Minoru Chiaki, Miki
Odagiri, Kamatari Fujiwara, Makoto Kobori, Kumeko Urabe |
|
"An intensely
moving film... elegiac and sometimes quirkishly funny in the manner of
Kurosawa's elective model,
John Ford. Takashi Shimura is superb in the
central role, and not the least of
Kurosawa's achievements is his
triumphant avoidance of happy ending uplift." - Tony Rayns, Time
Out |
|
Selected by
Gilles Jacob,
Alan Rudolph, Gerald Peary, Carlos Garcia Brusco,
Dan Georgakas. |
| 73 → 77 →
81 → 79 |
|
Amazon
Strictly Film School
Senses of Cinema |
|
|
|
Bringing Up Baby |
|
HOWARD HAWKS
(79) |
 |
|
1938
| 102m | BWl | USA | Screwball Comedy, Romantic Comedy |
|
Cary Grant, Katharine
Hepburn, Charlie Ruggles, May Robson, Barry Fitzgerald, Walter Catlett,
Fritz Feld, Leona Roberts, George Irving, Virginia Walker |
|
"One of the finest
screwball comedies ever, with Grant - a dry, nervous, conventional
palaeontologist - meeting up with madcap socialite Hepburn and
undergoing the destruction of his career, marriage, sanity and sexual
identity... Fast, furious and very, very funny."
- Geoff Andrew, Time Out |
|
Selected by
Doug Liman, Ty Burr, Barry Norman,
Jonathan Kaplan, Javier Coma. |
| 106 → 88 →
79 → 80 |
|
Amazon
Film Reference
Filmsite |
|
|
|
Pickpocket |
|
ROBERT BRESSON
(80) |
 |
|
1959 | 75m | BW | France |
Crime Drama, Psychological Drama |
|
Martin LaSalle, Marika
Green, Pierre Leymarie, Jean Pelegri, Dolly Scal, Kassagi, Pierre Etaix,
Cesar Gattegno, Sophie Saint-Just, Dominique Zardi |
|
"Robert
Bresson made this short electrifying
study in 1959; it's one of his greatest and purest films, full of hushed
transgression and sudden grace...
Paul Schrader
has recycled great chunks of it in his scripts for Taxi Driver,
American Gigolo, and Raging Bull, but the original retains
its awesome, austere power."
- Dave Kehr, Chicago Reader |
|
Selected by Jean-Louis Leutrat,
Richard Linklater,
Theo Angelopoulos,
Jim McBride,
Mika Kaurismäki. |
| 70 → 70 →
80 → 81 |
|
Amazon
Strictly Film School
Senses of Cinema |
|
| |
|
|
|
|
|
|
|
|
82
|
|
83
|
|
84
|
|
Letter from an Unknown
Woman |
|
MAX OPHÜLS (77) |
 |
|
1948 | 90m | BW |
Period Film, Romantic Drama |
|
Joan Fontaine, Louis
Jourdan, Mady Christians, Marcel Journet, Art Smith, John Good, Leo B.
Pessin, Carol Yorke, Howard Freeman, Erskine Sanford |
|
"Letter from an
Unknown Woman is an inexhaustibly rich film, one that has drawn
myriad film-lovers to try to unravel its themes, patterns, suggestions,
and ironies. But no amount of close analysis can ever extinguish the
rich, tearing emotion that this masterpiece elicits." - Adrian
Martin, "1001 Movies You Must See Before You Die" |
|
Selected by
Hideo Nakata, Thomas Elsaesser, Adrian Martin, Bill Rothman, David Stratton. |
| 95 → 74 →
77 → 82 |
|
Amazon
Senses of Cinema
Film Reference
|
|
|
|
Stagecoach |
|
JOHN FORD (83) |
 |
|
1939
| 96m | BW | USA | Western, Traditional Western |
|
John Wayne, Claire Trevor,
Thomas Mitchell, John Carradine, Andy Devine, George Bancroft, Louise
Platt, Donald Meek, Berton Churchill, Tim Holt |
|
"Impossible to
overstate the influence of
Ford's magnificent film, generally considered to be the first
modern Western. Shot in the Monument Valley which
Ford was later to make his own, it also
initiated Wayne's extraordinarily fertile partnership with the director,
and established in embryo much of the mythology explored and developed
in Ford's
subsequent Westerns." -
Nigel Floyd, Time Out |
|
Selected by
Philip French,
Bernardo
Bertolucci, David Robinson, Joseph Strick, Fernando Martin
Pena. |
| 99 → 101 →
83 → 83 |
|
Amazon
Images Journal
Filmsite |
|
|
|
Barry Lyndon |
|
STANLEY KUBRICK
(92) |
 |
|
1975
| 183m | Col | UK | Drama, Period Film |
|
Ryan O'Neal, Marisa
Berenson, Patrick Magee, Hardy Kruger, Steven Berkoff, Gay Hamilton,
Marie Kean, Leonard Rossiter, Godfrey Quigley, Arthur O'Sullivan |
|
"An object of
widespread derision when released in 1975—anyone remember the Mad
magazine parody, "Borey Lyndon"?—
Stanley Kubrick's magisterial Thackeray
adaptation now stands as one of his greatest and most savagely ironic
films, not to mention one of the few period pieces on celluloid so
transporting that it seems to predate the invention of cameras."
- Jim Ridley, The Village Voice, 2007 |
|
Selected by Richard
Kelly, Nick James,
Jonathan Kaplan, Michel Ciment,
Ken Mogg. |
| 79 → 90 →
92 → 84 |
|
Amazon
Time
Roger Ebert (Chicago Sun-Times) |
|
| |
|
|
|
|
|
|
|
|
85
|
|
86
|
|
87
|
|
Aguirre:
The Wrath of God |
|
WERNER
HERZOG
(91) |
 |
| • Aguirre,
der Zorn Gottes (original title); Aguirre, Wrath of God
(alternate title) |
|
1972
| 94m | Col | Germany | Historical Film, Adventure Drama |
|
Klaus Kinski, Cecelia
Rivera, Ruy Guerra, Del Negro, Helena Rojo, Peter Berling, Alejandro
Repulles, Danny Ades, Armando Polanha, Edward Roland |
|
"Ingeniously
combines Herzog's gift for deep irony, his strong social awareness, and
his worthy ambition to fashion a whole new visual perspective on the
world around us via mystical, evocative, yet oddly direct imagery. It is
a brilliant cinematic achievement." - David Sterritt, Christian
Science Monitor |
|
Selected by Ty Burr,
Roger Ebert, Nigel Andrews, Graham Fuller, Peter Keough. |
| 78 → 84 →
91 → 85 |
|
Amazon
Senses of Cinema
Strictly Film School |
|
|
|
Voyage in Italy |
|
ROBERTO
ROSSELLINI (86) |
 |
| • Viaggio
in Italia (original title); Voyage to Italy (alternative title) |
|
1953
| 97m | BW | Italy | Marriage Drama, Psychological Drama |
|
Ingrid Bergman, George
Sanders, Maria Mauban, Leslie Daniels, Natalia Ray, Anna Proclemer,
Jackie Frost, Paul Muller, Anthony La Penna, Anthony La Penna |
|
"Some films have to
be seen to be believed: the secret of this most beautiful and magical of
films is 'nothing happens'. From the slight tale of a bored English
couple holidaying in Italy,
Rossellini builds a magnificently
passionate story of cruelty and cynicism swirling into a renewal of
love."
- Don Macpherson, Time Out |
|
Selected by
Richard Brody, Stig Bjorkman, Laura Mulvey, Ian Christie, Georgia Brown. |
| 75 → 81 →
86 → 86 |
|
Amazon
Strictly Film School
The Film Journal |
|
|
|
Sansho
the Bailiff |
|
KENJI
MIZOGUCHI (88) |
 |
| • Sanshō
dayū (original title) |
|
1954
| 125m | BW | Japan | Drama, Period Film |
|
Kinuyo Tanaka, Yoshiaki
Hanayagi, Kyoko Kagawa, Eitaro Shindo, Akitake Kono, Masao Shimizu, Ken
Mitsuda, Kazukimi Okuni, Yoko Kosono, Noriko Tachibana |
|
"Mizoguchi
gives this pathetic tale a quality somewhere between the fatalism of a
medieval romance and the catharsis of classical tragedy... The images,
the subtle music... combine to create a world which irresistibly captures
and enfolds the spectator"
- David Robinson, The Times, 1976 |
|
Selected by
Philip Kemp, David Bordwell, Thomas Elsaesser,
Bernardo
Bertolucci, Quim Casas. |
| 89 → 78 →
88 → 87 |
|
Amazon
Cinepad
Strictly Film School |
|
| |
|
| |
|
|
|
|
|
88
|
|
89
|
|
90
|
|
Playtime |
|
JACQUES
TATI
(87) |
 |
|
1967
| 108m | Col | France | Satire, Urban Comedy |
|
Jacques Tati, Barbara
Dennek, Jacqueline Lecomte, Valerie Camille, France Rumilly, France
Delahelle, Laure Paillette, Colette Proust, Erika Dentzler, Yvette
Ducreux |
|
"The most
visually inventive film of the 60s is also one of the funniest. For this
remarkable 1967 comedy about man and his modern world,
Jacques Tati
attempted nothing less than a complete reworking of the conventional
notions of montage and, amazingly, he succeeded." - Dave Kehr,
Chicago Reader |
|
Selected by
David Ehrenstein, Gilbert Adair,
Olivier Assayas, David Bordwell,
Jonathan Rosenbaum. |
| 71 → 72 →
87 → 88 |
|
Amazon
The Guardian
The A.V. Club
|
|
|
|
Jaws |
|
STEVEN SPIELBERG
(106) |
 |
|
1975 | 124m | Col | USA |
Thriller, Natural Horror |
|
Roy Scheider, Robert Shaw,
Richard Dreyfuss, Lorraine Gary, Murray Hamilton, Carl Gottlieb, Jeffrey
Kramer, Susan Backlinie, Jonathan Filley, Ted Grossman |
|
"It's a noisy, busy movie
that has less on its mind than any child on a beach might have. It has
been cleverly directed by
Steven Spielberg for maximum shock
impact and short-term suspense, and the special effects are so good that
even the mechanical sharks are as convincing as the people."
- Vincent Canby, New York Times |
|
Selected by
Bryan Singer,
Kevin Smith,
Bobby Farrelly,
M. Night Shyamalan,
Robert Rodriguez. |
| 131 → 113 →
106 → 89 |
|
Amazon
Roger Ebert's Great Movies
metacritic |
|
|
|
A
Clockwork Orange |
|
STANLEY KUBRICK
(93) |
 |
|
1971
| 137m | Col | USA | Psychological Sci-Fi, Satire |
|
Malcolm McDowell, Patrick
Magee, Michael Bates, Warren Clarke, John Clive, Adrienne Corri, Carl
Duering, Paul Farrell, Clive Francis, Michael Gover |
|
"Kubrick has
pushed the unsettling powers of the cinema beyond the limits probed by
Buńuel. For savagery of image dredged from the depths of the subconsious,
Kubrick is the prince of darkness and the apostle of light."
- David Annan, Movie Fantastic, 1975 |
|
Selected by
Harold Becker,
Michael Moore,
Taylor Hackford,
Joel
Schumacher,
John Dahl. |
| 93 → 93 →
93 → 90 |
|
Amazon
metacritic
Roger Ebert |
|
| |
|
| |
|
|
|
|
|
91
|
|
92
|
|
93
|
|
The
Battle of Algiers |
|
GILLO PONTECORVO (95) |
 |
| • La
Battaglia di Algeri (original title) |
|
1965 | 123m | BW | Algeria-Italy | Docudrama, Political Drama |
|
Jean Martin, Yacef Saadi,
Brahim Haggiag, Samia Kerbash, Tommaso Neri, Michele Kerbash, Ugo
Paletti, Fusia El Kader, Franco Morici, Omar |
|
"The Battle of
Algiers remains the basis of
Pontecorvo's fame - a model of how,
without prejudice or compromise, a film-maker can illuminate history and
tell us how we repeat the same mistakes."
- Derek
Malcolm, The Guardian, 2000 |
|
Selected by
Edward Zwick,
Paul Greengrass,
Ken Loach,
Kevin MacDonald,
Tim Robbins. |
| 107 → 104 →
95 → 91 |
|
Amazon
Reverse Shot
Criterion Collection Essay |
|
|
|
Pierrot
le fou |
|
JEAN-LUC
GODARD (84) |
 |
| • Crazy
Pete (English title) |
|
1965
| 110m | Col | France-Italy | Road Movie, Romantic Drama |
|
Jean-Paul Belmondo, Anna
Karina, Dirk Sanders, Raymond Devus, Graziella Galvani, Samuel Fuller,
Laszlo Szabo, Jean-Pierre Leaud, Roger Dutoit, Hans Meyer |
|
"The self-destructive
romanticism, the artistic self-consciousness, the frenetically unhinged
form, the blend of emotional extravagance and cool self-mocking, the
vanished boundaries between irony and sincerity and between symbol and
reality, the overt cinematic breakdown and breakup, were all of their
moment. Pierrot le fou was the last of
Godard’s
first films, the herald of even more radical rejections and
reconstructions to come—for
Godard and for the world around him."
- Richard Brody, The Criterion Collection, 2008 |
|
Selected by Julian Graffy, Walt Vian, Tom Gunning, Dennis Lim,
Ty Burr. |
| 81 → 76 →
84 → 92 |
|
Amazon
Pop Matters
Roger Ebert (Chicago Sun-Times) |
|
|
|
Last Year at Marienbad |
|
ALAIN
RESNAIS
(89) |
 |
| • L'Année
derničre ą Marienbad (original title); Last Year in Marienbad
(UK title) |
|
1961
| 94m | BW | France-Italy | Avant-garde/Experimental, Psychological
Drama |
|
Delphine Seyrig, Giorgio
Albertazzi, Sacha Pitoeff, Francoise Bertin, Luce Garcia-Ville, Helena
Kornel, Francois Spira, Karin Toche-Mittler, Pierre Barbaud, Wilhelm von
Deek |
|
"Resnais
creates a vaguely unsettling mood by means of stylish composition, long,
smooth tracking shots along the hotel's deserted corridors, and
strangely detached performances. Obscure, oneiric, it's either some sort
of masterpiece or meaningless twaddle."
- Geoff Andrew, Time Out |
|
Selected by
Marc Forster,
Jan Nemec, Jean-Louis Leutrat,
Mrinal Sen, Michael Mann. |
| 91 → 87 →
89 → 93 |
|
Amazon
Senses of Cinema
Strictly Film School |
|
| |
|
| |
|
|
|
|
|
94
|
|
95
|
|
96
|
|
On
the Waterfront |
|
ELIA
KAZAN
(104) |
 |
|
1954
| 108m | BW | USA | Message Movie, Urban Drama |
|
Marlon Brando, Eva Marie
Saint, Karl Malden, Lee J. Cobb, Rod Steiger, Leif Erickson, Martin
Balsam, Pat Henning, James Westerfield, Tony Galento |
|
"Superb
performances, a memorably colourful script by Budd Schulberg, and a sure
control of atmosphere make this account of Brando's struggles against
gangster Cobb's hold over the New York longshoreman's union powerful
stuff."
- Geoff Andrew, Time Out |
|
Selected by
F. Gary Gray,
Spike Lee,
Nicholas Meyer,
Roger
Corman,
Paul Morrissey. |
| 80 → 98 →
104 → 94 |
|
Amazon
The Village Voice
metacritic |
|
|
|
My Darling Clementine |
|
JOHN
FORD (85) |
 |
|
1946
| 97m | BW | USA | Western, Traditional Western |
|
Henry Fonda, Victor
Mature, Linda Darnell, Walter Brennan, Tim Holt, Cathy Downs, Ward Bond,
Alan Mowbray, John Ireland, Roy Roberts |
|
"A sustained
and complex work of the imagination... It's qualities derive from Mr.
Ford's affection for the portrait he is drawing - the portrait of the
Old West. It is a mixed portrait, half-truth, half folklore, but fact or
fancy, it is the West as Americans still feel it in their bones."
- Richard Griffith, New Movies |
|
Selected by
Bruce Beresford, Peter Cowie,
Michael Mann,
Gilberto
Perez, Noel King. |
| 92 → 86 →
85 → 95 |
|
Amazon
Roger Ebert's Great Movies
Images Journal |
|
|
|
GoodFellas |
|
MARTIN SCORSESE
(99) |
 |
|
1990 | 146m | Col | USA |
Gangster Film, Crime Drama |
|
Robert De Niro, Ray Liotta,
Joe Pesci, Lorraine Bracco, Paul Sorvino, Frank Sivero, Gina
Mastrogiacomo, Frank Vincent, Chuck Low, Tony Darrow |
|
"Scorsese
seems to have gone for broke. But GoodFellas, which he
co-scripted with Nicholas Pileggi, is not just a feature-length random
killing spree. It's an unleashing of his talents. There's a gutsy
passion there, as well as a horrifying, unblinking view of humanity.
Artistically at least,
Scorsesehas managed to make crime pay." -
Desson Howe, The Washington Post, 1990 |
|
Selected by
Peter Jackson,
Kevin MacDonald,
Sofia Coppola,
Richard Linklater,
Susan Seidelman. |
| 112 → 115 →
99 → 96 |
|
Amazon
Bright Lights Film Journal
metacritic |
|
| |
|
| |
|
|
|
|
|
97
|
|
98
|
|
99
|
|
Double Indemnity |
|
BILLY WILDER
(94) |
 |
|
1944
| 106m | BW | USA | Film Noir, Crime Thriller |
|
Barbara Stanwyck, Fred
MacMurray, Edward G. Robinson, Porter Hall, Jean Heather, Tom Powers,
Fortunio Bonanova, Richard Gaines, John Philliber, Bess Flowers |
|
"However dark
the plotting, the dialogue (by
Wilder and
Raymond Chandler) remains bright as a penny and hard as nails. One of
the few screen adaptations that actually improves on its source (a James
M. Cain novel), this is the Ur-film noir—broody, nasty, funny and
utterly compelling."
- Richard Schickel, Time |
|
Selected by
Yvonne Rainer, Ginette Vincendeau,
John Baldessari, John Dahl,
Andrew Bergman. |
| 108 → 91 →
94 → 97 |
|
Amazon
Derek Malcolm's Century of Films
Images Journal |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
Rome, Open City |
|
ROBERTO ROSSELLINI (98) |
 |
| • Roma,
cittą aperta (original title); Open City (alternative title) |
| 1945
| 105m | BW | Italy | War Drama, Resistance Film |
|
Anna Magnani, Aldo Fabrizi,
Marcello Pagliero, Vito Annichiarico, Nando Bruno, Harry Feist, Giovanna
Galletti, Francesco Grandjacquet, Maria Michi, Eduardo Passarelli |
|
"Open City is
unquestionably one of the strongest dramatic films yet made about the
recent war. And the fact that it was hurriedly put together by a group
of artists soon after the liberation of Rome is significant of its
fervor and doubtless integrity." -
Bosley Crowther, The New
York Times, 1946 |
|
Selected by
Aki Kaurismäki,
Jim Jarmusch,
David Parkinson, Howard Feinstein, Isabel Coixet. |
| 143 → 132 →
98 → 98 |
|
Amazon
Cinema-Scope
All Movie Guide |
|
|
|
Blue Velvet |
|
DAVID LYNCH (107) |
 |
|
1986 | 120m | Col | USA |
Mystery, Crime Thriller |
|
Kyle MacLachlan, Isabella
Rossellini, Dennis Hopper, Laura Dern, Hope Lange, Dean Stockwell,
George Dickerson, Priscilla Pointer, Frances Bay, Jack Harvey |
|
"The seamless blending of beauty and horror is
remarkable - although many will be profoundly disturbed by
Lynch's
vision of male-female relationships - the terror very real, and the
sheer wealth of imagination virtually unequalled in recent cinema." -
Geoff Andrew, Time Out |
|
Selected by
Joe
Wright, Lee
Unkrich, Andrey Plakhov, Kim Newman,
Susan Seidelman. |
| 83 → 102 →
107 → 99 |
|
Amazon
Derek Malcolm’s Century of Films
Village Voice (Guy Maddin) |
|
| |
|
| |
|
|
|
|
|
100
|
|
• To 101-150
 |
|
Duck Soup |
|
LEO MCCAREY (103) |
 |
|
1933 | 70m | BW | USA |
Anarchic Comedy, Satire |
|
Groucho Marx, Chico Marx,
Harpo Marx, Zeppo Marx, Margaret Dumont, Louis Calhern, Edgar Kennedy,
Raquel Torres, Verna Hillie, Leonid Kinskey |
|
"The Marx Brothers' best
movie and, not coincidentally, the one with the strongest director--Leo
McCarey, who had the flexibility to give the boys their head
and the discipline to make some formal sense of it." - Dave Kehr,
Chicago Reader |
|
Selected by
Stuart Gordon,
John Anderson, Daniel Talbot, Robin Wood, Simon Louvish. |
| 98 → 105 →
103 → 100 |
|
Amazon
Senses of Cinema
Film Reference |
|
|
|
|