| |
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76
|
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77 |
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78 |
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Pierrot
le fou |
|
JEAN-LUC
GODARD (81) |
 |
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1965
| 110m | Col | France-Italy | Road Movie, Romantic Drama |
|
"This film,
with its ravishing colors and beautiful 'Scope camera work by Raoul
Coutard, still looks every bit as iconoclastic and fresh as it did when
it belatedly opened in the U.S."
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by Julian Graffy,
Samuel Fuller, Tom Gunning, Dennis Lim,
Ty Burr. |
|
Amazon
Time Out
Roger Ebert |
|
|
|
|
|
Sansho
the Bailiff |
|
KENJI
MIZOGUCHI (89) |
 |
|
1954
| 125m | BW | Japan | Drama, Period Film |
|
"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. |
|
Amazon
Cinepad
Strictly Film School |
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| |
|
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| |
|
|
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| |
|
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79
|
|
80 |
|
81 |
|
|
|
Once Upon a Time in the West |
|
SERGIO
LEONE (87) |
 |
|
1968
| 165m | Col | Italy-USA | Epic Western, Spaghetti Western |
|
"This
masterly Western is a superb study in revenge...Henry Fonda is
marvellously cast against type as the villain.
Leone's unmistakably
baroque signature is writ large across the wide screen."
- NFT Bulletin, 1994 |
|
Selected by
Jonathan Kaplan,
Joe
Dante,
John Dahl, Neil Hunter, Bart
Weiss. |
|
Amazon
Slant Magazine
Pop Matters |
|
|
|
Voyage in Italy |
|
ROBERTO
ROSSELLINI (75) |
 |
|
1953
| 97m | BW | Italy | Marriage Drama, Psychological Drama |
|
"Roberto
Rossellini's finest fiction film, and unmistakably one of the great
achievements of the art...A crucial work, truthful and mysterious."
- Dave Kehr, Chicago Reader |
|
Selected by
Tag Gallagher, Stig Bjorkman, Laura Mulvey, Ian Christie, Georgia Brown. |
|
Amazon
Time Out
The Film Journal |
|
|
|
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|
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82
|
|
83 |
|
84 |
|
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|
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Aguirre:
The Wrath of God |
|
WERNER
HERZOG
(78) |
 |
|
1972
| 94m | Col | Germany | Historical Film, Adventure Drama |
|
"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,
Peter Keough, Michael Atkinson. |
|
Amazon
Senses of Cinema
Strictly Film School |
|
|
|
|
|
|
|
|
85
|
|
86 |
|
87 |
|
|
|
My Darling Clementine |
|
JOHN
FORD (92) |
 |
|
1946
| 97m | BW | USA | Western, Traditional Western |
|
"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,
Mike Newell, Gilberto
Perez. |
|
Amazon
Roger Ebert's Great Movies
Images Journal |
|
|
|
Last Year at Marienbad |
|
ALAIN
RESNAIS
(91) |
 |
|
1961
| 94m | BW | France-Italy | Avant-garde/Experimental, Psychological
Drama |
|
"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
Jan Nemec, Jean-Louis Leutrat, Jonathan
Rosenbaum,
Peter Greenaway,
Atom
Egoyan. |
|
Amazon
Senses of Cinema
Strictly Film School |
|
| |
|
|
|
|
|
88
New
|
|
89 |
|
90 |
|
Bringing Up Baby |
|
HOWARD HAWKS
(106) |
 |
|
1938
| 102m | BWl | USA | Screwball Comedy, Romantic Comedy |
|
"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. |
|
Amazon
Film Reference
Chicago Reader |
|
|
|
|
|
Barry Lyndon |
|
STANLEY KUBRICK
(79) |
 |
|
1975
| 183m | Col | UK | Drama, Period Film |
|
"What he did
for the future in 2001...Stanley Kubrick in [this film] has done
for the past. He has projected us into an era of amazing strangeness...A
piece of cinema to marvel at."
- Alexander Walker, Evening Standard |
|
Selected by Nick James,
Michel Ciment, Eva Af Geijerstam, Richard Combs, Mark Peranson. |
|
Amazon
Chicago Reader
Time Out |
|
| |
|
|
|
|
|
91
New
|
|
92 |
|
93 |
|
Double Indemnity |
|
BILLY WILDER
(108) |
 |
|
1944
| 106m | BW | USA | Film Noir, Crime Thriller |
|
"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, Kevin
MacDonald, John Dahl,
Andrew Bergman. |
|
Amazon
Derek Malcolm's Century of Films
Images Journal |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
Amarcord |
|
FEDERICO FELLINI
(97) |
 |
|
1973
| 127m | Col | Italy | Comedy Drama, Ensemble Film |
|
"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
Michael Winterbottom, Roger
Michell, Milos Forman,
Hou Hsiao-Hsien,
Jean A. Gili. |
|
Amazon
Roger Ebert's Great Movies
Time Out |
|
|
|
| |
|
|
|
|
|
94
New
|
|
95 |
|
96 |
|
To Be or Not to Be |
|
ERNST LUBITSCH (150) |
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|
1942
| 99m | BW | USA | Satire, Showbiz Comedy |
|
"It's
certainly one of the finest comedies ever to come out of Paramount, the
allegations of dubious taste missing the point of
Lubitsch's satire - not so much the
general nastiness of the Nazis as their unforgiveable bad manners."
- Rod McShane, Time Out |
|
Selected by
Charles Tesson, Edgar Reitz, Slavoj Zizek,
Vincent Amiel, Mika Kaurismäki. |
|
Amazon
Slant Magazine
Chicago Reader |
|
|
|
The
Man with a Movie Camera |
|
DZIGA
VERTOV
(82) |
 |
|
1929
| 80m | BW | USSR | Avant-garde/Experimental, Documentary |
|
"Vertov's
exhilarating and often hilarious exploration of the relations between
cinema, actuality and history opened up all the issues Godard, the
avant-gardes, and political film-makers have been wrestling with ever
since. A truly radical and liberating work."
- Peter Watts, Time Out |
|
Selected by
Amy Taubin, Laura Mulvey, Robert Sklar, Geoffrey Nowell-Smith,
Jonas Mekas. |
|
Amazon
The Onion A.V. Club
Images Journal |
|
|
|
His
Girl Friday |
|
HOWARD
HAWKS
(90) |
 |
|
1940
| 92m | BW | USA | Screwball Comedy, Media Satire |
|
"Hawks's
great insight--taking the Hecht-MacArthur Front Page and making
the Hildy Johnson character a woman--has been justly celebrated; it
deepens the comedy in remarkable ways. Cary Grant's performance is truly
virtuoso--stunning technique applied to the most challenging material."
- Dave Kehr, Chicago Reader |
|
Selected by
David Bordwell, Pauline Kael, Geoff Andrew,
Quentin
Tarantino, Geoffrey Nowell-Smith. |
|
Amazon
Time Out
Combustible Celluloid |
|
| |
|
|
|
|
|
97
New
|
|
98 |
|
99 |
|
Gertrud |
|
CARL DREYER
(101) |
 |
|
1964
| 116m | BW | Denmark |
Psychological Drama, Marriage Drama |
|
"Dreyer's
last film was adapted from a 1919 play by Hjalmar Söderberg, but it
remains one of the most purely cinematic discourses of the 1960s...the
fact that it's only half-articulated makes it all the more shattering." -
Tony Rayns, Time Out |
|
Selected by
Gilbert Adair, Jonathan Rosenbaum, Bill Rothman, Phillip Lopate, Tag
Gallagher. |
|
Amazon
Film Reference
Slant Magazine |
|
|
|
|
|
Nosferatu |
|
F.W.
MURNAU (84) |
 |
|
1922
| 84m | BW | Germany | Horror, Gothic Film |
|
"The first
important film of the vampire genre has more spectral atmosphere, more
ingenuity, and more imaginative ghoulish ghastliness than any of its
successors."
- Pauline Kael |
|
Selected by
Andrey Plakhov, Philip Kemp,
Theo
Angelopoulos, Gilberto Perez, Robert Sklar. |
|
Amazon
Senses of Cinema
CultureDose |
|
| |
|
|
|
|
|
100
New
|
|
• To 101-150 |
|
Broken Blossoms |
|
D.W. GRIFFITH
(126) |
 |
|
1919
| 95m | BW | USA | Melodrama, Romantic Drama |
|
"Griffith
in 1919 was the unchallenged king of serious American movies (only
C.B. DeMille rivaled him in fame), and "Broken
Blossoms" was seen as brave and controversial. What remains today is
the artistry of the production, the ethereal quality of Lillian Gish,
the broad appeal of the melodrama, and the atmosphere of the elaborate
sets." - Roger Ebert, Chicago Sun-Times |
|
Selected by
Jim Jarmusch,
Aki Kaurismäki, Peter Keough, Carlos Garcia Brusco, Quim Casas. |
|
Amazon
Film Reference
Slant Magazine |
|
|
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|
