The Longest Post On Filmwurld
[QUOTE=oscar jubis;5665]Below is my 30-yrs-in-the-making list of "Great Films I Love". A fluid, ever-changing list of movies whose pleasures endure through repeat viewings. Movies that appeal to me personally, ordered chronologically (year of world premiere).
1895. ARRIVAL OF A TRAIN AT LA CIOTAT (Lumiere)
1896. LEAVING JERUSALEM (Lumiere)
1900. AS SEEN THROUGH A TELESCOPE (George A. Smith)
------- THE ONE-MAN BAND (Georges Melies)
1902. A TRIP TO THE MOON (Melies)
1903. THE GREAT TRAIN ROBBERY (Edwin S. Porter)
1907. THE GOLDEN BEETLE (Segundo de Chomón)
1909. A CORNER IN WHEAT (D.W. Griffith)
------ A DRUNKARD'S REFORMATION (Griffith)
------ PRINCESS NICOTINE (J. Stuart Blackton)
1913. SUSPENSE (Lois Weber)
------ THE CHILD OF PARIS (Perret)
1915. LES VAMPIRES (Feuillade)
1916. HELL'S HINGES (Hart/Swickard)
-------INTOLERANCE (Griffith)
------ THE MYSTERY OF THE LEAPING FISH (John Emerson)
1917---THE IMMIGRANT (Chaplin)
1919. BROKEN BLOSSOMS (Griffith)
1920. CABINET OF DR. CALIGARI (Weine)
-------THE PARSON'S WIDOW (Dreyer)
-------WAY DOWN EAST (Griffith)
1921. ORPHANS OF THE STORM (Griffith)
------- THE KID (Chaplin)
--------THE PHANTOM CARRIAGE (Sjostrom)
1922. FOOLISH WIVES (Von Stroheim)
-------NANOOK OF THE NORTH (Flaherty)
-------NOSFERATU (Murnau)
1923. LA ROUE (Gance)
1924. THE LAST LAUGH (Murnau)
-------NIBELUNGEN (Lang)
-------SHERLOCK JR. (Keaton)
1925. THE BIG PARADE (Vidor)
-------THE GOLD RUSH (Chaplin)
-------GREED (Von Stroheim)
-------LADY WINDERMERE'S FAN (Lubitsch)
-------POTEMKIN (Eisenstein)
1926. FAUST (Murnau)
1927. THE GENERAL (Keaton)
-------LA GLANCE A TROIS FACES (Jean Epstein)
-------METROPOLIS (Lang)
-------SEVENTH HEAVEN (Borzage)
-------SUNRISE (Murnau)
1928. THE CROWD (Vidor)
-------DOCKS OF NEW YORK (Sternberg)
-------LONESOME (Fejos)
-------PANDORA'S BOX (Pabst)
-------THE PASSION OF JEANNE D'ARC (Dreyer)
-------SHOOTING STARS (Anthony Asquith)
-------SPIES (Fritz Lang)
-------STREET ANGEL (Borzage)
1929. MAN WITH A MOVIE CAMERA (Vertov)
-------UN CHIEN ANDALOU (Bunuel)
1930. THE BLUE ANGEL (Sternberg)
-------EARTH (Dovzhenko)
-------L'AGE D'OR (Bunuel)
-------MURDER! (Hitchcock)
1931. LA CHIENNE (Renoir)
--------CITY LIGHTS (Chaplin)
------THE 3 PENNY OPERA (Pabst/Germany)
1932. A FAREWELL TO ARMS (Borzage)
------BOUDU SAVED FROM DROWNING (Renoir)
------FREAKS (Browning)
------I WAS BORN BUT... (Ozu)
------LOVE ME TONIGHT (Mamoulian)
------SHANGHAI EXPRESS (Sternberg)
------TROUBLE IN PARADISE (Lubitsch)
1933. HALLELUJAH, I'M A BUM (Milestone)
-------LA MATERNELLE (Epstein/Benoit-Levy)
-------LA MUJER DEL PUERTO (Arcady Boytler/Mexico)
-------ZERO IN CONDUCT (Vigo)
1934. IT HAPPENED ONE NIGHT (Capra)
-------L'ATALANTE (Vigo)
-------SCARLET EMPRESS (Sternberg)
-------EL COMPADRE MENDOZA (Fernando de Fuentes/Mexico)
1935. THE INFORMER (Ford)
------- PETER IBBETSON (Hathaway)
------- SYLVIA SCARLETT (Cukor)
1936. A DAY IN THE COUNTRY (Renoir)
-------MODERN TIMES (Chaplin)
-------OSAKA ELEGY (Mizoguchi)
-------SISTERS OF THE GION (Mizoguchi)
1937. GRAND ILLUSION (Renoir)
-------THE AWFUL TRUTH (McCarey)
-------MAKE WAY FOR TOMORROW (McCarey)
1938. ALEXANDER NEVSKY (Eisenstein)
-------HOLIDAY (Cukor)
1939. THE RULES OF THE GAME (Renoir)
------STAGECOACH (Ford)
------STORY OF THE LATE CHRYSANTHEMUMS (Mizoguchi)
1940. THE GREAT DICTATOR (Chaplin)
------HIS GIRL FRIDAY (Hawks)
-------PINOCCHIO (Sharpsteen)
-------THE SHOP AROUND THE CORNER (Lubitsch)
1941. CITIZEN KANE (Welles)
------SULLIVAN'S TRAVELS (Preston Sturges)
1942. THE MAGNIFICENT AMBERSONS (Welles)
------OSSESSIONE (Visconti)
1943. CASABLANCA (Curtiz)
-------DAY OF WRATH (Dreyer)
-------DISTINTO AMANECER (Julio Bracho)
-------I WALKED WITH A ZOMBIE (Tourneur)
-------MESHES OF THE AFTERNOON (Deren)
-------THE SEVENTH VICTIM (Mark Robson)
1944. CURSE OF THE CAT PEOPLE (von Fritsch)
-------LAURA (Preminger)
-------MIRACLE OF MORGAN'S CREEK (Sturges)
1945. IVAN THE TERRIBLE (Eisenstein)
-------ROMA: OPEN CITY (Rosellini)
------- THE SOUTHERNER (Renoir)
1946. NOTORIOUS (Hitchcock)
-------SHOESHINE (De Sica)
-------THE BEST YEARS OF OUR LIVES (Wyler)
1947. MONSIEUR VERDOUX (Chaplin)
--------BODY AND SOUL (Robert Rossen)
--------OUT OF THE PAST (Tourneur)
1948. BICYCLE THIEVES (De Sica)
-------LA TERRA TREMA (Visconti)
-------LETTER FROM AN UNKNOWN WOMAN (Ophuls)
-------TREASURE OF THE SIERRA MADRE (Huston)
1949. -THE HEIRESS (Wyler)
-------THE THIRD MAN (Reed)
-------LATE SPRING (Ozu)
-------PUEBLERINA (Emilio Fernandez)
1950. AVENTURERA (Alberto Gout)
-------STARS IN MY CROWN (Tourneur)
-------LOS OLVIDADOS (Bunuel)
1951. ACE IN THE HOLE (Wilder)
------- RASHOMON (Kurosawa)
-------THE RIVER (Renoir)
1952.IKIRU (Kurosawa)
-------OTHELLO (Welles)
-------THE LIFE OF OHARU (Mizoguchi)
1953. EARRINGS OF MADAME DE... (Ophuls)
-------THE GOLDEN COACH (Renoir)
-------TOKYO STORY (Ozu)
-------UGETSU (Mizoguchi)
1954. THE CRUCIFIED LOVERS (Mizoguchi)
-------LATE CHRYSANTHEMUMS (Naruse)
-------REAR WINDOW (Hitchcock)
-------SALT OF THE EARTH (Biberman)
-------SANSHO THE BAILIFF (Mizoguchi)
-------SOUND OF THE MOUNTAIN (Naruse)
1955. THE NIGHT OF THE HUNTER (Laughton)
-------ORDET (Dreyer)
-------PATHER PANCHALI (Ray)
1956. APARAJITO (RAY)
------THE SEARCHERS (Ford)
-------THE SEVENTH SEAL (Bergman)
1957. A MAN ESCAPED (Bresson)
-------AN AFFAIR TO REMEMBER (McCarey)
-------THE CRANES ARE FLYING (Kalatozov)
-------NIGHTS OF CABIRIA (Fellini)
-------PATHS OF GLORY (Kubrick)
-------WILD STRAWBERRIES (Bergman)
1958. TOUCH OF EVIL (Welles)
-------VERTIGO (Hitchcock)
1959. THE 400 BLOWS (Truffaut)
-------ANATOMY OF A MURDER (Preminger)
-------FLOATING WEEDS (Ozu)
-------FRITZ LANG'S INDIAN EPIC (Lang)
-------HIROSHIMA, MON AMOUR (Resnais)
-------IMITATION OF LIFE (Sirk)
-------MOI, UN NOIR (Rouch)
-------NORTH BY NORTHWEST (Hitchcock)
-------PICKPOCKET (Bresson)
-------SOME LIKE IT HOT (Wilder)
-------THE WORLD OF APU (Ray)
1960. L'AVVENTURA (Antonioni)
-------PEEPING TOM (Powell)
-------PSYCHO (Hitchcock)
-------WHEN A WOMAN ASCENDS THE STAIRS (Naruse)
-------WILD RIVER (Kazan)
-------THE YOUNG ONE (Bunuel)
1961. LAST YEAR AT MARIENBAD (Resnais)
-------PLACIDO (Berlanga)
-------VIRIDIANA (Bunuel)
1962. LA JETEE (Marker)
--------L'ECLISSE (Antonioni)
-------MAMA ROMA (Pasolini)
-------MAN WHO SHOT LIBERTY VALANCE (Ford)
-------MANCHURIAN CANDIDATE (Schlesinger)
-------MY LIFE TO LIVE (Godard)
1963. 8 1/2 (Fellini)
-------CONTEMPT (Godard)
-------EL VERDUGO (Berlanga)
-------THE LEOPARD (Visconti)
-------MURIEL or THE TIME OF RETURN (Resnais)
-------THE ORGANIZER (Monicelli)
-------SHOCK CORRIDOR (Fuller)
1964. DR. STRANGELOVE (Kubrick)
-------GERTRUD (Dreyer)
-------MARNIE (Hitchcock)
-------SHADOWS OF OUR FORGOTTEN ANCESTORS (Paradjanov)
1965. ALPHAVILLE (Godard)
-------FALSTAFF (Welles)
-------LA NOIRE DE... (Sembene)
-------REPULSION (Polanski)
-------THE SHOP ON MAIN STREET (Kadar)
1966. AU HASARD BALTHAZAR (Bresson)
-------CLOSELY WATCHED TRAINS (Menzel)
1967. MOUCHETTE (Bresson)
-------PLAYTIME (Tati)
-------TITICUT FOLLIES (Wiseman)
1968. 2001: A SPACE ODYSSEY (Kubrick)
-------THE COLOR OF POMEGRANATES (Paradjanov)
-------THE JOKE (Jires)
------ MEMORIAS DEL SUBDESARROLLO (Gutierrez Alea)
1969. ANDREI RUBLEV (Tarkovsky)
1970. THE CONFORMIST (Bertolucci)
-------THE GARDEN OF THE FINZI-CONTINIS (De Sica)
-------WOODSTOCK (Wadleigh)
1971. McCABE AND MRS. MILLER (Altman)
-------MURMUR OF THE HEART (Malle)
-------WALKABOUT (Roeg)
1972. THE DISCREET CHARM OF THE BOURGEOISE (Bunuel)
1973. AGUIRRE, THE WRATH OF GOD (Herzog)
-------CELINE AND JULIE GO BOATING (Rivette)
-------LAST TANGO IN PARIS (Bertolucci)
-------THE SPIRIT OF THE BEEHIVE (Erice)
1974. ALI: FEAR EATS THE SOUL (Fassbinder)
-------CHINATOWN (Polanski)
-------EDVARD MUNCH (Watkins)
-------THE GODFATHER II (COPPOLA)
-------HEARTS AND MINDS (Davis)
1975. BARRY LYNDON (Kubrick)
-------NASHVILLE (Altman)
-------ONE FLEW OVER THE CUCKOO'S NEST (Forman)
1976. CRIA (Saura)
-------HARLAN COUNTY, USA (Kopple)
1977. ERASERHEAD (Lynch)
1978. THE TREE OF WOODEN CLOGS (Olmi)
1979. APOCALYPSE NOW (Coppola)
-------STALKER (Tarkovsky)
1980. BERLIN ALEXANDERPLATZ (Fassbinder)
1981. MODERN ROMANCE (Albert Brooks)
------MOANA WITH SOUND (Flaherty)
------PIXOTE (Babenco)
------ REDS (Beatty)
1982. FANNY AND ALEXANDER (Bergman)
-------LA TRAVIATA (Zefirelli)
1983. EL SUR (Erice)
-------SANS SOLEIL (Marker)
1984. ONCE UPON A TIME IN AMERICA (Leone)
1985. A TIME TO LIVE, A TIME TO DIE (Hou)
-------BRAZIL (Gilliam)
------- FOREST OF BLISS (Gardner)
-------THE OFFICIAL STORY (Puenzo)
-------SHOAH (Lanzmann)
1986. MELO (Resnais)
1987. FULL METAL JACKET (Kubrick)
-------THE LAST EMPEROR (Bertolucci)
-------YEELEN (Cisse)
1988. DEKALOG (Kieskowski)
-------DISTANT VOICES, STILL LIVES (Davies)
-------THE GRAVE OF THE FIREFLIES (Takahata)
-------LANDSCAPE IN MIST (Angelopoulos)
-------THE LAST TEMPTATION OF CHRIST (Scorsese)
1989. DO THE RIGHT THING (Spike Lee)
-------MY LEFT FOOT (Sheridan)
1990. GOODFELLAS (Scorsese)
-------JU DOU (Yimou)
-------MONSIEUR HIRE (Leconte)
1991. A BRIGHTER SUMMER DAY (Yang)
-------DAUGHTERS OF THE DUST (Julie Dash)
-------RAISE THE RED LANTERN (Yimou)
-------TOTO THE HERO (Dormael)
-------NAKED LUNCH (Cronenberg)
1992. ACTRESS (Kwan)
-------THE BOYS OF ST. VINCENT (Smith)
-------LESSONS OF DARKNESS (Herzog)
-------THE LONG DAY CLOSES (Davies)
-------UNFORGIVEN (Eastwood)
1993. BUTTERFLY WINGS (Ulloa)
-------FAREWELL, MY CONCUBINE (Kaige)
-------GROUNDHOG DAY (Ramis)
-------THE PUPPETMASTER (Hou)
-------WITTGENSTEIN (Derek Jarman)
1994. BEFORE THE RAIN (Manchevski)
-------CRUMB (Zwigoff)
-------EXOTICA (Egoyan)
-------THREE COLORS: BLUE/WHITE/RED (Kieslowski)
-------TO LIVE (Yimou)
1995. DEAD MAN (Jarmusch)
-------SAFE (Haynes)
-------UNDERGROUND (Kusturica)
1996. BREAKING THE WAVES (Trier)
-------IRMA VEP (Assayas)
-------LONE STAR (Sayles)
1997. KUNDUN (Scorsese)
------THE MAELSTROM (Peter Forgacs)
-------THE SWEET HEREAFTER (Egoyan)
-------THE TASTE OF CHERRY (Kiarostami)
1998. FLOWERS OF SHANGHAI (Hou)
1999. EYES WIDE SHUT (Kubrick)
-------THE WIND WILL CARRY US (Kiarosatami)
2000. IN THE MOOD FOR LOVE (Kar Wai)
--------SUZHOU RIVER (Ye)
2001. A.I. ARTIFICIAL INTELLIGENCE (Spielberg/Kubrick)
-------THE SWAMP (Martel)
-------MULLHOLLAND DRIVE (Lynch)
-------SPIRITED AWAY (Miyazaki)
-------TIME OUT (Cantet)
2002. ADAPTATION (Spike Jonze/Charlie Kaufman)
------ ARARAT (Egoyan)
-------BLOODY SUNDAY (Greengrass)
-------THE MAGDALENE SISTERS (Mullan)
-------THE PIANIST (Polanski)
-------RUSSIAN ARK (Sokurov)
-------THE SON (Dardenne)
2003. A TALKING PICTURE (de Oliveira)
------THE CORPORATION (Abbott/Achbar)
2004. ETERNAL SUNSHINE OF THE SPOTLESS MIND (Gondry)
-------THE HOLY GIRL (Martel)
------ SHAKE HANDS WITH THE DEVIL:THE JOURNEY OF ROMEO DALLAIRE
------ 2046 (Kar Wai)
------ YES (Potter)
2005. COMO PASAN LAS HORAS (Oliveira Cezar)
------THE NEW WORLD (Malick)
------ THREE TIMES (Hou)
2006. AWAY FROM HER (Polley)
-------FICTION (Gay)
-------HALF NELSON (Fleck)
-------INLAND EMPIRE (Lynch)
-------OFFSIDE (Panahi)
-------PAN'S LABYRINTH (del Toro)
2007. CHOP SHOP (Bahrani)
2008. ASHES OF TIME Redux (Kar Wai)
--------GOODBYE SOLO (Bahrani)
--------THE HEADLESS WOMAN (Martel)
--------LIVERPOOL (Alonso)
2009. THE WHITE RIBBON (Haneke)
2010. GREENBERG (Baumbach/USA)
------MYSTERIES OF LISBON (Ruiz/Portugal)
------NOSTALGIA FOR THE LIGHT (Guzman/Chile)
------THE STRANGE CASE OF ANGELICA (Oliveira/Portugal)
2011. A SEPARATION (Farhadi/Iran)
------THE ARBOR (Clio Barnard/UK)
------THE TREE OF LIFE (Malick/USA)
------THE TURIN HORSE (Bela Tarr/Hungary)
2012-HERE AND THERE (Mendez Esparza/Mexico)
2013-PARADISE:LOVE/FAITH/HOPE (Seidl/Austria)
2014-GOODBYE TO LANGUAGE (Godard/France-Switzerland)
-----HORSE MONEY (Pedro Costa/Portugal)
-----MR. TURNER (Leigh/UK)
2015-BROOKLYN (John Crowley/Ireland)
-----EMBRACE OF THE SERPENT (Guerra/Colombia)
-----45 YEARS (Haigh/UK)
-----HEART OF A DOG (Anderson/USA)
-----SON OF SAUL (Nemes/Poland)
2016-THE DEATH OF LOUIS XIV (Serra/Spain)
-----PATERSON (Jarmusch/USA)
2017- THE BIG SICK (Showalter/USA)
-----MUDBOUND (Rees/USA)
2018-A BREAD FACTORY (Wang/USA)
-----THE OTHER SIDE OF THE WIND (Welles/Kodar/USA)
----- ZAMA (Martel/Argentina)
Film buff or film historian?
This list confirms your impeccable taste. You're a kindred spirit, oscar.
The silents part of the list is what I really like. You've pretty much nailed every important work, save Gance's Napoleon and Haxan.
But those two are little on the crude side, so...
Lang's epic Die Niebelungen comes highly recommended from me as well. Kino just put out a gorgeous 2-disc set.
You're definitely a serious film buff oscar. Your list is basically a must-see scroll. Just about every one is a classic of some sort.
I just saw Eraserhead again two nights ago. Pure brilliance. I was in a trance once again. The soundtrack is an ear invasion. That low "hum" or whatever you call it just adds so much to the trippy black & white images.
These names also deserve some discussion: Paradjanov, Sternberg, Visconti (The Leopard is a Criterion I want), Vigo, Berlanga and Olmi. All great directors who have a limited audience.
Justified! Have you seen Les Vampires? If not, then start at the top, baby! If you want a marathon, you can't go wrong with this incredible, poetic, silent film experience.
Re: Film buff or film historian?
Quote:
Originally posted by Johann
Justified! Have you seen Les Vampires? If not, then start at the top, baby! If you want a marathon, you can't go wrong with this incredible, poetic, silent film experience.
That's one of the many on the list I haven't seen. I'm trying to catch up! There's only so much time in the day...
I did watch Casa De Los Babys last night. I enjoy Sayles' rather slow-paced, thoughtful movies, and this one was no exception. Lone Star (on Oscar's list) is also one of my favorites - it does a good job of capturing the "essence" of Texas, and it's a good story to boot...
Re: Film buff or film historian?
Originally posted by Johann
You're a kindred spirit, oscar.
Oh, I know it. Some would say we have the same screw loose :)
The silents part of the list is what I really like. You've pretty much nailed every important work, save Gance's Napoleon and Haxan.
Lang's epic Die Niebelungen comes highly recommended from me as well. Kino just put out a gorgeous 2-disc set.
I will rent Die Niebelungen as soon as I'm done with a little project: two friends in their early 20s plan to open an "alternative" rental shop in the cultural wastelands of suburbia. They've asked me to stock the foreign language section. I've bought close to $1000 worth of vhs and dvd, new and used, so far. But it's taking a lot of my leisure time to find the best deals.
I seem to prefer German and American silent films. Marty Scorsese's list would probably start with the Italian Cabiria (which I haven't seen) and would certainly include the two excellent films you mention (which I don't quite love). Others that fall into that category: Berlin:Symphony of a Great City, The Birth of a Nation, Man with a Moving Camera, The Hunchback of Notre Dame, The Scarlett Letter, The Love of Jeanne Ney.
I just saw Eraserhead again two nights ago. Pure brilliance. I was in a trance once again. The soundtrack is an ear invasion. That low "hum" or whatever you call it just adds so much to the trippy black & white images.
Excellent observation.
These names also deserve some discussion: Paradjanov, Sternberg, Visconti (The Leopard is a Criterion I want), Vigo, Berlanga and Olmi. All great directors who have a limited audience.
J, do you think these directors have a limited audience because their films are not widely available (the long wait for a proper The Leopard appears finally over, eh?)? Or do you think the films themselves have features that would alienate mainstream audiences? Don't people want to see at least six of the Sternbergs, if only to watch Marlene Dietrich? Maybe not. Visconti and Olmi are expert storytellers, but maybe subtitles and period costumes shrink their potential audience. Vigo and Berlanga have been largely ignored (only Vigo's L'Atalante is available on video). Paradjanov is reserved for audiences interested in pictorial art, folklore and poetry (but not necessarily all of them).
Can we complain of boredom? Hell no.
Cinema is a very deep sea.
Those willing "to give it up" have no excuse for boredom. Many masters have worked hard at giving the world images that provoke, question and entertain.
Either you get it or you don't. It's the world's loss if more people won't engage or tap into the possibilities of cinema. As I've said before, it's all there on screen- the only thing holding you back is the level of interest you have in what you are watching.
As for Sternberg & Co, I think it's a combination of both availability and content that alienates audiences. It seems noboby wants to sit through The Tree of Wooden Clogs. Who the hell knows about this movie? Film buffs and that's about it. A damn shame.
It's a Palm D'or winning masterpiece that has virtually no audience. What can you do? The public is a fickle, temperamental lot.