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Thread: A Cinema Canon for the Ages

  1. #151
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    "GONE WITH THE WIND" is not on the list but...

    I watch it a lot because some of it is great, not surprisingly, it turns out, a lot of these aches were the ones shot by George Cukor, who had a long history of collaboration with producer David O. Selznick, before Victor Fleming became involved. The best scenes are also the ones featuring Clark Gable, here at his very best (I love every single scene involving Gable and Vivien Leigh.) The scene that introduces Rhett Butler utilizes the same kind of camera movement used by John Ford to introcudce the John Wayne in "Stagecoach": a crane shot with the camera inching closer to the figure until he is framed from the chest up. It's an emphatic gesture of the camera of pointing a protagonist.

    Of course, the most alluring shots in GWTW are instances when the crane (and the camera on it, jeje) moves away from the figures to widen the shot and show an ever larger expanse. You can see in your mind's eye that shot of a Confederate soldiers dead and convalescing on the red floor of a large plaza, and how the viewer needs to adjust his of her sense of the scope of the carnage as the camera recedes and reveals more and more injury and death. My favorite shot is the two-shot of Leigh and her father, who predicates about the Irish love of the land, as the camera recess to encompass a huge tree with twisted braces that frames them. The backlighting technique used here creates silhouettes so that they lose their specificity and become more mythic and emblematic of a certain time, and type of relationship between parent and offspring, and between people and land.

    Some of the most beautiful and beautifully uncanny images in "Gone With the Wind" combine two or more shots, usually one live action shot in the foreground of the image and one or two painted "backdrops" like the ones used for centuries in the theater. The level of artistry of the process is extremely high here at the end of the 1930s. The right combination of lenses, lighting, painting, performance, and art direction render the most spectacular images. The use of color is most self-aware and purposeful. The film is obviously "designed" by a fruitful collaboration of highly specialized creative people who've honed their skills in film after film during this golden age of Hollywood just before WWII.

    *The movie is not on the list because there are also scenes that I don't enjoy watching at all. Some of these feature a horribly miscast British actor Leslie Howard. Other scenes romanticize Southern plantation life in general and slavery in particular in ways that are offensive to many, or would be. It's the case of a movie that I alternatively love and hate.

  2. #152
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    More john ford

    Of course, my canon includes the John Ford western that exemplifies the rebirth of the genre (STAGECOACH in that fabled year of 1939), the genre at its most complex, philosophical and mature (THE SEARCHERS), and the genre at the end of its most fecund period (THE MAN WHO SHOT LIBERTY VALENCE). There's a couple other Fords in my canon so I've been reluctant to add more. Ford doesn't need more recognition. Hitchcock is the only director who's inspired more interest and study. Ford has been in my mind lately, more often than the usual, because of the pertinence of his themes, especially political themes. Is there a more profound film about racism and miscegenation than "The Searchers" or a more complex, multifaceted view of the relationship between fact and rhetoric than "Liberty Valence"? These two films are quite capable of representing the genius of post-War Ford. And yet, I think that at least two other Ford films deserve to be included: FORT APACHE (1948) and WAGONMASTER (1950). The first is a member of the Cavalry trilogy that concerns a contrast between the leadership styles of a man played by John Wayne and another played by Henry Fonda (cast against type, with Wayne playing the more liberal and humane character). "Wagonmaster" is Ford's most populist film about the creation of a new and diverse community.

  3. #153
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    John Ford is featured this July on TCM.
    I'm seeing Fort Apache, the Searchers and Stagecoch this Friday.
    (Actually I may see 7 Ford films that day)
    Last edited by Johann; 06-29-2020 at 03:14 PM.
    "Set the controls for the heart of the Sun" - Pink Floyd

  4. #154
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    That's great. I can't think of a better way to spend one's time. I cannot get enough of golden age Hollywood. I enjoy the average movie made in Hollywood then much more than today's output, that's for sure.

  5. #155
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    I agree.
    Old Hollywood has a class to it, a standard that can't be beat.
    July 4th is a day I'm looking forward to on TCM- John Paul Jones is playing, and it's a film I anticipate way more than any film today from a major studio.
    "Set the controls for the heart of the Sun" - Pink Floyd

  6. #156
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    Three recent films have proven over repeated viewings to belong among the best of all time in my humble but passionate estimation:
    From 2018
    -----THE IMAGE BOOK (Godard/France-Switzerland)
    -----ROMA (Alfonso Cuarón/Mexico)
    From 2019
    -----VITALINA VARELA(Pedro Costa/Portugal)This is the most recent film I have fallen in love with.

    Another recent film that impressed me greatly is Terence Malick's A HIDDEN LIFE. Let's see how it grows on me over time. The scenes involving the protagonist (August Diehl)and his wife (Valerie Pachner) are among the most intense, wrenching depictions of romantic love and commitment.

    I recently rewatched two of the three films from 1975 that I believe to be remarkable achievements of the art of film. One proved again to be one of the great literary adaptations: Stanley Kubrick's BARRY LYNDON. On the other hand, I may remove NASHVILLE from the list because it feels like a lesser accomplishment, a film that fails to sustain my interest despite its experimental sound design and overlapping dialogue. Its appeal to me seems based on 70s nostalgia and social commentary that struck me this time as obvious.Don Drucker's Chicago Reader capsule review refers to it as a "technical masterpiece" that is "politically simpleminded" and "strangely shallow". That seems to fit with my most recent viewings of this film.

    [/QUOTE][/B]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. FALLEN ANGEL (Preminger)
    ------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)
    -------FORT APACHE (Ford)
    -------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)
    -------WAGONMASTER (Ford)
    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)
    ------EASTERN PROMISES (Cronenberg)
    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 IMAGE BOOK (Godard/France-Switzerland)
    -----THE OTHER SIDE OF THE WIND (Welles/Kodar/USA)
    -----ROMA (Alfonso Cuarón/Mexico)
    -----ZAMA (Martel/Argentina)
    2019 VITALINA VARELA (Pedro Costa)
    Last edited by oscar jubis; 11-29-2020 at 04:19 PM.

  7. #157
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    Glad you saw Barry Lyndon.
    I recently bought the Criterion Collection DVD with a gorgeous 4k transfer.
    It's my favorite film. I can't get enough of the world Kubrick created.
    It's a rare film in that the ending does not fit the norm- it ends in complete misery!
    "Set the controls for the heart of the Sun" - Pink Floyd

  8. #158
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    Quote Originally Posted by Johann View Post
    Glad you saw Barry Lyndon.
    I recently bought the Criterion Collection DVD with a gorgeous 4k transfer.
    I have a Kubrick Bluray boxset.
    It has an inferior image quality when compared with the 4k transfer you have.
    Maybe I splurge and I buy it anyway, since now finally I will have a top-of-the-line TV set to show it off.

  9. #159
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    Oscar- which box set do you have?
    The one like a book with the book or the masterpiece collection?
    If you have the masterpiece collection you have a valuable set...

    The Criterion version is stunning.
    The 4K transfer would please the Master himself!
    I even said out loud: They’re taking good care of your baby Stanley!
    The second disc has excellent special features too.
    I’ll do a review of this DVD 📀
    "Set the controls for the heart of the Sun" - Pink Floyd

  10. #160
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    I have the Masterpiece collection with 10 Blurays made for the European Market.
    I added Cronnenberg's amazing EASTERN PROMISES (2007)which mixes the gangster genre with a murder mystery where the "detective" is a nurse played by the great Naomi Watts. It's a film that I continue to grow in admiration for its narrative construction, complex mise-en-scene, and depth of feeling in the resolution that will surprise you.
    Last edited by oscar jubis; 11-29-2020 at 04:33 PM.

  11. #161
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    Nice.

    Cronenberg is national Canadian treasure.
    I still remember seeing the helmet from Videodrome at the TIFF Bell Lightbox...great memories of seeing his films in theatres too.
    My favourite is CRASH.
    "Set the controls for the heart of the Sun" - Pink Floyd

  12. #162
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    Quote Originally Posted by Johann View Post
    Nice.

    Cronenberg is national Canadian treasure.
    I still remember seeing the helmet from Videodrome at the TIFF Bell Lightbox...great memories of seeing his films in theatres too.
    My favourite is CRASH.
    I think I would put three other movies ahead of CRASH among my faves:
    DEAD RINGERS (1988)
    NAKED LUNCH (1991)
    SPIDER (2002)

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