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399676, I finally hit 300 on the TSPDT list!!! Posted by DubSpt, Fri Sep-05-08 02:28 PM
For those of you who don't know, They Shoot Pictures, Don't They? is a great website that compiles creditable lists of great pictures. Basically, they find lists from all over the world and compile them to make a master list of the 1000 best/most acclaimed pictures of all time. They explain it themselves here: http://www.theyshootpictures.com/gf1000_rankingorder.htm To view the full list, go here: http://www.theyshootpictures.com/gf1000_rankingorder.htm
After a long time of struggling (documented in my previous posts on the list, also found in the annals of PTP) I have finally seen 300 movies on the list. It might seem like a small number, until you actually have a look at the list. It's a monster. Anyways, to celebrate, here is the list of the 300 I have seen (forgive the pidgin english where applicable). Feel free to discuss any of them with me or to ask me any questions about the movies I've seen. I will also use this post to restart writing my short ruminations on any new list movies I see, starting probably this weekend.
Behold, a man who doesn't go out enough:
8 ½ - 1963 Federico Fellini 12 Angry Men 1957 Sidney Lumet The 39 Steps 1935 Alfred Hitchcock 2001: A Space Odyssey 1968 Stanley Kubrick A Bout De Souffle (Breathless) 1960 Jean-Luc Godard Die Abenteuer Des Prinzen Achmed (The Adventures Of Prince Achmed) 1926 Lotte Reiniger Ace In The Hole 1951 Billy Wilder The Adventures Of Robin Hood 1938 Michael Curtiz & William Keighley The African Queen 1951 John Huston Aguirre, Der Zorn Gottes (Aguirre: The Wrath Of God) 1972 Werner Herzog Alien 1979 Ridley Scott Aliens 1986 James Cameron All About Eve 1950 Joseph Mankiewicz All That Heaven Allows 1955 Douglas Sirk All That Jazz 1979 Bob Fosse Anatomy Of A Murder 1959 Otto Preminger Annie Hall 1977 Woody Allen The Apartment 1960 Billy Wilder Apocalypse Now 1979 Francis Ford Coppola The Asphalt Jungle 1950 John Huston Back To The Future 1985 Robert Zemeckis Bambi 1942 David Hand Bande A Part 1964 Jean-Luc Godard The Bank Dick 1940 Eddie Cline Barton Fink 1991 Joel Coen Being There 1979 Hal Ashby Belle De Jour 1967 Luis Bunuel La Belle Et La Bete (The Beauty And The Beast) 1946 Jean Cocteau The Best Years Of Our Lives 1946 William Wyler The Big Lebowski 1998 Joel Coen The Big Sleep 1946 Howard Hawks The Birds 1963 Alfred Hitchcock The Birth Of A Nation 1915 D.W. Griffith Black Narcissus 1946 Michael Powell & Emeric Pressburger Blade Runner 1982 Ridley Scott Blood Simple 1984 Joel Coen Blow Out 1981 Brian De Palma Blow Up 1966 Michelangelo Antonioni Blue Velvet 1986 David Lynch Bob Le Flambeur 1955 Jean-Pierre Melville Bonnie And Clyde 1967 Arthur Penn Boogie Nights 1997 Paul Thomas Anderson Brazil 1985 Terry Gilliam Bride Of Frankenstein 1935 James Whale Brief Encounter 1945 David Lean Bring Me The Head Of Alfredo Garcia 1974 Sam Peckinpah Bringing Up Baby 1938 Howard Hawks Bronenosets Potyomkin (Battleship Potemkin) 1925 Sergei Eisenstein Il Buono, Il Brutto, Il Cattivo (The Good, The Bad And The Ugly) 1966 Sergio Leone Butch Cassidy And The Sundance Kid 1969 George Roy Hill The Cabinet Of Dr. Caligari 1919 Robert Wiene Carrie 1976 Brian De Palma Casablanca 1942 Michael Curtiz Casino 1995 Martin Scorsese Cera Una Volta Il West (Once Upon A Time In The West) 1968 Sergio Leone Cet Obscur Objet Du Desir (That Obscure Object Of Desire) 1977 Luis Bunuel Le Charme Discret De La Bourgeoisie (The Discreet Charm Of The Bourgeoisie) 1972 Luis Bunuel Chelovek S Kino-Apparatom (The Man With A Movie Camera) 1929 Dziga Vertov Un Chien Andalou 1928 Luis Bunuel Chinatown 1974 Roman Polanski Citizen Kane 1941 Orson Welles City Lights 1931 Charles Chaplin A Clockwork Orange 1971 Stanley Kubrick Il Conformista (The Conformist) 1969 Bernardo Bertolucci The Conversation 1974 Francis Ford Coppola Crimes And Misdemeanors 1989 Woody Allen Dawn Of The Dead 1978 George A. Romero Dazed And Confused 1993 Richard Linklater The Deer Hunter 1978 Michael Cimino Deliverance 1972 John Boorman Detour 1945 Edward G. Ulmer Les Diaboliques 1955 Henri-Georges Clouzot Die Hard 1988 John McTiernan Dip Huet Seung Hung (The Killer) 1989 John Woo Do The Right Thing 1989 Spike Lee Dog Day Afternoon 1975 Sidney Lumet Double Indemnity 1944 Billy Wilder Dr. Strangelove or: How I Learned To Stop Worrying And Love The Bomb 1964 Stanley Kubrick Duck Soup 1933 Leo McCarey Duel In The Sun 1946 King Vidor Dumbo 1941 Ben Sharpsteen E.T. The Extra-Terrestrial 1982 Steven Spielberg Easy Rider 1969 Dennis Hopper Edward Scissorhands 1990 Tim Burton The Elephant Man 1980 David Lynch The Empire Strikes Back 1980 Irvin Kershner Les Enfants Du Paradis (Children Of Paradise) 1945 Marcel Carne Eyes Wide Shut 1999 Stanley Kubrick F For Fake 1973 Orson Welles A Face In The Crowd 1957 Elia Kazan Fantasia 1940 Ben Sharpsteen Fargo 1995 Joel Coen Fellini Satyricon 1969 Federico Fellini Ferris Buellers Day Off 1986 John Hughes Fight Club 1999 David Fincher A Fish Called Wanda 1988 Charles Crichton Forrest Gump 1994 Robert Zemeckis Frankenstein 1931 James Whale Freaks 1932 Tod Browning The French Connection 1971 William Friedkin The French Lieutenants Woman 1981 Karol Reisz Full Metal Jacket 1987 Stanley Kubrick Gandhi 1982 Richard Attenborough Il Gattopardo (The Leopard) 1963 Luchino Visconti The General 1926 Buster Keaton & Clyde Bruckman The Godfather 1972 Francis Ford Coppola The Godfather Part II 1974 Francis Ford Coppola The Godfather Part III 1990 Francis Ford Coppola The Gold Rush 1925 Charles Chaplin Gone With The Wind 1939 Victor Fleming Goodfellas 1990 Martin Scorsese The Graduate 1967 Mike Nichols La Grande Illusion 1937 Jean Renoir The Grapes Of Wrath 1940 John Ford The Great Dictator 1940 Charles Chaplin The Great Escape 1963 John Sturges Greed 1924 Erich von Stroheim Groundhog Day 1993 Harold Ramis Gummo 1997 Harmony Korine Halloween 1978 John Carpenter Hana-Bi (Fireworks) 1997 Takeshi Kitano Hannah And Her Sisters 1986 Woody Allen Harakiri 1962 Masaki Kobayashi A Hard Days Night 1964 Richard Lester Hiroshima Mon Amour 1959 Alain Resnais His Girl Friday 1940 Howard Hawks The Hustler 1961 Robert Rossen I Know Where Im Going! 1945 Michael Powell & Emeric Pressburger Ikiru 1952 Akira Kurosawa In The Heat Of The Night 1967 Norman Jewison Invasion Of The Body Snatchers 1956 Don Siegel It Happened One Night 1934 Frank Capra Its A Wonderful Life 1946 Frank Capra Ivan Groznyy I (Ivan The Terrible, Part One) 1944 Sergei Eisenstein Ivan Groznyy II (Ivan The Terrible, Part Two) 1946 Sergei Eisenstein Jaws 1975 Steven Spielberg La Jetee 1962 Chris Marker Jules Et Jim 1961 Francois Truffaut Kakushi-Toride No San-Akunin (The Hidden Fortress) 1958 Akira Kurosawa The Killing 1956 Stanley Kubrick King Kong 1933 Merian C. Cooper & Ernest B. Schoedsack Koroshi No Rakuin (Branded To Kill) 1967 Seijun Suzuki Kumonosu Jo (Throne Of Blood) 1957 Akira Kurosawa L.A. Confidential 1997 Peter Weir Ladri Di Biciclette (Bicycle Thieves) 1948 Vittorio De Sica The Lady Eve 1941 Preston Sturges The Lady From Shanghai 1948 Orson Welles The Lady Vanishes 1938 Alfred Hitchcock LArgent 1983 Robert Bresson LArmee Des Ombres (Army Of Shadows) 1969 Jean-Pierre Melville The Last Picture Show 1971 Peter Bogdanovich The Last Temptation Of Christ 1988 Martin Scorsese The Last Waltz 1978 Martin Scorsese LAtalante 1934 Jean Vigo Lawrence Of Arabia 1962 David Lean The Life And Death Of Colonel Blimp 1943 Michael Powell & Emeric Pressburger Lolita 1962 Stanley Kubrick The Lord Of The Rings: The Fellowship Of The Ring 2001 Peter Jackson M 1931 Fritz Lang The Magnificent Ambersons 1942 Orson Welles The Maltese Falcon 1941 John Huston The Man Who Shot Liberty Valance 1962 John Ford The Manchurian Candidate 1962 John Frankenheimer Manhattan 1979 Woody Allen Marnie 1964 Alfred Hitchcock McCabe & Mrs. Miller 1971 Robert Altman Mean Streets 1973 Martin Scorsese Le Mepris (Contempt) 1963 Jean-Luc Godard Meshes Of The Afternoon 1943 Maya Deren Metropolis 1927 Fritz Lang Midnight Cowboy 1969 John Schlesinger Millers Crossing 1990 Joel Coen Mitt Liv Som Hund (My Life As A Dog) 1985 Lasse Hallstrom Modern Times 1936 Charles Chaplin Monsieur Verdoux 1947 Charles Chaplin Monty Python And The Holy Grail 1975 Terry Jones & Terry Gilliam Monty Pythons Life Of Brian 1979 Terry Jones My Darling Clementine 1946 John Ford Nanook Of The North 1922 Robert Flaherty Nashville 1975 Robert Altman Network 1976 Sidney Lumet A Night At The Opera 1935 Sam Wood The Night Of The Hunter 1955 Charles Laughton Night Of The Living Dead 1968 George Romero Ninotchka 1939 Ernst Lubitsch North By Northwest 1959 Alfred Hitchcock Nosferatu 1922 F.W. Murnau Notorious 1946 Alfred Hitchcock Now, Voyager 1942 Irving Rapper On The Waterfront 1954 Elia Kazan Once Upon A Time In America 1984 Sergio Leone One Flew Over The Cuckoos Nest 1975 Milos Forman Orfeu Negro (Black Orpheus) 1959 Marcel Camus La Passion De Jeanne dArc (The Passion Of Joan Of Arc) 1928 Carl Dreyer Paths Of Glory 1957 Stanley Kubrick Peeping Tom 1960 Michael Powell The Philadelphia Story 1940 George Cukor Pickpocket 1959 Robert Bresson Pinocchio 1940 Ben Sharpsteen & Hamilton Luske Play Time 1967 Jacques Tati The Princess Bride 1987 Rob Reiner The Producers 1968 Mel Brooks Psycho 1960 Alfred Hitchcock Pulp Fiction 1994 Quentin Tarantino Punch-Drunk Love 2002 Paul Thomas Anderson The Purple Rose Of Cairo 1985 Woody Allen Les Quatre Cents Coups (The 400 Blows) 1959 Francois Truffaut The Quiet Man 1952 John Ford Raging Bull 1980 Martin Scorsese Raiders Of The Lost Ark 1981 Steven Spielberg Raising Arizona 1987 Joel Coen Ran 1985 Akira Kurosawa Rashomon 1950 Akira Kurosawa Rear Window 1954 Alfred Hitchcock Rebecca 1940 Alfred Hitchcock Red River 1948 Howard Hawks The Red Shoes 1948 Michael Powell & Emeric Pressburger Reds 1981 Warren Beatty La Regle Du Jeu (The Rules Of The Game) 1939 Jean Renoir Repulsion 1965 Roman Polanski Reservoir Dogs 1991 Quentin Tarantino The Right Stuff 1983 Philip Kaufman Rio Bravo 1959 Howard Hawks Rocky 1976 John G. Avildsen Rope 1948 Alfred Hitchcock Rosemarys Baby 1968 Roman Polanski The Royal Tenenbaums 2001 Wes Anderson Le Salaire De La Peur (The Wages Of Fear) 1953 Henri-Georges Clouzot Salesman 1968 Albert Maysles, David Maysles, and Charlotte Zwerin Le Samourai 1967 Jean-Pierre Melville Le Sang Dun Poete 1930 Jean Cocteau Sansho Dayu (Sansho The Bailiff) 1954 Kenji Mizoguchi Scarface 1932 Howard Hawks Scarface 1983 Brian De Palma The Scarlet Empress 1934 Josef von Sternberg Schindlers List 1993 Steven Spielberg The Searchers 1956 John Ford Sen To Chihiro No Kamikakushi (Spirited Away) 2001 Hayao Miyazaki Shadow Of A Doubt 1943 Alfred Hitchcock The Shawshank Redemption 1994 Frank Darabont Sherlock Jr. 1924 Buster Keaton Shichinin No Samurai (Seven Samurai) 1954 Akira Kurosawa The Shining 1980 Stanley Kubrick Short Cuts 1993 Robert Altman The Silence Of The Lambs 1991 Johnathan Demme Singin In The Rain 1952 Stanley Donen & Gene Kelly Det Sjunde Inseglet (The Seventh Seal) 1957 Ingmar Bergman Smultronstallet (Wild Strawberries) 1957 Ingmar Bergman Snow White And The Seven Dwarfs 1937 David Hand Solyaris 1972 Andrei Tarkovsky Some Like It Hot 1959 Billy Wilder The Sound Of Music 1965 Robert Wise Spartacus 1960 Stanley Kubrick Stagecoach 1939 John Ford Star Wars 1977 George Lucas Steamboat Bill, Jr. 1928 Buster Keaton & Edward Sedgwick Strangers On A Train 1951 Alfred Hitchcock A Streetcar Named Desire 1951 Elia Kazan Sweet Smell Of Success 1957 Alexander Mackendrick Sullivans Travels 1941 Preston Sturges Sunrise 1927 F.W. Murnau Sunset Blvd. 1950 Billy Wilder The Tales Of Hoffman 1951 Michael Powell & Emeric Pressburger Taxi Driver 1976 Martin Scorsese The Ten Commandments 1956 Cecil B. DeMille Tengoku To Jigoku (High And Low) 1963 Akira Kurosawa The Terminator 1984 James Cameron The Texas Chainsaw Massacre 1974 Tobe Hooper Thelma & Louise 1991 Ridley Scott The Thin Man 1934 W.S. Van Dyke II The Third Man 1949 Carol Reed This Is Spinal Tap 1984 Rob Reiner Tirez Sur Le Pianiste (Shoot The Piano Player) 1960 Francois Truffaut To Be Or Not To Be 1942 Ernst Lubitsch To Have And Have Not 1944 Howard Hawks To Kill A Mockingbird 1962 Robert Mulligan Tokyo Monogatari (Tokyo Story) 1953 Yasujiro Ozo Top Hat 1935 Mark Sandrich Touch Of Evil 1958 Orson Welles The Treasure Of The Sierra Madre 1948 John Huston The Trial 1963 Orson Welles Triumph Des Willens (Triumph Of The Will) 1935 Leni Riefenstahl Ugetsu Monogatari 1953 Kenji Mizoguchi Umberto D. 1952 Vittorio De Sica Unforgiven 1992 Clint Eastwood Les Vacances De Monsieur Hulot (M. Hulots Holiday) 1953 Jacques Tati Vertigo 1958 Alfred Hitchcock Videodrome 1983 David Cronenberg Viridiana 1961 Luis Bunuel Le Voyage Dans La Lune 1902 Georges Melies Week End 1967 Jean-Luc Godard When Harry Met Sally
- 1989 Rob Reiner White Heat 1949 Raoul Walsh The Wild Bunch 1969 Sam Peckinpah Willy Wonka & The Chocolate Factory 1971 Mel Stuart The Wizard Of Oz 1939 Victor Fleming Written On The Wind 1956 Douglas Sirk Les Yeux Sans Visage (Eyes Without A Face) 1960 Georges Franju Yojimbo 1961 Akira Kurosawa Zero De Conduit 1933 Jean Vigo
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399679, A quick glance, I'm at 148 Posted by SoulHonky, Fri Sep-05-08 02:47 PM
I'm actually pretty bad when it comes to the top of the list. Haven't seen a lot of them.
I don't love the list itself but then again, all lists are subjective.
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399681, this list is objectively subjective, if that makes sense Posted by DubSpt, Fri Sep-05-08 02:50 PM
cause it isn't their opinionated list, it's their mathematical combination of other opinionated lists. and a LOT of them.
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400505, Do they ever explain it? Posted by SoulHonky, Tue Sep-09-08 03:58 PM
All I could find was them saying it was complicated (which is, to me, often is a sign that something is a bit arbitrary).
And I always find it odd how old movies can move up and down the list.
How did the Right Stuff suddenly go from 897 to 590 in the span of a year? Did it really somehow become a better movie?
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400509, the old website explained it alot better Posted by DubSpt, Tue Sep-09-08 04:03 PM
I've tried looking around on the current website but I think they've kind of given up on explaining it.
last year's update was the biggest they've ever had because apparently somebody found and sent them a huge amount of foreign lists they didn't have before.
also they are constantly trying to find lists by directors so I assume a few more of those were thrown in (and they post those lists up - they are fascinating) but I assume they got even more lists this year because they claim they are going to update again in December.
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400511, They do on this page: Posted by Sponge, Tue Sep-09-08 04:07 PM
http://www.theyshootpictures.com/gf1000.htm
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399682, Full disclosure: Posted by DubSpt, Fri Sep-05-08 02:52 PM
here are 25 extremely famous movies off the list I haven't seen yet. There is really no excuse, I'm just either not that interested or haven't got around to them. Feel free to make fun of me.
La Dolce Vita Persona LAvventura (I rented it, saw the first 45 minutes, then the DVD screwed up) Vivre Sa Vie (My Life To Live) that being said, I probably will put this off a long time cause I do not like Godard. The Bridge On The River Kwai The Exorcist Imitation Of Life (also being DVRed this week and gimme a break, least I can admit I like Sirk) West Side Story Kiss Me Deadly (on here for my buddy Frank) High Noon (DVDs again) Dont Lok Back Rebel Without A Cause American Graffiti Suspiria All The Presidents Men JFK The Magnificent Seven Killer Of Sheep Doctor Zhivago Mulholland Dr. (not really a Lynch fan, though) Dead Poets Society The Day The Earth Stood Still The Player (DVRed this week as well) Close Encounters Of The Third Kind
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399683, Close Encounters?!?! Exorcist !??!!!!!?!?!! Posted by JungleSouljah, Fri Sep-05-08 03:15 PM
How man? ... How???
I shouldn't talk though since I've probably only seen a quarter (likely less) of the ones you've seen.
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399684, at this point I'm waiting to watch The Exorcist with a woman Posted by DubSpt, Fri Sep-05-08 03:18 PM
As for Close Encounters..... eh. I'm sure I'll see it one day. But what I HAVE seen of it hasn't made me terribly anxious about it.
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400171, Godard is hit and miss with me... Posted by ajiav, Mon Sep-08-08 04:32 PM
...but this is one of two I have spent money on:
>Vivre Sa Vie (My Life To Live)
A lot of that probably has to do with Anna Karina. I find her charming, able to add some warmth even to her then-husband's films.
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400264, I REALLY do not like Godard Posted by DubSpt, Mon Sep-08-08 08:49 PM
much to PTPs chagrin. I've been on the business end of a few e-shoutings because of that opinion. Like I said, I know I should see My Life To Live, but I am extremely trepidatious about it.
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400461, Not a fan, either, but My Life To Live is one of the Godards Posted by Sponge, Tue Sep-09-08 01:27 PM
I like.
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399953, Fa Yeung Nin Wa (In The Mood For Love) - 2000 - Wong Kar Wai Posted by DubSpt, Sun Sep-07-08 10:00 PM
I like the slow burn of a cigarette before the ash drops. I like the tension in the opening seconds of "Untitled (How Does It Feel)." I like to look at clouds, not to find meaning in the shapes, but to watch them creep across the sky. As a result, I liked this movie. The poetic aspects of this film have been overstated so much, I will have to assume that anybody who sees it at this point knows to expect beautiful cinematography and the language of the unspoken. As a result, I am not going to talk about these things. To me, the most fascinating element of this film was the amount of improvisation used to develop character. I am a firm believer in the idea that people act the best when they are playing themselves, and this film is a perfect example: while neither main character is involved in theatre, they are actors in their own way. Together they reenact scenes they imagine their spouses have lived, and eventually become so enveloped with these ideas that they begin to live it out themselves. As things begin to turn, they rehearse for their eventual confrontations with their spouses. Towards they end, instead of saying goodbye, they act out the way they imagine their farewells should go. They are living their lives the way they want them to go, but never can admit that things are the way they've always dreamed they would be. My biggest complaint is that they did not use their collaborative martial arts serial to write out their real-life fantasies, but I suppose once fantasy enters real life there is little need for real life to enter the realm of the fantastical.
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399965, I'm around 115 from the looks of it. Posted by Frank Longo, Sun Sep-07-08 11:19 PM
But that 21st Century list I bet I'd kick ass at.
And see Close Encounters, damn you. I think it's Spielberg's finest fantasy.
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399969, cmon Posted by DubSpt, Sun Sep-07-08 11:36 PM
this list better.
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399977, Man, ya gotta look at what I was doing at grad school. Posted by Frank Longo, Mon Sep-08-08 12:03 AM
I studied independent film history, and now I'm writing a thesis on Coens, PTA, and Dominik. I've seen a whole lot of post 1990 film in the last couple years.
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399994, whats that gotta do with this list being better? Posted by DubSpt, Mon Sep-08-08 01:49 AM
don't get me wrong, i know you watched a bunch of newer independent stuff, all i'm saying is there isn't much out right now i do want to watch.
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399966, one thing I haven't been doing lately....watching movies Posted by Deebot, Sun Sep-07-08 11:29 PM
dumb school.
Last time I counted I think I was close to 300 though
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399976, I'm only at 63. *shrugs* Posted by Wrongthink, Mon Sep-08-08 12:01 AM
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399978, how have you been choosing what to watch? Posted by JS, Mon Sep-08-08 12:09 AM
did you start at the bottom of their list & go from there?
randomly?
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399995, mostly it was just going for what was available Posted by DubSpt, Mon Sep-08-08 01:51 AM
TCM was very helpful, as were my local independent video stores and the video library at college. but really i just went with what i was in the mood for. i was lucky cause i had some friends who were really into the same kinds of things i was and this one guy had a huge library of films that we would just randomly search through and watch. then i found directors i liked and went from there.
but largely it was just "can i watch a 3 hour movie with subtitles today? yeah, i can pull that off"
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400035, 68 Posted by McDeezNuts, Mon Sep-08-08 09:56 AM
But I rarely enjoy "old" movies (i.e., anything made before I was born in 1976) so I don't feel bad. I probably wouldn't like most of these movies anyway.
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400474, RE: 68 Posted by Sponge, Tue Sep-09-08 02:20 PM
>But I rarely enjoy "old" movies (i.e., anything made before I >was born in 1976) so I don't feel bad. I probably wouldn't >like most of these movies anyway.
How 'bout heist flicks, film noir, Hitchcock, and The Godfather and Part 2?
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400515, I don't have a problem with those genres... just old movies. Posted by McDeezNuts, Tue Sep-09-08 04:27 PM
>>But I rarely enjoy "old" movies (i.e., anything made before >I >>was born in 1976) so I don't feel bad. I probably wouldn't >>like most of these movies anyway. > >How 'bout heist flicks, film noir, Hitchcock, and The >Godfather and Part 2?
I love heist flicks in general, just not the old ones.
I love Reservoir Dogs, Heat, Usual Suspects - those are some of my favorite movies. I loved The Score and the recent Ocean's Eleven too (but I didn't like the sequels).
Film noir... I'm not totally sure how it's defined or what qualifies. I loved LA Confidential, Sin City and Veronica Mars (TV), for what that's worth. I think I like the genre a lot, but I'm pretty sure I don't like the old-school film noir stuff (anything pre-70s for sure).
Hitchcock - I haven't seen much - just Psycho and The Birds. I didn't like Psycho and thought it was really overrated. I don't really remember The Birds, but I think I liked it okay for an old movie. I'm pretty sure I won't like Hitchcock movies given the time period.
I did like the Godfather 1 and 2, though I thought they were WAY too slow and are overrated. I really love Goodfellas - that's the best mob movie ever. I'd even put Casino above Godfather in terms of pure enjoyment, although I'll concede that the Godfathers are better movies in most every way.
There's something about those older movies that just doesn't appeal to me. Maybe it's the acting (which in many cases, would be called overacting today), maybe it's the style, maybe the pacing? Possibly a combination of all of the above.
Generally I want my movies to have good plots, good characters, good pacing, and good style... maybe in that order.
PS - I'm not trying to be deliberately dismissive of old movies - it's just been my experience that I rarely enjoy most movies made before 1976 or so, so I don't bother watching them anymore.
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400533, I know. I was asking about pre-76 noirs, heist flicks, etc. Posted by Sponge, Tue Sep-09-08 06:33 PM
Sorry, I wasn't clear about that.
>I love heist flicks in general, just not the old ones.
You've probably seen these, but Le Cercle Rouge, Rififi, The Killing, and The Asphalt Jungle are great. Check 'em out if you haven't.
>I think I like the genre a lot, >but I'm pretty sure I don't like the old-school film noir >stuff (anything pre-70s for sure).
Damn, man. I hope you're not saying that without seeing the classics. Touch of Evil, Double Indemnity, Out of the Past, Maltese Falcon, etc. - no good?
>Hitchcock - I haven't seen much - just Psycho and The Birds. I >didn't like Psycho and thought it was really overrated. I >don't really remember The Birds, but I think I liked it okay >for an old movie. I'm pretty sure I won't like Hitchcock >movies given the time period.
North By Northwest and Strangers on a Train. The only "hope" I think you have for digging a Hitchcock.
>There's something about those older movies that just doesn't >appeal to me. Maybe it's the acting (which in many cases, >would be called overacting today), maybe it's the style, maybe >the pacing? Possibly a combination of all of the above.
Really, though, there are actors and actresses that are pretty "realistic" (i.e., not overacting) by today's standards in that time period. Hackman, Pacino, De Niro, Hoffman, etc. were doing great work pre-76. Brando, Mitchum and Holden (among many) if you go further back.
>Generally I want my movies to have good plots, good characters, good pacing, and good style... maybe in that order.
Just my opinion, but lots of movies pre-76 have those characteristics.
The plotting and narratives of today's Hollywood films continue the tradition of classical plot and narrative that started in the mid-/late teens.
It's true that the further you go back that the pace of films decrease, but that's not necessarily a bad thing. I don't want all songs to have the same tempo or BPMs. It's all subjective, I know. On the flip side, one can say today's movies are too fast which is also not a bad thing fundamentally.
>PS - I'm not trying to be deliberately dismissive of old >movies - it's just been my experience that I rarely enjoy most >movies made before 1976 or so, so I don't bother watching them >anymore.
Preferences are preferences. Though out of curiosity, what pre-76 movies did you enjoy?
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400586, RE: I know. I was asking about pre-76 noirs, heist flicks, etc. Posted by McDeezNuts, Wed Sep-10-08 12:07 AM
>You've probably seen these, but Le Cercle Rouge, Rififi, The >Killing, and The Asphalt Jungle are great. Check 'em out if >you haven't.
Haven't seen any of them, actually.
>>I think I like the genre a lot, >>but I'm pretty sure I don't like the old-school film noir >>stuff (anything pre-70s for sure). > >Damn, man. I hope you're not saying that without seeing the >classics. Touch of Evil, Double Indemnity, Out of the Past, >Maltese Falcon, etc. - no good?
Haven't seen them either.
>>Hitchcock - I haven't seen much - just Psycho and The Birds. >I >>didn't like Psycho and thought it was really overrated. I >>don't really remember The Birds, but I think I liked it okay >>for an old movie. I'm pretty sure I won't like Hitchcock >>movies given the time period. > >North By Northwest and Strangers on a Train. The only "hope" >I think you have for digging a Hitchcock.
I've heard these are good. One of my friends has a Hitchcock box set - maybe I can borrow these two.
>>There's something about those older movies that just doesn't >>appeal to me. Maybe it's the acting (which in many cases, >>would be called overacting today), maybe it's the style, >maybe >>the pacing? Possibly a combination of all of the above. > >Really, though, there are actors and actresses that are pretty >"realistic" (i.e., not overacting) by today's standards in >that time period. Hackman, Pacino, De Niro, Hoffman, etc. >were doing great work pre-76.
Yeah, those are all actors I definitely like, although I'm not sure how much of their stuff I've seen from before 1976...
Hackman - first thing I've seen him in is Superman. Pacino - liked Godfather 1 and 2, didn't like Dog Day Afternoon at all. Haven't gotten around to Serpico, but it's on my queue. Deniro - liked Godfather 2, love Taxi Driver. Haven't seen Mean Streets yet. Hoffman - The Graduate is on my queue. Midnight Cowboy was just okay. Haven't seen Straw Dogs yet.
>Brando, Mitchum and Holden >(among many) if you go further back.
Not as familiar with them, though I've seen some Brando and was never blown away.
>>Generally I want my movies to have good plots, good >characters, good pacing, and good style... maybe in that >order. > >Just my opinion, but lots of movies pre-76 have those >characteristics.
Older movies sometimes have good plots - a good story is a good story. But the acting often ruins the characters for me, I often find the pacing is too slow, and I generally don't like the style... so that's where I am.
>>PS - I'm not trying to be deliberately dismissive of old >>movies - it's just been my experience that I rarely enjoy >most >>movies made before 1976 or so, so I don't bother watching >them >>anymore. > >Preferences are preferences. Though out of curiosity, what >pre-76 movies did you enjoy?
With this as an admittedly incomplete starting point (http://en.wikipedia.org/wiki/1970s_in_film), here are the 1970-1975 films I enjoyed:
Dirty Harry (1971) - I've enjoyed the prequels and sequels too Godfather 1 and 2 (1972, 1974) - though not as much as everyone else seems to Jaws (1975) - haven't seen it in forever though Monty Python and the Holy Grail (1974) - a favorite Rocky Horror Picture Show (1975) Willy Wonka and the Chocolate Factory (1971)
As for films earlier than 1970, I haven't seen many, and the ones I have seen I didn't like (and often didn't finish. A few exceptions:
Breakfast at Tiffany's - one of my wife's favorites; I don't mind it too much. Butch Cassidy and the Sundance Kid - this one I really liked. Midnight Cowboy - not bad, but not great either.
Maybe I haven't given them a fair shake and I'm judging them unfairly based on incomplete viewings when they come on TV as "Classics" or whatever.
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400181, *relieved to see 300 isn't actually on their list* Posted by coin., Mon Sep-08-08 04:56 PM
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400265, I do not enjoy male-odrama Posted by DubSpt, Mon Sep-08-08 08:49 PM
(c) Dub Spt
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400240, RE: I finally hit 300 on the TSPDT list!!! Posted by Sponge, Mon Sep-08-08 07:29 PM
Out of the 300, what's your 5 or 10 greatest?
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400279, you ask too much, sir Posted by DubSpt, Mon Sep-08-08 09:28 PM
I do think I will do a 100 favorites list some time in '09 though.
Off the top though, ten that I saw after I got the list and went head over heels for: M. Hulot's Holiday (easily one of my all time faves) Touch Of Evil Peeping Tom Children Of Paradise Ikiru The Man With A Movie Camera McCabe & Mrs. Miller (though I don't like the soundtrack at all) The Wages Of Fear Written On The Wind That Obscure Object Of Desire
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400473, RE: you ask too much, sir Posted by Sponge, Tue Sep-09-08 02:16 PM
>I do think I will do a 100 favorites list some time in '09 >though.
That'll be cool to see.
>Off the top though, >ten that I saw after I got the list and went head over heels >for
What's your 5 or 10 if you include the movies on the 1000 list that you saw before you got the list?
On a related note, your quick thoughts (a sentence each would be more than fine) on Tokyo Story, Sansho the Bailiff, Ugetsu, Zero For Conduct, L'atalante, and Sunrise?
>M. Hulot's Holiday (easily one of my all time faves)
Same here. Playtime and Mon Oncle are more ambitious and are greater films, but I think Holiday is a masterpiece, too. My fave Tati. Top-ten probably.
>Ikiru
Probably my fave AK, but I dislike the writing and acting of the last segment in which the co-workers talk and talk. What do you think of that segment?
I don't know if your list of 300 includes what you saw prior to getting the list so...
Watch Titicut Follies if you can. University libraries should have it on VHS or request that yours get the DVD. One of the greatest docus of all-time. There should be more Wisemans in the 1000.
Kudos on watching a Maya Deren, but where're the other films by women directors?!! Unless you saw them prior to getting the 1000 list and didn't include some of them in the 300 or you had no access which is understandable.
Have you seen Orpheus? Not as beautiful as Beauty and the Beast, but it's my fave Cocteau. So imaginative.
Stalker and Mirror are the Tarkovskys to watch. All of his films are essential, though. (Not a fan of Solaris that much.)
Celine and Julie Go Boating, man. Celine and Julie Go Boating.
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400486, RE: you ask too much, sir Posted by DubSpt, Tue Sep-09-08 02:44 PM
>What's your 5 or 10 if you include the movies on the 1000 list >that you saw before you got the list?
Simple, quick, and relatively bland list: Citizen Kane, Casablanca, Seven Samurai, Godfather, Godfather Part II, Do The Right Thing, Rules Of The Game, Apocalypse Now, Strangers On A Train, and Aguirre. Those were off the top of the dome.
> >On a related note, your quick thoughts (a sentence each would >be more than fine) on Tokyo Story, This was my first Ozu and I don't think I am ready to get into him yet. He is definitely trying to get as close to real life, and I commend him for that, but the reason why I watch movies is because real life can be pretty boring. And this movie, while certainly different than most I had seen just because of its languid, almost lethargic, look at life, I was not exactly anxious to see more.
Sansho the Bailiff, The title is misleading. I enjoyed it in the same way I like Spartacus: a long, but engaging look at slave culture and revolt. Beautiful pictures, too, Mizoguchi is that dude.
Ugetsu, This one knocked my socks off. It melds middle ages Japan with elements of the fantastical much like "Throne Of Blood" but does so in a multilinear story of love, anger, redemption and so much more. I understand some people are put off by the multiple stories at once, but there really are only two or three main stories and both are engaging and interesting, and when paired with astonishing cinematography this should be high on everyones must see list.
>Zero For Conduct, Extremely charming and influential, but the relative lack of plot was a bit offputting for me. It was a slice of life from a life that I've never experienced, but it does capture the spirit of youth very well.
L'atalante, I enjoyed it more once it was done than while it was on. The first hour or so is textbook rom-com, which I wasn't expecting, but after this there are enough surprises in both story and visuals to make me rethink the whole thing. Outside of a few shots, this was to me was more of a movie that you admire rather than watch over and over.
and Sunrise? Fan-fucking-tastic. I had been a big fan of Nosferatu for awhile, so I don't know what I was expecting when I saw this, but it definitely wasn't what I got. This is what every silent film should be - subtle and beautiful mergings of style and substance filled with drama, suspense, and romance. It could very well convince somebody who doesn't like silent films to give them another shot.
> >>M. Hulot's Holiday (easily one of my all time faves) > >Same here. Playtime and Mon Oncle are more ambitious and are >greater films, but I think Holiday is a masterpiece, too. My >fave Tati. Top-ten probably.
I haven't seen Mon Oncle yet, but I was a bit underwhelmed by Playtime because I was expecting Holiday Part II. I want to see Mon Oncle first, and then I'll watch all three again. Holiday though - I watched it prolly five times the first time I rented it. Then I bought it and everybody I have convinced to watch it has watched it at least three times themselves.
> >>Ikiru > >Probably my fave AK, but I dislike the writing and acting of >the last segment in which the co-workers talk and talk. What >do you think of that segment?
This IS my favorite Kurosawa, and I for one think the final segment is great. I liked it when I first saw it, but then I found out that it is (or was) a custom in Japan for the patrons of a funeral to get drunk afterwards and to pay homage to the deceased. The scene does run too long, but I think it is effective - we get to spend all this time with a man who we come to know, love, and respect, so when his co-workers and friends begin to bash him I naturally got very angry. But I think that is the point. Notice that afterwards one man walks away feeling something is wrong and he comes to walk past the playground the main character helped to create. We've just seen all of these men mocking him, but then we get to see what he actually did through the eyes of somebody who barely knew him, and I think it injects in the viewer an even deeper desire to try to get out into the world and do something positive with their lives.
> >I don't know if your list of 300 includes what you saw prior >to getting the list so...
Nope, 300 movies is all I've seen on the list. Well, 304 now as I've added a few more in the past week.
> >Watch Titicut Follies if you can. University libraries should >have it on VHS or request that yours get the DVD. One of the >greatest docus of all-time. There should be more Wisemans in >the 1000.
I think documentaries are going to be the next big thing I tackle. I think they hold more potential than any other genre, but they can also lead to extreme cases of boredom. I will say that I definitely do not like as a whole this new trend of documentary makers using real footage to tell their own point of view instead of just filming what happens and making a story out of the footage. As a result I laughed extremely hard all throughout Herzog's "Incident At Loch Ness"
> >Kudos on watching a Maya Deren, but where're the other films >by women directors?!! Unless you saw them prior to getting >the 1000 list and didn't include some of them in the 300 or >you had no access which is understandable.
Mostly access, I don't know very many female directors. And let's be honest, they do not get nearly as much credit as their male counterparts.
> >Have you seen Orpheus? Not as beautiful as Beauty and the >Beast, but it's my fave Cocteau. So imaginative.
I've been looking for it for sometime. I was impressed by both Blood Of A Poet (better than Un Chien Andalou in my mind) and Beauty And The Beast.
> >Stalker and Mirror are the Tarkovskys to watch. All of his >films are essential, though. (Not a fan of Solaris that >much.)
I want to get into Tarkovsky when I have the time to really dedicate to sitting down and watching several in a short period of time. I for one WAS very impressed by Solyaris, and it made me all the more unimpressed by Soderbergh's version.
> >Celine and Julie Go Boating, man. Celine and Julie Go >Boating.
tell me more...
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400507, RE: you ask too much, sir Posted by Sponge, Tue Sep-09-08 03:59 PM
>>What's your 5 or 10 if you include the movies on the 1000 >list >>that you saw before you got the list? > >Simple, quick, and relatively bland list: Citizen Kane, >Casablanca, Seven Samurai, Godfather, Godfather Part II, Do >The Right Thing, Rules Of The Game, Apocalypse Now, Strangers >On A Train, and Aguirre. Those were off the top of the dome.
Cool, cool.
>Tokyo Story, >This was my first Ozu and I don't think I am ready to get into >him yet. He is definitely trying to get as close to real >life, and I commend him for that, but the reason why I watch >movies is because real life can be pretty boring.
Sirk, to me, also tells stories close to real life. I see what you're saying, though, but I think movies that look at life even the mundane in an insightful way is exciting. Ozu poeticizes the mundane, though. (And the mundane don't make up a majority of his films.) That's an aspect I think you're overlooking.
>And this >movie, while certainly different than most I had seen just >because of its languid, almost lethargic, look at life, I was >not exactly anxious to see more.
Honestly, if you're drawn to Sirk melodramas, I don't see why you wouldn't like Ozu melodramas. Give Early Spring and Tokyo Twilight a go; make them your next Ozus. For funnier Ozu, check Record of a Tenement Gentleman, Late Spring, I Was Born, But..., Passing Fancy.
I think Tokyo Story is a masterpiece, but I also despise it in the sense that it gives people the wrong impression of Ozu - slow, gentle, Zen-like, the most Japanese director, middle-class characters, middle-aged characters. He has brisk-paced films like End of Summer, Late Spring, and his comedies. He has dark films that look at the younger generation like Early Spring, Tokyo Twilight, and Woman of Tokyo. His characters can be crude and fart. They yell and hit each other. They get drunk. Gangster. Prostitute. Marital infidelity. Unwanted pregnancy. His humor is criminally overlooked especially in his dramas.
>Sansho the Bailiff, >The title is misleading.
I don't think it is. I think the film is saying that the world we live in is an unequal and brutal one. Our world is for those in power. In the film it's the bailiffs.
>Ugetsu, >This one knocked my socks off. It melds middle ages Japan >with elements of the fantastical
He melds the supernatural seamlessly with the rest of the film. Great stuff.
>L'atalante, >I enjoyed it more once it was done than while it was on. The >first hour or so is textbook rom-com,
Some of it was kind of racy for its time, though, don't you think? Like, the characters' desires and urges.
>I haven't seen Mon Oncle yet, but I was a bit underwhelmed by >Playtime because I was expecting Holiday Part II. I want to >see Mon Oncle first, and then I'll watch all three again. >Holiday though - I watched it prolly five times the first time >I rented it. Then I bought it and everybody I have convinced >to watch it has watched it at least three times themselves.
Playtime's greatness didn't fully hit me until the 2nd time. Not as funny as Holiday or Mon Oncle, but there's just so much going on in his frames and he's just as critical of society as Antonioni.
>>>Ikiru >This IS my favorite Kurosawa, and I for one think the final >segment is great. I liked it when I first saw it, but then I >found out that it is (or was) a custom in Japan for the >patrons of a funeral to get drunk afterwards and to pay homage >to the deceased. The scene does run too long, but I think it >is effective - we get to spend all this time with a man who we >come to know, love, and respect, so when his co-workers and >friends begin to bash him I naturally got very angry. But I >think that is the point. Notice that afterwards one man walks >away feeling something is wrong and he comes to walk past the >playground the main character helped to create. We've just >seen all of these men mocking him, but then we get to see what >he actually did through the eyes of somebody who barely knew >him, and I think it injects in the viewer an even deeper >desire to try to get out into the world and do something >positive with their lives.
I agree with all that. I just don't like the dialogue and acting.
>>Kudos on watching a Maya Deren, but where're the other films >>by women directors?!! Unless you saw them prior to getting >>the 1000 list and didn't include some of them in the 300 or >>you had no access which is understandable. > >Mostly access, I don't know very many female directors. And >let's be honest, they do not get nearly as much credit as >their male counterparts.
But that has little to do with the quality of the films and more with the fact that male directors are given more opportunities then and now and we live in a male-dominated world which affects the processes and results of tastemaking, gatekeeping, and canon-forming.
Female directors do get as much credit as male directors it's just given out by fewer people if we're including the mainstream. But directors like Denis, Akerman, Varda, and Deren are lauded in film history books and film criticism.
Get moving. You're missing out.
>I want to get into Tarkovsky when I have the time to really >dedicate to sitting down and watching several in a short >period of time. I for one WAS very impressed by Solyaris, and >it made me all the more unimpressed by Soderbergh's version.
IMHO, Stalker is a masterpiece and Solaris is an interesting good yet patchy film.
>>Celine and Julie Go Boating, man. Celine and Julie Go >>Boating. > >tell me more...
The greatest film from the French New Wave-related directors. (I'm not counting Marker and Resnais as part of the French New Wave dudes.) For my money, one of the 10 greatest of all-time. Just watch it, man, like, now, no, like, yesterday.
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400514, RE: you ask too much, sir Posted by DubSpt, Tue Sep-09-08 04:16 PM
>>>What's your 5 or 10 if you include the movies on the 1000 >>list >>>that you saw before you got the list? >> >>Simple, quick, and relatively bland list: Citizen Kane, >>Casablanca, Seven Samurai, Godfather, Godfather Part II, Do >>The Right Thing, Rules Of The Game, Apocalypse Now, >Strangers >>On A Train, and Aguirre. Those were off the top of the >dome. > >Cool, cool. > >>Tokyo Story, >>This was my first Ozu and I don't think I am ready to get >into >>him yet. He is definitely trying to get as close to real >>life, and I commend him for that, but the reason why I watch >>movies is because real life can be pretty boring. > >Sirk, to me, also tells stories close to real life. I see >what you're saying, though, but I think movies that look at >life even the mundane in an insightful way is exciting. Ozu >poeticizes the mundane, though. (And the mundane don't make up >a majority of his films.) That's an aspect I think you're >overlooking.
It was definitely poetic, and I am willing to give more of his stuff a try, but Tokyo Story definitely wasn't the one that will make me fall in love with him.
>>Sansho the Bailiff, >>The title is misleading. > >I don't think it is. I think the film is saying that the >world we live in is an unequal and brutal one. Our world is >for those in power. In the film it's the bailiffs.
I see what you're saying, but Mizoguchi wanted more of the film to focus on the bailiff and the studio wanted him to focus more on the children. I think once it started getting changed the title became less appropriate, especially considering he still could have given it a title that reflected the message he wanted to convey about power instead of implying that Sansho was a bigger, more important character than he actually did. To me the governors at the beginning and end of the film held just as much weight as Sansho, even if the time spent under Sansho lasted much longer.
> >>Ugetsu, >>This one knocked my socks off. It melds middle ages Japan >>with elements of the fantastical > >He melds the supernatural seamlessly with the rest of the >film. Great stuff. > >>L'atalante, >>I enjoyed it more once it was done than while it was on. >The >>first hour or so is textbook rom-com, > >Some of it was kind of racy for its time, though, don't you >think? Like, the characters' desires and urges.
It was, but this was also the time of pre-Code Hollywood (and it IS france) so I didn't find too much of it to be that scandalous.
>>Mostly access, I don't know very many female directors. And >>let's be honest, they do not get nearly as much credit as >>their male counterparts. > >But that has little to do with the quality of the films and >more with the fact that male directors are given more >opportunities then and now and we live in a male-dominated >world which affects the processes and results of tastemaking, >gatekeeping, and canon-forming. > >Female directors do get as much credit as male directors it's >just given out by fewer people if we're including the >mainstream. But directors like Denis, Akerman, Varda, and >Deren are lauded in film history books and film criticism.
That is my point though - I know that the only reason you don't hear as much about female directors is because they are females, and since there aren't as many female critics (or at least not as many well-known female critics) they consistenly get left behind, accidental or not.
>>>Celine and Julie Go Boating, man. Celine and Julie Go >>>Boating. >> >>tell me more... > >The greatest film from the French New Wave-related directors. >(I'm not counting Marker and Resnais as part of the French New >Wave dudes.) For my money, one of the 10 greatest of >all-time. Just watch it, man, like, now, no, like, >yesterday.
Thats a pretty big rec. I'm gonna start hunting in my local libraries for it.
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400521, RE: you ask too much, sir Posted by Sponge, Tue Sep-09-08 05:56 PM
>It was definitely poetic, and I am willing to give more of his >stuff a try, but Tokyo Story definitely wasn't the one that >will make me fall in love with him.
Forgot to say, given that you dig Ikiru, I'd say there'd be a few Ozus you'd like in some fashion.
>I see what you're saying, but Mizoguchi wanted more of the >film to focus on the bailiff and the studio wanted him to >focus more on the children. I think once it started getting >changed the title became less appropriate, especially >considering he still could have given it a title that >reflected the message he wanted to convey about power instead >of implying that Sansho was a bigger, more important character >than he actually did. To me the governors at the beginning >and end of the film held just as much weight as Sansho, even >if the time spent under Sansho lasted much longer.
True, but Sansho was a more direct/proximate force in the 3 protags' lives. Putting aside expectations of the film being about Sansho the character, I think it's a pretty fitting title and already conveys the film's themes.
>It was, but this was also the time of pre-Code Hollywood (and >it IS france) so I didn't find too much of it to be that >scandalous.
Wasn't trying to say that it was risque by miles ahead of everything else; just saying it has elements that the typical rom-com didn't usually have.
>>>Mostly access, I don't know very many female directors. >And >>>let's be honest, they do not get nearly as much credit as >>>their male counterparts. >> >>But that has little to do with the quality of the films and >>more with the fact that male directors are given more >>opportunities then and now and we live in a male-dominated >>world which affects the processes and results of >tastemaking, >>gatekeeping, and canon-forming. >> >>Female directors do get as much credit as male directors >it's >>just given out by fewer people if we're including the >>mainstream. But directors like Denis, Akerman, Varda, and >>Deren are lauded in film history books and film criticism. > >That is my point though - I know that the only reason you >don't hear as much about female directors is because they are >females, and since there aren't as many female critics (or at >least not as many well-known female critics) they consistenly >get left behind, accidental or not.
My bad. It wasn't clear to me that that was your sentiment when you wrote:
>>>let's be honest, they do not get nearly as much credit as >>>their male counterparts.
It's my fault, but it sounded like you were saying that another factor was that since they're not as well-known as male ones then that's more the reason not to delve into their films because if they're not well-known then they're not good.
>>>>Celine and Julie Go Boating, man. Celine and Julie Go >>>>Boating. >Thats a pretty big rec. I'm gonna start hunting in my local >libraries for it.
Regardless if you end up liking it or not, I think it's essential viewing.
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400529, Booooooooo Posted by Deebot, Tue Sep-09-08 06:23 PM
>The Wages Of Fear
Diabolique is superior
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400535, Diabolique was definitely good Posted by DubSpt, Tue Sep-09-08 06:38 PM
But it wasn't better than Wages Of Fear.
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400475, Imitation Of Life - 1959 - Douglas Sirk Posted by DubSpt, Tue Sep-09-08 02:20 PM
I am not going to lie: I was a little nervous going into this movie. I thoroughly enjoyed the two other Sirk pictures I had seen (Written On The Wind and All That Heaven Allows) but my love stemmed in no small part to the bitterness and comedic value in those two movies, elements I knew would be significantly downplayed here. However, Sirk knocked it out of the park again. And I think I may have figured out what it is I love so much about his movies: he gets people into the seats with a story he knows they want to hear, but once he gets them there he gives them angles to the story they never expect. In Written On The Wind you come in for the melodrama of a torn family and stay for the acerbic distruction of the American dream. In All That Heaven allows you come in for a love story but instead of judging the main characters you come to despise everyone else. Imitation Of Life was the same - he brings people in with the story of a struggling actress, but keeps you in the seats with a frank and heartbreaking look at racial identification. By the end not only was my heart hurting by watching Annie's love for her daughter, I had come to completely disrespect Lora. She was so selfish, and not just in the way she thought of her daughter. She had come to put all of her troubles above Annie's, even though they were supposed to be friends. When Annie says she has been a terrible mother, Lora flips it around as if what happened to Sarah Jane couldn't have been helped. It actually made me angry. For anybody who has seen this - do yourself a favor and check out more Sirk films. For those of you who haven't seen it - yes, it really is that good. I have yet to find a single director that can ACTUALLY pull off melodrama half as well as Sirk can. A+
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400516, definitely a good one... Posted by ajiav, Tue Sep-09-08 04:33 PM
...great to see someone else digs Sirk, too. I became aware of him back in some John Waters doc in the '90s, he commented on the superficial aspects of the plot vs. their deeper content, and I sought him ought after that, really enjoyed everything I've seen. This one you mention, Imitation of Life, I think it may be my favorite of what I'm familiar with, going into some directions with race I don't feel like a lot of mainstream films were going in.
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400503, i counted 264.... gummo? really? Posted by Mynoriti, Tue Sep-09-08 03:46 PM
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400504, best comedy of the 90s Posted by DubSpt, Tue Sep-09-08 03:55 PM
well maybe not, but people take that movie way too seriously. I laugh continuously at how completely horrible all of those people are. and it is way too close to being a documentary, or at least the most fucked up reality tv show ever.
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400538, 198 at 20 yrs old Posted by Deebot, Tue Sep-09-08 06:40 PM
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