>>>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.