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Subject: "I finally hit 300 on the TSPDT list!!!" Previous topic | Next topic
DubSpt
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13933 posts
Fri Sep-05-08 02:28 PM

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"I finally hit 300 on the TSPDT list!!!"


  

          

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
C’era 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 Bueller’s 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 Lieutenant’s 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 Day’s Night – 1964 – Richard Lester
Hiroshima Mon Amour – 1959 – Alain Resnais
His Girl Friday – 1940 – Howard Hawks
The Hustler – 1961 – Robert Rossen
I Know Where I’m 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
It’s 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
L’Argent – 1983 – Robert Bresson
L’Armee 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
L’Atalante – 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
Miller’s 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 Python’s 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 Cuckoo’s Nest – 1975 – Milos Forman
Orfeu Negro (Black Orpheus) – 1959 – Marcel Camus
La Passion De Jeanne d’Arc (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
Rosemary’s 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 D’un 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
Schindler’s 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
Sullivan’s 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. Hulot’s 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


- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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Topic Outline
Subject Author Message Date ID
A quick glance, I'm at 148
Sep 05th 2008
1
this list is objectively subjective, if that makes sense
Sep 05th 2008
2
      Do they ever explain it?
Sep 09th 2008
29
           the old website explained it alot better
Sep 09th 2008
31
           They do on this page:
Sep 09th 2008
32
Full disclosure:
Sep 05th 2008
3
Close Encounters?!?! Exorcist !??!!!!!?!?!!
Sep 05th 2008
4
at this point I'm waiting to watch The Exorcist with a woman
Sep 05th 2008
5
Godard is hit and miss with me...
Sep 08th 2008
16
      I REALLY do not like Godard
Sep 08th 2008
19
           Not a fan, either, but My Life To Live is one of the Godards
Sep 09th 2008
22
Fa Yeung Nin Wa (In The Mood For Love) - 2000 - Wong Kar Wai
Sep 07th 2008
6
I'm around 115 from the looks of it.
Sep 07th 2008
7
cmon
Sep 07th 2008
9
      Man, ya gotta look at what I was doing at grad school.
Sep 08th 2008
11
           whats that gotta do with this list being better?
Sep 08th 2008
13
one thing I haven't been doing lately....watching movies
Sep 07th 2008
8
I'm only at 63. *shrugs*
Sep 08th 2008
10
how have you been choosing what to watch?
Sep 08th 2008
12
mostly it was just going for what was available
Sep 08th 2008
14
68
Sep 08th 2008
15
RE: 68
Sep 09th 2008
24
      I don't have a problem with those genres... just old movies.
Sep 09th 2008
34
           I know. I was asking about pre-76 noirs, heist flicks, etc.
Sep 09th 2008
38
                RE: I know. I was asking about pre-76 noirs, heist flicks, etc.
Sep 10th 2008
41
*relieved to see 300 isn't actually on their list*
Sep 08th 2008
17
I do not enjoy male-odrama
Sep 08th 2008
20
RE: I finally hit 300 on the TSPDT list!!!
Sep 08th 2008
18
you ask too much, sir
Sep 08th 2008
21
      RE: you ask too much, sir
Sep 09th 2008
23
      RE: you ask too much, sir
Sep 09th 2008
26
           RE: you ask too much, sir
Sep 09th 2008
30
                RE: you ask too much, sir
Sep 09th 2008
33
                     RE: you ask too much, sir
Sep 09th 2008
36
      Booooooooo
Sep 09th 2008
37
           Diabolique was definitely good
Sep 09th 2008
39
Imitation Of Life - 1959 - Douglas Sirk
Sep 09th 2008
25
definitely a good one...
Sep 09th 2008
35
i counted 264.... gummo? really?
Sep 09th 2008
27
best comedy of the 90s
Sep 09th 2008
28
198 at 20 yrs old
Sep 09th 2008
40

SoulHonky
Member since Jan 21st 2003
25919 posts
Fri Sep-05-08 02:47 PM

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1. "A quick glance, I'm at 148"
In response to Reply # 0


          

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.

----
NBA MOCK DRAFT #1 - https://thecourierclass.com/whole-shebang/2017/5/18/2017-nba-mock-draft-1-just-lotto-and-lotta-trades

  

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DubSpt
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13933 posts
Fri Sep-05-08 02:50 PM

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2. "this list is objectively subjective, if that makes sense"
In response to Reply # 1


  

          

cause it isn't their opinionated list,
it's their mathematical combination of other opinionated lists.
and a LOT of them.

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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SoulHonky
Member since Jan 21st 2003
25919 posts
Tue Sep-09-08 03:58 PM

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29. "Do they ever explain it?"
In response to Reply # 2


          

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?

----
NBA MOCK DRAFT #1 - https://thecourierclass.com/whole-shebang/2017/5/18/2017-nba-mock-draft-1-just-lotto-and-lotta-trades

  

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DubSpt
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13933 posts
Tue Sep-09-08 04:03 PM

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31. "the old website explained it alot better"
In response to Reply # 29


  

          

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.

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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Sponge
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6673 posts
Tue Sep-09-08 04:07 PM

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32. "They do on this page:"
In response to Reply # 29


          

http://www.theyshootpictures.com/gf1000.htm

  

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DubSpt
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13933 posts
Fri Sep-05-08 02:52 PM

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3. "Full disclosure:"
In response to Reply # 0


  

          

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
L’Avventura (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 DVR’ed 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)
Don’t Lok Back
Rebel Without A Cause
American Graffiti
Suspiria
All The President’s Men
JFK
The Magnificent Seven
Killer Of Sheep
Doctor Zhivago
Mulholland Dr. (not really a Lynch fan, though)
Dead Poet’s Society
The Day The Earth Stood Still
The Player (DVR’ed this week as well)
Close Encounters Of The Third Kind

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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JungleSouljah
Member since Sep 24th 2002
14987 posts
Fri Sep-05-08 03:15 PM

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4. "Close Encounters?!?! Exorcist !??!!!!!?!?!!"
In response to Reply # 3


  

          

How man? ... How???

I shouldn't talk though since I've probably only seen a quarter (likely less) of the ones you've seen.

______________________________
PSN: RuptureMD
http://hospitalstories.wordpress.com/

The 4th Annual Residency Encampment: Where do we go from here?

All you see is crime in the source code.

  

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DubSpt
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Fri Sep-05-08 03:18 PM

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5. "at this point I'm waiting to watch The Exorcist with a woman"
In response to Reply # 4


  

          

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.

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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ajiav
Member since Feb 02nd 2007
2402 posts
Mon Sep-08-08 04:32 PM

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16. "Godard is hit and miss with me..."
In response to Reply # 3


          

...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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DubSpt
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Mon Sep-08-08 08:49 PM

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19. "I REALLY do not like Godard"
In response to Reply # 16


  

          

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.

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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Sponge
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Tue Sep-09-08 01:27 PM

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22. "Not a fan, either, but My Life To Live is one of the Godards"
In response to Reply # 19


          

I like.

  

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DubSpt
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Sun Sep-07-08 10:00 PM

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6. "Fa Yeung Nin Wa (In The Mood For Love) - 2000 - Wong Kar Wai"
In response to Reply # 0


  

          

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.

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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Frank Longo
Member since Nov 18th 2003
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7. "I'm around 115 from the looks of it."
In response to Reply # 0


  

          

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.

My movies: http://russellhainline.com
My movie reviews: https://letterboxd.com/RussellHFilm/
My beer TikTok: https://www.tiktok.com/@thebeertravelguide

  

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DubSpt
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9. "cmon"
In response to Reply # 7
Sun Sep-07-08 11:38 PM by DubSpt

  

          

this list better.

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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Frank Longo
Member since Nov 18th 2003
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11. "Man, ya gotta look at what I was doing at grad school."
In response to Reply # 9


  

          

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.

My movies: http://russellhainline.com
My movie reviews: https://letterboxd.com/RussellHFilm/
My beer TikTok: https://www.tiktok.com/@thebeertravelguide

  

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DubSpt
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13. "whats that gotta do with this list being better?"
In response to Reply # 11
Mon Sep-08-08 01:52 AM by DubSpt

  

          

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.

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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Deebot
Member since Oct 21st 2004
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Sun Sep-07-08 11:29 PM

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8. "one thing I haven't been doing lately....watching movies"
In response to Reply # 0


          

dumb school.

Last time I counted I think I was close to 300 though

  

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Wrongthink
Member since Sep 29th 2006
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Mon Sep-08-08 12:01 AM

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10. "I'm only at 63. *shrugs*"
In response to Reply # 0


  

          

...says Wrongthink

Real talk: http://www.youtube.com/watch?v=12JJv6yCk7Q

Current Rotation:

Shad - TSOL
Onra - Long Distance
Cool Kids - Tacklebox
Shabazz Palaces

  

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JS
Member since Dec 06th 2004
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Mon Sep-08-08 12:09 AM

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12. "how have you been choosing what to watch?"
In response to Reply # 0


  

          

did you start at the bottom of their list & go from there?

randomly?


  

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DubSpt
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14. "mostly it was just going for what was available"
In response to Reply # 12


  

          

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"

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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McDeezNuts
Member since Jun 03rd 2002
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15. "68"
In response to Reply # 0


  

          

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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Sponge
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24. "RE: 68"
In response to Reply # 15


          

>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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McDeezNuts
Member since Jun 03rd 2002
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Tue Sep-09-08 04:27 PM

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34. "I don't have a problem with those genres... just old movies."
In response to Reply # 24
Tue Sep-09-08 04:30 PM by McDeezNuts

  

          

>>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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Sponge
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38. "I know. I was asking about pre-76 noirs, heist flicks, etc."
In response to Reply # 34


          

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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McDeezNuts
Member since Jun 03rd 2002
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41. "RE: I know. I was asking about pre-76 noirs, heist flicks, etc."
In response to Reply # 38


  

          

>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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coin.
Member since Sep 05th 2008
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Mon Sep-08-08 04:56 PM

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17. "*relieved to see 300 isn't actually on their list*"
In response to Reply # 0


  

          

------------
stylez formerly dainty

  

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DubSpt
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20. "I do not enjoy male-odrama"
In response to Reply # 17


  

          

(c) Dub Spt

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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Sponge
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18. "RE: I finally hit 300 on the TSPDT list!!!"
In response to Reply # 0


          

Out of the 300, what's your 5 or 10 greatest?

  

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DubSpt
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21. "you ask too much, sir"
In response to Reply # 18


  

          

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

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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Sponge
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23. "RE: you ask too much, sir"
In response to Reply # 21


          

>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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DubSpt
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26. "RE: you ask too much, sir"
In response to Reply # 23


  

          

>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...

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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Sponge
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Tue Sep-09-08 03:59 PM

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30. "RE: you ask too much, sir"
In response to Reply # 26
Tue Sep-09-08 04:04 PM by Sponge

          

>>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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DubSpt
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Tue Sep-09-08 04:16 PM

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33. "RE: you ask too much, sir"
In response to Reply # 30


  

          

>>>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.

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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Sponge
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Tue Sep-09-08 05:56 PM

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36. "RE: you ask too much, sir"
In response to Reply # 33


          

>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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Deebot
Member since Oct 21st 2004
26762 posts
Tue Sep-09-08 06:23 PM

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37. "Booooooooo"
In response to Reply # 21
Tue Sep-09-08 06:24 PM by Deebot

          

>The Wages Of Fear

Diabolique is superior

  

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DubSpt
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Tue Sep-09-08 06:38 PM

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39. "Diabolique was definitely good"
In response to Reply # 37


  

          

But it wasn't better than Wages Of Fear.

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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DubSpt
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Tue Sep-09-08 02:20 PM

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25. "Imitation Of Life - 1959 - Douglas Sirk"
In response to Reply # 0


  

          

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+

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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ajiav
Member since Feb 02nd 2007
2402 posts
Tue Sep-09-08 04:33 PM

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35. "definitely a good one..."
In response to Reply # 25


          

...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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Mynoriti
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Tue Sep-09-08 03:46 PM

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27. "i counted 264.... gummo? really?"
In response to Reply # 0


  

          

  

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DubSpt
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Tue Sep-09-08 03:55 PM

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28. "best comedy of the 90s"
In response to Reply # 27


  

          

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.

- Dub

I give rappers the biz for being m-izza-a-archaic.

  

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Deebot
Member since Oct 21st 2004
26762 posts
Tue Sep-09-08 06:40 PM

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40. "198 at 20 yrs old"
In response to Reply # 0


          

  

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