REVEALED: THE ILX TOP 100 FILMS OF THE 1960s IN CINERAMA!

100. The Fireman’s Ball
Milos Forman, 1967
POINTS: 51
VOTES: 2
#1’s: 0

(From Grebt scenes thread) "76. the fireman's ball, when the lights come back on after the brief outage. the prize table has been pillaged and everyone has clearly been misbehaving, and there's a few seconds of perfect, sheepish, guilty silence."

-- lauren

99. The Odd Couple
Gene Saks, 1968
POINTS: 51
VOTES: 3
#1’s: 0

COMMENTS?

97 B. A Shot In The Dark
Blake Edwards, 1964
POINTS: 52
VOTES: 4
#1’s: 0

COMMENTS:

"While Sellers has good scenes in all of them, the only one I find consistently fine is A Shot in the Dark."

-- Dr Morbius

97 A. Shock Corridor
Samuel Fuller, 1963
POINTS: 52
VOTES: 4
#1’s: 0

COMMENTS?

96. My Fair Lady
George Cukor, 1964
POINTS: 53
VOTES: 2
#1’s: 0

COMMENTS:

"Ha, there's one bit at least, where ahem "audrey starts singing" and the change in voice timbre is GLARINGLY apparent. Ms Hepburn's acting + er "vocal characterisations" in this film are so terrible, possibly it's the worst I've seen her do, nevertheless, her whole act is so charming, and the songs are so likeable & memorable, that it easily wins for me. It's one of my favourite films actually."

-- Pashmina

95. The Magic Christian
Joseph McGrath, 1969
POINTS: 54
VOTES: 2
#1’s: 0

COMMENTS:

When I was at primary school, there was an ad for this film on the school's "religious notices" board. Basically, a picture of Ringo in a tramps sack.

Quite a few years later, saw the film, and thought "Ah they obviously thought it was a Religious film..."

Yul was good.

-- mark grout

94. Falstaff/Chimes At Midnight
Orson Welles, 1965
POINTS: 54
VOTES: 2
#1’s: 1

COMMENTS:

“Chimes at Midnight -- Welles at his fattest and also his best. This movie is filled with more solidly great moments than, I think, Citizen Kane and Touch of Evil combined."

-- Eric H

“Possibly the hardest movie to see on any of these
ballots, Chimes At Midnight (also called Falstaff, for
some reason: the movie credits use both titles) is in
bad need of a Criterion release, which would surely
consolidate its growing reputation as Welles' greatest
film, and (by a light-year or two) the best
Shakespeare film ever. Centering on the doomed
friendship between young delinquent Prince Hal and old
delinquent Sir John Falstaff, the film can be read as
a subtle critique of all leadership everywhere (after
Sept. 11, comparisons between Hal/Henry V and George
W. Bush were common), a reverie for a lost England
that may have never existed, or simply a meditation on
friendship and betrayal. The terrifyingly vivid battle
scene is the high point for some, but the film's
climax - when the newly crowned Henry coldly dismisses
Falstaff, much to the chagrin of both - is even more
shocking. What makes the film unforgettable is its
beautiful, understated naturalism; the cast is so
successful in making Shakespeare's text seem natural
that it's easy to forget that you're watching a film
based on a couple of 300-year-old plays. Shot on an
all but nonexistent budget, the film puts the lie to
the never-shaken myth of Welles' post-Hollywood
decline; 25 years after his debut, he still had it.”

--Justyn Dillingham

http://images-eu.amazon.com/images/P/B00003CWQL.01.LZZZZZZZ.jpg

93. The Leopard
Luchino Visconti, 1963
POINTS: 57
VOTES: 3
#1’s: 0

COMMENTS:

"The Leopard is amazing! Burt Lancaster's is one of the classic performance.s It is, however, very long and even more difficult to follow than The Big Sleep."

-- Chuck Tatum

"can i just say that The Leopard is fucking awesome. thanks."

-- ryan

92. On Her Majesty’s Secret Service
Peter R. Hunt, 1969
POINTS: 59
VOTES: 2
#1’s: 0

COMMENTS REMOVED [email Matt DC if you want an explanation]

91. The Cincinnati Kid
Norman Jewison, 1965
POINTS: 62
VOTES: 3
#1’s: 1

COMMENTS?

90. Cape Fear
J. Lee Thompson, 1962
POINTS: 62
VOTES: 5
#1’s: 0

COMMENTS:

“I pity anyone who thinks DeNiro did a better job then Mitchum Cape Fear-wise.”

-- Anthony Miccio

89. A Woman Is A Woman
Jean-Luc Godard, 1961
POINTS: 64
VOTES: 4
#1’s: 0

COMMENTS:

“It's not my favorite Godard film, but it's a good one nonetheless. A brilliant homage/critique of the "musical" genre, and some the finest soundtrack experimentation I have ever seen/heard in a film. It studies how music is often used to manipulate the audience emotionally, and does so by altering expectations.

The scene where the couple has a silent battle of words using only book titles is enough to justify watching the film.”

-- jay blanchard

“Wow. By far, my favorite Godard film. Then again, I tend to prefer his stuff with more personality - Pierrot, Vivre Sa Vie ...”

-- dean?

“It's great. Very fun, and (perhaps this is what people hate about it) very cute as well. Mind you, cute in the good way, like Anna Karina (swoon & sigh).The scene were she's cooking her breakfast and answering the phone is priceless, IMHO. I've read that "A.W.I.A.W" was a homage to Lubitsch (evident in the surname of Belmondo's character in the film), and perhaps by extension to his #1 acolyte Billy Wilder (I'm not so sure about that). "A.W.I.A.W" was what Wilder's later "Irma La Douce" should have been.”

--General Doinel

88. Cleo From 5-7
Agnes Varda, 1962
POINTS: 67
VOTES: 5
#1’s: 0

COMMENTS:

“"Cleo" struck me in college, and when I saw it again about 2 years ago, as anything but light. I prefer it to most '60s Godard features.”

-- Dr Morbius

“i am a sucker for the french new wave, and cleo from 5 to 7 is in my top 10 favorites of all time. i just loved it.”

-- todd swiss

87. The Loneliness of The Long Distance Runner
Tony Richardson, 1962
POINTS: 68
VOTES: 3
#1’s: 0

COMMENTS:

“I suppose what I like about "Loneliness of the Long-Distance Runner" the film is what some might regard as overtly simplistic analogies; the crushing defeat at the end of the race and drudgery of the final scene as metaphor for the class system, etc, etc. I just like the atmosphere of the film, the smell of defeat, the *hopelessness* (and, from the historical perspective, the sheer contrast to the explosion of working-class self-confidence we associate with 1963 onwards, which effectively killed off the kitchen-sink genre in its original form - This Sporting Life coincides with the first flush of Beatlemania, after which such films would be out of favour until the new uncertainties of the early 70s). The spot-on period feel ("take death off the road" says one of the characters when he sees an old banger, echoing that uber-1960 Halas & Bachelor public information film). The mockery of the lie that *everyone* had elevated themselves to a consumer lifestyle (that accelerated sequence mocking TV ads with the Rediffusion star appearing on screen about every four seconds). Ultimately, The Loneliness of the Long-Distance Runner makes me feel as though I'm *there*, and fills in parts of a past discovered through friendships 40 years later. It's a bitter film, the best expression of my (and probably many other people's) nihilist side. It is on the side of humanity, but not on the side of the society in which they had to live at the time; certainly it makes me glad I was born when I was. What was that about "the ability to rage correctly"? This film has it.”

-- robin carmody

“I like it when the pound notes come down the drainpipe.”

-- PJ Miller

86. Planet of The Apes
Franklin J. Schaffner, 1968
POINTS: 68
VOTES: 5
#1’s: 0

COMMENTS:

“the essentially brilliant thing about the original film is how stoner-y it is... all the odd camera angles and OH-MI-GOD-ness of it all. They don't make films like that anymore.”

-- DV

tchuss.

Mitchum is scary in "Cape Fear", but somehow I still ended up rooting for him - the total corruption used by Peck's character, and the totally natural way in which the police chief agrees to discriminate a man just because he's *suuposedly* got it in for a Respectable Citizen, just made Mitchum seem a lot more sympathetic, which doesn't happen much with child killer/rapist characters. When Mitchum gives that roaring laugh at the end of his late night phone call to Peck's wife, I laughed too.

It struck me as a very right wing movie, tho perhaps this is a shallow judgement and it's reallya *criticism* of right wing authoritarian ideology? I was quite surprised to find out Peck was enough of a leftist to make Nixon's enemy list...

Hell, TONY RANDALL made Nixon's list! They weren't leaving anything to chance.

I didn't know til the TCM doc on Kong creator Merian Cooper that he was also behind Cinerama.

Mitchum is pretty much the only reason to see Cape Fear, a grotty little cheap thriller. His smearing the egg on his chest is indelible.

85. Through A Glass Darkly
Ingmar Bergman, 1961
POINTS: 71
VOTES: 5
#1’s: 0

COMMENTS:

“through a glass darkly- bergman is the man, this is one of his greats. cant say much more than that.”
-- todd swiss

84. Le Doulos
Jean-Pierre Melville, 1962
POINTS: 72
VOTES: 3
#1’s: 0

COMMENTS?

83. Fahrenheit 451
Francois Truffaut, 1966
POINTS: 72
VOTES: 4
#1’s: 0

COMMENTS:

“Fahrenheit 451- With its interconnecting imagery, comic book color scheme, and contemporary-yet-alien atmosphere. I must admit, I've never been a real fan of the novel, but I thought somehow Truffaut might save this one. He comes close, but overall I've always felt disappointed by this one. But, damn, is it fun to look at. The sequence where the old woman martyrs herself is a masterpiece in its own right. There's one overhead shot where the flames literally seem to engulf the camera. Awesome.”
--Anthony

81 A. Mouchette
Robert Bresson, 1967
POINTS: 74
VOTES: 4
#1’s: 0

COMMENTS:

“"Mouchette" - I'd forgotten about that hand-biting in the fight in the forest, which got quite a yelp in the audience. And those chiming bells come in at precisely the right split-seconds in the last reel.”
-- Dr Morbius

“it's liable to send you into a long funk but it is beautiful”
-- amateur!st

81 B. The Exterminating Angel
Luis Bunuel, 1962
POINTS: 74
VOTES: 4
#1’s: 0

COMMENTS:

“i love the exterminating angel.”
-- s1ocki

80. Z
Costa-Gavras, 1969
POINTS: 74
VOTES: 6
#1’s: 0

COMMENTS?

79. Charade
Stanley Donen, 1963
POINTS: 75
VOTES: 5
#1’s: 0

COMMENTS?

78. The Thomas Crown Affair
Norman Jewison, 1968
POINTS: 76
VOTES: 3
#1’s: 0

COMMENTS:

“The original Thomas Crown Affair is pretty wonderful (haven't seen the Brosnan version), with hot young Yaphet Kotto action! But I think the heists go off pretty smoothly. You know what they say, "Lucky in larceny, unlucky in love."”
-- Huk-L

“McQueen looks fucking cool in this picture. And the chess scene is
hilarious. Those two elements alone are enough to sell me on this. Faye
doesn’t look bad either. The kind of movie you wish you woke up in.”
--FIVE-EIGHT

77. Bedazzled
Stanley Donen, 1968
POINTS: 79
VOTES: 4
#1’s: 0

COMMENTS:

“Cook's devil is this cold-eyed, almost-nerdy, covertly-neurotic bastard, and you squirm when he makes you laugh.”
-- pete s

“Of course, the 1967 film. Eleanor Bron is pretty sexy, I always thought. ... I like all the little bits tucked away in the orig.: "I didn't go to school, and I'm very, ah, uh, ummm, ah..." "Inarticulate." "Yes...I think so..."”
-- eddie hurt

“The scene where Cook is a popstar and all the girls are going insane is hilarious to me no matter the context, I wish I could find that song on a record somewhere.”
-- TOMBOT

76. Knife In The Water
Roman Polanski, 1962
POINTS: 80
VOTES: 5
#1’s: 0

COMMENTS?

Faye Dunaway: Unlikeliest under-25 insurance investigator evah.

75. Barbarella
Roger Vadim, 1967
POINTS: 85
VOTES: 6
#1’s: 0

COMMENTS:

“It may well be soft core porn disguised as sci fi, but it happens to be soft core porn disguised as sci fi I like. I haven't thought about this film in ages, but I never got anything other than joy out of it.”
-- Nick

“It is one of the best films ever made. EVER. Yes, it is soft core porn disguised as sci fi, combined with brilliant social parody of the sexual revolution and The Pill. And a little bit of Philosophy In The Boudoir thrown in for good measure.

And Anita Pallenberg...

What more could you WANT in a film?

It is one of my three favourite films of all time along with Performance and erm... I forget what the third one is.

Classic. I will whump the arse of anyone who dares disagree with me.

And oh yes, Duran references up the Ying Yang.

"An angel cannot make love... an angel IS love!"”
-- kate

“I fancy Jane. I went out with a girl who looked like her when I was 16.
I dumped her. Don’t ask me why. This film has meant something peculiar to
me ever since. What else do you wanna know?”
--FIVE EIGHT

74. A Fistful of Dollars
Sergio Leone, 1964
POINTS: 87
VOTES: 5
#1’s: 0

COMMENTS?

Charade is undeniably a watchable showcase for the charms of its stars, but the silly villains/plot totally defangs the genre mixing. Hitchcock (of whom this is an obv parody, if less juvenile and literal than High Anxiety) could do both in his sleep better.

73. If?.
Lindsay Anderson, 1968
POINTS: 88
VOTES: 3
#1?s: 0

COMMENTS:

If....

72. Pierrot Le Fou
Jean-Luc Godard, 1965
POINTS: 91
VOTES: 4
#1’s:1

COMMENTS:

“pierrot le fou is hilarious if you're a misanthrope like me’
-- dean!

“Pierrot le Fou: So wonderful. A Jules Verne fantasyland.”
-- -8-(*_*)-8-

“The ultimate Belmondo movie. The ultimate Karina movie. The ultimate Godard movie. The ultimate Coutard movie. The ultimate midget-who-gets-stabbed-in-the-back-with-a-pair-of-scissors movie. Not of all of this is true.”
--General Doinel

The guy who plays The Husband is also excellent in some other Polish movies- The Saragossa Manuscript being one of them.

http://images-eu.amazon.com/images/P/B00005EBSB.02.LZZZZZZZ.jpg

70 A. Billy Liar
John Schlesinger, 1963
POINTS: 92
VOTES: 4
#1’s: 0

COMMENTS:

“The sequence in Billy Liar of Julie Christie walking through the middle of Bradford is one of the most glorious in film history.”
-- Tim

“I still can't watch Billy Liar without getting all misty eyed and wistful.”
-- chris

70 B. Spartacus
Stanley Kubrick, 1960
POINTS: 92
VOTES: 4
#1’s: 0

COMMENTS?

"Fistful Of Dollars" does do away with two of "Yojimbo"'s biggest points of sillyness: one, the whole GUN VS SWORD OMG WHO WILL WIN? thing, and the cheerleading "way to go for destroying what's left of our village!" attitude amongst the bartender and the undertaker (well, the latter is at least toned down a bit.) Dunno if that improves or diminishes the thing.

I really wanna see "Charade" and "Bedazzled".

Really, the hokey bits show why he exiled himself and initiated all his projects henceforth.

His cinematographer was an old-school guy who essentially refused to follow Kubrick's direction, so SK basically did his work too. And the DP won an Oscar.

http://images-eu.amazon.com/images/P/0790732254.01.LZZZZZZZ.jpg

69. Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966
POINTS: 93
VOTES: 5
#1’s: 0

COMMENTS?

68. The Trial
Orson Welles, 1963
POINTS: 94
VOTES: 4
#1’s: 1

COMMENTS:

“im all about the trial, though that may have something to do with the fact that i finished the book at about 1 am one night and then stayed up to watch the movie in a sort of weird dementia. i think it handles the sort of overtop visuals in a much better way, but theres more room for that because anything with kafka is going to be surreal and ridiculous.”

-- tom cleveland

67. Andrei Rublev
Andrei Tarkovsky, 1969
POINTS: 95
VOTES: 4
#1’s: 0

COMMENTS:

“Andrei Rublev- another wow! I saw Solaris beforehand, but this was much better. Tarkovsky works better when he isn't bound by a strong narrative, and this one delivered because of that. Kudos to the pagan fire scene, the opening balloon scene, the attack on Vladimir (and that burning bull!); awesome visuals. Also, the camerawork (the long sweeping arcs, the curiousity of it, the erratic overhead shots). Hard to take it all on the first viewing.”

-- mj

“Andrei Rublev, there's this one plan (no narrative role really) where Andrei and another monk are sitting in a tree in the rain, I have no real idea why this particular scene is so sad, but it is.”

-- daria g

Anthony Perkins said one of the first things Welles told him was "Joseph K is guilty as hell!" I like it more than his other '60s films; it's funny.

66. L’Avventura
Michelangelo Antonioni, 1960
POINTS: 100
VOTES: 4
#1’s: 0

COMMENTS?

65. Masculin Feminin
Jean-Luc Godard, 1966
POINTS: 101
VOTES: 4
#1’s: 1

COMMENTS:

“I thought Masculin-Feminin was brilliant and accessible, if you like the style. It's somewhat unconventional (though one of the best 'love' stories I recall seeing on-screen) in the camera's proximity - everyone's shot so tight, rarely more than a couple on-screen, there are zero establishing shots, very cinema-verite (I'd love to see the film Godard shot with Albert Maysles right before M-F).

Bonus points for having an amazing soundtrack (I doubt Chantal Goya's tracks from the film are available on CD). Check out the Rialto Pictures trailer (www.rialtopictures.com) - unrepresentative of the film itself but with one of Goya's songs.”

-- milozauckerman

64. For A Few Dollars More
Sergio Leone, 1965
POINTS: 102
VOTES: 5
#1’s: 0
COMMENTS:
“For a Few Dollars More. His part is brief, but unforgettable if you're a Kinski fan.”

-- Anthony

“Indio. What a good lad. Seriously, there’s something fascinating about Volonte’s portrayal of el bandito Indio – you can’t keep your eyes off The man. He’s a terrifying figurehead of violence and mania, capable of anything, in the Frank (Blue Velvet) mould. Also, Klaus mother-fucking Kinski! Ah, what joy – keep your eyes on his twitching lip when Van Cleef strikes a match off his hunch. One of the Top 10 scenes in cinema.”

--FIVE EIGHT

63. One, Two, Three
Billy Wilder, 1961
POINTS: 105
VOTES: 4
#1’s: 1

COMMENTS:

“One Two Three is one of the funniest movies I've ever seen, mostly due to James Cagney (who is fuckin' amazing). His last leading role, and his last movie for 20 years until Ragtime.”

-- Gear!

62. Tokyo Drifter
Seijun Suzuki, 1966
POINTS: 105
VOTES: 6
#1’s: 0

COMMENTS:

“the suit in "tokyo drifter" deserves a best supporting actor lifetime achievement award.”

-- Fritz Wollner

“Tokyo Drifter. Fucking GREBT or whatever the kids are saying these days.”

-- Tom Millar

61. To Kill A Mockingbird
Robert Mulligan, 1962
POINTS: 107
VOTES: 8
#1’s: 1

COMMENTS:

“everybody: listen to elmer bernstein's to kill a mockingbird musical score next time you're insomniac. it's guaranteed to put you to sleep with lovely dreams ( as it did last night for me) and keep you out for 6-8 hours.”

-- Remy

“To Kill A Mockingbird: Movie is just as good as the book.”

-- JM

60. Woman In The Dunes
Hiroshi Teshigahara, 1964
POINTS: 108
VOTES: 6
#1’s: 0

COMMENTS?

59. Blow-Up
Michelangelo Antonioni, 1966
POINTS: 108
VOTES: 7
#1’s: 0

“Blow-Up--the scene with the girls & the rack of clothes--incredibly uncomfortable, but also hot as anything.”

-- Douglas

“If you mean their scene in "Blow Up," it's pretty cool. My take on it is that Antonioni didn't get rock 'n' roll at all -- he liked it (or maybe hated it, can't tell) because it was noisy and (he thought) angry, and he filmed the scene that way. A bunch of swinging London types standing around like zombies, being bombarded by this crazy white noise. But of course, the Yardbirds weren't just noisy and angry, they were also fun, and they were tapped into a whole blues thing that (I'm guessing) just completely went over Antonoioni's head. So you get this weird scene where the music is being presented one way by the filmmaker and a totally different way by the band actually playing it.”

-- Jesse Fox

“Well, I can only speak for myself -- as I know lots of people think the film is just pretentious and hollow -- but I'm just a fan of the whole thing. On the one hand, I'm a rampant Anglophile, so I love the film's depiction of mid-60's "Swinging" London. On the other, I find the sequence depicting the photographer's gradual deduction of events to be absolutely chilling and masterful. There's also just a creepy vibe that permeates through the whole film that I just love....so much silence and strageness. Is there a lot of filler in the film? I think so -- to my mind lots of time wasted establishing what an arrogant prick the photographer is (which could've been easily been established with a bit of editing) and the whole mime thing is a bit heavy handed, but for the passages wherein Vanessa Redgrave and her unfortunate lover are stalked through the park, CLASSIC.

Also the scene in the nightclub with the Yardbirds is fucking amazing.

Anyway, that's why I like it. I still want to go on a pilgrimage to Marion Park in London to visit the locale (also the sight of the rarely-seen video for the Stranglers' cover of "Walk On By").”

-- Alex in NYC

58. Yellow Submarine
George Dunning, 1968
POINTS: 109
VOTES: 6
#1’s: 0

COMMENTS:

“There’s something about the stereotype of the 60’s that I find hugely
compelling and attractive. Hardly surprising then, that I rather like
the whimsy daydream feel of this movie and I mean, it is absolutely
stunning to look at. The music is my favourite period fab four and some of the
ingenuity of the animation and characters is just gorgeous. I particularly like
those tall chaps who drop apples on people. Now is that a plug or a dig?”

--FIVE EIGHT

57. Le Jetee
Chris Marker, 1962
POINTS: 110
VOTES: 5
#1’s: 0

COMMENTS?

56. The Man Who Shot Liberty Valance
John Ford, 1962
POINTS: 114
VOTES: 6
#1’s: 0

COMMENTS?

That Japanese bird's pretty hot too.

You know, I still get nervous about getting off a train that I'm due to travel on, before it departs, in case it leaves without me and Julie Christie is on it.

Folks who complain about Stewart's and Wayne's 50something age in the main narrative of The Man Who Shot Liberty Valance are from the "Vertigo is implausible" school. Often lawyers, I find. Perhaps the best 'career summation' by a major filmmaker.

http://images-eu.amazon.com/images/P/B00005JKPT.01.LZZZZZZZ.jpg

55. Contempt
Jean-Luc Godard, 1963
POINTS: 120
VOTES: 7
#1’s: 0

COMMENTS:

“Excellent. The argument in the living room is gripping. The third act is -- somewhat incomprehensible, but good.”
-- Remy

“Contempt: Sex, sun, sea and twisted automobiles. We've got Brigitte Bardot, Odysseus, Fritz Lang, Jack Palance, and the Casa Malaparte. Cinematic heroin.”
-- -8-(*_*)-8-

“Don't ever watch Contempt with a significant other, this is a bad mistake myself and others I know have made.”
-- slutsky

54. The Pink Panther
Blake Edwards, 1963
POINTS: 120
VOTES: 8
#1’s: 0

COMMENTS?

53. Shoot The Piano Player
Francois Truffaut, 1960
POINTS: 121
VOTES: 5
#1’s: 0

COMMENTS:

“I personally love Tirez Sur La Pianiste.”
-- Nordicskillz

“Truffaut’s finest, funniest, and perhaps even saddest film. Charlie’s fight with his boss in the alley is one of the best scenes in all of the new wave.”
--General Doinel

52. Cool Hand Luke
Stuart Rosenberg, 1967
POINTS: 123
VOTES: 6
#1’s: 0

COMMENTS?

51. Help!
Richard Lester, 1965
POINTS: 123
VOTES: 7
#1’s: 1

COMMENTS:

“For "Ticket to Ride" and "You've Got to Hide Your Love Away," two of the greatest videos ever made.”
-- Phil Dellio

50. Breakfast At Tiffany’s
Blake Edwards, 1961
POINTS: 124
VOTES: 7
#1’s: 0

COMMENTS?

Eleanor Bron's 2nd appearance! (The Yo La Tengo line quoted by Ken is about Help!)

Luke is good star heroism, too much Christ imagery.

I like first-rate Franz Planer/Philip Lathrop, Martin Balsam, Henry Mancini and 171 E. 71st St.

49. Faster, Pussycat! Kill! Kill!
Russ Meyer, 1965
POINTS: 128
VOTES: 5
#1’s: 1

COMMENTS?

48. Goldfinger
Guy Hamilton, 1964
POINTS: 132
VOTES: 6
#1’s: 0

COMMENTS?

47. Bullitt
Peter Yates, 1968
POINTS: 133
VOTES: 5
#1’s: 0

COMMENTS?

46. Alphaville
Jean-Luc Godard, 1965
POINTS: 134
VOTES: 7
#1’s: 0

COMMENTS:

“Alphaville--put that in the "search" column for me. It's the only kind of sci-fi i can stand!”
-- jay blanchard

45. Playtime
Jacques Tati, 1967
POINTS: 136
VOTES: 6
#1?s: 0

COMMENTS:

Jacques Tati/Play Time

-- jones (hobartarm...), August 25th, 2004.

44. Carnival of Souls
Herk Harvey, 1962
POINTS: 140
VOTES: 6
#1’s: 1

COMMENTS:

“one of the few films where the wooden, characterless acting actually adds to the sense of unease and sheer wrongness. While the central plot twist has been overused (and misused) in many subsequent films, Carnival Of Souls still has a strange, eerie power unlike anything much else I can think of before or since. Director Herk Harvey was apparently influenced by Cocteau. This is apparent in the scenario and atmosphere, but it’s the pulpy horror elements that really lift the film into something more than the sum of its parts. A more experienced director would have maybe given us a competent horror film with “artistic” flourishes – as it is, it’s a bizarre, probably unrepeatable one-off.”
--Matt T.

43. La Dolce Vita
Federico Fellini, 1960
POINTS: 140
VOTES: 8
#1’s: 0

COMMENTS:

“"La Dolce Vita" is incredible, a wonderful study of decadence and celebrity, the charms and lures, the shallowness and excess, etc. Far before it's time in the exploration of "paparazzi" (the term paparazzi actually got it's name from a character in La Dolce Vita).”
-- jay blanchard

“I remember the first time I saw it with several friends and we convinced one friend that the word "dolce" meant "crazy" in Italian. Eventually he found out it meant "sweet", but whenever we hang out with him someone will invariably begin talking about some wild event, i.e. a fight at a show, as being "so fucking dolce...you know, crazy." He gets really pissed, so we keep doing it.

Anyway, a wonderful film.”
--Gear!

“Anouk Aimee is truly the most beautiful woman who ever lived.”

-- Spencer Chow

42. Don’t Look Back
D.A. Pennebaker, 1967
POINTS: 141
VOTES: 6
#1’s: 0

COMMENTS?

41. The Birds
Alfred Hitchcock, 1963
POINTS: 141
VOTES: 9
#1’s: 0

COMMENTS?

40. Repulsion
Roman Polanski, 1965
POINTS: 143
VOTES: 7
#1’s: 2

COMMENTS?

I'm not feeling very articulate today. Perhaps a more articulate person will appear and say it better.

Fellini thought it might be AH's best film (as does Camille Paglia).

Its a very oddly shaped film, but that sort of adds to its appeal.

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39. The Umbrellas of Cherbourg
Jacques Demy, 1964
POINTS: 146
VOTES: 10

COMMENTS:

“The most heart breaking film because it shows how ordinary love is. We expect a confection, and its center is not cherries but dust .”

-- anthony

“fucking brilliant. One of my five favourite films.”

-- Ian Riese-Moraine

“my favorite moment is when Catherine Deneuve pouts at her mother that she's getting heavy and her mother says (sings) "but all pregnant women are beautiful" and Catherine Deneuve looks in the mirror, smiles, and says "yes, that's true"

“a hiphop versh has been rattling around my head for years now. Usher plays the diamond dealer.”

-- Tracer Hand

38. Butch Cassidy and The Sundance Kid
George Roy Hill, 1969
POINTS: 149
VOTES: 10

COMMENTS?

37. Weekend
Jean-Luc Godard, 1967
POINTS: 151
VOTES: 8
#1’s: 1

COMMENTS:

“The only Godard that I've enjoyed has been Weekend, which was a lot of fun.”

-- polyphonic

Week End has many strange, wonderful, and disturbing moments. It's probably best known for the long scene with the traffic jam. So many ideas in this movie. Poor Emily Bronte gets set on fire. Then there's the egg monologue, the pianist, the political essay set to a man eating a sandwich, etc.

-- Ernest P.

“Probably the most frustrating great film I've ever seen, it shifts back and forth between being brilliant and unwatchable so violently that sometimes it's hard to tell where one leaves off and the other begins. Godard's great scenes come on like the apocalyptic
trumpet blasts of a Beethoven symphony, but 10-minute chunks of this movie go by that might be more excruciating than 10 minutes spent listening to your roommate's Grateful Dead bootleg collection. I know I'll never forget it, but genius rarely comes in such annoying fits and starts.”

--Justyn Dillingham

“I was at a point in my life where I was about to give up on narrative cinema altogether (as a viewer), and Weekend turned me around. Of course, now that I think of it, that was exactly the OPPOSITE of Godard's intention...but i digress.”

-- jay blanchard

Brilliant. "Ro-land Cas-sard".

36. Mary Poppins
Robert Stevenson, 1964
POINTS: 153
VOTES: 6

COMMENTS?

35. Lolita
Stanley Kubrick, 1962
POINTS: 154
VOTES: 9

COMMENTS:

“lolita is more or less unfilmable, but the kubrick version works brilliantly as a black comedy. it's my favorite of his films.”

-- J.D.

“"Lolita" is a good example of what goes wrong with Kubrick. He couldn't film it in America, or wouldn't, so it loses all the tanginess of Nabokov. However, on the plus side, the early set pieces are nice, and it's well-cast. So, an interesting failure--he was just too damned cold to make a real go of that novel, and it's a shame.”

-- eddie hurt

“A very funny film, largely because everyone in the cast plays it completely straight. Shelley Winters might seem like a caricature, but she's also the only real innocent in the story; James Mason is as tormented and perpetually aghast as the book's Humbert, even if he doesn't have as much space to rant about it; Sue Lyon ("a face amusingly reminiscent of the young Elvis Presley" - Pauline Kael) is convincingly vulgar and smirky. But the film's real triumph is Peter Sellers' brilliant performance asClare Quilty, who seems almost to belong to some other, greater movie, taking place just out of sight, with the tragedy of Humbert and Lo a mere side attraction.”

--Justyn Dillingham

34. High and Low
Akira Kurosawa, 1963
POINTS: 155
VOTES: 7

COMMENTS:

“The scene that sticks most in my memory is of Mifune obsessively mowing his lawn in his sweat-stained silk shirt. One of the best portraits of anguish EVAH. I also like the fat cop.”

--General Doinel

33. Point Blank
John Boorman, 1967
POINTS: 158
VOTES: 9

COMMENTS?

32. Le Samourai
Jean-Pierre Melville, 1967
POINTS: 161
VOTES: 161
#1’s: 1

COMMENTS:

“What I love about Alain Delon is his ability to hold the same expression regardless of genre or time period.”

-- Gear!

31. Easy Rider
Dennis Hopper, 1969
POINTS: 163
VOTES: 9

COMMENTS:

“Chronically overrated, indulgent, dated, ripped off and tired. So what.
It’s a fucking great movie kids. I love the hipster cool look and feel, I
love Jack, I love the hideous ending, I love the drugs and free spirit and
the counterpoint context of Hopper and Fonda’s egomania. Mythmaking
extraordinaire. Envelope pushing for the period. Drenched in the times.
Cinema would I dare to suggest, be the less interesting if this movie
had never got made.”

--FIVE EIGHT

Also, there's an early appearance by that dude from Hill Street Blues.

30. Branded To Kill
Seijun Suzuki, 1967
POINTS: 165
VOTES: 9

COMMENTS:

"I just watched Branded to Kill last night and, jesus. I mean, hallucinatory. Crazy. I can't think of another movie I've seen recently -- and I've seen a lot of good movies recently -- where past a point I had no earthly idea what was going to happen next, and then what happened next always blew my brain apart. There are so many individual genius sequences in there, and they all kind of pile on top of each other. Goddam. I've heard about him for a while, but I guess I didn't really know wtf he was up to."

-- gypsy mothra

“Branded to Kill is utterly great -- picked it up several years back and Sean from SF (who's doing well, last I checked) and I had a good time watching it and playing 'spot the moments where Tarantino bugged out.'“

-- Ned Raggett

I love the fat cop. Does he actually serve any purpose on the squad in the film, or is he merely totemic? And if the latter, is the joke sort of meta?

29. Au Hasard Balthazar
Robert Bresson, 1966
POINTS: 169
VOTES: 7
#1’s: 1

COMMENTS:

“So I finally sat down to watch Au Hasard Balthazar for the first time last night. I had heard about it so much that I managed to get a copy (I missed the theatrical rerelease last year), even though I never really dug late period Bresson. During the film's last five minutes I just broke down. Even after having read about it for years I had no idea how incredibly heartbreaking and at the same time beautiful the ending would be. And this is in a film full of just intense, resonant moments, both beautiful and horrible. I really, in all my years of watching, loving and hating films, don't think I've ever been moved by a film like this one has and I can't stop thinking about it.”

-- Jay Vee

28. 8 ½
Federico Fellini, 1963
POINTS: 183
VOTES: 7

COMMENTS:

“La Dolce Vita will get loads of votes, but I like this movie better. Melancholic, autobiographical, sexy, moody, and it has Claudia Cardinale. Reow. It’s visually arresting, fantasist, dreamlike, seductive and bizarre.”

--FIVE EIGHT

“8 1/2 is probably my favorite movie ever but i dont really care for anything else he's done (that i've seen)”

-- ryan

“"8 1/2" is the film that made me decide I wanted to be a filmmaker. Enough said.”

-- jay blanchard

27. The Great Escape
John Sturges, 1963
POINTS: 189
VOTES: 10

COMMENTS:

“i saw the restored print of the great escape last night - fantastic.
i still can't believe they all die in the end, though! i thought in the restored print maybe they could somehow sneak away...”

-- a spectator bird

26. Peeping Tom
Michael Powell, 1960
POINTS: 190
VOTES: 10

COMMENTS:

“Magnificent film; the scene that strikes me right now would be of the old 'Gentleman' in the newsagents, with Mark Lewis just in the side of the later shots. Great piece of 'Englishness', showing what is behind the bluff veneer.”

-- Tom May

“Splendid companion piece to Psycho. I saw it circa '88 at American Museum of the Moving Image, with Powell in attendance, and he was visibly moved at the ovation he received. There were also walkouts.’

-- Dr Morbius

“This is one of my favorite films. I'm not sure it works completely as a Hitchcock style psychological thriller, but it's a more conscious attempt to engage and illustrate pyschoanalysis and film theory - even if it's occasionally corny and ham-fisted. The actual creepiness of Karlheinz Böhm really the film and it's points.

“The Criterion DVD has an *Amazing* commentary track from Laura "Visual Pleasure in Narrative Cinema" Mulvey. I very highly recommend it.”

-- Spencer Chow

another review of The Birds, via Ogden Nash: "Leave no Tern Unstoned."

-- General Doinel (deanmartinlive...), December 8th, 2005.

I must be one of the few people who has never seen this movie.

Don't think I'm going to bother now I know the ending..

HAURRAY!!! A HAPPY ENDING!!

I guess calling it "The Lousy Escape" would put people off.

Anyway, Good Luck!

Eurovision factor is high here. Here's a list of 32 films that I (not admittedly a cinemaphile) would be surprised to not see in the top 100 films of the 1960s:

2001: A Space Odyssey, A Hard Day's Night, A Taste of Honey, Battle of Algiers, Belle de Jour, Bonnie and Clyde, Breathless, Dr. Strangelove, Dr. Zhivago, Guess Who's Coming To Dinner, In Cold Blood, In The Heat of the Night, Irma La Douce, Jules and Jim, Last Year At Marienbad, Lawrence of Arabia, Midnight Cowboy, Night of The Living Dead, Once Upon A Time In the West, Persona, Psycho, Rosemary's Baby, Sanjuro, Satyricon, The Apartment, The Graduate, 'The Good, The Bad, and The Ugly', The Magnificent Seven, The Producers, The Wild Bunch, West Side Story, Yojimbo

Even considering that I've probably overrated some because I've never seen them, but they're pretty famous (Dr. Zhivago?, the Poitiers? The Graduate?), there's still more than 25 there.

And I've probably missed some foreign-language contenders in the rest, too:

A Man and A Woman, A Touch Of Zen, A Thousand Clowns, Accatone, Alfie, An Actor's Revenge, Bad Girls Go To Hell, Band of Outsiders /bande a part, Blackmail Is My Life, Blast of Silence, Bob & Carol & Ted & Alice, Boccaccio 70, Burn!/Queimada!, Carry On up the Khyber, Charulata, Chronicle of a Summer, Classes Tous Risques, Closely Observed Trains, Coming Apart, Confessions Of A Psycho Cat, Confessions Of An Opium Eater, Cruel Story of Youth, David Holzman's Diary, Days of Wine and Roses, Detective Bureau 2-3: Go to Hell, Bastards, Diary of a Chambermaid, Divorce Italian Style, El Cid, El Dorado, Faces, Fail-Safe, Fantastic Voyage, Fellini: A Director’s Notebook, From Russia With Love, Gamlet/Hamlet, Gate of Flesh, Gertrud, Hatari!, Head, Heaven and Earth Magic, High School, Ho!, How I Won The War, Hud, I'll Never Forget Whatisname, Il Grand Silenzio, Il Posto/The Sound of Trumpets, Inherit the Wind, Invocation of My Demon Brother, Juliet of the Spirits, Kwaidan, La Commare Seca, L'Eclisse, Le Petit Soldat, Life Upside Down / La Vie a L'Envers, Lola, Loves of a Blonde, Marat/Sade, Marnie, Medium Cool, Modesty Blaise, Mondo Trasho, Monterey Pop, Mothlight, Mudhoney, My Night at Maud's, Never on Sunday, Oliver!, Pale Flower, Peep Show, Petulia, Pigs and Battleships, Prelude, Pretty Poison, Psych-Out, Purple Noon/Plein Soliel, Putney Swope, Quatermass & The Pit, Red Angel, Red Beard, Reflections in a Golden Eye, Ride the High Country, Ruined Map, Samurai Rebellion, Saturday Night and Sunday Morning, Seconds, Seppuku/Harakiri, Shame, Signs of Life, Simon del Desierto, Skidoo, Splendor in the Grass, Stolen Kisses/Baisers Volées, Story of a Prostitute, Sword Of Doom, Sympathy for the Devil/One Plus One, Take the Money and Run, Targets, Teorema, The Bed Sitting Room, The Bellboy, The Bride Wore Black, The Chelsea Girls, The Dirty Dozen, The Disorderly Orderly, The Errand Boy, The Face Of Another, The Flicker, The Gospel According to St Matthew, The Hustler, The Knack...And How To Get It, The Ladies' Man, The Manchurian Candidate,
The Naked Kiss, The Nutty Professor, The Patsy, The Pawnbroker, The Pornographers, The President's Analyst, The Russians Are Coming, the Russians Are Coming, The Sand Pebbles, The Servant, The Shooting, The Shop On Main Street, The Silence, The Sorrow and the Pity, The Spy Who Came in from the Cold, The Sundowners, The Swimmer, The Trip, The Virgin Spring, The War Game, The Wild Angels, The Young Girls of Rochefort, Three on a Couch, To Sir with Love, Tokyo Olympiad, Tom Tom the Piper's Son, Tony Rome, Triumph Over Violence/Ordinary Facism, Two For The Road, Two Thousand Maniacs!, Viridiana, Viva Las Vegas, Vivre Sa Vie/My Life To Live, Wait Until Dark, Wavelength, What's Up Tiger Lilly?, "Whatever Happened To Aunt Alice?", When a Woman Ascends the Stairs, Winter Light, Witchfinder General/The Conquer Worm, Young Torless, Youth of the Beast

Forecast: Fun.

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25. The Battle of Algiers
Gillo Pontecorvo, 1965
POINTS: 191
VOTES: 10

COMMENTS:

"The Battle Of Algiers"

24. Vivre Sa Vie/My Life To Live
Jean-Luc Godard, 1962
POINTS: 192
VOTES: 9
#1’s: 2

COMMENTS:

“My Life to Live is my favorite. It's a good place to start since i started there and i love Godard. i'm no expert on him tho.”

-- ryan

“I’m not one to cry (or even get seriously emotional) when watching films. But there are at least two or three parts of this movie that just kill me. In particular, Nana’s interrogation by the police. Words fail me. It’s a fucking masterpiece.”

--General Doinel

23. The Hustler
Robert Rossen, 1961
POINTS: 198
VOTES: 9
#1’s: 1

COMMENTS?

22. Persona
Ingmar Bergman, 1966
POINTS: 201
VOTES: 9
#1’s: 1

COMMENTS:

“Home to two of the greatest monologues in screen history: Alma’s remembrance of the boys and the beach, and the segment about Elisabet’s child (which was so good Bergman uses it twice)”

--General Doinel

“I love the weird stuff: the prologue, the credit sequence, the frame that burns up.”

--Phil Dellio

21. Night of The Living Dead
Dean Lachiusa & George A. Romero, 1968
POINTS: 210
VOTES: 10

COMMENTS?

Charade (1963)

"I think Cary Grant gets a bad rap a lot of the time. My girlfriend thinks he’s got no edge but I say you got to look beyond his David Dickinson perma-tan. OK, so this film may not exactly prove what I’m talking about here in spades (North By Northwest shows Grant at his best) but Cary isn’t exactly a sap in this picture and him and Audrey look fucking great
together. It’s got some great comedy moments in there, to set off the suspense and some cute snappy dialogue. All in all, great fun, well paced and makes you feel all warm and fuzzy."

Butch Cassidy and the Sundance Kid (1969)

"This movie will probably pick up like a gadzillion votes (if anybody can be fucked to vote) but that doesn’t mean it’s a bad picture. On the contrary, surely this is the THE best buddy movie, although Newman and Redford provide themselves with some stiff competition with the Sting. Actually, I prefer the Sting. Still, this is nice piece, with a thoughtful melancholic edge that runs throughout. The famous bike scene is something that sticks in
the memory, as is the blaze of glory ending."

Goldfinger (1964)

"The best Bond bar none. It’s all about Connery, but hey, everybody knows that. But you also get some of the most quotable Bond lines in this one with Ernst Goldfinger hamming it up like any self-respecting Bond baddie should. You have to love Oddjob too – a hat that takes the heads off statues. I want one."

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20. The Wild Bunch
Sam Peckinpah, 1969
POINTS: 214
VOTES: 11

COMMENTS:

“"The Wild Bunch" is one of my favorite films--the Bunch might not be totally admirable, but I find much to admire about them, as SP wants us to. They're certainly more admirable than anyone else in the film, except Robert Ryan.”
-- es hurt

“The Wild Bunch, which is maybe my favorite film of all time.”

-- Gear!

19. Belle De Jour
Luis Bunuel, 1967
POINTS: 239
VOTES: 12

COMMENTS:

“Belle du Jour is excellent but the sheer omnipresence of it in film study and, yeah, the "shock value" of parts of the story line are incredibly tame by today's standards...it kind of becomes like a reference point more than it is a film; it's hard not to be uninteresting (comparatively) with that to live up to.”

-- Ally

“i dunno, i think belle de jour is still sort of shocking”

-- Amateur(ist)

“i fucking love her sunglasses in belle.”

-- kacka thompson

18. The Producers
Mel Brooks, 1968
POINTS: 240
VOTES: 13

COMMENTS:

“I don’t know what it is with this movie but sometimes it can make me laugh
till it hurts and other times, I find it tremendously sad and melancholic.
Whatever, I always absolutely love Mars’ German playwright Liebkind; the
epitome of the comedy movie Nazi: “I am the author. You are the audience. I
outrank you!””

--FIVE-EIGHT

17. Jules and Jim
Francois Truffaut, 1962
POINTS: 241
VOTES: 13

COMMENTS?

16. Yojimbo
Akira Kurosawa, 1961
POINTS: 244
VOTES: 10
#1’s: 1

“Yojimbo - I prefer this over "A Fistful of Dollars" (although, no good lines like, "My mule don't like people laughing") - another solid Kurosawa.”

--mj

From “Funniest scene in non-comedy” thread
“Yojimbo -- when Mifune wakes up after getting a beatdown, he asks where he is.

Guard #1: "The brewery---"
Guard #2 [slaps #1]: "Quiet! [to Mifune] At the gates of Hell."”

-- Leee

Hey! I remember neither making that post, nor seeing that scene!

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15. Once Upon A Time In The West
Sergio Leone, 1968
POINTS: 246
VOTES: 12
#1’s: 3

COMMENTS:

“Once Upon A Time In The West particularly is full of gorgeous and memorable scenes and shots, I think. I once went out with a woman who was named Leone because her father loved Sergio's films so much.”

-- Martin Skidmore

“There's that line that Jason Robards say to Claudia Cardinale's character, which starts off sort of funny and a split second later because of Leone's camera movement, the Morricone music, and her expression is is unbearably touching:

Cheyenne: You know, Jill, you remind me of my mother. She was the biggest whore in Alameda and the finest woman that ever lived.

“The final shot of OUATITW is remarkable on many, many levels. Primarily how in one camera move Leone shows the modern world ushering the old world out.”

-- Gear!

“Actually the best film ever committed to celluloid.

“Anyone with half a spark of life in them should be able to recognise that like the most impressive, inspirational creative articulations, One Upon A Time In The West rewards repeated viewings, rigorous intellectual scrutiny and technical appraisal with startling accomplishment, unmistakable presence, multifaceted interpretive dimension and of course, electrifying entertainment.

“The film is an opus. A sprawling paean to the genre and at the same time an exhilarating annihilation of the conventions it pays such reverent homage to. This film killed the Western, but in so doing, emerged as the greatest articulation of the form yet conceived.

“A brooding, haunting trip into the grimy world of the West, Leone sets a quartet of charismatic players against each other, in a desolate, unforgiving environment where half-hidden motives and cruel instinct clash head-on with human fragility and noble endeavour. Weaknesses are exploited and rampant greed rules; and against the backdrop of a railroad marching inexorably across the desert, so the protagonists ride roughshod over anybody who stands in the way of their ambitions; be they revenge, wealth,
lust, or fulfilment of fantasy. And yet when the dust settles, the cost of their collective ambition proves ultimately destructive, fatal even, their efforts squashed under the irresistible juggernaut of ‘Progress’, as the completion of the railroad heralds a new era or even greater greed and ambition. Perhaps a metaphor for the cyclical cannibalism of Western Capitalism, no one in this film takes any discernable satisfaction from the
realisation of their dreams, though the viewer is left exulted through the magnificent process of this discovery.

“Much is made of Morriocone’s score, and for my money it’s his most impressive – his core themes (one for each of the four central characters) meet and mingle throughout the piece, heightening the climaxes to the realm of ecstasy and lending the lulls a peculiar urgency and uneasiness. The thought the composer put into his work is frightening – the
unforgettable tone of Bronson’s Harmonica motif is the sound the instrument would make if you were to breath in and out through it without moving up and down the
scale (like say, if it was rammed in your mouth when your hands were tied behind your back, or if, like Frank, it was placed in your mouth after you had just taken a slug to the chest). It’s detail like this that makes Once Upon A Time In The West such a complete picture. The fact that Leone played the score to the actors on set as he filmed, can only have helped add to the strange aura the piece projects.

“The look and feel of this film is nothing short of majestic, encompassing an eerie, desolate, lunar-like landscape (like the very souls of the characters themselves, the landscape is for the most part a husky shell). In this world, law has no meaning, rules do not apply, morality is corrupt and not even money can buy you everything; the director is at pains to convince the viewer that anything is possible in his vision of the West, and the
familiar codes of the Western are systematically obliterated.

“The grime and dust practically slips off the screen, the intense detail of stubble and sweat puts the viewer right next to the players, the dialogue is both stilted and sparing, dramatic and at times incongruently comic; for stylistically, Leone is no realist. He takes his depictions one step further into the realms of mannerism, which means Once Upon A Time In The West truly lives up to its epic storybook title. The acute angles, elongated
shadows and monochromatic flat colours all add to the feeling of
otherworldliness and uneasiness that permeates the whole (a compositional technique Leone surely purloined from the Italian metaphysical painter De Chirico.
Seriously, next time you stand in front of a de Chirico, check it out – you’ll see what I mean).

“Turning to the narrative framework of the piece, Leone’s film contradicts
and twists the rules of the game right from the outset; The film opens with
the gunning down of three well known actors from the history of the
Western in what is the longest opening sequence in cinema history (originally
Leone planned to use Eastwood, Van Cleef and Wallach for this memorable
opening sequence, reprising their roles from the director’s previous film, The Good,
The Bad and The Ugly and so symbolising some kind of perverse closure).
Elsewhere, Leone underlines his intention to confound, in presenting to
the viewer the blue eyed hero of the bygone Western era Henry Fonda as a
stone-cold crystal-eyed, child murderer. In many other aspects, Once Upon A
Time In The West reworks the conventions of the genre and explodes the
expectations of the viewer; the most benevolent, comical character doesn’t
make it out of the story alive, while the beautiful woman at the heart of
the film, could either be metaphorically taking everyone for a ride, or
a stand as a symbol for the victims of ubiquitous masculine brutality and
ambition (in the film, even when the despicable Frank forces himself on
her, there are elements at work which hint that perhaps he is also being
played here). These are all examples of how each character in the film shifts
and skews with the slowly unfolding and twisting perspective that Leone
offers the viewer.

“Like the narrative (where good and evil merge into one moral entity),
the characters themselves defy expectation; and when they shoot each other
on screen, effectively they are blowing holes in the traditions and history
that Leone studied so meticulously before embarking on his greatest project.
The fact that the film is packed with countless references and symbols
culled from the cinematic history of the Western is perhaps added proof
that Leone intended to bury the genre with his picture.

“But there is still more to Leone’s piece than self-reference and movie making motifs. If you root deeper into the fabric of Leone’s movie, you may imagine, and with a not inconsiderable degree of plausibility, that it is loaded up with social metaphor and cultural resonance. This is a movie that can be taken any number of ways; that can be pushed beyond the point of snapping of many such other lauded cinematic achievements. Ambition, Greed, Revenge, Love, Lust, Progress; these are some of the universal key
themes that the viewer may flesh out from the bones of Leone’s complex and often subtle plot. Leone presents to the viewer a vision whereupon Old and New worlds collide at a crossroads, and the driving forces of acquisition and wish-fulfilment collapse in futility, bringing down with them a maelstrom of death and destruction. The fact that he sets the Western on a burning pyre through the process, merely confirms Once Upon A Time In The West’s place in the pantheon of great cinema.’

--FIVE-EIGHT

14. Lawrence of Arabia
David Lean, 1962
POINTS: 248
VOTES: 13

COMMENTS?

-- a spectator bird

Yeah, who would say they all die at the end?!

sorry, i didn't mean "all" as every last dude in the movie, but "all" as in all the people who die. argh. go see it anyone who hasn't.

Butch Cassidy: NO BACHARACH POP IN CIRCA 1900 PERIOD FILMS, PLEEZ

13. A Hard Day’s Night
Richard Lester, 1964
POINTS: 268
VOTES: 13

COMMENTS:

(from “100 big dance numbers” thread) “99. When The Beatles Go To The Nightclub In A Hard Day's Night and Ringo Freaks Out On The Dancefloor”

-- Fritz Wollner

‘It occurs to me that the best plotless film I can think of is "A Hard Day's Night." (Well, virtually plotless. "Ringo goes out wandering for a while and then comes back" is as close as it gets.)”

-- Douglas

2001
A Taste of Honey
Bonnie & Clyde
Breathless
Dr. Strangelove

In Cold Blood
Irma La Douce
Last Year in Marienbad
Midnight Cowboy
Psycho

Rosemary's Baby
Satryicon
The Apartment
The Good, The Bad and the Ugly
West Side Story

Is there an obvious three on that list that won't appear in the top 100 at all?

(You've picked three that I put in more or less because I associate an aura of general appreciation with the names - I've never actually seen them, so I can't go "No way!")

Ayways, from you list I'd guess West side story won't make it (or rather I wish it didn't). Same with A taste of honey, it won't make it. Dunno for the 3rd one.

BTW, didn't anybody vote for Jungle book?

i don't think these are locks (from least likely to place to most):

A Taste of Honey
Irma La Douce
In Cold Blood
Satryicon
West Side Story
Last Year in Marienbad

the rest, for better (breathless, the good, the bad, and the ugly) or worse (2001, rosemary's baby), are probably sure things.

the only thing i get out of all the president's men is that i'd rather be watching robards in a leone film!

strangelove seems like a good bet for #1.

hoffman i could take or leave. straw dogs has its moments, as does marathon man. the rest = very eh.

my guess at the top five:

01 The Good, The Bad and the Ugly
02 Dr Strangelove
03 Breathless
04 The Apartment
05 Band of Outsideres

2001 i loved when i was 14, but it's really pretty empty-headed in a lot of ways. the HAL scenes are great, but i think i prefer real antonioni to kubrick-doing-antonioni, really.

That's Kael I'm pretty sure, unless GM stole it.

Armond White:

"In 1962, John Frankenheimer's The Manchurian Candidate was too wildly improbable to believe—-and that's why its satirical story about a Korean War veteran being brainwashed into a political assassin was such scary fun. The 60s assassinations that followed made the movie seem eerily prescient, and many viewers mistook that coincidence to be proof that it was a great movie.

Truth is, the '62 film, adapted by impish screenwriter George Axelrod from Richard Condon's burlesque thriller novel, was more kitschy than profound. Today it looks like a pretty scar hiding the malaise of the 60s. Its naïve shock (concerning war fatigue, political subterfuge, incest) doesn't do justice to the real-life sorrow that had once seemed unimaginable."

I don't go along with AW's idea that the remake is better (save Liev Schreiber is an improvement on Laurence Harvey).

As films adapted from Condon novels go, I prefer Prizzi's Honor. (Now, if the film had made Eleanor a junkie like the book... JD, the novel's INSANE compared to the film. Read it.)

I really should've voted for at least one Jerry Lewis movie. Not that anyone else did, apparently.

"I remember first seeing it alone, when it came out in 1962, at the Varsity Theatre in Palo Alto, California, a Moorish wonderland of a movie house. The first thing I did when it was over was call my best friend and tell him he had to see it, too. We went the next night; as we left, I asked what he thought. "Greatest movie I ever saw," he said flatly, as if he didn't want to talk about it - and he didn't.

He said what he said stunned, with bitterness, as if he shouldn't have had to see this thing, as if what it told him was both true and false in a manner he would never be able to untangle, as if it was both incomprehensible and all too clear, as if the whole experience had been, somehow, a gift, the gift of art, and also unfair - and that was how I felt, too."

the rest here:

http://books.guardian.co.uk/extracts/story/0,6761,754309,00.html

that armond white excerpt almost reads like a parody of kael! "scary fun," "kitschy," and espec "many viewers mistook that coincidence to be proof that it was a great movie" (incredibly condescending!!)

i didn't bother with the remake, i'll check out the novel though.

Tom, you're not from the "it's funny cuz it's old" school, like the clowns at the Film Forum who laugh through the climax of Rififi, are you?

Manchurian works best as a nightmare comedy, as with the liberal senator getting shot right in the milk carton.

The deal with Janet Leigh was someone convinced her to walk around only in her underwear for 90% of the film.

If I was, I'd probably be a much bigger fan of Kubrick!

http://images-eu.amazon.com/images/P/B00005Q61O.02.LZZZZZZZ.jpg

12. The Apartment
Billy Wilder, 1960
POINTS: 270
VOTES: 15

COMMENTS:

“Good movie. Shirl = rowr. Unlikely ending: IRL she wd stick as best fwends and break his feckin heart as she twirled thru endless rubbish boyfs (21st-century update: girlfs), before she suddenly lost her looks'n'figure WACK at 41.

“ You know I'm right.”

-- mark s

“My favorite Christmas movie.”

--General Doinel

“The Apartment is a damn near perfect movie. Even the unlikely ending is unexpectedly touching. "That's the way it crumbles, cookie-wise..."

“It's easy to say "They don't make 'em like that anymore," but they didn't often make 'em like that even back then.”

-- Justyn Dillingham

11. Bonnie and Clyde
Arthur Penn, 1967
POINTS: 275
VOTES: 16

COMMENTS:

“Watching Faye Dunaway in Bonnie and Clyde puts me in a trance and turns me into a drooling, mouth-agape Homer Simpson.”

-- oops

“Bonnie & Clyde may be the funniest drama ever.”

--General Doinel

10. Midnight Cowboy
John Schlesinger, 1969
POINTS: 278
VOTES: 14
#1’s: 1

COMMENTS:

“The Best movie starring Dustin Hoffman

“midnight cowboy and sunday bloody sunday are two movies that best explain sex to me, the ambiguity and tenderness and emotional complications that blossom into commitment and love.

“cowboy won the oscar, which must have been the time and place, cause it was so radical and isolating that it would seem to be out of place during that gladhaddening.”

-- anthonyeaston

Ally, it's not the FF's fault they have nitwits in the audience. Their programming is good, they show stuff (esp the premieres) you often can't see anywhere else.

Janet L was underwear-clad in Manchurian? is she a double agent or not (at least Demme addressed this).

9. Rosemary’s Baby
Roman Polanski, 1968
VOTES: 16
POINTS: 282
#1’s: 1

COMMENTS?

Also, Mia's short do: ME-YOW!

John Cassavetes' character = just another ambitious NY actor

Right. Which answers yet another question: What's in it for the husband?

and no, it's no one's fault but the nitwits that nitwits exist. That doesn't mean I'm going to willingly go to a place that makes me sit with them for hours!

8. The Graduate
Mike Nichols, 1967
POINTS: 287
VOTES: 14

COMMENTS:

“Just saw it for the first time last night (yeah, yeah, I know...last night..I never owned a TV either okay?)
But seriously, the last 20 minutes of this film are absolutely fucking classic--esp. the love crazed Dustin Hoffman wedding breakup cross-wielding-bride-stealing scene.

“I am tempted to say rebel w/out caause=50s as The Graduate =60's.”

-- turner

“the ending is classic of course, but it's the overwhelming mood of .... nothing .... that i love.”

-- paul barclay

“The Graduate is one of my favourite ever films, yes. Just beautiful, and unbearably affecting re: becoming an adult, despite Benjamin's situation bearing little resemblance to my own post-graduation. I don't like the end so much as the beginning, and that section where he is having the affair with Mrs Robinson, lazing around the swimming pool and doing little else.”

-- Nick

“i used to think this film was a bit overrated, but i watched it again for the first time in 5 years this morning and i don't know what i was thinking: it's pretty much perfect. dustin hoffman's performance is hilarious from start to finish.

"do you want a wood hanger or a wire hanger? they have both."

-- J.D.

7. Band of Outsiders/Bande A Part
Jean-Luc Godard, 1964
POINTS: 321
VOTES: 15
#1’s: 1

COMMENTS:

“i watched band of outsiders again last night, the end of that movie always makes me inexplicably happy. the last line of the narration is one of my favorite moments in all of cinema.”

-- J.D.

“A languid, sad, exuberant film. At one point one of its protagonists "wonders if the world is becoming a dream or a dream is becoming the world," which soundslike a parody of French art movie speak - and on one level, it might be, but it's also a suitable epitaph for a man more in love with cinema than the real world.”

--Justyn Dillingham

6. The Manchurian Candidate
John Frankenheimer, 1962
POINTS: 341
VOTES: 14
#1’s: 1

COMMENTS:
“Famously withdrawn after the JFK assassination made it seem a little too relevant, The Manchurian Candidate is, on one level, a wild satire of American paranoia -in places it's even funny. But the humor sucks you in and sets you up to get knocked out: you think you're watching one kind of film, and suddenly you're watching another. By the conclusion, you've landed in what might be the darkest American movie ever made -and then it's over. Case closed, as Gerald Posner would say.”

--Justyn Dillingham

“How good is the Sinatra-Leigh meeting on the train?

“Very, very good. Its strange awkwardness is appealing (and I also liked the fact that I immediately assuming Leigh was part of the plot, and that ultimately nearly everyone was -- even if not true, it is hopefully something the film is trying to encourage you to do, ie trust not one person). I also liked the fact that though I had a guess at the end I didn't have the whole thing figured out.

“It doesn't QUITE flow as a successful film through and through but a lot of it is sheer context. Marcus in the link provided above gives a bit of that sense of the difference then and now, while things like the brainwashing set just seem utterly out of place, a Ken Adam design wrenched from a Bond movie and redressed. In some ways, though, perhaps the brainwashing is (to borrow a term) a plot Macguffin, something needed in order to make/let everything else happen -- not something someone wants a la Hitchcock, but a narrative device without which etc. And to be fair that was Condon's creation rather than Frankenheimer and Axelrod's. Suspend disbelief just enough and it works...and I did like many of the subtle details as well that I picked up, the brief one-sided phone conversation in Spanish, the nod to the ACLU, and so forth.”

-- Ned Raggett

“at first i pretty much disliked it, but its slowly growing on me as i realize how bizarre portions of it are, even outside of the dream sequence. but what does bizarre-ness matter on its own? im beginning to think of it more and more as a satire of mccarthy's worst nightmare, shown as silly and bizarre as that nightmare would be. the dreams themselves are pretty hokey and overthetop, as are any portions involving soviets or chinese?’

-- tom cleveland

“The Manchurian Candidate is a great film - original, daring for its time, blackly funny and quite scary. Plus it has the first martial arts fight scene in any American movie (I think). Which involves Frank Sinatra. So in a way it is responsible for Steven Segal & Jean Claude Van Damme. But I won't hold that against it....”

-- David Nolan

5. Breathless
Jean-Luc Godard, 1960
POINTS: 349
VOTES: 16

COMMENTS:

“Godard’s greatest non-Karina film is one of those BIG ICONIC WORLD-CHANGING MASTERPIECES OF THE CINEMATIC FORM, that is actual as great, entertaining, and fun as the reputation suggests. In fact, it’s better.”

--General Doinel

4. 2001: A Space Odyssey
Stanley Kubrick, 1968
POINTS: 359
VOTES: 17
#1’s: 1

COMMENTS:

“My Mum worked as a production accounts assistant on 2001 and actually walked around the spinny space hub thing. Very expensive to build - she says tutting. She also said that Kubrick was nowhere near as nuts as Patrick 'Mad As A Hatter' MacGooghan, if that is in any way salacious.”

-- Pete

"2001" is godlike, but you have to accept that it's not like other films.”

&

“I don't think "2001" goes over the heads of people who don't like it. I used to be one of those people. But around the time he died it got shown on TV, I started watching it, and I got sucked in. It's not like other films in that it's really really really slow. Some people like that, other (inferior) people don't.’

-- The Dirty Vicar

3. The Good, the Bad, and the Ugly
Sergio Leone, 1966
POINTS: 456
VOTES: 21

COMMENTS:

“I once saw a very very early matinee of The Good, The Bad & The Ugly (with ice cream and everything) and I have rarely ever been so truly truly happy.”

-- @d@ml

“The Good, The Bad & The Ugly may be my all-time favorite movie, the more I think about it.”

-- El Diablo Robotico

“I just acquired the new double disc DVD of The Good, the Bad, and the Ugly. Amazing! I planned on watching one hour of it tonight so I could do something else later, but I watched all 179 minutes of it. Fucking beautiful.’

&

“The Good, The Bad, and The Ugly gets better with each viewing. And what is often forgotten is that it contains one of cinema's more inexplicably haunting depictions of war. Aside from the battle between a couple of liquored-up armies fighting over a useless bridge, the war is nothing but retreating armies, dead bodies, military cemeteries, and prisoner-of-war camps.

“What I didn't know was that Leone was actually depicting a very real part of the Civil War that took place in New Mexico. I always assumed that he was creating a surreal version of the war. Perhaps the scope of what occurred was implicitly larger in Leone's fiction, but it's based in truth.”

-- Gear!

“The title sequence is for The Good, The Bad and The Ugly is one of my favorite things ever (the rest of the movie is up there too!).”

-- Spencer Chow

“Leone is the master filmmaker. This is the dress rehearsal to his magnum opus. Therefore, it can’t fail to be anything less than utter, utter genius. A beautifully wrought musing on Conflict, Friendship and Greed – the three central protagonists are cinema gold but Wallach’s Tuco steals the show the moment he screams “You’re the son a thousand fathers… all of them bastards like you.””

--FIVE-EIGHT

2. Psycho
Alfred Hitchcock, 1960
POINTS: 513
VOTES: 23

COMMENTS?

101 Head
102A The bed-sitting room
B.alfie
104 Irma La douce
105 Last Year At Marienbad
106 The Dirty Dozen
107 The Magnificent seven
108 Fail-safe
109 In the heat of the night
110 take the money and run

COMMENTS?

1. It Happened at the World's Fair
2. It Happened at the World's Fair
3. It Happened at the World's Fair
4. It Happened at the World's Fair
5. It Happened at the World's Fair
6. It Happened at the World's Fair
7. It Happened at the World's Fair
8. It Happened at the World's Fair
9. It Happened at the World's Fair
10. It Happened at the World's Fair

ANYHOO:

http://images-eu.amazon.com/images/P/B0002XNSY0.01.LZZZZZZZ.jpg

1. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
Stanley Kubrick, 1964
POINTS: 554
VOTES: 25
#1’s: 2

COMMENTS:

“I've seen it so many times I almost forget it's meant to be a comedy; in a lot of ways it works just as well as a straight thriller. But I never fail to crack up at "Gee, I wish we had one of them doomsday machines!"”

--Justyn Dillingham

so lame.

My gripe: too many African films.

I don't know why it would be a shock that a poll consisting largely of American voters (with a lesser number of Britishes and Australians, and the odd Scandinavian here and there) is dominated by films dominant in American culture.

I've never seen Lolita or Barry Lyndon, but the only Kubrick movie I could see an argument for not being entertaining is 2001.

PETER SELLERS/GEORGE C. SCOTT/PETER SELLERS/KEENAN WYNN/PETER SELLERS/STERLING HAYDEN/and who could forget...SLIM PICKENS

Yet I did not vote for it.

Great flick, but maybe the problem in this case is that it was released in America by AIP in modified form as "The Conquer Worm" and has gotten spotty reissue since. MGM needs to get off their ass and put it out along with the Leone remasters.

A Taste of Honey
Irma La Douce
In Cold Blood
Satryicon
West Side Story
Last Year in Marienbad

James Blount completely on the money!

100. The Fireman’s Ball
99. The Odd Couple
97 A. A Shot In The Dark
97 B. Shock Corridor
96. My Fair Lady
95. The Magic Christian
94. Falstaff/Chimes At Midnight*
93. The Leopard
92. On Her Majesty’s Secret Service
91. The Cincinnati Kid*
90. Cape Fear
89. A Woman Is A Woman
88. Cleo From 5-7
87. The Loneliness of The Long Distance Runner
86. Planet of The Apes
85. Through A Glass Darkly
84. Le Doulos
83. Fahrenheit 451
81 A. Mouchette
81 B. The Exterminating Angel
80. Z
79. Charade
78. The Thomas Crown Affair
77. Bedazzled
76. Knife In The Water
75. Barbarella
74. A Fistful of Dollars
73. If….
72. Pierrot Le Fou*
70 A. Billy Liar
70 B. Spartacus
69. Who’s Afraid of Virginia Woolf?
68. The Trial*
67. Andrei Rublev*
66. L’Avventura
65. Masculin Feminin*
64. For A Few Dollars More
63. One, Two, Three*
62. Tokyo Drifter
61. To Kill A Mockingbird*
60. Woman In The Dunes
59. Blow-Up
58. Yellow Submarine
57. Le Jetee
56. The Man Who Shot Liberty Valance
55. Contempt
54. The Pink Panther
53. Shoot The Piano Player
52. Cool Hand Luke
51. Help!*
50. Breakfast At Tiffany’s
49. Faster, Pussycat! Kill! Kill!*
48. Goldfinger
47. Bullitt
46. Alphaville
45. Playtime
44. Carnival of Souls*
43. La Dolce Vita
42. Don’t Look Back
41. The Birds
40. Repulsion**
39. The Umbrellas of Cherbourg
38. Butch Cassidy and The Sundance Kid
37. Weekend*
36. Mary Poppins
35. Lolita
34. High and Low
33. Point Blank
32. Le Samourai*
31. Easy Rider
30. Branded To Kill
29. Au Hasard Balthazar*
28. 8 ½
27. The Great Escape
26. Peeping Tom
25. The Battle of Algiers
24. Vivre Sa Vie/My Life To Live**
23. The Hustler*
22. Persona*
21. Night of The Living Dead
20. The Wild Bunch
19. Belle De Jour
18. The Producers
17. Jules and Jim
16. Yojimbo*
15. Once Upon A Time In The West***
14. Lawrence of Arabia
13. A Hard Day’s Night
12. The Apartment
11. Bonnie and Clyde
10. Midnight Cowboy*
9. Rosemary’s Baby*
8. The Graduate
7. Band of Outsiders/Bande A Part*
6. The Manchurian Candidate*
5. Breathless
4. 2001: A Space Odyssey*
3. The Good, the Bad, and the Ugly
2. Psycho
1. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb**

Sometime soon i'll post a similar list of 101-228

i may be mistaken here but as far as i know the word "psycho" was not commonly used as an abbreviation for "psychopath" until hitchcock's film (it literally means "mind") it came into common currency, as an abbreviation, after that. also i'm not sure that that "psycho" as a title is referring to hopkins' charater.

This reminds me of a comment on one of the Kubrick threads I didn't use:

"AB and I rewatch 2001 earlier this year at a cinema: at the bit where the space-hostess walks upside down in non-gravity, AB looks at her butt and whispers: "I see in the future they can fly to Jupiter but they still haven't cured VPL." We giggle so much we risk being a. chucked out of cinema b. being lynched by humourless kubricoids around us."

-- mark s

101 Head
102 The bed-sitting room
alfie
104 Irma La douce
105 Last Year At Marienbad
106 The Dirty Dozen
107 The Magnificent seven
108 Fail-safe
109 In the heat of the night
110 take the money and run
111 The President's analyst
112 The sorrow & the pity*
113 The Shop On Main Street
Faces
115 wavelength
Marnie
Winter light
118 Lola
carry on up the khyber
Red Beard
oliver
122 Kwaidan
123 the nutty professor
124 Stolen Kisses
125 Hud
confession of an opium eater
From russia with love
Viva las vegas
129 Salesman
130 ton ton/mousieur gangster*
An Actor's Revenge*
The Flicker*
133 Gertrud
A taste of honey
seppaku/harakiri
136 chronicle of summer
the sound of music
138 Juliet of the spirits
139 high school
The swimmer
141 black girl
the sand pebbles
scattered clouds
144 Guess who's coming to dinner
145 The Pawnbroker
Ride the high country
147 To Sir With Love
Ruined map
149 West Side Story
150 The Spy Who Came In
I'll never forget
the italian job
153 the chelsea girls
The Servant
Simon of the desert
Blast of silence
what's up tiger lily
samurai rebellion
159 paris belongs to us
Il Posto
Burn!
162 the gospel according to St. Mathew
the knack...and how to get it
164 Targets
165 shame
the sundowners
the sword in the stone
the battle of britain
169 A Thousand Clowns
In Cold Blood
Quatermass and the pit
172 skidoo
173 the silence
174 whatever happened to aunt alice?
Last summer
176 Tokyo olyimpiad
177 it's a mad mad world
Life upside down
dr. zhivago
Psych-out
the disorderly orderly
182 les bonnes
Sanjuro
the face of another
The One-armed Swordsman
The young girls of rochefort
187 shadow army
Bad girls go to hell
Barefoot in the park
A Man and A Woman
191 Wait until dark
192 Pigs & Battleships
193 the trip
194 Inherit the wind
How I Won The War
196 Seconds
El dorado
198 the party
Mothlight
heaven and earth magic
201 Saturday night and Sunday
the jungle book
onibaba
204 Two For The Road
Medium Cool
206 sword of doom
when a woman ascends the stairs
signs of life
209 Witchfinder General
210 The naked kiss
211 Mudhoney
212 Petulia
213 Closely observed trains
214 reflections in a golden eye
215 flaming creatures
216 The Wild angels
217 Putney Swope
218 The longest day
modesty blaise
220 ocean's 11
A touch of zen
the masque of red death
bob & carol & ted & alice
224 fantastic voyage
the war game
Satyricon
the russians are coming...
228 The virgin spring
Blue movie
Kes

And Daniel Rf has won the drawing for the card. Big thanks to everyone who voted.

Sometime soon i'll post a similar list of 101-228

Hmm...did my ballot get there? I think it would have come from "ian".

Playtime finishing at only #45 is even more scandalous than the nonsupport for Chelsea Girls, the Masque of the Red Death and Kes; yet like 2001 it should be seen in a theater if at all possible.

I wonder what poster art Doinel would've used for Wavelength.

Dude, you numbered it that way. (checks ballot) Oh of course, you were ranking by points, and I read it as positions. My bad. Luckily, your's was the only ballot done that way, so I can do a recount fairly easily. It will be up next week(and it'll be just a list-no pix). There'll be some definite changes in the results, altough the top 3 will stand. (maybe even the top 5.)

Sorry about the screw-up.

BTW Hobart, I got your ballot, but in the rush to finalize things I forgot to note the #1 on my rankings document. The film did get the 33 points it had coming though.

Once again I'm sorry about the screw-up.

interesting list, overall.

1. Two films have been removed from the Top 100 in exchange for two others.

2. Two films have fallen out of the top ten.

3. The positions of several other films have changed.

I'll be back in a little bit with entries for two new members of the Top 100 and a list of new rankings.

http://images-eu.amazon.com/images/P/B00004RF9H.01.LZZZZZZZ.jpg

93.The Dirty Dozen
Robert Aldrich, 1967
POINTS: 54
VOTES: 6

COMMENTS?

Not an especially interesting Aldrich film.

92. The Silence
Ingmar Bergman, 1963
POINTS: 55
VOTES: 3
#1's: 1

COMMENTS?

1. Dr. Strangelove**
2. Psycho
3. The Good The Bad & The Ugly
4. 2001: A Space Odyssey*
5. Breathless
6. The Manchurian Candidate*
7. Band of Outsiders/Bande A Part*
8. Bonnie and Clyde
9. Midnight Cowboy*
10. The Apartment
11. a hard day's night
12. The Graduate
13. Rosemary's Baby*
14. Lawrence of Arabia
15. Once Upon A Time In The West***
16. Yojimbo*
17. Jules and Jim
18. The Producers
19. Belle de jour
20. Night of The Living Dead
21. The Wild Bunch
22. Persona
23. The hustler*
24. Vivre Se Vie/My Life to Live**
25. Battle of Algiers
26. Peeping Tom
27. Le Samourai*
28. 8 1/2
29. Point blank
30. Au hasard Balthazar*
31. Butch Cassidy and the sundance kid
The Great Escape
33. Branded To Kill
34. Easy Rider
35. Repulsion**
36. High and Low
37. Lolita
38. Mary poppins*
39. weekend*
40. Help!*
41. Don't Look Back
42. La Dolce Vita
43. Playtime
44. Alphaville
45. Bullitt
46. Goldfinger
47. The Umbrellas of Cherbourg
48. Faster pussycat! Kill! Kill!*
49. Breakfast At Tiffany's
50. The Birds
51. Cool Hand Luke
52. The pink panther
53. Contempt
54. Carnival of souls*
55. The Man Who Shot Liberty Val
56. le jetee
57. Yellow submarine
58. Blow-up
59. Woman in the dunes
60. To Kill A Mockingbird*
61. One, two, three*
62. Tokyo drifter
63. Masculin feminin*
64. L'Aventura
65. Andrei rublev*
66. Z
67. The trial*
68. Billy Liar
69. Shoot The Piano Player
70. Pierrot Le Fou*
71. For a few dollars more
72. If…
73. a fist full of dollars
74. Barbarella
75. Knife in the water
76. Who's afraid of virginia woolf?
Charade
78. Bedazzled
79. the thomas crown affair
80. The exterminating angel
Mouchette
82. fahr 451
83. Les Doulos
84. Through a glass darkly
85. Spartacus
86. Planet of The Apes
87. The Loneliness of the long distance runner
88. Cleo From 5-7
89. A Woman Is A Woman
90. Cape fear
91. On her majesty's secret service
92. the silence*
93. The Dirty Dozen
94. Falstaff/chimes at midnight*
95. The magic chistian
96. My Fair lady
97 A Shot in the dark
Shock Corridor
99. The Odd couple
100. the fireman's ball

Still, it's one of the better ones in which you can see Charles Bronson punch out John Cassavettes.

http://citypages.com/movies/detail.asp?MID=4257

Where Daddy takes Tuesday Weld clothes shopping

Yes, this is a great/disturbing/wacko scene in Lord Love a Duck... which has a good first half-hour then becomes another desperate would-be-hip Hollywood comedy of the era. Not as painful or interesting as Skidoo, admittedly.

is it better than "Angel, Angel, We're Going Down"?

never heard of this -- let's stick to the 'A' pictures!

http://www.idyllopuspress.com/meanwhile/1447/blogging-angel-angel-down-we-go-aka-cult-of-the-damned/

Watched the CC edition of Medium Cool over the weekend -- the Chicago police riot footage, with Verna Bloom wandering thru in her yellow dress, is a mindblower still, tho I'm mixed on the overtly scripted stuff. Nice single-scene role for Peter Boyle. Also adroit use of that Mothers song about "psychedelic dungeons" and fake hippies.

I guess it might do better than tie for 204th now. Even tho "Look out, Haskell, it's real!" was dubbed in later.

Shirley Clarke's The Connection out on Blu-ray next week

http://www.milestonefilms.com/products/the-connection