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

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.

http://images-eu.amazon.com/images/P/1572521783.01.LZZZZZZZ.jpg

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!