ILX Film Club, The (1924-2019)

Here is an idea I hope catches on.
I've made a spreadsheet compiling

* The top 100 from the ILX Morbsies
* Any additional films which had a 1st place vote in said Morbsies
* The top 100 from the Sight & Sound critics' poll
* The top 100 from the Sight & Sound directors' poll

Here is the spreadsheet - please tell me if there is anything wrong and I'll do my best to fix it.

And I'm going to watch all 205 of them, one per week, in chronological order, until I finish at the start of 2027. And you can join me! If you like.

The first on the list is Sherlock Jr., from 1924 - I'll watch it this weekend, then it will be open for discussion from Monday 13th. It will be easy to share links at the start, as we go on will need more help probably. If people want to rate the films as we go, please feel free, don't think I will.

Think this will be useful for me as I have only seen 78 of these before, despite having spent three years at film school, hope it's useful to you too.

I've been privately working on catching up on the missing films from these polls; this could be fun, though, after looking at the spreadsheet, I'd be skipping the movies I haven't seen that only made the list due to someone here listing it at #1 on their ballot.

think there are only something like 15 of those in any case, we'll see how you feel when we get to Holiday On The Buses, but this project is very much a hop on, hop off deal.

Hugh Leonard, reviewing Holiday on the Buses gave the film zero stars out of four. Leonard added "This one should be buried in unhallowed ground".

I'll for sure chime in even if I haven't given the movie a fresh watch. (But I'll try my best to give each film a fresh watch.)

^ditto (except for this part)

I've been slowly watching the ones I haven't seen from the S&S top 100. It's only about 10 (though I might not see Peele's "Get Out" as I don't fancy it and it's obviously going to drop off next time).

Might extend it to the 250.

Another 40 on the rest. Would watch most of it bar Blue by Jarman. Fuck that shit.

Or Annie Hall.

Why Blue? I've always meant to "watch" that as I love a few of his other films.

xp Yeah this same project 20 years ago would have at least four or five Woody Allen films on the list, instead of zero.

I find Jarman's films to be pretty exasperating, and I feel I will hate it even when the subject matter is sad.

xp

i will try to participate, when i can! i find it really difficult to take part in film discussions, for various reasons, but i do enjoy watching them. i'm no kind of old-school buff but, due to the ilx influence (and using morbs' letterboxd list) i've seen a lot of the earlier films here, and within the last several months, to boot. it'll be nice to give them a rewatch so soon after my first encounter with them.

Sherlock Jr. is perfectly 45 minutes long

Or Annie Hall.
― xyzzzz

I'm probably one of the few (only?) people on here who was heartened to see Annie Hall show up. Not defending Woody Allen, just glad there are some people left who can make that distinction between the person and the film (easier with Rosemary's Baby/Chinatown, I think, just because they're so much better as films; also, Polanski's largely invisible, though he does have the cameo in Chinatown).

For some other thread, I know.

I think that this film club needs to do the On The Buses film trilogy to truly capture how it was in Ted Heath's Pre & Post EEC Britain.

I think we can all agree that the ending to Annie Hall is, in effect, a happy one

"just glad there are some people left who can make that distinction between the person and the film (easier with Rosemary's Baby/Chinatown, I think, just because they're so much better as films; also, Polanski's largely invisible"

I wouldn't watch a Polanski film nowadays either, Clemenza. I have no interest in supporting their work while these people are alive.

I think that this film club needs to do the On The Buses film trilogy to truly capture how it was in Ted Heath's Pre & Post EEC Britain.

― Toshirō Nofune (The Seventh ILXorai), Friday, 10 February 2023 bookmarkflaglink

We just have to step outside for that, these days..

I’m in

I think we can all agree that the ending to _Annie Hall_ is, in effect, a happy one

Ugh, for some reason, I ventured outside this safe haven and ended up interacting with Jeffrey Wells. Not pleasant.

Yeah I'm in, tho can't promise to keep up every week - one objective I have this year is to watch more films from the rest of the world than US films overall and while these lists are varied and wonderful I fear they'd still land me on the wrong side of that in the end.

Why does ILX hate L'Atalante so much?

Is this true?

Yes, fuck all canal barges.

Alba can you tell which ilxors are hating I'll bully them for you.

Ha ha I was just making a glib comment after seeing the spreadsheet and noticing tha it placed relatively well in the S&S top 100s but nowhere with ILX.

I think that applies even more to Beau Travail but I was looking at the early films.

Gonna watch Beau Travail in a proper theater next week -- my first non-DVD/streaming experience w/it!

While everyone's gearing up, a reasonably engaging quiz:

Try this quiz - https://t.co/yyLpPtjiKP pic.twitter.com/fdHFKTXEpL

— DVDBeaver (@DVDBeaver) February 11, 2023

66/100. I raced through it, probably wouldn't have done much better if I'd taken my time (I either knew it or guessed--though I would have gone back and changed a few guesses based on subsequent answers).

more mainstream:
https://www.cinenerdle2.app/

68/100. Projectionist but no professor. But what's wrong with being a projectionist?

Wtf, I'm boycotting this quiz

Reasoning?

Putting professors above projectionists!

Ah!

96/100 and only because I accidentally put Jacques Rivette when I meant François Truffaut

Check out the big brain on Brad!

77/100 -- a couple of dumb mistakes on movies I've seen, a couple of lucky guesses on movies I haven't seen

71, though at least half were guesses.

(Some of them informed guesses, though.)

76. About five films I did see and couldn't place grr

88. Nailed every one I knew, every guess I guessed wrong

Oh and messed up Spike Lee . Just couldn't place that image in that film somehow

84/100!

I guessed on most of the contemporary Asian stuff, which rarely payed off. And I got the Black female directors all switched around. The only film I've seen that I miscredited was Death of Mr. Lazarescu.

I just exchanged texts with my friend who actually is a projectionist but did not mention this quiz.

I got 89. several of them were guesses based on what I know about the filmmakers’ visual aesthetics or the time periods from the images. I got several directors mixed up - Mizoguchi and Kobayashi, Kazan and Wyler, Etrice and Saura and others. I guessed Larisa Shepitko’s The Ascent correctly only because I have recently seen stills from it on twitter, but I haven’t watched it. Also still have yet to watch Djibril Diop Mambéty’s films, a few of which are on Kanopy, or Cheryl Dunye’s The Watermelon Woman

My projectionist friend told me about this yesterday:
https://framed.wtf

I think he has a populist following in that he turns out to be the mediator, the figure of destiny that all the workers are explicitly waiting for even when they don't know who exactly who it's going to be.

of course i use subtitles to watch movies in languages i don’t speak. that doesn’t make them good for the movie.

Sometimes I think that subtitles have a negative effect, not because they disturb the purity of the image itself, but because they draw on a different, verbal part of the mind than the image and distract from it. So I wonder, "do I like this subtitled film because in fact I prefer reading"?

some of us have ears that don’t work good!

https://upload.wikimedia.org/wikipedia/commons/2/27/Sunrise_-_A_Song_of_Two_Humans.jpg

Sunrise: A Song Of Two Humans, F.W. Murnau, 1927
Morbsies #60
Sight & Sound Critics #11
Sight & Sound Directors #33

Malevolent Arugula (Alfred, Lord Sotosyn) at 3:32 10 Mar 23

If you think Metropolis is nonsensical, try Sunrise.

Daniel_Rf at 6:42 11 Mar 23

Sunrise next week, eh? Murnau I find very hard going, unless there's a vampire or a demon to liven things up.

I mean, I'd let him choke me at least once ...

https://i.redd.it/x74u3p1kv6h51.jpg

He is a bit too much into choking women and throwing them off boats, not really acceptable character traits even in a beefcake.

The sexual politics of Sunrise are bat shit even for the period.

otoh he was quite kind to the drunken piglet

Sunrise screened yesterday at a local arts theatre: about 25 people, no walkouts. The presenter did adequately but didn't prepare the uninitiated for Murnau's marriage of late 19th century tropes about city vs country, the infantilzation of a certain kind of feminine object of desire. This is a movie whose male lead chokes his lover, walks out on his wife, tries drowning her, returns to her, and tries choking the lover again; and at the same time Murnau, refreshingly, objectifies O'Brien, arranging him in one scene to look like a Harlequin romance model reversed.

I'd forgotten the comedic bits, i.e. dude obsessed with woman's shoulder strap.

the tone was just wildly all over the place, the whole fairground sequence was so out of place, and then "I know I tried to drown you this morning but let's go sailing at night!" think I could easily write pages about how bad it was and how much I hated it, but in truth it was wonderful and I absolutely loved it.

otm

I had the good luck for my first viewing of Sunrise to be on a big screen, and I went in not knowing much except it was supposed to be great. Thought it was pretty amazing visually, and yes also crazy.

I've seen Sunrise maybe 3 or 4 times through the years and it never fails to amaze me how much its pieces shouldn't work together but, ultimately, absolutely do. Best movie to ever win a best picture Oscar outside of All About Eve.

finally saw SHERLOCK JR yesterday and loved it. the film within a film conceit, culminating in proposing to the girl at the end after seeing it done on the screen, so well executed and I imaging it felt especially fresh 100 years ago. the stunts were awesome and mostly didn’t detract from the story. only major issue I had was the female lead who was kind of a zero

Enjoyed sunrise, my favourite part was the photographers face when he saw his remade statue

yeah, total reversal of expectations, like many other touches a complete joy.

I was thinking Sunrise reminds me a little of Before Sunrise, not just the name, both films we're mainly just hanging out with a couple as they spend time together.

https://upload.wikimedia.org/wikipedia/commons/d/d8/The_Passion_of_Joan_of_Arc_%281928%29_English_Poster.png

The Passion of Joan of Arc, Carl Theodor Dreyer, 1928

Morbsies # 40
Sight & Sound Critics # 21
Sight & Sound Directors # 30

This was the first one I've seen already (shocking) so I just put on my DVD, but here is a youtube link for easy viewing.

So yes, I voted for this in the morbsies poll, love it, now not sure I would put it above everything else from the 20s. her performance is outstanding, what utter devotion to a role, and not only does it look absolutely incredible, but the use of dolly shots seems revolutionary. but, do I care about it beyond the performance and the cinematography? not sure. there is a lot of theology here that goes over my head, cannot pretend I understand everything that's happening. feel like critic-wise this might be the new battleship potemkin, and there will be another in 20 years.

This one never doesn’t work on me. Watched it fresh after the S&S results and, unlike with POTEMKIN, I was engrossed the whole time and wet-cheeked by the end.

Falconetti is riveting, just one of the all-time great performances. And Dreyer basing the script on the actual trial records was a smart choice — the film is adulatory in a way but not hagiographic, imo, and I think the trial transcripts keep it grounded.

I've only seen it once, live accompaniment, definitely unforgettable (as is the quotation in My Life to Live, as is the "Nothing Compares 2 U" video).

And just in case all that’s not enough for you, Dreyer threw in Antonin Artaud to sweeten the deal.

as far as films from this era go, I loved Chaplin’s The Kid with Jackie Coogan (1921) and Safety Last! from Newmeyer/Taylor (1923) starring Harold Lloyd.

Sunrise and The Passion of Joan of Arc are two of my favorite films of all time, but I hated Metropolis

The Kid and Safety Last are both good, but a bit too basic for my tastes, I thought these two Keaton films were a nice step up from that.

I considered adding the best-rated film for every missing year, on the plus side that would have meant not just Harold Lloyd and even Méliès, but unfortunately on the negative would also have meant sitting through many hours of D.W.Griffith.

I'm hardly the person to advocate for Griffith--I've never voluntarily seen a film of his, just what I saw in film class; maybe j.lu would want to--but there are at least two films of his that are highly regarded (Way Down East and Broken Blossoms; I've seen the former) and I'm pretty sure have zero to do with the film that destroyed his stature or the follow-up that was supposed to excuse that one. But if you can't get past the fact that it was him who made them, I can appreciate that.

Yes, omitting all of Griffith, as good as it might feel, is not an accurate portrait of film history

sorry, didn't want to get into the griffith debate again, will just say that I don't agree and leave it at that

I mean, it's empirical but whatev

(Intolerance and Broken Blossoms aside, I don't even particularly enjoy Griffith that much.)

I'm doubtful there's any such thing as "an accurate portrait of film history" but even if there was I don't see that that is what we're supposed to be doing on this thread?

Been having a look through and these are the films which would be added if I followed the "one for every year" rule

Voyage dans la lune, Le Méliès, Georges 1902
After Death Bauer, Yevgeni 1915
Intolerance Griffith, D.W. 1916
Outlaw and His Wife, The Sjöström, Victor 1918
One Week Keaton, Buster & Edward F. Cline 1920
High Sign, The Cline, Edward F. and Buster Keaton 1921
Nosferatu Murnau, F.W. 1922
Safety Last Newmeyer, Fred C./Sam Taylor 1923
Unholy Three, The Conway, Jack 1930
Shanghai Express von Sternberg, Josef 1932
39 Steps, The Hitchcock, Alfred 1935
Make Way for Tomorrow McCarey, Leo 1937
Holiday Cukor, George 1938
His Girl Friday Hawks, Howard 1940
Double Indemnity Wilder, Billy 1944
Enfants du paradis, Les Carné, Marcel 1945
Victims of Sin Fernández, Emilio 1951
Kes Loach, Ken 1969
Goodbye, Dragon Inn Tsai Ming-liang 2003
Transporter 2, The Leterrier, Louis 2005
Clock, The Marclay, Christian 2010
Field in England, A Wheatley, Ben 2013
First Cow Reichardt, Kelly 2020

Love Holiday, love Kes. Simple as.

Oh god, THE CLOCK needs to be added and mandatory

and Goodbye, Dragon Inn

Victims of Sin Fernández

One of my favourite screenings over the last few years.

One Week Keaton, Buster & Edward F. Cline 1920
High Sign, The Cline, Edward F. and Buster Keaton 1921
Nosferatu Murnau, F.W. 1922
Safety Last Newmeyer, Fred C./Sam Taylor 1923
Unholy Three, The Conway, Jack 1930
Shanghai Express von Sternberg, Josef 1932

All highly recommended by me.

I'm not inclined to defend D.W. Griffith, although he definitely helped create the feature film as we now know it.

ok, I've done it.
not sure if a good idea, but I've done it.
(check link at top of thread for confusing new details)

would advise anyone about to watch Man With A Movie Camera to check the updated list.

downloaded the whole of jeanne d'arc without noticing the inter titles were in French. i might be able to scrape by with my cse grade 2.

Youtube link above has english subs, I think

Such a counter-intuitive move for a film in the pre-sound era, a court proceeding. Yet Dreyer makes it work squeezing every last drop of emotion from those faces. And of course the ending becomes plenty cinematic.

Agreed that Falconetti is superb.

The gender dynamics are so front and centre now, perhaps more than they were to people when it came out - this woman being gaslit and humiliated by a procession of grotesque men.

Failed to recognize Michel Simon, holy shit!

My own cultural context makes me read the situation as "these guys are horrible sadistic pricks, Jeanne is troubled and in need of the kind of psychological existence that didn't exist back then", but Dreyer himself was a believer, so I don't think that's how he'd read it?

Philistine alert: 80 min did still have my attention wandering, might not on the big screen tho.

the few seconds i saw when ffwding through it to check last night had some odd framing in it, shots of characters from their knees to their chins, made me wonder if i had a bad version. it also had fake red curtains added at the sides to pad it out to 16:9. :puke:

One of my most philistine takes is that Passion, though extremely great, is even better with the now-standard Einhorn accompaniment.

https://upload.wikimedia.org/wikipedia/commons/2/2b/Voyage_dans_la_lune_title_card.png

Le voyage dans la lune, Georges Méliès, 1902
Morbsies #562

Youtube link here - loads of versions on Youtube but this seems to be the best quality non-colourized, non-50fps one, if you prefer that then there are plenty of options. This version has a brass band backing which I don't care for, you can just mute it though.

Update! I had thought that the hand-colour version was lost, apparently it was found and restored. This seems to be the best version I can find - it claims to be 50fps but I can see no evidence of this.

Unlike most of the other films so far, I've watched this quite a few times. It's hard to judge by later film standards as Méliès doesn't really fit in the lineage, and if this were a history of the grammar of film-making, something like The Great Train Robbery (1903) would be more interesting, but it isn't, so it isn't. Obviously it's just a series of theatrical tableaux, but what tableaux!