ephender: lists

Eric (

ephender) wrote,
@ 2004-12-22 18:48:00

Current music:

"Polovtsian Dance No. 17," Alexander Borodin

lists
So, the Village Voice critics poll ended up not being published this week as I expected, so I got a little bit of list withdrawal. For the hell of it, I pared down my current list of film "masterpieces" down to 100 films (which I haven't done for some time). I left one slot blank for one of two reasons (your choice): a) I put both parts of Eisenstein's Ivan the Terrible into one single slot, or b) I am about to finish Feuillad's Les Vampires and can't imagine what sort of massive fuck-up in the last few chapters would have to occur before I'd be unwilling to include it in the chosen hundred.

ELECTROCUTING AN ELEPHANT (Thomas Edison, 03)

SHERLOCK, JR. (Buster Keaton, 24)
SUNRISE (F.W. Murnau, 27)
THE CAMERAMAN (Edward Sedgwick, 28)
UN CHIEN ANDALOU (Luis Buñuel & Salvador Dali, 29)
MAN WITH A MOVIE CAMERA (Dziga Vertov, 29)
MOROCCO (Josef von Sternberg, 30)

M (Fritz Lang, 31)
BLONDE VENUS (Josef von Sternberg, 32)
FREAKS (Tod Browning, 32)
LOVE ME TONIGHT (Rouben Mamoulian, 32)
L'ATALANTE (Jean Vigo, 34)
THE SCARLET EMPRESS (Josef von Sternberg, 34)
ROSE HOBART (Joseph Cornell, 36)
MAKE WAY FOR TOMORROW (Leo McCarey, 37)
THE RULES OF THE GAME (Jean Renoir, 39)

THE MAGNIFICENT AMBERSONS (Orson Welles, 42)
THE LEOPARD MAN (Jacques Tourneur, 43)
THE SEVENTH VICTIM (Mark Robson, 43)
IVAN THE TERRIBLE (Sergei Eisenstein, 44-58)
GERMANY YEAR ZERO (Roberto Rossellini, 47)
PORTRAIT OF JENNIE (William Dieterle, 48)
LONG-HAIRED HARE (Chuck Jones, 49)
STROMBOLI (Roberto Rossellini, 49)
UN CHANT D'AMOUR (Jean Genet, 50)

THE BAND WAGON (Vincente Minnelli, 53)
DUCK AMUCK (Chuck Jones, 53)
GENTLEMEN PREFER BLONDES (Howard Hawks, 53)
ALL THAT HEAVEN ALLOWS (Douglas Sirk, 55)
KISS ME DEADLY (Robert Aldrich, 55)
THE NIGHT OF THE HUNTER (Charles Laughton, 55)
ORDET (Carl Theodor Dreyer, 55)
THE WRONG MAN (Alfred Hitchcock, 56)
BONJOUR TRISTESSE (Otto Preminger, 58)
MOI, UN NOIR (Jean Rouch, 58)
THE 400 BLOWS (Francois Truffaut, 59)
IMITATION OF LIFE (Douglas Sirk, 59)
L'AVVENTURA (Michelangelo Antonioni, 60)

CHRONICLE OF A SUMMER (Jean Rouch & Edgar Morin, 61)
THE LADIES' MAN (Jerry Lewis, 61)
CLÉO FROM 5 TO 7 (Agnès Varda, 62)
CONFESSIONS OF AN OPIUM EATER (Albert Zugsmith, 62)
LA JETÉE (Chris Marker, 62)
THE BIRDS (Alfred Hitchcock, 63)
GERTRUD (Carl Theodor Dreyer, 64)
MARNIE (Alfred Hitchcock, 64)
THE PATSY (Jerry Lewis, 64)
CHIMES AT MIDNIGHT (Orson Welles, 65)
REPULSION (Roman Polanski, 65)
SIMON OF THE DESERT (Luis Buñuel, 65)
BREAKAWAY (Bruce Conner, 66)
BELLE DE JOUR (Luis Buñuel, 67)
PLAYTIME (Jacques Tati, 67)
NIGHT OF THE LIVING DEAD (George A. Romero, 68)
HI, MOM! (Brian De Palma, 70)
TRASH (Paul Morrissey, 70)

THE ACT OF SEEING WITH ONE'S OWN EYES (Stan Brakhage, 71)
THE LONG GOODBYE (Robert Altman, 73)
THE TEXAS CHAIN SAW MASSACRE (Tobe Hooper, 74)
BARRY LYNDON (Stanley Kubrick, 75)
JEANNE DIELMAN (Chantal Akerman, 75)
ASSAULT ON PRECINCT 13 (John Carpenter, 76)
GOD TOLD ME TO (Larry Cohen, 76)
THE TENANT (Roman Polanski, 76)
DESPERATE LIVING (John Waters, 77)
LE FOND DE L'AIR EST ROUGE (Chris Marker, 77; rev. 93)
SUSPIRIA (Dario Argento, 77)
3 WOMEN (Robert Altman, 77)
THE FURY (Brian De Palma, 78)
ALL THAT JAZZ (Bob Fosse, 79)
THE MARRIAGE OF MARIA BRAUN (Rainer Werner Fassbinder, 79)
STALKER (Andrei Tarkovsky, 79)
THE FOG (John Carpenter, 80)
HARDLY WORKING (Jerry Lewis, 80)
THE SHINING (Stanley Kubrick, 80)

MOMMIE DEAREST (Frank Perry, 81)
POLTERGEIST (Tobe Hooper, 82)
TENEBRAE (Dario Argento, 82)
LOVE STREAMS (John Cassavetes, 84)
DAY OF THE DEAD (George A. Romero, 85)
THE CHURCH (Michele Soavi, 88)
THE LAST TEMPTATION OF CHRIST (Martin Scorsese, 88)
A SHORT FILM ABOUT KILLING (Krzysztof Kieslowski, 88)
DO THE RIGHT THING (Spike Lee, 89)

BITTER MOON (Roman Polanski, 92)
SHOWGIRLS (Paul Verhoeven, 95)
CRASH (David Cronenberg, 96)
JACKIE BROWN (Quentin Tarantino, 97)
TASTE OF CHERRY (Abbas Kiarostami, 97)
THE THIN RED LINE (Terrence Malick, 98)
EYES WIDE SHUT (Stanley Kubrick, 99)
ESTHER KAHN (Arnaud Desplechin, 00)

A.I. ARTIFICIAL INTELLIGENCE (Steven Spielberg, 01)
MULHOLLAND DRIVE (David Lynch, 01)
DECASIA (Bill Morrison, 02)
FEMME FATALE (Brian De Palma, 02)
RUSSIAN ARK (Alexander Sokurov, 02)
THE COMPANY (Robert Altman, 03)
ELEPHANT (Gus Van Sant, 03)

Acknowledged "problems"/"limitations" of the list (in other words, "yeah, I know, so don't even mention it, ok?"): too America-centric, too auteurist-canonical in influence, overwhelmingly comprised of films I've seen quite recently (this is almost always the case, though; I'm not too worried about it).

NOTE: Edited on 12.30.04 to remove Les Vampires from the list because I claimed that it wasn't on there. Now there should be 99 titles on the list, with the hundredth pending finishing Les Vampires or deciding whether or not Hold Me While I'm Naked merits a mentch.

NOTE #2: This list has been updated. The new, less reverent 100 can be found here.

(26 comments) - (Post a new comment)

	returning 2004-12-23 01:04 am UTC (link)
	I just got my DVD of Decasia, what a magnificent film. I like the list alot, I've been working on a similar canon. (Reply to this) (Thread)

ephender
2004-12-23 01:08 am UTC (link)

Thanks. Another problem I should've acknowledged is that (and this will not sound quite the way I want it too) the list feels too "me." I think I've become so addicted to reading other people's lists that my own leaves me indifferent.

Yes, Decasia is pretty awesome. Have you seen the 7-minute coda, of sorts, "Light is Calling"? I've been lauding it as the Paradiso to Decasia's Inferno. That's the best compliment I can think of to praise it.

(Reply to this) (Parent)

rburton
2004-12-23 02:22 am UTC (link)

You inspired me to do my 100 Best.

THE HOURS (Stephen Daldry, 2002)
TALK TO HER (Pedro Almodovar, 2002)
MULHOLLAND DRIVE (David Lynch, 2001)

ALL ABOUT MY MOTHER (Pedro Almodovar, 1999)
THE ENGLISH PATIENT (Anthony Minghella, 1996)
THE PEOPLE VS. LARRY FLYNT (Milos Forman, 1996)
SECRETS & LIES (Mike Leigh, 1996)
DEAD MAN WALKING (Tim Robbins, 1995)
LEAVING LAS VEGAS (Mike Figgis, 1995)
MIGHTY APHRODITE (Woody Allen, 1995)
PULP FICTION (Quentin Tarantino, 1994)
NOBODY'S FOOL (Robert Benton, 1994)
SHORT CUTS (Robert Altman, 1993)
HOWARDS END (James Ivory, 1992)
BOYZ N THE HOOD (John Singleton, 1991)
LONGTIME COMPANION (Norman Rene, 1990)

SEX, LIES, AND VIDEOTAPE (Steven Soderbergh, 1989)
THE UNBEARABLE LIGHTNESS OF BEING (Philip Kaufman, 1989)
THE LAST EMPEROR (Bernardo Bertolucci, 1987)
BLUE VELVET (David Lynch, 1986)
MONA LISA (Neil Jordan, 1986)
THE COLOR PURPLE (Steven Spielberg, 1985)
KISS OF THE SPIDER WOMAN (Hector Babenco, 1985)
A PASSAGE TO INDIA (David Lean, 1984)
UNDER THE VOLCANO (John Huston, 1984)
FANNY AND ALEXANDER (Ingmar Bergman, 1983)
DAS BOOT (Wolfgang Peterson, 1982)
MISSING (Costa-Gavras, 1982)
ATLANTIC CITY (Louis Malle, 1981)
THE STUNT MAN (Richard Rush, 1980)

ALL THAT JAZZ (Bob Fosse, 1979)
COMING HOME (Hal Ashby, 1978)
AUTUMN SONATA (Ingmar Bergman, 1978)
STAR WARS (George Lucas, 1977)
THAT OBSCURE OBJECT OF DESIRE (Luis Bunuel, 1977)
FACE TO FACE (Ingmar Bergman, 1976)
SEVEN BEAUTIES (Lina Wertmuller, 1976)
BARRY LYNDON (Stanley Kubrick, 1975)
NASHVILLE (Robert Altman, 1975)
ALICE DOESN'T LIVE HERE ANYMORE (Martin Scorsese, 1974)
CABARET (Bob Fosse, 1972)
THE DISCREET CHARM OF THE BOURGEOISIE (Luis Bunuel, 1972)
MURMUR OF THE HEART (Louis Malle, 1972)
THE LAST PICTURE SHOW (Peter Bogdanovich, 1971)
SUNDAY BLOODY SUNDAY (John Schlesinger, 1971)
M*A*S*H (Robert Altman, 1970)
WOMEN IN LOVE (Ken Russell, 1970)

MIDNIGHT COWBOY (John Schlesinger, 1969)
THEY SHOOT HORSES, DON'T THEY? (Sydney Pollack, 1969)
Z (Costa-Gavras, 19769)
THE LION IN WINTER (Anthony Harvey, 1968)
THE GRADUATE (Mike Nichols, 1967)
BLOWUUP (Michelangelo Antonioni, 1966)
THE PROFESSIONALS (Richard Brooks, 1966)
WHO'S AFRAID OF VIRGINIA WOOLF? (Mike Nichols, 1966)
DOCTOR ZHIVAGO (David Lean, 1965)
A PATCH OF BLUE (Guy Green, 1965)
THE SHOP OF MAIN STREET (Jan Kadar & Elmar Klos, 1965)
THE UMBRELLAS OF CHERBOURG (Jacques Demy, 1964)
HUD (Martin Ritt, 1963)
LONG DAY'S JOURNEY INTO NIGHT (Sidney Lumet, 1962)
THE MANCHURIAN CANDIDATE (John Frankenheimer, 1962)
TO KILL A MOCKINGBIRD (Robert Mulligan, 1962)
BREAKFAST AT TIFFANY'S (Blake Edwards, 1961)
THE HUSTLER (Robert Rossen, 1961)
WEST SIDE STORY (Jerome Robbins & Robert Wise, 1961)
LA DOLCE VITA (Federico Fellini, 1960)
PSCYHO (Alfred Hitchcock, 1960)

THE DIARY OF ANNE FRANK (George Stevens, 1959)
IMITATION OF LIFE (Douglas Sirk, 1959)
THE DEFIANT ONES (Stanley Kramer, 1958)
THE BRIDGE ON THE RIVER KWAI (David Lean, 1957)
GIANT (George Stevens, 1956)
EAST OF EDEN (Elia Kazan, 1955)
REBEL WITHOUT A CAUSE (Nicholas Ray, 1955)
LA STRADA (Feredico Fellini, 1954)
ON THE WATERFRONT (Elia Kazan, 1954)
REAR WINDOW (Alfred Hitchcock, 1954)
A STAR IS BORN (George Cukor, 1954)
FROM HERE TO ETERNITY (Fred Zinnemann, 1953)
THE BAD AND THE BEAUTIFUL (Vincente Minnelli, 1952)
THE AFRICAN QUEEN (John Huston, 1951)
A PLACE IN THE SUN (George Stevens, 1951)
A STREETCAR NAMED DESIRE (Elia Kazan, 1951)
ALL ABOUT EVE (Joseph L. Mankiewicz, 1950)
SUNSET BOULEVARD (Billy Wilder, 1950)

THE HEIRESS (William Wyler, 1949)
HAMLET (Laurence Olivier, 1948)
THE SNAKE PIT (Anatole Litvak, 1948)
BRIEF ENCOUNTER (David Lean, 1946)
THE YEARLING (Clarence Brown, 1946)
GASLIGHT (George Cukor, 1944)
CASABLANCA (Michael Curtiz, 1943)
CITIZEN KANE (Orson Welles, 1941)
THE GRAPES OF WRATH (John Ford, 1940)
REBECCA (Alfred Hitchcock, 1940)

GONE WITH THE WIND (Victor Fleming, 1939)
THE WIZARD OF OZ (Victor Fleming, 1939)
WUTHERING HEIGHTS (William Wyler, 1939)
IT HAPPENED ONE NIGHT (Frank Capra, 1934)

(Reply to this) (Thread)

ephender
2004-12-23 02:46 am UTC (link)

Films on your list that came within spitting distance of being included on my list:

TALK TO HER (Pedro Almodovar, 2002)
SHORT CUTS (Robert Altman, 1993)
FANNY AND ALEXANDER (Ingmar Bergman, 1983)... bad DVD, didn't quite finish, liked what I saw
NASHVILLE (Robert Altman, 1975)
CABARET (Bob Fosse, 1972)
THE DISCREET CHARM OF THE BOURGEOISIE (Luis Bunuel, 1972)
BLOWUP (Michelangelo Antonioni, 1966)
WHO'S AFRAID OF VIRGINIA WOOLF? (Mike Nichols, 1966)
REAR WINDOW (Alfred Hitchcock, 1954)
CITIZEN KANE (Orson Welles, 1941)
REBECCA (Alfred Hitchcock, 1940)

(Reply to this) (Parent)(Thread)

	rburton 2004-12-23 06:49 pm UTC (link)
	I hate L'Avventura. (Reply to this) (Parent)(Thread)

	ephender 2004-12-23 07:04 pm UTC (link)
	Enjoy a life full of unerotic, unarchitectural missionary sex, my friend. (Reply to this) (Parent)(Thread)

	rburton 2004-12-24 06:54 am UTC (link)
	No, Antonioni can do better. You just left the proof off your list. (Reply to this) (Parent)

danschank
2004-12-23 04:18 am UTC (link)

1. where o where did you find a copy of rose hobart??? aaand, do you know if that by brakage thing that criterion put out inculdes his films with cornell???

2. the problem (and it's a pleasant problem) with all of you "artofvision" folks compiling best of lists is that i'm bound to utilize them for ideas regarding "what to watch," and then if we stick to this ratings thing on fridays, i run the risk of poo poo-ing everyone's beloveds, should i not agree. i'm still thankful, nonetheless.

(Reply to this) (Thread)

	ephender 2004-12-23 04:46 am UTC (link)
	Rose Hobart is on that Treasures from the American Film Archives set, which also has Battery Film on it. I only had the chance to watch those two shorts, though, before I had to return it to my friend's shelf. (Reply to this) (Parent)(Thread)

	danschank 2004-12-23 05:32 am UTC (link)
	thanks! (Reply to this) (Parent)

	returning 2004-12-23 05:42 am UTC (link)
	That American Treasures set is really worth checking out, I enjoyed it thoroughly. And no, I don't think Cornell's films (there were two right? Centauries and Wonder Ring?) were on that set. (Reply to this) (Parent)(Thread)

	ephender 2004-12-23 07:38 am UTC (link)
	Maybe you're thinking of the second set? The first one has Rose Hobart on it. (Reply to this) (Parent)(Thread)

	returning 2004-12-23 08:03 am UTC (link)
	I've seen both sets actually, I'd like to pick them up. (Reply to this) (Parent)

	sadboyq 2004-12-23 07:33 am UTC (link)
	Your list and mine would probably be radically different in some ways. And I have trouble compiling one because of my too much love for M. Godard. But that is precisely why I like your list a lot. (Reply to this) (Thread)

	ephender 2004-12-23 07:35 am UTC (link)
	Damn, I don't even have a Godard on the list! What is up with that? Lists are so disappointing, really they are. (Except for other people's lists, and this is where we are in total harmony.) (Reply to this) (Parent)(Thread)

	sadboyq 2004-12-23 07:38 am UTC (link)
	I think only something like Rosenbaum's (1000) could even begin to do justice. But then that would be so hard too!! (Reply to this) (Parent)

	ephender 2004-12-23 07:37 am UTC (link)
	Another limitation: too much horror, even still. (Two, three years ago at this time, I bet my list would have at least 40 titles that fit into the bracket of "horror." It is like porn is to murdermystery. (Reply to this) (Parent)

	damncutekitty 2004-12-23 12:59 pm UTC (link)
	OK, I'm not a move expert or anything, but why is AI on there? (Reply to this) (Thread)

ephender
2004-12-23 06:59 pm UTC (link)

I'm a little skunked with pre-Xmas stuff to write anything new on it, but here's what I wrote back in '01, fwiw:

A.I. Artificial Intelligence (Steven Spielberg): Took me by surprise as much as it did almost everyone else, and I suspect that it affected most of its audience in the exact opposite way which they had anticipated, as well (and, since most people expect a certain type of film from Spielberg, the word-of-mouth turned vicious pretty damn quick). Here's a virtual collaboration wherein the best qualities of both auteurs involved (or poseurs, although I've gone post-post-modernism as far as my take on them goes, starting to think once again that both are very much worth their reps) managed to cancel out the worst qualities of the other's. Kubrick's hazy humanitarianism is given the breath of life by Spielberg's sentiment, and Spielberg's stunted investment in philosophical ambiguity is ripped open by Kubrick's insistent irony. As a result, the film bounds wildly in pace, tone, mood. It's this lumpy quality which is turning off viewers in droves (I, for one, could have done without Robin Williams' holographic encyclopedia, although even that turns out to be a nice red herring: a throwaway vision of technology fascinated by itself and, in that, a foreshadow of the film's denouement). But it's churlish to completely dismiss the film because some aspects fail when so many others like the scenes of domestic discomfort early in the film succeed on eerie levels. For example, I was unprepared for the deep reserves of sadness in what might have been an FX-grace note in any other Spielberg film: the robot Teddy Bear, an old toy, wise to the harsh realities of his existence as a v1.0 toy. And although more people probably threw their hands up in disgust before they washed them of A.I. when the narrator introduces the sequence 2,000 years into the future, who of those invested in the film's philosophical ironies can deny the film's final haunting curlicue? In the end, the only "human" form surrounded by extremely evolved alien-like mechas, David's plea to the blue fairy to make him a real boy has come as tragically true as possible.

(Reply to this) (Parent)

Jaime's list
(Anonymous)
2004-12-23 02:57 pm UTC (link)

As posted on Rotten Tomatoes. Deliberate and unfair exclusions such as all Best Picture/Director nominees/winners, some other things.

À nos amours (Maurice Pialat)
Abraham's Valley (Manoel de Oliveira)
Au hasard Balthazar (Robert Bresson)
Ballad of Narayama (Shohei Imamura)
Bend of the River (Anthony Mann)
Blonde Venus (Josef von Sternberg)
Breathless (Jean-Luc Godard)
Carlito's Way (Brian De Palma)
Chimes at Midnight (Orson Welles)
Code Unknown (Michael Haneke)
Cosmic Ray (Bruce Conner)
Counsellor-at-Law (William Wyler)
Daisy Kenyon (Otto Preminger)
Day of the Outlaw (André de Toth)
Days of Eclipse (Alexander Sokurov)
Distant Voices, Still Lives (Terence Davies)
Do the Right Thing (Spike Lee)
Dogville (Lars von Trier)
Dough for the Do-Do (Friz Freleng)
Esther Kahn (Arnaud Desplechin)
Eureka (Shinji Aoyama)
Eyes Wide Shut (Stanley Kubrick)
F for Fake (Orson Welles)
Floating Clouds (Mikio Naruse)
Fresh (Boaz Yakin)
Greed (Erich von Stroheim)
Hamlet (Michael Almereyda)
His Girl Friday (Howard Hawks)
I Shot Jesse James (Samuel Fuller)
In a Lonely Place (Nicholas Ray)
Je t'aime, je t'aime (Alain Resnais)
Judex (Louis Feuillade)
La Guerre est finie (Alain Resnais)
La Jetée (Chris Marker)
L'Âge d'or (Luis Buñuel)
L'Atalante (Jean Vigo)
Lost Highway (David Lynch)
M. Hulot's Holiday (Jacques Tati)
Make Way for Tomorrow (Leo McCarey)
McCabe & Mrs. Miller (Robert Altman)
Monsieur Verdoux (Charles Chaplin)
Mother and Son (Alexander Sokurov)
My Darling Clementine (John Ford)
My Night at Maud's (Eric Rohmer)
Neighbors (Edward F. Cline and Buster Keaton)
Neon Genesis Evangelion (Hideaki Anno)
Notorious (Alfred Hitchcock)
On Dangerous Ground (Nicholas Ray)
Only Angels Have Wings (Howard Hawks)
Opening Night (John Cassavetes)
Othello (Orson Welles)
Our Daily Bread (King Vidor)
Parade (Jacques Tati)
Park Row (Samuel Fuller)
Pickpocket (Robert Bresson)
Play Dirty (André De Toth)
Playtime (Jacques Tati)
Pulse (Kiyoshi Kurosawa)
Raising Arizona (Joel Coen)
Red River (Howard Hawks)
Ride Lonesome (Budd Boetticher)
Rio Bravo (Howard Hawks)
Russian Ark (Alexander Sokurov)
Sans soleil (Chris Marker)
Scenes from The Other Side of the Wind (Orson Welles) [Munich construction]
Seven Samurai (Akira Kurosawa)
Sherlock, Jr. (Buster Keaton)
Strangers on a Train (Alfred Hitchcock)
Sweetie (Jane Campion)
Terminator 2: Judgment Day (James Cameron)
Testament of Dr. Mabuse, The (Fritz Lang)
The Big Parade (King Vidor)
The Birds (Alfred Hitchcock)
The Crowd Roars (Howard Hawks)
The Fall of the House of Usher (Jean Epstein)
The Ladies' Man (Jerry Lewis)
The Last Bolshevik (Chris Marker)
The Marquise of O… (Eric Rohmer)
The Mortal Storm (Frank Borzage)
The Nutty Professor (Jerry Lewis)
The Passion of Joan of Arc (Carl Theodor Dreyer)
The Patsy (Jerry Lewis)
The Sacrifice (Andrei Tarkovsky)
The Searchers (John Ford)
The Shining (Stanley Kubrick)
The Trial (Orson Welles)
The Wrong Man (Alfred Hitchcock)
This Land is Mine (Jean Renoir)
Throne of Blood (Akira Kurosawa)
Time Without Pity (Joseph Losey)
To Have and Have Not (Howard Hawks)
Touch of Evil (Orson Welles)
Twin Peaks: Fire Walk with Me (David Lynch)
Two Weeks in Another Town (Vincente Minnelli)
Two-Lane Blacktop (Monte Hellman)
Vertigo (Alfred Hitchcock)
Week End (Jean-Luc Godard)
Werckmeister Harmonies (Béla Tarr)
When a Woman Ascends the Stairs (Mikio Naruse)
Zulu (Cy Endfield)

And then I rated the list for sexiness:

From:

1 - "nothing"

To:

10 - "nutting"

In some cases, one sexy scene bumped the rating up in a big way.

Tens (6)
Nines (5)
Eights (12)
Sevens (11)
Sixes (19)
Fives (9)
Fours (6)
Threes (15)
Twos (9)
Ones (8)

(Reply to this) (Thread)

Re: Jaime's list

ephender
2004-12-23 07:02 pm UTC (link)

I saw that over there, which is one reason I undertook (?) such a task yesterday while procrastinating over wrapping presents.

I must know what the eight cold fish, unsexy films on your list are. I assume that Blonde Venus isn't among them.

Deliberate and unfair exclusions such as all Best Picture/Director nominees/winners, some other things.

This, I presume, explains the absence of All That Jazz and The Grapes of Wrath, right?

(Reply to this) (Parent)(Thread)

	Re: Jaime's list (Anonymous) 2004-12-28 05:26 am UTC (link)
	"This, I presume, explains the absence of All That Jazz and The Grapes of Wrath, right?" And SAVING PRIVATE RYAN, and CITIZEN KANE, etc. I think MAKE WAY FOR TOMORROW has other merits besides its sexiness. You should restore your best-of lists. Maybe I'll reorganize mine by auteur. You know, go totally auteurist. The more I think about it, the more it makes sense. (Reply to this) (Parent)

	My top 100 opalfilms 2005-06-06 08:56 pm UTC (link)
	My personal canon can be found at: http://hkoreeda.tripod.com/top100/ Interesting list you've got, to say the least. Looks like I need to watch some Jerry Lewis movies. Also, good job including my personal #1. ~~ Paul (Reply to this) (Thread)

	Re: My top 100 ephender 2005-06-12 07:10 am UTC (link)
	The Mother and the Ho and Woman Straddling the Dunes are two I really need to see soon. The Singing Detective and Les Bonnes Femmes are on the Netflix queue. (Reply to this) (Parent)

	What i can find on this forum ? I new here (Anonymous) 2008-04-10 05:00 pm UTC (link)
	Hey people. Best canadina pharmacy here: http://phentermineonline1.blog-br.com/ (Reply to this)

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