22名评论家眼中的影史十佳
1
Florian Bülow
(revised list, in no particular order)
Fury 愤怒 (Fritz Lang, 1936)朗
Intimate Confessions of a Chinese Courtesan (Chor Yuen, 1972)
L'Argent 金钱 (Robert Bresson, 1983)布莱松
Late Spring 晚春 (Yasujiro Ozu, 1949)小津
Eureka 人间天堂 (Shinji Aoyama, 2000)青山真治
Le Signe du lion 狮子的印记 (Eric Rohmer, 1959)侯麦
Throne of Blood 蜘蛛巢城 (Akira Kurosawa, 1957)黑泽明
M. Butterfly蝴蝶夫人 (David Cronenberg, 1993)克罗恩伯格
El Espíritu de la colmena (Victor Erice, 1973)维克托艾里克思
The Texas Chainsaw Massacre 德州链锯杀人狂 (Tobe Hooper, 1974)托普霍伯
See also Florian's previous list: May–June 2003
Florian Bülow is 27 years old and is editor of the book review section of German film magazine F.LM.
2
Fred Camper
(revised list, in preferential order)
1. The Loyal 47 Ronin (Kenji Mizoguchi, 1942)沟口健二
2. India 印度 (Roberto Rossellini, 1958)罗西里尼
3. Arabic Series (Stan Brakhage, 1981)斯坦布莱克海奇
4. Red River 红河 (Howard Hawks, 1948)霍华德霍克斯
5. Au Hasard, Balthazar 巴尔塔萨的遭遇 (Robert Bresson,1966)
布莱松
6. Tabu (F.W. Murnau, 1930)穆瑙
7. Schwechater (Peter Kubelka, 1958)
8. Seven Women (John Ford, 1966)约翰福特
9. The Tarnished Angels (Douglas Sirk, 1957)道格拉斯西尔克
10. Bang! (Robert Breer, 1986)
See also Fred's previous list: Jul–Aug 2000
Fred Camper is a writer and lecturer on film, art, and photography who lives in Chicago. His writing appears regularly in the Chicago Reader.
3
Steve Collins
There are films that I am in awe of:
Welles' Touch of Evil (1958);
Fuller's Pickup on South Street (1953);
Von Sternberg's Scarlet Empress (1936);
Scorsese's Goodfellas (1990),
and Anthony Mann's Tin Star (1957),
but none have my heart as completely as these ten. I go to these films for nourishment.
(in no particular order)
Bonjour Tristesse (Otto Preminger, 1958)奥托普莱明格
History is Made at Night (Frank Borzage, 1937)
All That Heaven Allows (Douglas Sirk, 1955)道格拉斯西尔克
The Lusty Men (Nicholas Ray, 1952)尼古拉斯雷
The Awful Truth (Leo McCarey, 1937)
Vertigo (Alfred Hitchcock, 1958)希区柯克
The Cranes are Flying 雁南飞 (Mikhail Kalatozov, 1957)
Hana-Bi 花火 (Takeshi Kitano, 1997)北野武
French CanCan 法国康康舞 (Jean Renoir, 1955)雷诺阿
The Apartment 公寓 (Billy Wilder, 1960)比利怀尔德
If there were more than ten:
The Edge of the World (Michael Powell, 1937); 世界边缘
Black Narcissus (Michael Powell & Emeric Pressburger, 1947);黑水仙
Holiday (George Cukor, 1938); 假日
Meet Me in St. Louis (Vincente Minnelli, 1944);
The Age of Innocence (Martin Scorsese, 1993); 纯真的年代
Trouble in Paradise (Ernst Lubitsch, 1932).天堂陷阱
Steve Collins is a filmmaker living in Austin, Texas.
4
John Davies
(revised list, in preferential order)
1. Sanshô dayû (Kenji Mizoguchi, 1954)沟口健二
2. Andrei Rublev 安德列鲁布列夫 (Andrei Tarkovsky, 1966)
塔可夫斯基
3. Paris, Texas 德州巴黎 (Wim Wenders, 1984)文德斯
4. Maborosi 幻之光 (Hirokazu Koreeda, 1995)是枝裕和
5. L'Avventura 奇遇 (Michelangelo Antonioni, 1960)安东尼奥尼
6. Le Rayon vert (Eric Rohmer, 1986)候麦
7. Vale Abraão 阿布拉罕山谷 (Manoel de Oliveira, 1993)奥利维拉
8. Pather Panchali (Satyajit Ray, 1955)雷伊
9. Shin Heike Monogatari (Kenji Mizoguchi, 1955)沟口
10. The Story of the Last Chrysanthemums (Kenji Mizoguchi, 1939) 沟口
This time round I've excluded contenders which are currently in the poll's overall top ten, and which would appear to be in less need of support. So, no
Mirror镜子 (Andrei Tarkovsky, 1974);
2001: A Space Odyssey (Stanley Kubrick, 1968);
Sunrise日出 (F. W. Murnau, 1927);
La Règle du jeu 游戏规则(Jean Renoir, 1939),
or Tokyo Story 东京物语(Yasujiro Ozu, 1953) – which leaves room for three by Mizoguchi, who seems strangely neglected in recent submissions here.
See also John's previous lists: May–June 2003 May–June 2002
John Davies is a 43-year-old from Brecon, Wales, is still a publicist and researcher for the local film society and is now just an occasional writer for the MovieMail world cinema company based in the U.K.
5
Marcos Ribas de Faria
(revised list, in preferential order)
1. Jules et Jim 夏日之恋 (François Truffaut, 1962)特吕弗
2. Sunrise 日出 (F. W. Murnau, 1927)穆瑙
3. Vertigo 迷魂记 (Alfred Hitchcock, 1958)希区柯克
4. Le Carrosse d'or (Jean Renoir, 1952)雷诺阿
5. The Passenger 旅客 (Michelangelo Antonioni, 1975)安东尼奥尼
6. Singin' in the Rain 雨中曲 (Stanley Donen & Gene Kelly, 1952)
7. The Leopard 豹 (Luchino Visconti, 1963)维斯康蒂
8. Vivre sa vie 赖活 (Jean-Luc Godard, 1962)戈达尔
9. The Searchers 搜索者 (John Ford, 1956)福特
10. The Empress Yang Kwei Fei 杨贵妃
(Kenji Mizoguchi, 1955) 沟口健二
Movies also very well received:
Hiroshima mon amour 广岛之恋(Alain Resnais, 1959);雷乃
Viaggio in Italia 意大利游记(Roberto Rossellini, 1953); 罗西里尼
Tokyo Story; 东京物语
Cries and Whispers 哭喊与耳语(Ingmar Bergman, 1972); 伯格曼
Ivan The Terrible 恐怖伊凡(Sergei Eisenstein, 1945 and 1958);
爱森斯坦
Ma nuit chez Maud穆德家的一夜 (Eric Rohmer, 1969);侯麦
Opening Night (John Cassavetes, 1977); 卡萨维蒂
The Godfather Parts I–III教父 (Francis Ford Coppola, 1972–1990);
Ordet (Carl Dreyer, 1954),德莱叶
and The Four Horsemen of the Apocalypse (Vincente Minnelli, 1962).
文森明尼里 I must add that I haven't repeated directors.
See also Marcos' previous list: Nov 2000
Marcos Ribas de Faria is a Brazilian critic who writes for the website web4fun and was the film critic for the magazines Opinião, Jornal do Brasil, O Jornal, and Última Hora.
6
Anthony Dolphin
(in preferential order)
1. A Canterbury Tale 坎特伯雷故事 (Michael Powell & Emeric Pressburger, 1944)波威尔和普莱斯伯格
2. Husbands (John Cassavetes, 1970)卡萨维蒂
3. Lancelot du Lac 湖上朗斯洛 (Robert Bresson, 1974)布莱松
4. Short Cuts 短片集 (Robert Altman, 1993)艾特曼
5. Sanshô dayû (Kenji Mizoguchi, 1954)沟口
6. Andrei Rublev (Andrei Tarkovsky, 1966)塔可夫斯基
7. Dawn of the Dead 活死人黎明 (George A. Romero, 1978)
8. Safe (Todd Haynes, 1995)托德海恩斯
9. Pandora's Box (G.W. Pabst, 1928)
10. The Curse of the Cat People (Robert Wise & Gunther von Fritsch, 1944)
Always hard to put newer titles in these selections. I hope
Takashi Miike's Audition三池崇史《试镜》 (1999)
and Spielberg's A.I. (2001) seem as outstanding as they first appeared in ten or 20 years time. Most painful omissions: Ozu, Dreyer and Hitchcock.
Anthony Dolphin is a writer/musician based in Tokyo, Japan.
7
Phil Frank
(in preferential order)
1. Blue Velvet蓝丝绒 (David Lynch, 1986)林奇
2. Winter Light冬日之光 (Ingmar Bergman, 1963)伯格曼
3. The Seventh Continent (Michael Haneke, 19/8///9)米歇尔哈内克
4. 2001: A Space Odyssey (Stanley Kubrick, 1968)库布里克
5. A Zed and Two Noughts 动物园 (Peter Greenaway, 1985)格林纳威
6. The Thin Red Line 细细红线 (Terrence Malick, 1998)
7. Even Dwarfs Started Small (Werner Herzog, 1971)赫尔措格
8. Window, Water, Baby, Moving (Stan Brakhage, 1959)斯坦布莱克海奇
9. Weekend 周末 (Jean-Luc Godard, 1967)戈达尔
10. Santa Sangre圣血 (Alejandro Jodorowsky, 19///8///9)霍道罗斯基
Deserving no less love:
Il Vangelo secondo Matteo 马太福音(Pier Paolo Pasolini, 1964);
帕索里尼
The Last of England 英伦末日(Derek Jarman, 1988); 贾曼
Damnation (Béla Tarr, 1988);
Dead Man 死者(Jim Jarmusch, 1995); 吉姆贾木许
Visitor Q 拜访者Q(Takashi Miike, 2001).
Phil Frank is a 23-year-old writer and Sociology student from Los Angeles.
8
Jim Gerow
These are some of the films which have overwhelmed me and have burned lasting images in my mind:
(in roughly preferential order)
Sunrise 日出 (F.W. Murnau, 1927)
Simply the most beautiful love story ever.
Ordet (Carl Dreyer, 1954)德莱叶
A miraculous reconciliation of body and spirit.
The Magnificent Ambersons 安倍逊大族 (Orson Welles, 1942)
Brilliant long takes suffused with the passing of time, loss and regret.
Au Hasard, Balthazar巴尔塔萨的遭遇 (Robert Bresson, 1966)
A depiction of the soul through the saintly suffering and grace of a donkey.
Letter from an Unknown Woman 一个陌生女人的来信(Max Ophuls, 1948)
Ophuls' gliding camera whirls Joan Fontaine full circle to her inevitably tragic end.
Ugetsu Monogatari (Kenji Mizoguchi, 1953)沟口健二
The central ghost story and the transcendent final sequences make this endlessly watchable.
La Règle du jeu 游戏规则 (Jean Renoir, 1939)
Tout le monde a ses raisons.
Psycho 惊魂记 (Alfred Hitchcock, 1960)
The master in full command of the audience through a series of memorable set pieces.
L'Eclisse 蚀 (Michelangelo Antonioni, 1962)安东尼奥尼
Especially for the amazing seven-minute final sequence in which the urban landscape supplants the characters.
The Long Day Closes (Terence Davies, 1992)
A childhood memoir whose deliberate pace and formal precision are mesmerising.
A follow-up list might include Tokyo Story;
The Scarlet Empress;
The Searchers;
The Night of the Hunter 猎人之夜(Charles Laughton, 1955);
Muriel穆里埃尔 (Alain Resnais, 1963); 雷乃
Ali: Fear Eats the Soul 恐惧吞噬灵魂(R.W. Fassbinder, 1973);法斯宾德
Written on the Wind (Douglas Sirk, 1956); 道格拉斯西尔克
Days of Heaven 天堂的日子(Terrence Malick, 1978);
The Palm Beach Story棕榈滩故事 (Preston Sturges, 1942);
La Femme infidele (Claude Chabrol, 1969); 夏布罗尔
Vampyr 吸血鬼(Dreyer, 1932);德莱叶
Touch of Evil;邪恶的接触
L'Argent,金钱
and Kiss Me Deadly 死吻(Robert Aldrich, 1955). 罗伯特阿德里克
Jim Gerow is a legal assistant who lives in New York and thinks about film approximately 16 hours a day. He has a B.A. in Film and Theatre Studies from Hunter College.
9
Aaron William Graham
(in no particular order)
Only Angels Have Wings (Howard Hawks, 1939)霍华德霍克斯
Detour (Edgar G. Ulmer, 1945)
I Vitelloni 浪荡儿 (Federico Fellini, 1953)费里尼
Riding Shotgun (André De Toth, 1954)
Tirez sur le pianiste 枪击钢琴师 (François Truffaut, 1960)
The Wild Angels 野帮伙 (Roger Corman, 1966)
Pat Garrett and Billy the Kid (Sam Peckinpah, 1973)萨姆佩金法
Hard Times (Walter Hill, 1975)沃尔特希尔
The Killing of a Chinese Bookie (John Cassavetes, 1976)卡萨维蒂
They All Laughed (Peter Bogdanovich, 1981)彼得丹诺维奇
Five filmmakers whose body of work is all worthwhile:
Samuel Fuller,
Alfred Hitchcock,
Brian De Palma,
Akira Kurosawa
and Jean-Pierre Melville.
Aaron William Graham, 20, is an aspiring film-writer/filmmaker who splits his time between Cape Breton, Nova Scotia and Winnipeg, Manitoba.
10
Daniel Hayes
(in chronologicial order)
Winsor Mccay: Animation Legend 动画传奇 (Winsor Mccay, 1911–1921)
A Page of Madness 疯狂的一页 (Teinosuke Kinugasa, 1926)衣笠贞之助
The End of St. Petersburg彼得堡的末日 (Mikhail Doller & Vsevolod Pudovkin, 1927)普夫多金
Vida en sombras (Lorenzo Llobet Gracia, 1952)
Celui qui doit mourir (Jules Dassin, 1957)
Chimes at Midnight (Orson Welles, 1966)奥森威尔斯
Rebellion (Masaki Kobayashi, 1967)
Red Psalm 红色赞美诗 (Miklós Jancsó, 1971)米洛斯杨索
Salò 萨罗 (Pier Paolo Pasolini, 1975)
L'Argent 金钱 (Robert Bresson, 1983)
Daniel: “No Musicals, Documentaries, Westerns, or Tarkovskys?!”
Daniel: “Yes, I know... it's disgraceful. I re-compiled this damned list dozens of times trying to get it right. I ended up trying to find those films that have changed the way I view film as a whole, as opposed to ones that are simply technically perfect (La Grande Illusion [Jean Renoir, 1937], The Story of the Last Chrysanthemums) or deal with subject material that I find intriguing
(L'Amore [Roberto Rossellini, 1948],
The Travelling Players [Theo Angelopoulos, 1975]), 流浪艺人
or even accomplish both of these (Ordet).
It may seem lacking on paper, but if I ever get to start actually making films, these are the ten that will have impacted upon me more than any others.”
Daniel Hayes is a second year student of Film and Philosophy at the University of King's College and Dalhousie University in Halifax, Nova Scotia.
11
Jake Hinkson
(revised list, in no particular order, although I notice that the list goes from dark to light. All these movies represent the joy of moviemaking.)
To Live 活着 (Zhang Yimou, 1994)张艺谋
Zhang's best work to date and the best film of the Chinese new wave.
Three Colours: Blue 蓝 (Krzysztof Kieslowski, 1993)
I don't believe in “the best film ever made”. But if I had to pick one, this would be it.
Vertigo 迷婚记 (Alfred Hitchcock, 1958)
Gets better every time you see it.
Chimes at Midnight (Orson Welles, 1966)奥森威尔斯
Sad, beautiful and Welles' masterpiece.
Taxi Driver出租车司机 (Martin Scorsese, 1976)
The best American film of the last 40 years.
Ikiru 留芳颂 (Akira Kurosawa, 1952)
Kurosawa's humanist masterpiece.
L'Atalante 亚特兰号 (Jean Vigo, 1934)
Film as poetry. Gritty, sexy and real. And soaringly romantic.
To Have and Have Not (Howard Hawks, 1944)霍华德霍克斯
Bogart was never better and Hawks' direction was never so light and assured. A pure joy.
Paper Moon纸月亮 (Peter Bogdanovich, 1973)
Another film bursting with the joy of moviemaking. Funny, sweet and unsentimental.
Manhattan曼哈顿 (Woody Allen, 1979)伍迪艾伦
Crimes and Misdemeanors is more profound, but this is Allen's ode to New York and to the joy of cinema.
Honorable mentions:
John Ford: The Man Who Shot Liberty Valance (1962) – Ford's best.
Stanley Kubrick: Eyes Wide Shut (1999)紧闭双眼 – Kubrick's last, best and most underrated.
Gary Cooper: High Noon 正午(Fred Zinnemann, 1952) – Craftsmanship at its best. Cooper rules.
The Movie: Citizen Kane 公民凯恩(Orson Welles, 1941) – The best American film until Taxi Driver.
The Epic: The Godfather教父 (Francis Ford Coppola, 1972) – Irresistable, this movie works on every level. Incredible.
See also Jake's previous list: May–June 2003
Jake Hinkson is a cinephile currently enrolled in the Masters of Creative Writing program at the University of North Carolina at Wilmington.
12
Germán Kijel
(in no particular order)
Back to the Future 回到未来 (Robert Zemeckis, 1985)
La Cérémonie (Claude Chabrol, 1995)夏布罗尔
Groundhog Day (Harold Ramis, 1993)
La Jetée堤 (Chris Marker, 1962)克里斯马尔凯
Nobody Loves Me (Doris Dörrie, 1994)
Ladri di Biciclette (Vittorio de Sica, 1948)德西卡
Notorious美人计 (Alfred Hitchcock, 1946)
Rashomon 罗生门 (Akira Kurosawa, 1950)
Le Rayon vert (Eric Rohmer, 1986)侯麦
Oasis 绿洲 (Lee Chang-Dong, 2002)李沧东
I would like to mention two Argentinian films of recent years: Bolivia (Adrián Caetano, 2001) and La ciénaga (Lucrecia Martel, 2001). Both take place in the raw reality of a poor country whose base is corrupted by the absence of honesty and intelligence.
Germán Kijel is a journalist from Argentina, and writes for “El Acomodador de Cine”, a film criticism website.
13
John Robert Martin
(revised list, in approximate preferential order)
1. La Grande Illusion 大幻影 (Jean Renoir, 1937)雷诺阿
2. Pierrot le Fou 狂人彼埃罗 (Jean-Luc Godard, 1965)戈达尔
3. Marnie 玛尔尼 (Alfred Hitchcock, 1964)
4. The Wind (Victor Sjöstrom, 1928)
5. L'Atalante 驳船亚特兰号 (Jean Vigo, 1934)
6. The Portrait of a Lady 淑女本色 (Jane Campion, 1996)
7. Only Angels Have Wings (Howard Hawks, 1939)霍华德霍克斯
8. Sherlock, Jr. (Buster Keaton, 1924)巴斯特基顿
9. The Red Shoes 红菱艳 Michael Powell & Emeric Pressburger, 1949)
10. Before Night Falls 雨前 (Julian Schnabel, 2000) 朱利安施纳贝尔
See also John's previous list: Jul–Aug 2002
John Robert Martin is a student at the University of Chicago.
14
Mark Richardson
(in no particular order)
The Falls (Peter Greenaway, 1980)格林纳威
Gummo 奇异小子 (Harmony Korine, 1997)
Weekend 周末 (Jean-Luc Godard, 1967)
Buffalo 66 水牛城66 (Vincent Gallo, 1998)
Life is Cheap... But Toilet Paper is Expensive (Wayne Wang, 198////////9)王颖
The Chelsea Girls切尔西女郎 (Andy Warhol, 1966)
Morvern Callar (Lynne Ramsay, 2002)
Martin 马丁 (George A. Romero, 1977)
Slacker漫游者 (Richard Linklater, 1991)
Eraserhead橡皮头 (David Lynch, 1976)林奇
Mark Richardson is an undergraduate in Philosophy at the University of Dundee, Scotland. His articles and short stories have been published in, amongst others, The Film Journal and the Glasgow-based arts magazine, Cutting Teeth.
15
Jacobo J. Roman
(in random order, except for #1)
1. Ordet (Carl Dreyer, 1954)德莱叶
Throne of Blood (Akira Kurosawa, 1957)黑泽明
Barry Lyndon 巴里林登 (Stanley Kubrick, 1975)库布里克
Aguirre: The Wrath of God (Werner Herzog, 1972)赫尔措格
The General 将军号 (Buster Keaton/Clyde Bruckman, 1926)基顿
Sunrise日出 (F.W. Murnau, 1927)穆瑙
The Big City (Satyajit Ray, 1963)雷伊
The Red Shoes 红菱艳 (Michael Powell & Emeric Pressburger, 1949)
Seppuku (Masaki Kobayashi, 1962)
La Belle et la bête 美女与野兽 (Jean Cocteau, 1946)考克多
One movie per director. MIA's for lack of space: Leone, Visconti, Clouzot, Tarkovsky and Lang. So many things to say about my movies, but others have already done so, much better than I ever could. Why torture fellow readers with smart-arse snappy prose? Ok then: DREYER is the MAN! Falconetti is the BOMB! Julian West, keepin' it REAL! See what I mean?
Jacobo J. Roman is a movie fan in Puerto Rico who wishes for more diversity and less restrictions in film college courses. He also likes to speak and write in the third person, he thinks.
P.S. Did he mention Dreyer was the man?
16
Robert Smyth
(in alphabetical order)
Blow-Up 放大 (Michelangelo Antonioni, 1966)
The only one of Antonioni’s films in which things actually happen, and where terminal longueurs don't eventually possess us with the desire to run from the theatre. And thrilling in the '60s, because it was exactly who we wanted to be.
The Enigma of Kaspar Hauser (Werner Herzog, 1974)赫尔措格
In which Herzog goes fathoms-deep into the intimate detail of self, to demonstrate that life is viscerally woven from dreams within dreams, and the external world, which he depicts in images of breathless beauty, means nothing.
Fahrenheit 451 华氏451度 (François Truffaut, 1965)特吕弗
Stunning evocation of an artificial future. Truffaut had difficulties with English (and with Oskar Werner) but the texture, tone and colour of his most undervalued film is unique, and its redemptive denouement grows more salutary by the year.
Jules et Jim 夏日之恋 (François Truffaut, 1962)
Unchallengeable as cinema’s most lyrical hymn to life, yet in every sunlit frame there lies the terrible transience of love, youth and happiness, and the shadow of decay and death. Truffaut’s masterpiece, and the greatest film ever made.
The Ladykillers 贵妇杀手 (Alexander Mackendrick)
Sublime, acidic fable which proves that there was a reason for Alec Guinness. Every black, disquieting, hilarious moment distils the rare spirit that made Ealing such an enchanted forest in the bleak urban British '50s.
The Man Who Would Be King (John Huston, 1975)约翰休斯顿
Kipling’s short story (just 30 pages) provides the raw material for one of the few films worthy of the word epic. Huston, Connery and Caine prove that testosterone has occasionally wrought true wonders in art.
To Kill a Mockingbird 杀死知更鸟 (Robert Mulligan, 1962)
Wonderfully evocative, touching and – no other word for it – decent. Even the occasional flirtation with base melodrama does no damage to its resilient spirit. One of the rare instances of a film achieving equality with its literary source.
Wild Strawberries 野草莓 (Ingmar Bergman, 1957)
Magisterial. As though in spite of himself, Bergman allows sentiment to corrode his studied and distant view of life. Just as his aged protagonist discovers that a life of seeming achievement may in fact be fatally chimerical and empty.
Withnail and I (Bruce Robinson, 1986)
Comedy sown thick with the seeds of tragedy – elegiac, scatological and at its ending profoundly uplifting and depressing at the same time. Uncannily true to the spirit of the times it portrays, and very, very funny.
And the five that didn’t quite make the list: Kes (Ken Loach, 1969), Night of the Hunter, La Règle du jeu, The Seventh Seal (Ingmar Bergman, 1957) and La Nuit de Varennes (Ettore Scola, 1982).
Robert Smyth wrote for Nation Review and other newspapers in the 1970s and '80s, predominantly on rock music and pop culture. He declined Richard Neville's invitation to write for the short-lived The Living Daylights magazine, after which Neville refused to speak to him (an unlooked-for bonus). In 1974 he hitch-hiked from Melbourne to Sydney to see a screening of Jules and Jim at Sydney University, leaving at dawn and arriving at 7.45 pm, with 15 minutes to spare.
17
Finn Szumlas
(revised list, in preferential order)
1. The Thin Red Line细细红线 (Terrence Malick, 1998)
2. Stalker 潜行者 (Andrei Tarkovsky, 1979)
3. Alice Doesn't Live Here Anymore艾丽丝不住在这
(Martin Scorsese, 1974)
4. The Cranes are Flying 雁南飞 (Mikhail Kalatozov, 1957)
Then in chronological order:
Le Mépris 轻蔑 (Jean-Luc Godard, 1963)戈达尔
Il Deserto Rosso 红色沙漠 (Michelangelo Antonioni, 1964)
Au Hasard, Balthazar 巴尔塔萨的遭遇 (Robert Bresson, 1966)
Don't Look Now 不要回顾 (Nicolas Roeg, 1973)雷
Annie Hall 安妮霍尔 (Woody Allen, 1977)
Mauvais Sang 卑贱的血统 (Leos Carax, 1986) 里奥卡拉克斯
This new list is rather modern and completely Atlantic, but simply represents an attempt to come to some “true favorites” apart from any “representational” considerations. Very personal then once again, and I will make no excuses.
See also Finn's previous list: Apr–May 2001
Finn Szumlas is currently in the process of completing his Film Studies degree at the University of Amsterdam. He is writing his thesis on the relationships between cinema and thought from the points of view of Deleuze, Heidegger and Terrence Malick's The Thin Red Line.
18
Rüdiger Tomczak
(in no particular order)
Early Summer 早春 (Yasujiro Ozu, 1951)小津
Having to choose between a dozen masterpieces by Ozu, I will opt to mention this one.
The River大河 (Jean Renoir, 1951)雷诺阿
For mine, Renoir's most beautiful film, and in all its mood probably the only real Asian film ever made by a European.
The Puppetmaster 戏梦人生 (Hou Hsiao-hsien, 1993)侯孝贤
Choosing between Hou's masterpieces for me means to choose the most groundbreaking one.
The Cloud-Capped Star (Ritwik Ghatak, 1960)
Part 1 of his refugee-trilogy dealing with the partition of Bengal.
Mr Thankyou (Hiroshi Shimizu)
Shimizu is, with Ozu, probably one of the greatest Japanese directors, and this one I like to claim as the most beautiful road movie ever made.
The Searchers 搜索者 (John Ford, 1956)
Besides its cinematic quality it also has the most precise analysis of racism I've ever seen in American cinema.
Vertigo迷魂记 (Alfred Hitchcock, 1958)
High and Low 低下层 (Akira Kurosawa, 1963)黑泽明
People in Sheffield (Peter Nestler, 1965)
The most touching documentary I have ever seen, by one of the greatest documentary filmmakers.
Nostalgia for the Countryside (Nhat Minh Dang, 1995)
Last but not least, the masterpiece of Vietnamese cinema.
Since 1995 Rüdiger Tomczak has published shomingeki, a film magazine which is a homage to the Japanese everyday realism of the '30s, and especially to one of its masters, Yasujiro Ozu.
19
Brian Twomey
Here are the movies I love and what was influencing me on my first viewing.
(in no particular order)
Bring Me the Head of Alfredo Garcia (Sam Peckinpah, 1974)
tequila and grape soda, 70 mg of adderall
Vertigo (Alfred Hitchcock, 1958)
six fresh psilocybin mushrooms, a deep emotional attachment to Kim Novak's breasts
Fires on the Plain (Kon Ichikawa, 1959)市川昆
vodka, black coffee, Zoloft booster
El Topo (Alejandro Jodorowsky, 1971)霍道罗斯基
a chorizo torta with a hefty dose of MSG
The Destroying Angel (Peter De Rome, 1976)
the lingering dissociative effects of a week-long ketamine binge
Driller Killer (Abel Ferrara, 1979)
opium, food poisoning from the guacamole burger I ate the hour before
Assault on Precinct 13 (John Carpenter, 1976)
one super joint, cocaine
The Testament of Dr. Mabuse 马布斯博士的遗嘱 (Fritz Lang, 1932)朗
cough syrup, hypnosis
Beyond the Valley of the Dolls (Russ Meyer, 1970)
ecstasy, wine, GBH
Les Yeux sans visage 没有脸的眼睛 (Georges Franju, 1959)
LSD and pernod
There will be so many good movies I will never see, let alone make, before I die. Whatever that means. I've never seen The Bicycle Thief, Bob le Flambeur, Andrei Rublev, Casablanca, Birth of a Nation, New York Minute...
Brian Twomey lives in South El Monte, CA. He took a film class once and it was very interesting. He wants to make a movie of a screenplay he wrote two years ago, but he doesn't know the first thing about filmmaking. Ticket prices are too high and he has to drive a half hour to get to the nearest decent video store. Are there any movies about Syd Barrett or Roky Erikson?
20
Godfrey D. Vereaux
(in preferential order)
1. Topsy-Turvy (Mike Leigh, 1999)迈克李
2. I Walked with a Zombie (Jacques Tourneur, 1943)
3. This is Spinal Tap (Rob Reiner, 1983)
4. Broken Blossoms (D.W. Griffith, 1919)格里菲斯
5. Hi, Mom! (Brian De Palma, 1970)布莱恩德帕尔蚂
6. Russian Ark俄罗斯方舟 (Aleksandr Sokurov, 2002)索科洛夫
7. Happy Together 春光乍泻 (Wong Kar-wai, 1997)王家卫
8. Requiem for a Dream 迷上瘾 (Darren Aronofsky, 2000)
9. Les Enfants du Paradis 天堂的儿女 (Marcel Carné, 1945)
10. Citizen Kane 公民凯恩 (Orson Welles, 1941)
Godfrey D. Vereaux is a Baltimore educator and independent filmmaker.
21
Santiago E. Mohar Volkow
(in no particular order)
Dead Man (Jim Jarmusch, 1995)吉姆贾木许
Tokyo Story 东京物语 (Yasujiro Ozu, 1953)小津
Pulp Fiction 低俗小说 (Quentin Tarantino, 1994)
The Royal Tenenbaums (Wes Anderson, 2001)
A Clockwork Orange 发条橙子 (Stanley Kubrick, 1971)
Los Olvidados 被遗忘的人 (Luis Buñuel, 1950)
Days of Heaven 天堂的日子 (Terrence Malick, 1978)
Stalker 潜行者 (Andrei Tarkovsky, 1979)
Raging Bull 狂牛 (Martin Scorsese, 1980)
Apocalypse Now 现代启示录 (Francis Ford Coppola, 1979)
Other films I would like to mention:
A Bout de Souffle (Jean-Luc Godard, 1959);
Paris, Texas;
Fight Club (David Fincher, 1999);
Sunrise, and of course
Vertigo.
Santiago E. Mohar Volkow is a devoted cinephile and artist. He writes on cinema for the magazine ¡BU! in Mexico.
22
Turkka Ylinen
(in chronological order)
Seven Samurai七武士 (Akira Kurosawa, 1954)
Le Mépris 轻蔑 (Jean-Luc Godard, 1963)
2001: A Space Odyssey (Stanley Kubrick, 1968)
Taxi Driver出租车司机 (Martin Scorsese, 1976)
Once Upon a Time in America 美国往事 (Sergio Leone, 1984)
Hannah and Her Sisters 汉娜姐妹 (Woody Allen, 1986)
Bad Lieutenant 坏中尉 (Abel Ferrara, 1992)
Three Colours: Blue 蓝 (Krzysztof Kieslowski, 1993)
Eternity and a Day 永恒的一天 (Theo Angelopoulos, 1998)
Mulholland Drive 穆赫兰道 (David Lynch, 2001)
Five directors who should be present on the list:
Wong Kar-Wai,
Claude Sautet,
Michelangelo Antonioni,
Michael Powell
and Quentin Tarantino.
Turkka Ylinen studies communication at the University of Helsinki and works as a freelance writer.
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