“Why would I tie myself to one woman if I were interested in others?” says Jerôme, even as he plans on marrying a diplomat’s daughter by summer’s end. Before then, Jerôme spends his July at a lakeside boardinghouse nursing crushes on the sixteen-year-old Laura and, more tantalizingly, Laura’s long-legged, blonde stepsister, Claire. Baring her knee on a ladder under a blooming cherry tree, Claire unwittingly instigates Jerôme’s moral crisis and creates both one of French cinema’s most enduring moments and what has become the iconic image of Rohmer’s Moral Tales.
By this far, when making this listing project, I have seen only three movies by Eric Rohmer. I can guarantee that I never get bored to him. Rohmer's ability to create relationships between the characters is amazing and Claire's Knee is perfect example for that. Characters are all loveable and different from each other. Landscapes are awesome and visually this is great. But nothing compares to the story of the movie. Love is haunting instinct and it won't leave any of the characters in peace - especially Jerôme. Jean-Claude Brialy's performance as Jerôme, Laurence de Monaghan's performance as Claire, Aurora Cornu's performance as Aurora and Béatrice Romand's performace as Laura are all great.
A singular work in film history, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow—whose chores include making the beds, cooking dinner for her son, and turning the occasional trick. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades.
Chantal Akerman gives audience a lot of time to think during and after this film. This is one of so called "epics" in this list with its over three-hour-length. Delphine Seyrig's performance is her greatest I've seen and definitely one of the greatest ever in the history of cinema. Every day is similar for this lonely woman of bourgeoisie. That cycle seems boring for her but it is everything than boring for audience: it is all done so perfectly and the harmony of the screen is sensible. Camerawork is simply wonderful and everything looks great. Beautiful and great movie, pure masterpiece. Movie experience like no other.
Six-year-old Ana is a shy girl who lives in the manor house in an isolated Spanish village on the Castille plateau with her parents Fernando and Teresa and her older sister, Isabel. The year is 1940, and the civil war has just ended with the Francoist victory over the Republic. Her aging father spends most of his time absorbed in tending to and writing about his beehives; her much younger mother is caught up in daydreams about a distant lover, to whom she writes letters. The entire family is never seen together in a single shot. Ana's closest companion is Isabel, who loves her but cannot resist playing on her little sister's gullibility.
Before I had seen this film, I somehow knew Víctor Erice could be a big fish. And all I got was awesomeness. Everything is slowly going forward and making anything to make viewer comfortable. Well not really. Erice got something more inside this one and viewer won't get easy through the film. Erice handles family relations very well and conflicts in Spain are shown beautifully. One of the greates films ever made in Spain, one of my favorite movies ever. Children in their roles are amazing: Ana Torrent is wonderful and Isabel Tellería isn't much worse than that.
Celine (Juliet Berto), a magician, and Julie (Dominique Labourier), a librarian, meet in Montmartre and wind up sharing the same flat, bed, fiance, clothes, identity and imagination. Soon, thanks to a magic sweet, they find themselves spectators, then participants, in a Henry James-inspired 'film-within-the film' a melodrama unfolding in a mysterious suburban house with the 'Phantom Ladies Over Paris' (Bulle Ogier and Marie-France Pisier), a sinister man (Barbet Shroeder) and his child. The atmosphere, however, is more Lewis Carroll, with Juliet Berto and Dominique Labourier as twin Alices. The four main actresses improvised their own dialogue in collaboration with Rivette and scriptwriter Eduardo de Gregorio.
This is my first movie ever seen by Jacques Rivette and definently not the last. Rivette's three-hour epic (if that word is the right one to describe this movie) something that you have never seen before and ever will see. Rivette uses whole of that time perfectly to make right kind of atmosphere to this film and the characters are all such a interesting kind. Absurd humor fits perfectly and everything looks absolutely spectacular. Even the title is absurd. Quite often this movie is compared to Alice in Wonderland or that Mulholland Dr. has got some infuelnce of this film and I can't argue with that. Rivette is movie maker one of the kind and Céline and Julie Go Boating is perfect demonstration of that.
Carlos Saura’s exquisite Cría cuervos . . . heralded a turning point in Spain: shot while General Franco was on his deathbed, the film melds the personal and the political in a portrait of the legacy of fascism and its effects on a middle-class family (the title derives from the Spanish proverb: “Raise ravens and they’ll peck out your eyes”). Ana Torrent (the dark-eyed beauty from The Spirit of the Beehive) portrays the disturbed eight-year-old Ana, living in Madrid with her two sisters and mourning the death of her mother, whom she conjures as a ghost (an ethereal Geraldine Chaplin). Seamlessly shifting between fantasy and reality, the film subtly evokes both the complex feelings of childhood and the struggles of a nation emerging from the shadows.
Ana Torrent might be the greates child actor ever. This is second movie on this list to include Ana Torrent in it's cast. Ana Torrent is again amazing but again I have to say that other children in their roles are not much worse. Geraldine Chaplin in her double role is also fantastic. Movie handles family relationships in a wonderful way. Saura's way to show children growing is touching and I could never imagine that somebody else could do any better work. Musical side is also great in this one.
Master thief Corey (Alain Delon) is fresh out of prison. But instead of toeing the line of law-abiding freedom, he finds his steps leading back to the shadowy world of crime, crossing those of a notorious escapee (Gian Maria Volonté) and alcoholic ex-cop (Yves Montand). As the unlikely trio plots a heist against impossible odds, their trail is pursued by a relentless inspector (Bourvil), and fate seals their destinies. Jean-Pierre Melville’s Le cercle rouge combines honorable anti-heroes, coolly atmospheric cinematography, and breathtaking set pieces to create a masterpiece of crime cinema.
It took me some while to fall in love with works of Jean-Pierre Melville. Le Cercle Rouge was the movie to make that kind of effort on me. Sort of simple crime story is just a pleasure to watch and Melville has done it with style. Visually gorgeous and clever movie on every level. Alain Delon in the leading role is amazing.
After being cruelly set up and deceived by Sugimi (Natsuyagi Isao), a conniving and crooked detective she had whole-heartedly fallen in love with (and subsequently lost her virginity to...), Matsushima Nami's desire for revenge knows no bounds. Her failed attempt at stabbing Sugimi on the steps of the Tokyo Metropolitan Police Headquarters results in her doing hard time in a female prison run by sadistic and horny male guards. To Sugimi's surprise, Matsushima refuses to testify against him and his connections to the mob, and now the sheer fact that she knows such secrets makes her a liability. So Sugimi and the Japanese mafia orchestrate a plan whereby Matsushima will succumb to an "accidental" death in prison. They enlist the help of Kagiri, another female inmate with ties to both Sugimi and the mafia, thus their formidable plan is quickly set in motion. Little do they realize, however, how hotly Matsushima's desire for revenge burns within her.
I'm sure this list deserves whole Scorpion trilogy of Shunya Ito but this one is to represent those special movies. My rule was also that only one movie per director so there is second reason why only this one is here. But honestly, this is the greatest of those three. Story of Sasori (Scorpion) begins in a stunning way. Sasori has gone through heaven and hell and ended up maybe the worst hell of them all - women's prison. Meiko Kaji in her role is nothing less than amazing and everything in this film is more than marvellous. Wards in their roles are perfect deuces and everything is well done when it comes to acting and casting. Includes also one of the greatest soundtracks ever!
Near a gray and unnamed city is the Zone, an alien place guarded by barbed wire and soldiers. Over his wife's numerous objections, a man rises in the dead of night: he's a stalker, one of a handful who have the mental gifts (and who risk imprisonment) to lead people into the Zone to the Room, a place where one's secret hopes come true. That night, he takes two people into the Zone: a popular writer who is burned out, cynical, and questioning his genius; and a quiet scientist more concerned about his knapsack than the journey. In the deserted Zone, the approach to the Room must be indirect. As they draw near, the rules seem to change and the stalker faces a crisis.
It was a pretty hard to pick only one film from the Russian master and this is where I ended up. Story is amazing and mixing the colors and black&white technique makes unique style for this film. Actors in leading roles are amazing.
The plot focuses on a prominent concert pianist, Charlotte Andergast (Ingrid Bergman), who has been neglectful and dismissive of her children, whom she has not seen in over seven years. Charlotte decides to make a visit to her eldest daughter, Eva (Liv Ullmann) at her remote house, where she lives with her husband, Viktor (Halvar Björk). Upon arrival, Charlotte discovers that her other daughter, Helena (Lena Nyman), who is mentally and physically disabled (and was placed in an institution by Charlotte) is living with and being taken care of by Eva. Wounded by the neglect and selfishness of her mother, Eva begins to spill all of the things she has ever wanted to say to Charlotte, and as the evening progresses, the tension culminates to a wave of harsh words and exposure of true feelings that change their mother-daughter relationship forever.
One of my favorites from the Swedish master. Twisted family relationships and twisted characters evokes both repulsion and admiration. Dialogue is beautiful and so is the rest of the movie too.
How to describe Nobuhiko Obayashi’s indescribable 1977 movie House (Hausu)? As a psychedelic ghost tale? A stream-of-consciousness bedtime story? An episode of Scooby-Doo as directed by Mario Bava? Any of the above will do for this hallucinatory head trip about a schoolgirl who travels with six classmates to her ailing aunt’s creaky country home and comes face-to-face with evil spirits, a demonic house cat, a bloodthirsty piano, and other ghoulish visions, all realized by Obayashi via mattes, animation, and collage effects. Equally absurd and nightmarish, House might have been beamed to Earth from some other planet. Never before available on home video in the United States, it’s one of the most exciting cult discoveries in years.
I think I've never seen funnier horror movie than House. Visually amazing and syrupy soundtrack fits perfectly in the movie. Character are named by their characteristics as Melody, Kung-fu and many more. Definitely deserves its place on this list. This is just crazy.
A few decades after the destruction of the Inca empire, a Spanish expedition leaves the mountains of Peru and goes down the Amazon river in search of gold and wealth. Soon, they come across great difficulties and Don Aguirres, a ruthless man who cares only about riches, becomes their leader. But will his quest lead them to "the golden city", or to certain destruction?
This is the film that guided me to the interesting world of Werner Herzog and Klaus Kinski. Visually great and stoy of greed and Kinski's performance is one of the kind.
A gang of thieves hijack a man's car after botching their getaway from a robbery. They take a woman prisoner and command the man to drive them to safety. The man must try to cope with the bad situation he is in as well as trying to get help for a sick child that he is caring for.
For me, Mario Bava was quite new friend when starting to watch Rabid Dogs. I had only seen his last movie, Shock. Thrilling tensions works brilliantly through the film and little twists in the plot are really surprising. Actors in their roles are all good but special honour I'd like to give to the kidnapped woman, who cries almost the whole film.
A Christlike figure wanders through bizarre, grotesque scenarios filled with religious and sacrilegious imagery. He meets a mystical guide who introduces him to seven wealthy and powerful individuals, each representing a planet in the solar system. These seven, along with the protagonist, the guide and the guide's assistant, divest themselves of their worldly goods and form a group of nine who will seek out the Holy Mountain, in order to displace the gods who live there and become immortal.
I have loved all the movies from Jodorowsky that I've seen. The Holy Mountain isn't exception there. Jodorowsky sure is master of surrealism and The Holy Mountain is just one movie more proof for that. Story is absolutely beautiful and characters are all one lovelier than another.
Upon moving to Britain to get away from American violence, astrophysicist David Sumner and his wife Amy are bullied and taken advantage of by the locals hired to do construction. When David finally takes a stand it escalates quickly into a bloody battle as the locals assault his house
I don't think this could be same film at all as cutted. So I demand everyone who is going to watch this masterpiece, must watch it uncut. This is the most ruthless movie from Peckinpah and the greatest from him also. Our heroes are in the middle of hell, especially heroine Amy Summer (Susan George). Amy is the most wanted woman in the circle of neigbours men and some of them are ready to make anything to get her. When our heroes takes justice in their own hands, our eyes get again much western-like violence of Peckinpah. Susan George and Dustin Hoffman in their roles are excellent.
It took 20 years before this movie was complitely allowed again to show the audience. Politically anti-communist theme was so hard bit to take to the Czech society that this movie was immediatly banned after releasing. Movie hasn't lost any of its power after all these years and shows perfectly the atmosphere of Communist government. Politically this movie is heavy but viewer should not forget what is going on in the relationship of Anna and Ludvík. Black and white fits perfectly and makes visual style amazing. This film is often compared to the play Who's afraid of Virginia Woolf? and no wonder. This one has though more political message but what ever.
Vengeance. I'd like to get a perfect elucidation for that word from the writer of the book (Ryuzo Saki) or Imamura. What has vengeance anything to do with Iwao Enokizu or Akira Nishiguchi (original name of the murderer is Akira Nishiguchi, but Imamura replaced that with Enokizu)? No matter if the motivation was vengeance or just to have pure fun, I really enjoyed this movie. Movie begins with showing the conclusion of Enokizu and goes back to show the people how Enokizu ended up in a situation like that. Enokizu's character is pure evil and deserves no sympathy, so there is no speak of sympathy for mr. Vengeance (ho-hoh-hoo..). Technically terrific and touching movie on every level. Second movie on this list to handle family realtions in a most beautiful way.
Still one of American cinema's most powerful, daring film-making debuts, Terrence Malick's Badlands is a quirky, visionary psychological and social enigma masquerading as a simple lovers-on-the-run flick. Inspired by the 1958 murders in the cold, stark badlands of South Dakota by Charles Starkweather and Caril Ann Fugate, the film's plot, on the surface, is similar to that of other killing-couple films, like Bonnie and Clyde and Gun Crazy. Martin Sheen, in an understated, sophisticated performance, plays the strange James Dean-like social outcast who falls in love with the naïve Sissy Spacek--and then kills her father when he comes between them. The two flee like animals to the wilderness, until the police arrive and the killing spree begins.
Malick's first feature convinced me and (hopefully) everybody else too. Love story starts so simply that you could never guess how's it going to end. Badlands is perfect guideline to Malicks later works with its peaceful story and camerawork looks at least as peaceful. Actors in the leading roles are amazing: Sissy Spacek is young and innocent and Martin Sheen is a total badass.
Protagonist Alex is an "ultraviolent" youth in futuristic Britain. As with all luck, his eventually runs out and he's arrested and convicted of murder and rape. While in prison, Alex learns of an experimental program in which convicts are programed to detest violence. If he goes through the program his sentence will be reduced and he will be back on the streets sooner than expected. But Alex's ordeals are far from over once he hits the mean streets of Britain that he had a hand in creating.
This was my first ultra violent movie. I really like the book but maybe the movie even more. Film has visualised surrealistic atmosphere well and looks absolutely fantastic. Malcolm McDowell in his role is great. Everything works in this film.
The story begins as "Don" Vito Corleone, the head of a New York Mafia "family", oversees his daughter's wedding. His beloved son Michael has just come home from the war, but does not intend to become part of his father's business. Through Michael's life the nature of the family business becomes clear. The business of the family is just like the head of the family, kind and benevolent to those who give respect, but given to ruthless violence whenever anything stands against the good of the family. Don Vito lives his life in the way of the old country, but times are changing and some don't want to follow the old ways and look out for community and "family". An up and coming rival of the Corleone family wants to start selling drugs in New York, and needs the Don's influence to further his plan. The clash of the Don's fading old world values and the new ways will demand a terrible price, especially from Michael, all for the sake of the family.
It was a bit hard to pick one movie from Coppola. I like whole Coppola's production of the 70s and somehow I ended up in The Godfather. This might have a bit nostalgic value because The Godfather was one of the first "cult classic films" that I saw when I started watch movies "as a hobby".
Children getting murdered, women getting beated... How could anyone hate this film? But this movie isn't only about killing and beating...or is it? Fulci has created story that cheats audience perfectly all through this film. Bloody, brutal and mysterious bestness.
John Cassavetes’ devastating drama details the emotional breakdown of a suburban housewife and her family’s struggle to save her from herself. Starring Peter Falk and Gena Rowlands (in two of the most harrowing screen performances of the 1970s) as a married couple deeply in love yet unable to express that love in terms the other can understand, the film is an uncompromising portrait of domestic turmoil.
A Woman Under the Influence is very strong movie. Family relations are shown cruelly and characters are adorable. There's no question of that who is stealing whole show: Gena Rowlands as Mabel Longhetti. Peter Falk as her husband Nick is also really great. Story is told beautifully and themes are marvellous.
Michael, Steven and Nick are young factory workers from Pennsylvania who enlist into the Army to fight in Vietnam. Before they go, Steven marries the pregnant Angela and their wedding-party is also the men's farewell party. After some time and many horrors the three friends fall in the hands of the Vietcong and are brought to a prison camp in which they are forced to play Russian roulette against each other. Michael makes it possible for them to escape, but they soon get separated again.
Vietnam hasn't ever been my war but still there are few films that makes that war look so interesting. Michael Cimino's The Deer Hunter is my #1 film about war of Vietnam. The Deer Hunter doesn't actually show the war itself but it shows perfectly the effect of war in everyday life and how it brakes man from inside. De Niro in the leading role is amazing but Christopher Walken in the supporting role is even more amazing.
Valerie and Her Week of Wonders mixes horror, fairytale, surrealism and Freudian symbolism to depict the fantastical world inhabited by a young girl on the threshold of adulthood. Haunting and dreamlike, beguiling and magical, the film is a work of pure imagination, and has become a cult classic.
Jaromil Jiles got me a big time. Czech New Wave has opened me little by little and Valerie and Her Week of Wonders was one of the first films to me from that era. This film is something weird and fantastic, very loveable. Agonizing atmosphere works brilliantly for the whole film.
The film begins in a (fictional) English girls' school in the Australian bush. The school is headed by Mrs. Appleyard (Rachel Roberts), an indomitable and unbending figure of authority. Her staff include the remote mathematics mistress Miss Greta McCraw (Vivean Gray), said to have a 'masculine' intellect, who vanishes on the Rock with three pupils; the young and beautiful Mademoiselle de Portiers (Helen Morse), who teaches French and deportment; and the jittery Miss Lumley (Kirsty Child), who is anxious to please Mrs. Appleyard.
Thrilling movie with different ways of horror. This is not so traditional ghost story while using unvisual effects perfectly. Horror developes in the viewers head and the atmosphere is brilliant.
Eric, a sculptor, wakes up recalling a disturbing dream followed by frantically picking up random women from the streets and taking them back to his studio for sex. However, he is clearly distressed about something, and it turns out that this is the aftermath of his breakup with Olga. The movie then recounts his relationship with Olga.
Verhoeven's cruel visual style is very effective. Verhoeven isn't afraid of showing bare skin or cruel executions and everything is been showed with style of his own.
A complex, shifting, virtually plotless web of dreams within dreams within dreams, centered around a group of six outwardly respectable upper-middle class members of society and their repeatedly thwarted attempts to have a meal together - the interruptions becoming more and more surreal as the film progresses.
The Discreet Charm of the Bourgeoisie has definitely been funniest and graziest film by Buñuel that I've seen so far. Plot is something totally weird and still so charming. Delphine Seyrig is again fantastic in her role and so is Fernando Rey also.
A mentally unstable Vietnam war veteran Travis Bickle works as nighttime taxi driver in a city whose perceived decadence and sleaze feeds his urge to violently lash out, attempting to save a teenage prostitute in the process.
New York hasn't ever been filthier than it is in Taxi Driver. Travis Bickle's (Robert De Niro) way to look life from very bleak point of view looks brilliant. Robert De Niro in leading role is a perfect anti-hero and performance is also brilliant. Jodie Foster as a kid is good also.
Monty Python and the Holy Grail loosely follows the legend of King Arthur. Arthur (Graham Chapman) along with his squire, Patsy (Terry Gilliam), recruits his Knights of the Round Table, including Sir Bedevere the Wise (Terry Jones), Sir Lancelot the Brave (John Cleese), Sir Robin the Not-Quite-So-Brave-As-Sir-Lancelot (Eric Idle) and Sir Galahad the Pure (Michael Palin), and the aptly named, Sir Not-Appearing-In-This-Film. The group is instructed by God (represented by an animated photograph of legendary cricket figure W. G. Grace) to seek out the Holy Grail. They are led to a castle controlled by the French where they believe the Grail is being held. After being insulted in mangled Franglais and failing to invade the castle in a Trojan Rabbit, Arthur decides that they must go their separate ways to seek out the Grail.
Hilarious group of Monty Python strikes with this brilliant movie. Gilliam's animations look brilliant and so does the rest of the movie. One of the greatest comedies ever made.
Romantic adventures of neurotic New York comedian Alvy Singer and his equally neurotic girlfriend Annie Hall. The film traces the course of their relationship from their first meeting, and serves as an interesting historical document about love in the 1970s.
Every film by Woody Allen has its own mood but ne quality I have found very common - each one that I've seen has some sort of feel-good mood. Annie Hall might be the best movie to represent that quality. Love story is anything but simple and Woody handles it very well. Characters are interesting and when the story is interesting too, this whole movie is very interesting. Comedic side is brilliant.
Yuki's family is nearly wiped out before she is born due to the machinations of a band of criminals. These criminals kidnap and brutalize her mother but leave her alive. Later her mother ends up in prison with only revenge to keep her alive. She creates an instrument for this revenge by purposefully getting pregnant. Though she dies in childbirth, she makes sure that the child will be raised as an assassin to kill the criminals who destroyed her family. Young Yuki never knows the love of a family but only killing and revenge.
Another Pinky Violence film in the list and again the star is Meiko Kaji. This bloody vengeance story is one of the kind. Fighting scenes are cool and story is magnificent.
A visiting actress in Washington, D.C., notices dramatic and dangerous changes in the behavior and physical make-up of her 12-year-old daughter. Meanwhile, a young priest at nearby Georgetown University begins to doubt his faith while dealing with his mother's terminal sickness. And, book-ending the story, a frail, elderly priest recognizes the necessity for a show-down with an old demonic enemy.
I have never been a big fan of horror movies but slowly I've got interested about them more and more. The Exorcist was such a long time one of those horror movies that I was afraid of to watch. After all the prejudices this was quite the same that I expected. Elements of horror are being used brilliantly and seriously, whole two-hour length I was scared. This is not full of any stupid shocks of fear, all of this is one big shock. Religious themes are fantastic, just like the whole movie.
'Let Jesus fuck you, let Jesus fuck you. Let him fuck you.'
In this adaptation of the Thomas Mann novel, avant-garde composer Gustave Aschenbach (loosely based on Gustav Mahler) travels to a Venetian seaside resort in search of repose after a period of artistic and personal stress. But he finds no peace there, for he soon develops a troubling attraction to an adolescent boy, Tadzio, on vacation with his family. The boy embodies an ideal of beauty that Aschenbach has long sought and he becomes infatuated. However, the onset of a deadly pestilence threatens them both physically and represents the corruption that compromises and threatens all ideals.
Visconti is one of my alltime favorite directors, no doubt about it. Death in Venice is interesting work from him by the character in the leading role searching the beauty in the world, also in the sexual way. It is fun to discover the connections of the movie into Visconti's real life. Beautiful, definitely a masterpiece.
A musician witnesses the murder of a famous psychic, and then teams up with a fiesty reporter to find the killer while evading attempts on their lives by the unseen killer bent on keeping a dark secret buried.
It was a bit hard to pick one from Argento too, when I had two options: Deep Red or Suspiria. Although world of Suspiria made a big effect on me with its bright colors I ended up in Deep Red. Mystery behind murders is fascinating and whole movie evokes different kind of feelings inside the viewer. Visually every movie by Argento has been one big and beautiful show and Deep Red isn't exception there.
The year is 1974. A group of five close friends are heading through the back roads of Texas en route to their grandfather's potentially vandalized grave. Among them are Sally Hardesty, and her invalid brother Franklin. They encounter an unpleasant hitchhiker (Neal) who slashes both himself & Franklin with a wicked-looking knife. The others manage to eject the hitchhiker from the vehicle, but shortly after wards, they are forced to stop & wander over to a small, sinister clapboard house nearby in hopes for gas. What none of them realize is that this house is the home of the ghoulish Leatherface (Hansen) and his evil, demented family of cannibalistic psychopaths. Bases on the terrifying true story of Ed Gein.
Shocking movie at every level. Horror doesn't suprisingly focus only for its grotesc violence and that creates few more levels of atmosphere. Low budget doesn't bother this at all, maybe just vice versa. Edgeinish story was a huge number in media back in the 70s but after all this is often listed as a one of the greatest horror movies of all time. Mocumentary like storytelling works perfectly at creates its own atmosphere in the movie.
Milo Tindle and Andrew Wyke have something in common, Andrew's wife. In an attempt to find a way out of this without costing Andrew a fortune in alimony, he suggests Milo pretend to rob his house and let him claim the insurance on the stolen jewelry. The problem is that they don't really like each other and each cannot avoid the zinger on the other. The plot has many shifts in which the advantage shifts between Milo and Andrew.
This is surprising as hell. I can tell you that I wasn't at any point sure who was fucking with my mind and who was talking seriously. Surely great plot and actors in leading roles do their job well.
McMurphy thinks he can get out of doing work while in prison by pretending to be mad. His plan backfires when he is sent to a mental asylum. He tries to liven the place up a bit by playing card games and basketball with his fellow inmates, but the head nurse is after him at every turn.
This was the film that convinced me totally about Jack Nicholson's talents. R.P. McMurphy is a perfect anarchist and Nicholson is so good in his role. Story makes you laugh, makes you cry and makes you shout.
Sergeant Neil Howie arrives on a Scottish island looking for a missing teenager girl, Rowan Morrison. The place belongs to Lord Summerisle and is famous because of their plantation of apples and other fruits and their harvest. Sgt. Howie realizes that the locals are pagans, practicing old rituals, and Rowan is probably alive and being prepared to be sacrificed. The end of the story is a tragic surprise.
Religious themes took me like a Hungry Hippo. Story is beautiful and everything works in this one. Christopher Lee is awesome in his role. Visually gorgeous but everything sucks compared to the latest Wicker Man.
PS. We should all remember that this Wicker Man from the 70s was just experimental shit. They made a real Wicker Man in the year 2006, starring with Nicolas Cage.
Tired of her boring life, Seiko makes off with the money taken from the hostess bar she works at. Scheamer Jiro steals a large sum of money from a Yakuza and runs off. The two misfits are brought together by fate and hit it off right away, what with their mutual loathing of authority. Rich and on the run the two embark on an impulse road trip which takes them to Kyoto and beyond, their trip takes a turn for the worse when Jiro looses all the money and on top of that the Yakuza and Police are hot on their tail.
Every film which include Meiko Kaji has something so grotesk but still clinical violence. It is a part of humor and part of its cruel visual style. It is fun to see how the characters tolerate violence in this film, because it is not a surprise for anyone if somebody gets brutally hit by baseball bat and still gets up. Japanese Bonnie and Clyde kinda story works very well.
Tale of Tales, like Tarkovsky's Mirror, attempts to structure itself like a human memory. Memories are not recalled in neat chronological order; instead, they are recalled by the association of one thing with another, which means that any attempt to put memory on film cannot be told like a conventional narrative. The film is thus made up of a series of related sequences whose scenes are interspersed between each other. One of the primary themes involves war, with particular emphasis on the enormous losses the Soviet Union suffered on the Eastern Front during World War II. Several recurring characters and their interactions make up a large part of the film, such as the poet, the little girl and the bull, the little boy and the crows, the dancers and the soldiers, and especially the little grey wolf. Another symbol connecting nearly all of these different themes are green apples (which may symbolize life, hope, or potential).
I really like stopmotion animations and this Yuriy Norshteyn's animation might be my favorite stopmotion ever. Visually great and audiovisually too.
Los Angeles detective Jake Gittes is hired by a woman claiming to be a Mrs. Mulwray to spy on her husband. Shortly after Gittes is hired, the real Mrs. Mulwray appears in his office threatening to sue if he doesn't drop the case immediately. Gittes pursues the case anyway, slowly uncovering a vast conspiracy centering on water management, state and municipal corruption, land use and real estate, and involving at least one murder.
May be the greatest film from Roman Polanski. Thrilling and intelligent mystery takes audience inside it with massive power. Nicholson in his role is amazing and so are the other actors in their roles too, especially Faye Dunaway.
Numéro deux (Number two) is a 1975 experimental film about a young family in a social housing complex in France. The film uses a distinct style by presenting two images on screen simultaneously, leading to multiple interpretations of the story and to comments on the film-making and editing process. The film is divided into parts. In the first third, Godard discusses what it takes to make a film (money) and describes how he got the money. In the remaining two thirds, each character in the story discusses their quotidian experiences through dialogue which is primarily poetic, and secondarily political.
This one is new kind of Godard but I liked it. Different ways of cinema are used and tested and so this looks years after still so fresh. Story behind this testing is also good and different.
This movie follows the life of a young German woman, married to a soldier in the waning days of WWII. Fassbinder has tried to show the gritty life after the end of WWII and the turmoil of the people trapped in its wake.
Rainer Werner Fassbinder has made some sort of impact on me. This is another film from him to relationship and quite good one too. World War II bends well in the hands of Fassbinder.
Factory worker Filip Mosz (Jerzy Stuhr) is a nervous new father and a doting husband when he begins filming his daughter's first days with a newly acquired 8mm movie camera. He believes, as he tells his wife, that he now has everything he ever wanted since his youth as an orphan, but when the local Communist Party boss asks him to film an upcoming jubilee celebration of his plant, his fascination with the possibilities of film begins to transform his life. When they see his edited short film of the conference/celebration, his superiors find his shot of a pigeon useless and his shots of several negotiators at a business meeting too probing. He submits the film to a festival in another town, and 'career' is ready to begin.
Kieslowski might be my favorite director of all time and this might be the easiest from that great master. Film has its own documentaric qualities and that combined with comedy makes this very enjoyable. I believe that it was almost impossible mission to make non-political movie in Poland while communism bloomed there. Might still be the funniest from Kieslowski along with the tenth part of the Dekalog and White from the trilogy of Three Colors.
This kicks off with the murder of one Adolf Schwartz (who bears a striking resemblance to another famous Adolf) by placing a ravenous piranha fish in his bathtub. Who did it? No-one knows or cares, as they're too busy being distracted by busty Margo Winchester, who hitch-hikes into town and gets involved with all the local men. It all ends with a series of complicated plot twists that reveal that just about everyone is really someone else. And if it gets too confusing, Russ Meyer helpfully arranges for a one- woman nude Greek chorus to pop up at intervals to explain what's going on.
It is said that if you don't see Up!, you'll feel down. This movie is seriously the one to cheer you up. Funny, erotic and full of action in different forms! Girls of Russ Mayer are gorgeous as so the whole film is.
The education of a princess wrapped in a love story. A king and queen live happily until her sudden death. The king decides to marry his lovely daughter. She's willing, but the Lily Fairy serves as a social conscience, intent on thwarting incest. She instructs the princess to request a series of dresses impossible to make; however, the king's tailor succeeds. So the fairy plots the princess's escape, wearing the skin of the king's prize donkey. She's spirited away to be a scullery maid dressed in the noisome skin. A wandering prince sees her in the woods and is smitten. Can love find its course, and does the princess learn a lesson of life's hardships?
Little absurd, funny and cute story. Some characters are painted blue, some are red, Donkey makes diamonds from nowhere and telephones on the woods of Fairy Godmother. Might seem a little childish but this is everything than that. Delphine Seyrig and Catherine Deneuve in their roles are amazing.
Young advertising executive Vatanen suddenly quits his job and his whole life in Helsinki, and decides to spend a while in the Finnish wilderness. A wounded hare hit by a car becomes his travel companion. Together they find reclusion in the Finnish Lapland, soon to be disturbed by a noisy group of foreign tourists and their pretentious Finnish hosts. When the hare gets ill and needs to see a vet, Vatanen must return to the city and finally face the choice between his new and former life.
In the end, how can a man that has lived all his life in the cities turn into vagabond? The Year of the Hare isn't all about that. The movie shows really well how people are convicts of society: it is impossible to disappear totally. Finnish nature is shows well and everything looks beautiful.
In the 20's, the anarchist revolutionary Sakae Osugi is financially supported by his wife, journalist Itsuko Masaoka. He spends his time doing nothing but philosophizing about political systems and free love and visiting with his lovers Yasuko and the earlier feminist Noe Ito. He conveniently defends three principles for a relationship between a man and a woman: they should be financially independent (despite the fact that he is not); they should live in different places; and they should be free to have intercourse with other partners. In 1969, twenty year-old student, Eiko Sokuta, has an active sexual life, having sex with different men. Her friend, Wada, is obsessed with fire and they usually play weird games using a camera while they read about Osugi and Ito.
Visually Eros Plus Massacre is stunning. Three-hour-long drama ain't the easiest to watch but still it is rewarding. Characters are nice too and very nice movie, all in all, indeed.
Directed by Margarethete von Trotta and Volker Schlöndorff.
Katharina Blum is a young handsome German maid. She meets Ludwig, and they fall in love at once. They spend the night together. In the morning, the police bursts in her flat, looking for Ludwig : he is a terrorist. But he was no longer here. Katharina is arrested, humiliated, suspected to be a terrorist herself, dragged in the mud by the newspapers... A plea for democracy and individual rights.
Mumbo Jumbo keeps growing in the press and suddenly life of somebody is ruined. Beautifully told story which works more than well.
In the Sandleford warren, Fiver, a young runt rabbit who is a seer, receives a frightening vision of his warren's immenient destruction. When he and his loving brother, Hazel, fail to convince their chief of the need to evacuate; they set out on their own with a small band of others who heeded the warning and barely manage to elude the Warren's military caste. What follows is a perilous journey in which the band faces dangers of all varieties like predators, humans and even their own kind. While they eventually find a peaceful new home at Watership Down, they have new problems that will lead to a deadly conflict with the neighbouring Warren called Efrafa, which is a police state by the powerful and insane General Woundwart.
This film has a great nosthalgic value on this list. I was something like 7 years old when I saw this first time and I was absolutely frightened back then. Afterwards I've seen this film numerous times and film hasn't lost its beauty and power at all. Still scary and moving, absolutely lovely movie.
Just out of prison, ex-con Ugo Piazza meets his former employer, a psychopathic gangster Rocco who enjoys sick violence and torture. Both the gangsters and the police believe Ugo has hidden $300,000 that should have gone to an American drug syndicate boss.
Milano Calibro 9 is exciting criminal story from Italy. Characters are interesting (especially Barbara Bouchet as Nelly Bordon, Mamma Mia!) and atmosphere is great.
For the listing project. Bitches.
One movie per director so this could be more fun.
Thanks for Wikipedia, Criterion Collection, Second Run DVD and IMDb to make my notes more complete.