The 1960s List: Discussion and Suggestions

[bottlesofsmoke]

1. The Apartment
2. La Notte
3. Charade
4. The Man Who Shot Liberty Valance
5. Il deserto rosso
6. Pierrot le Fou
7. Le Trou
8. Au Hasard Balthazar
9. Repulsion
10. Une femme est une femme
11. Les Demoiselles de Rochefort
12. L'Avventura
13. Rosemary's Baby
14. La baie des anges
15. Les bonnes femmes
16. Blow-Up
17. Le Samourai
18. Loves of a Blonde
19. À bout de souffle
20. I fidanzati
21. L'Armée des ombres
22. Simon del desierto
23. Le Mépris
24. L'Eclisse
25. Masculin Feminin
26. Hatari!
27. Persona
28. Letter Never Sent
29. Hour of the Wolf
30. The Manchurian Candidate
31. Soy Cuba
32. Late Autumn
33. Winter Light
34. El ángel exterminador
35. The Nutty Professor
36. Playtime
37. L’enfance nue
38. Mouchette
39. La Voie lactée
40. Muriel ou le Temps d'un retour
41. Les Parapluies de Cherbourg
42. L'Année dernière à Marienbad
43. Bunny Lake is Missing
44. Vivre sa Vie
45. Petulia
46. Advise & Consent
47. Lilith
48. Thérèse Desqueyroux
49. Léon Morin, prêtre
50. Lola

La Baie des anges is my only orphan, I’m kinda sad I didn’t vote for The Young One (it was a close cut) since it got no votes at all.

I love to see Young Girls of Rochefort, Late Autumn (deservedly ahead of An Autumn Afternoon!), Masculin Feminin, and La Notte flying up the list. It’s fun to compare the yearly lists to this one, Simon of the Desert was #1 for 1965 but just 70th overall! Doubling the number of ballots will do that, plus I for one know I shifted my rankings quite a bit on reexamination, went more with my heart over my head.

Great job swo, on this list and all the lists. I love all the statistics, I find them fascinating to pour over. It will be really fun to compare them to the 1970s when we get there, to see the trends and shifts.

Making my list was incredibly hard, not so much the ordering but narrowing down the list to 50, I could have credibly made a top 250 and not felt like I was stretching. What a great decade for movies, as much as I love the classic Hollywood period, the 60s is definitely the best decade for movies, worldwide. I feel like I still have tons more to watch - and this list has surely added more - but now it is on to the 70s!

[Red Screamer]

Thanks swo, and thanks everyone who took the time to write something thoughtful during this project.

Top 10 + Orphans

01 PlayTime
02 The Taste of Mackerel Pike
03 The Birds
04 L’Année dernière à Marienbad
05 Gertrud +also ran
06 Les Demoiselles de Rochefort
07 Week End
08 Daisies
09 The Patsy +orphan
10 La Jetée

21 Le Caporal épinglé
43 Le Lit de la vierge — to quote myself, a baroque and confrontational drone-rock Jesus nightmare whose mixture of coarse poetry, political anger, and low-budget inventiveness creates something of an unlikely crossroads between Godard, Carax, and Murnau.
46 Je t’aime, je t’aime

Everyone complained about the Sight and Sound list, but at least their voters had enough taste to chart my also rans The House Is Black, Wavelength, and The Cloud-Capped Star! Though neither list makes room for Wiseman or Lewis. It’s a sick world.

[zedz]

As promised, here’s my full list, only four of which made the final 100 (assuming that the film not called Walden at number 75 is actually Walden). Orphans unless noted.

1. Diamonds of the Night (Jan Nemec, 1964) NUMBER 56 – I’m glad this has risen up the list thanks to its newfound Criterion imprimatur, as it’s a perfect film.

2. Inferno of First Love (Hani Susumu, 1968) ALSO RAN – A film which actually made the Hot 100 last time, on the strength of a few powerful votes from, I guess, people who have died in the meantime. It’s a rich and disturbing tale of young love frustrated by prurient interests and stunted by abuse. The child abuse scenes remain queasy, even when we’re not even sure that’s what we’re looking at (actually, maybe that’s the most queasy thing about them), and there’s a central scene of hypnotherapy that’s brilliantly conceived, in which the therapist’s prompts (imagine the scene unfolding on a screen in front of you) and the patient’s response are so vivid that not only do we see his vision in those terms, but so does his attendant mother. Hani’s visual invention is exciting and on point throughout.

3. Arnulf Rainer (Peter Kubelka, 1960) ALSO RAN – The greatest of all flicker films. It’s like being taken over by an alien intelligence for 7 minutes. You can’t understand the language, but they’re screaming it inside your brain. It can and should only be seen in its originating media.

4. Violence at Noon (Oshima Nagisa, 1966) ALSO RAN – I think I had a few Oshimas last time, and his work in this decade is so accomplished and varied it was tempting to break my one-film-per-director rule (because there are so many great directors and films who deserve a place in my top 50) in his case. But I didn’t and this film won the rewatch steeplechase. It’s a serial killer movie / policier, but the key difference is that the focus is on two female victims – to the extent that

SpoilerShow

the arrest and conviction of the criminal is rendered off-screen, in voiceover.

Oshima’s radical deconstruction of film syntax is a major attraction here.

5. The House is Black (Forough Farrokhzad, 1963) ALSO RAN
6. A Quiet Week in the House (Jan Svankmajer, 1969) – Two utterly brilliant short films that haven’t really budged in my favour since my last 60s list. A Quiet Week in the House is like a mini-film festival of what makes Svankmajer sui generis. The House Is Black is directed by a woman and not on Criterion, so therefore doomed.

7. Dragon’s Return (Eduard Grecner, 1968) ALSO RAN – Another long-obscured masterpiece that I had hoped other people might have caught up with by now.

8. Brief Encounters (Kira Muratova, 1967) ALSO RAN – And – fingers double-crossed – I hope I’ll be saying the same about this film when the next vote rolls around (i.e. people interested in great filmmaking will at least have had the opportunity to see it.)

9. L’Enfance nue (Maurice Pialat, 1969) NUMBER 91 – This remains my favourite nouvelle vague film, maybe because it’s also one of the first films of the post-nouvelle vague vague that I find more interesting.

10. Reenactment (Lucian Pintilie, 1968) – My greatest discovery since last time, a self-reflexive tragic farce in which two friends are forced to restage a drunken fight for the sake of a PSA. Pintilie is a master of switching, compounding and undermining tones, and that skill gets its first major work-out here.

11. The Affair (Yoshida Yoshishige, 1967) – This was my top Yoshida pick last time and it retained that distinction. I also watched Affair in the Snow (which is drop dead gorgeous, but not as dramatically intense) and A Story Written with Water (which is wonderful, but not quite as formally inventive as this film from a couple of years deeper into Yoshida’s journey of formal perversity). If you think avant-garde melodrama is the kind of thing you’d take to, you need to see these films right away.

12. Black God, White Devil (Glauber Rocha, 1964) ALSO RAN – Still a marvel after all these years, and still surprising in new ways every time I watch it.

13. My Name Is Oona (Gunvor Nelson, 1969) ALSO RAN – Oona. Oo-na. Oonaoonaoona. Placed here as a special favour to therewillbeblus. Nah, it’s amazing and hypnotic.

14. Current (Istvan Gaal, 1964) ALSO RAN – Youthful alienation with a brilliant sense of place. In retrospect, a film that’s superficially similar to Reenactment, but very different in formal and dramatic terms.

15. Le Revelateur (Philippe Garrel, 1968) – Best religious epic of the decade performed by hippies and directed by aliens.

16. T,O,U,C,H,I,N,G (Paul Sharits, 1969) – Words fail me. Stroid.

17. The Fifth Horseman Is Fear (Zbynek Brynych, 1965) ALSO RAN – I’d seen this when I compiled my last two 60s lists, but its brilliance was far less apparent beneath the shitty patina of the Facets DVD, and the Second Run BluRay removed the scales from my eyes.

18. Fugitive from the Past (Ichida Tomu, 1965) – A great crime film with the added bonus of superb location work and plenty of weirdness.

19. Love at Sea (Guy Gilles. 1964) - A heterogenous compendium of the nouvelle vague that toggles between playful / serious, documentary / fiction, and left bank / right bank while shifting through epistolary, literary and theatrical narrative modes. With lots of in-jokes. Gilles has a great eye for composition: Classic black & white as well as a beautiful use of colour (e.g. primary smears in negative space, such as neon on rainy night streets).

20. Very Nice, Very Nice (Arthur Lipsett, 1961) - a.k.a. Parallax Corporation recruitment video v 1.0.

21. L’Hiver (Marcel Hanoun, 1969) – Another glorious nouvelle vague tangent. A filmmaker in crisis goes all self-reflexive in Bruges. The greatest of Hanoun’s seasonal quartet.

22. The Valley of the Bees (Frantisek Vlacil, 1968) ALSO RAN – This might be seen as the little brother of Marketa Lazarova, but I find it more immediate and impactful.

23. Walden (Jonas Mekas, 1969) NUMBER 75 – One of the decade’s ultimate everything-films. Mekas’ filmmaking is a Heraclitian river that I love to splash around in.

24. A Man Vanishes (Imamura Shohei, 1967) – This is best known as a notorious documentary whatsit, and it’s one of the greats of that subgenre, but it’s also an indelible record of Japanese society at various levels in the mid-60s.

25. Story of a Prostitute (Suzuki Seijun, 1965) – One of those Suzuki films where outlandish style happens to map perfectly onto serious subject matter - but I’m mainly here for the outlandish style.

26. Die Parallelstrasse (Ferdinand Khittl, 1962) ALSO RAN – As documentary whatsits go, A Man Vanishes has nothing on this film. The Oberhausen selection committee reconfigured by Franz Kafka. The clock is ticking and we’re as panicked and confused about what we’re supposed to do as they are.

27. The Red and the White (Jancso Miklos,1967) NUMBER 52 – This is another film that always seems fresh and unpredictable, perhaps because it eschews so many narrative norms.

28. An Untitled Film (David Gladwell, 1964) ALSO RAN – Who knew agriculture could be so apocalyptic? So many iconic images in so little time: the tattooed forearm and the chicken; the gaze of the boy in the apple tree; the cat’s descent. Probably the most beautiful film on my list.

29. Pirosmani (Gyorgy Shengelaya, 1969) ALSO RAN – Making a film about an artist that looks like the artist’s work is a risky gimmick, and this is probably the most successful example of that gimmick. It’s particularly impressive because Pirosmani’s style often confounds traditional perspective and naturalistic scale.

30. Lucia (Humberto Solas, 1968) – A sprawling epic of shorter epics that shows off Solas’ stylistic range while preserving thematic coherence. Like certain works of Godard and Fassbinder, it illustrates how Rocha was the key influence for radical cinema during this period.

31. Barrier (Jerzy Skolimowski, 1966) ALSO RAN – This film is wonderfully playful and accomplished. Its signature move is to set up a situation that’s surreal, threatening or bizarre, then belatedly resolve it with a realistic justification. Skolimowski does this time and time again, which places us in an unstable world of contingency and anxiety, but every little micro-resolution offers its own frisson of pleasure.

32. The Night of Counting the Years (Shadi Abdelsalam, 1969) ALSO RAN – Or, the film that time – and the World Cinema Project – forgot. Which is weird, as I would have thought this is one of the more commercially viable of its rescues.

33. A Well for the Thirsty (Yuri Ilyenko, 1965) ALSO RAN - Despite having its roots in rustic Soviet realism, this might be the trippiest movie on my list. Salt for Svanetia on bad acid, with Yoshida Bleach liberally applied.

34. The Sun in a Net (Stefan Uher, 1963) ALSO RAN – Like Die Parallelstrasse above it, here’s an instance where the first feature of a movement (the Czechoslovak New Wave, in Uher’s case) is a full-fledged masterpiece, and this film set the tone for a lot of the greatness that was to follow.

35. L’Immortelle (Alain Robbe-Grillet, 1963) – This film is awkward in so many ways, but it’s a profitable awkwardness, and I just love the way Robbe-Grillet trashes traditional film grammar in lock-step with his trashing of traditional narrative. The denouement is kinda dumb and obvious, but it’s a fun ride getting there.

36. Falling Leaves (Otar Iosseliani, 1966) – Iosseliani is a director who pretty much emerged fully formed, and this first feature has in general the same whimsical strengths (and whimsical limitations) as his final masterpieces. It’s a laidback, discursive series of skits loosely organized around some really terrible wine.

37. The Structure of Crystal (Krzysztof Zanussi, 1969) ALSO RAN – Zanussi’s first feature also stakes out territory he’d return to over and over again: namely, academic careerism and compromise. Wry, relaxed, subtly spiked, beautifully performed.

38. Samurai Spy (Shinoda Masahiro, 1965) – If I’m going to include an action movie on my list, it has to be this one, which is so wildly imaginative in the filming and staging of its action scenes and so ridiculously convoluted in its plotting that it’s some kind of abstract action apotheosis.

39. The Possessed (Luigi Bazzoni / Franco Rossellini, 1965) – Dark and moody recent discovery by Arrow that resonated more in my mind than any number of established classics when it came to compiling this list.

40. Pas de deux (Norman McLaren, 1968) ALSO RAN – Concerto for Dancers and Optical Printer.

41. 7362 (Pat O’Neill, 1967) ALSO RAN – Thrashing psychedelic machinery. Mr Kirlian, meet Mr. Rorschach.

42. Signs of Life (Werner Herzog, 1968) – I have no idea what production arrangements have made this debut feature comparatively scarce, but it’s one of my favourite Herzog films. I'm dumbfounded that this ended up an orphan.

43. Utek (Stepán Skalský, 1967) – Czech new wave obscurity that I’ve only ever seen on film. Runaway child encounters runaway soldier in a primal forest landscape. Maybe it’s nothing all that special in the grand scheme of things, but it’s emblematic of just how accomplished and innovative Czech filmmakers were if a film this good can be lost to posterity.

44. Samadhi (Jordan Belson, 1967) – A journey through the inner life of stars. Cosmic eye candy from the king of cosmic eye candy.

45. Chronicle of Anna Magdalena Bach (Danielle Hullet / Jean-Marie Straub, 1968) ALSO RAN – This complex, austere work is a lot of things, among them the best concert film of the decade.

46. Fire in Castille (José Val del Omar, 1961) ALSO RAN – A reasonably well-known film here but nowhere else. Val del Omar was one of the great cinematic innovators of this or any era, though the political and industry constraints of the time meant he had to express his astonishing vision through short documentaries about local places and events.

47. The Gladiators (Peter Watkins, 1969) – Like many of Watkins’ films, this highly political Squid Game proof-of-concept looks more and more prescient with time. Just because you’re paranoid doesn’t mean they’re not out to get you!

48. Charles Mort ou Vif (Alain Tanner, 1969) – As an oblique response to May ’68, this film plays better nowadays than many of the more direct ones. Tanner is another important filmmaker whose reputation has suffered from neglect and is well overdue for a revival.

49. Mingus (Thomas Reichman, 1968) – Rough and riveting portrait of the jazz great unravelling as he’s evicted by New York City. It would be nice if the direct cinema Mingus documentary we had was a joyous, celebratory one, but in the absence of that, I’ll take the harrowing, depressing one.

50. Christmas on Earth (Barbara Rubin, 1963) - Among the various “what is cinema?” provocations of the early 60s, this film goes the furthest of them all, and still has a daunting primal energy.

[therewillbeblus]

Lucia is so good, it probably would've made my list if I had revisited it. Same with Walden, which was near the top of my list when I submitted it a year ago. Not sure what happened there

[swo17]

Just realizing that I actually have Pintilie's Reconstruction as eligible for the 1970 list, so technically I should have rejected zedz' vote for it here. Also, perhaps the film has other fans that weren't considering it as eligible for this list. I'm going to say it's still eligible for 1970, so you will all shortly have a second chance to follow his high recommendation there. (When the film was actually released is a separate matter. I see a lot of conflicting information about this--that it had a limited release in 1968, that it wasn't completed until 1969, that it played Cannes in 1970, that it did not play Cannes, that it had a wide Romanian release in 1970, that in 1969 it was banned for two decades, etc. I think there was information presented in the Romanian boxset that had me lean toward assigning it to 1970.)

42. Signs of Life (Werner Herzog, 1968) – I have no idea what production arrangements have made this debut feature comparatively scarce

It did just get a nice Blu-ray from Shout last year

[zedz]

Just realizing that I actually have Pintilie's Reconstruction as eligible for the 1970 list, so technically I should have rejected zedz' vote for it here. Also, perhaps the film has other fans that weren't considering it as eligible for this list. I'm going to say it's still eligible for 1970, so you will all shortly have a second chance to follow his high recommendation there. (When the film was actually released is a separate matter. I see a lot of conflicting information about this--that it had a limited release in 1968, that it wasn't completed until 1969, that it played Cannes in 1970, that it did not play Cannes, that it had a wide Romanian release in 1970, that in 1969 it was banned for two decades, etc. I think there was information presented in the Romanian boxset that had me lean toward assigning it to 1970.)

I'll be happy to vote for it again in the next decades list!

I just went by the 1968 date on imdb, but reading the fine print there it seems like they're also very confused.

Oh, and there's another Reconstruction from 1970 that's also well worth checking out.

[Rayon Vert]

I'm embarrassed to say I've seen a grand total of 1 of zedz's top 50 films. But on the other hand, that means there's still an entire universe of less obvious cinema for me to discover eventually, perhaps.

With that caveat, my top 15:

1. Pierrot le fou
2. Dr. Strangelove
3. A Hard Day's Night
4. Au hasard Balthazar
5. The Battle of Algiers
6. L'Eclisse
7. Seconds
8. Le Trou
9. Le Deuxième souffle
10. Ma Nuit chez Maud
11. L'Armée des ombres
12. 2001: A Space Odyssey
13. Rocco and His Brothers
14. The Man Who Shot Liberty Valance
15. Psycho

Masculin Féminin was no 27 for me. The Cloud-Capped Star was no 50 and it's likely that my ranking system favors older viewings. It will surely rise one day if I rewatch my entire collection!

Technically, it's probably French cinema that ranks highest for me this decade (from what I've seen, which leaves out filmographies from entire countries and continents), but my heart goes to Italy and its golden age.

[therewillbeblus]

I'm pretty sure French and American tie at 17 for mine, just over a third each. I was surprised that Masculin Féminin finally overtook Pierrot le fou (my go-to for favorite film ever) at number 1, but it's reached the point where they're essentially interchangeable and the later film has been sitting with me a lot lately. If we did the 60s again for a third year in a row, it might change back, but it's probably time to move onto the 70s, even though plenty of people out there probably still wish that never happened

[yoshimori]

I'm embarrassed to say I've seen a grand total of 1 of zedz's top 50 films.

I've seen most of zedz's list but am, nonetheless, shamed by its sheer idiosyncracy. Haven't seen the Grecner or Christmas on Earth, but will seek them out now.

I was one the other two votes for his 2 (the Hani) and, surprisingly, the only other vote for his 3 ("Arnulf Rainer"). We both ranked Oshima and Yoshida near the top, but with different films - mine were Boy and Story Written with Water. We both ranked a Suzuki and Shinoda, but again different films - Fighting Elegy and With Beauty and Sorrow for me. I do love the Lipsett he ranked, but I went with "21-87" instead of "Very Nice, Very Nice". We both recommend Pirosmani and Walden.

Happy to see Matsumoto's Funeral Parade of Roses get 5 votes after being orphaned in the 1969 list.

My also-rans and orphans include: Man without a Map (4), Fighting Elegy (7), Boy (8), Thomas, the Imposter (9), Satyricon (11), Passion of Anna (16), Otouto (Ichikawa, 17), Cul-de-sac (Polanski, 24), "Le Mystère Koumiko" (Marker, 28), China is Near (Bellocchio, 43), "Our Lady of the Sphere" (Jordan, 45), High School (Wiseman, 47), Scattered Clouds (Naruse, 49), maybe a couple others.

Six people voted for Point Blank! I had it in my top 10, but someone had it number 1. Anyone want to fess up? Like Petulia, the movie is total post-Resnais genius.

And, again, thanks to the list-wrangler.

[senseabove]

Six people voted for Point Blank! I had it in my top 10, but someone had it number 1. Anyone want to fess up? Like Petulia, the movie is total post-Resnais genius.

Not my number 1, but it was the highest ranked new-to-me film on my list at 13!

[dekadetia]

It's not really my place to do it -- though I might be willing to take it on, time permitting -- but I'd love to see a centralized hub on Letterboxd for these lists in the form of a criterionforum user account. Would be pleased to share credentials with the mods for any edits/updates, and could even inquire about an HQ account if there's interest. Let me know what you think.

[theflirtydozen]

It's not really my place to do it -- though I might be willing to take it on, time permitting -- but I'd love to see a centralized hub on Letterboxd for these lists in the form of a criterionforum user account. Would be pleased to share credentials with the mods for any edits/updates, and could even inquire about an HQ account if there's interest. Let me know what you think.

I think I'm the only one who has been making/sharing the LB lists for this most recent round of decades listmaking (can't get to processing these 60s results until next week), but it would be nice to have a dedicated account that could also collect other list project results.

Happy to share clones of the lists or my workflow for how I've streamlined the process of making the results (including the points notes for each list entry) into a list.

[geoffcowgill]

Thanks for so meticulously compiling this, Swo17.

My picks:

1- 8 ½ [8 on master list]
2- Dr. Strangelove [6]
3- A Hard Day’s Night [47]
4- 2001: A Space Odyssey [1]
5- Viridiana [86 !?]
6- Lawrence of Arabia [64]
7- Persona [3]
8- Rosemary’s Baby [24]
9- Masculin Feminin [43]
10- The Graduate [21]

Also-rans
Orphans

13- Yojimbo
17- Knife in the Water
20- Tunes of Glory
23- Thunderball Yeah, that's right. A study in Hegelian dialectics wrapped up in a spy-franchise vehicle. Bond ultra.
24- Faces
27- Medium Cool
29- A Shot in the Dark No great pretense of cinematic art, but especially delightful physical comedy and clever gags, so much, just unbelievably, better than the other Pink Panther films. It makes me laugh as much as just about any other film.
32- In Cold Blood
33- A Woman is a Woman
34- In the Heat of the Night
35- Hud
36- Lolita
37- The Innocents
40- Wild River
42- Pigs and Battleships
44- The Pornographers Surprised this is an orphan.
45- Band of Outsiders That this is an orphan is, I guess, testament to the absolute glut of exciting '60s Godard.
47- Sanjuro Yikes, this was almost an orphan. Sorry to whomever placed it at #11 that I spared you a nice spleen-venting howl of righteous indignation.
49- Il Posto
50- David Holzman’s Diary

[therewillbeblus]

23- Thunderball Yeah, that's right. A study in Hegelian dialectics wrapped up in a spy-franchise vehicle. Bond ultra.

Please say more about this (here or in the James Bond thread)! Together, we can take on the world

[ballmouse]

45- Band of Outsiders That this is an orphan is, I guess, testament to the absolute glut of exciting '60s Godard.
47- Sanjuro Yikes, this was almost an orphan. Sorry to whomever placed it at #11 that I spared you a nice spleen-venting howl of righteous indignation.

I realized after I saw the final list that I must not have included Band of Outsiders. Oops.

Also, I am that guy who placed Sanjuro at 11. But I have plenty of orphans as is.

My also-rans
Yōjinbō (Akira Kurosawa, 1961) 32
The Bad Sleep Well (Akira Kurosawa, 1960) 40
Pale Flower (Masahiro Shinoda, 1964) 46
Hombre (Martin Ritt, 1967) 5
Per qualche dollaro in più (Sergio Leone, 1965) 31
Fail-Safe (Sidney Lumet, 1964) 16
Tunes of Glory (Ronald Neame, 1960) 12
Hud (Martin Ritt, 1963) 13
Classe tous risques (Claude Sautet, 1960) 35
Butch Cassidy and the Sundance Kid (George Roy Hill, 1969) 43
When a Woman Ascends the Stairs (Mikio Naruse, 1960) 39
Sanjūrō (Akira Kurosawa, 1962) 11
La Vérité (Henri-Georges Clouzot, 1960) 15
The Day the Earth Caught Fire (Val Guest, 1961) 28
Cool Hand Luke (Stuart Rosenberg, 1967) 41
El esqueleto de la señora Morales (Rogelio González, 1960) 36
King & Country (Joseph Losey, 1964) 47
La caza (Carlos Saura, 1966) 38

My orphans
The Lion in Winter (Anthony Harvey, 1968) 3
A Raisin in the Sun (Daniel Petrie, 1961) 24
The Angry Silence (Guy Green, 1960) 45
Sword of the Beast (Hideo Gosha, 1965) 42
Seven Days in May (John Frankenheimer, 1964) 48
The Misfits (John Huston, 1961) 27
Wings (Larisa Shepitko, 1966) 30
This Sporting Life (Lindsay Anderson, 1963) 44
Nothing But a Man (Michael Roemer, 1964) 23
Gate of Flesh (Seijun Suzuki, 1964) 26
Per un pugno di dollari (Sergio Leone, 1964) 33
Black Test Car (Yasuzō Masumura, 1962) 50

[Rayon Vert]

Third person here in the last few posts that had Tunes of Glory as an also-ran. Classe tous risques and The Day the Earth Caught Fire were among mine also. Didn't have a room for The Angry Silence as for many others, but that was excellent.