From Beyond the Grave: I had no idea this was an anthology film when I put it on, which really helped me appreciate the first story a lot more, since it dropped us right in with absurdly-agile narrative propulsion: Man gets mirror, has guests over, guests look at mirror, mention it's creepy, one suggests seance, host casually(?!) says, "Seance time!" (yes, verbatim) and we move right into it. This all transpires in like twenty seconds, and I thought it was a hilarious self-conscious engagement with tired genre constraints, but turns out it was probably just fast-tracked for the sake of time. Anyways, the rapid nature of the murders in the first segment was effective at capturing the desperation and powerlessness of the lead, ripped into a life of zombified service to a devilish higher spirit. Displaying an accelerating addiction without any meditation on the progression is an insightful choice, since we often don't get many stops to ruminate on our phases when in the throes of acute compulsions, at least not as many as the movies typically grant their leads to induce audience sympathies. This is curt and brutal supernatural stuff, if a bit thin by the nature of only twenty-odd minutes to explore the process. It's a segment that invests us not in character but in the sensational chaos of crisis. I seem to be watching a lot of these lately, since I felt the exact same way about Yakuza Graveyard (not that this is anywhere close to that level of cinematically-produced dysregulation).
I didn't care much for the second segment, but Angela Pleasence's screen presence sold the creepy elements well as it went along.
The third was an absolute delight. Even before Margaret Leighton's psychic returns to steal the film with a rich blend of comedic influences, the situational comedy of petty marital conflict composites a few witty allegories. There are so many reasons why the friction stemming from forces outside of corporeal control works, but one is the broad, overwhelming impotence of sustaining a trusting relationship in a world where we are powerless over so much and know so little. The other side of the same coin is more specific - as this discord brews in the form of gaslighting accusations, yet comes from an otherworldly presence that the wife is convinced is not just human but a 'specific' human (whom she's diagnosed through a history of relational evidence and accumulated resentment), there's an element of denial and a fatalistic sense of doom for the husband in ever being validated as 'not at fault' as long as she's convinced otherwise, which feels irreversibly ingrained to him. These are perhaps dated gender dynamics, but they are timeless depending on what role an accused partner has in the relationship dynamic. Anyways, it's such a fun, light romp, with too many great details in silly facial expressions, deadpan horseplay, etc. to spend analyzing for too long.
The fourth is a shrug of a climax to bookend the first story. It's not 'bad', but I didn't really care about anything that was happening and it has no reason to exist other than as a crescendo, which doesn't really work if there's no buildup, characterization, narrative device, or theme preceding it.
The 1974 Mini-List
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knives
- Joined: Sat Sep 06, 2008 6:49 pm
Re: The 1974 Mini-List
Guess this serves as a reminder that lists are due in five days as here’s my letterboxd list of eligible titles. Here’s some last minute viewings too.
I don’t have anything special to say about Jancso’s Electra, My Love, beyond it being another effective tale of culture as source for revolutionary zeal. Though I was additionally fascinated by how he integrated some ideas on theater to differentiate matters.
Much more exciting for how unexpected it was is Lelouch’s first good film seen by me: Toute Une vie. It took nine tries, but was definitely worth the wait. I still have a sense of reservation, but can’t put my finger on why so I’ll throw the negativity out.
That opening steals the show and everything that comes afterward no matter how good can’t help but feel like a step down. The bifurcated storyline is very nice with a lot of investment being built into even the possibility of meeting. That chance really hit me in the heart as I continually look at the good fortunes and even bad ones that allowed me to live the life I have today. The film is one of continual reexamination until finally the snake swallows its tail in a way that’s kind of glorious.
Beyond an explosive start Shoot First, Die Later is a more intimate and character focused film for di Leo though I was glad to see some of my favorite props back.
After everything is set up with the Neopolitan the film goes from something a little boring to a film as exciting as the previous ones although through a different lens. This is an incredibly mean film that in its quietude generated for me more pain and suffering than the previous three features combined. This isn’t a fun film, but rather a harsh reproval for previous fun.
The 81st Blow is a reasonably good documentary unfortunately placed between Resnais and Lanzmann. Showing only archive footage and with a soundtrack of survivor narration the movie never really masters its perspective leaving what was Israel’s first real film on the holocaust oddly anonymous.
Theoretically the film is about the pain that was caused by not being trusted and what survival techniques were needed in response, but the film doesn’t really pursue that perspective consistently and lacks any kind of clarity. It’s a sadly anonymous work for such a major one.
I don’t have anything special to say about Jancso’s Electra, My Love, beyond it being another effective tale of culture as source for revolutionary zeal. Though I was additionally fascinated by how he integrated some ideas on theater to differentiate matters.
Much more exciting for how unexpected it was is Lelouch’s first good film seen by me: Toute Une vie. It took nine tries, but was definitely worth the wait. I still have a sense of reservation, but can’t put my finger on why so I’ll throw the negativity out.
That opening steals the show and everything that comes afterward no matter how good can’t help but feel like a step down. The bifurcated storyline is very nice with a lot of investment being built into even the possibility of meeting. That chance really hit me in the heart as I continually look at the good fortunes and even bad ones that allowed me to live the life I have today. The film is one of continual reexamination until finally the snake swallows its tail in a way that’s kind of glorious.
Beyond an explosive start Shoot First, Die Later is a more intimate and character focused film for di Leo though I was glad to see some of my favorite props back.
After everything is set up with the Neopolitan the film goes from something a little boring to a film as exciting as the previous ones although through a different lens. This is an incredibly mean film that in its quietude generated for me more pain and suffering than the previous three features combined. This isn’t a fun film, but rather a harsh reproval for previous fun.
The 81st Blow is a reasonably good documentary unfortunately placed between Resnais and Lanzmann. Showing only archive footage and with a soundtrack of survivor narration the movie never really masters its perspective leaving what was Israel’s first real film on the holocaust oddly anonymous.
Theoretically the film is about the pain that was caused by not being trusted and what survival techniques were needed in response, but the film doesn’t really pursue that perspective consistently and lacks any kind of clarity. It’s a sadly anonymous work for such a major one.
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brundlefly
- Joined: Fri Jun 13, 2014 12:55 pm
Re: The 1974 Mini-List
Unsure at this point if it will make my list, but as Margaret Tait's "Aerial" is listed, could you add her "Colour Poems" as well? "Aerial" may be a more succinct contemplation of elements and cycles, but the other one took firmer hold. Its mix of scratch art and casual documentary footage, and its audio mix of read poetry, radio news reports, and natural sounds well sort intimate reaction to an encroaching world. What is here. What has been brought, what has always been. (There is a lame pun I'm choosing to think a comment on local dialect or something.)
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swo17
- Bloodthirsty Butcher
- Joined: Tue Apr 15, 2008 10:25 am
- Location: SLC, UT
Re: The 1974 Mini-List
Added.
And some last-minute recommendations:
In the Shadow of the Sun (Derek Jarman)
Reminder that we are currently in the month dedicated to the year in which this film is eligible.
Seven Days (Chris Welsby)
Seven days in the great outdoors fastforwarded into 20 minutes. Here's a 3-minute preview from the director's YouTube channel.
Sisyphus (Marcell Jankovics)
Sparsely but palpably animated adaptation of the Greek myth, included as an extra on Son of the White Mare.
El televisor (Narciso Ibáñez Serrador)
A mild-mannered family man very sensibly avoids the phenomenon of TV until the technology has progressed enough to be worth the investment, at which point he gives over his entire life to it. A highlight of the Tales to Keep You Awake set, made between the series' original run and its later revival.
Diary (Nedeljko Dragić)
Kinda like that "Worker & Parasite" short from The Simpsons but filtered through that jazzy love advice song from The Simpsons.
Look Park (Ralph Steiner)
I don't know much about Ralph Steiner except that he made two similar films almost 50 years apart, the stunning H₂O in the 1920s and then this film much later, which I only recently discovered on Kino's new Silent Avant-Garde Blu-ray. According to a disclaimer there were no special effects used to create any of these shots, which was important to note because you would otherwise assume the opposite.
The Stars Are Beautiful (Stan Brakhage)
Perhaps the one Brakhage film most notable for its dialogue, with the narration comprising various creation myths, some silly but others profound
And some last-minute recommendations:
In the Shadow of the Sun (Derek Jarman)
Reminder that we are currently in the month dedicated to the year in which this film is eligible.
Seven Days (Chris Welsby)
Seven days in the great outdoors fastforwarded into 20 minutes. Here's a 3-minute preview from the director's YouTube channel.
Sisyphus (Marcell Jankovics)
Sparsely but palpably animated adaptation of the Greek myth, included as an extra on Son of the White Mare.
El televisor (Narciso Ibáñez Serrador)
A mild-mannered family man very sensibly avoids the phenomenon of TV until the technology has progressed enough to be worth the investment, at which point he gives over his entire life to it. A highlight of the Tales to Keep You Awake set, made between the series' original run and its later revival.
Diary (Nedeljko Dragić)
Kinda like that "Worker & Parasite" short from The Simpsons but filtered through that jazzy love advice song from The Simpsons.
Look Park (Ralph Steiner)
I don't know much about Ralph Steiner except that he made two similar films almost 50 years apart, the stunning H₂O in the 1920s and then this film much later, which I only recently discovered on Kino's new Silent Avant-Garde Blu-ray. According to a disclaimer there were no special effects used to create any of these shots, which was important to note because you would otherwise assume the opposite.
The Stars Are Beautiful (Stan Brakhage)
Perhaps the one Brakhage film most notable for its dialogue, with the narration comprising various creation myths, some silly but others profound
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therewillbeblus
- Joined: Tue Dec 22, 2015 3:40 pm
Re: The 1974 Mini-List
Thanks for the reminder on In the Shadow of the Sun - apparently I moved it back to 1981 during your back-and-forth with zedz. An easy list-maker
A few revisits:
Cockfighter: Leave it to Hellman to give us an exceptionally unique character study that's far more complex than its deceptively simple shaggy-dog portrayal. This is partially due to the simplicity that Oates clings to in defining his behavior and identity. The film is at once a sincere depiction of small-time American Dream-chasing, dropping us into a detailed fringe underbelly of southern milieu, and also an observational study of fear-based delusion. Oates' life may be simple, but he hides from vulnerability in the 'sport', staking everything on the chase, and never stalling to really engage with a life that might challenge him. A static lifestyle isn't the enemy because it's going to yield regressive consequences, it's Oates' kryptonite because it will challenge him to sit with himself and others and participate fully. The parameters of the game are unknown, so to fail at that would be an existentially-shattering risk, while it's lower-stakes to get back on the Sisyphean wheel and risk lose your life savings in five seconds. I love how the voiceover cues us into the ruse of his silence-as-stoicism - immediately defining Oates as a rambling, boring man, who is only vapid because he doesn't let himself go deeper, but is vapid nonetheless - rather than a cool guy. A silly superstition determines his behavior, after all, not a life choice perpetuated by motivated self-development.
Blood for Dracula: I like these Morrisseys more every time, and never really appreciated this one's best moments until now. There's a lot of fun satire, but outside of the more pronounced irony of the impure raper/pillager craving purity, the specific dynamic of a whiny, unskilled elitist expecting to be spoonfed perfect living conditions is gold. The material with Dallesandro and the girls is pretty lame, especially because his own weird hybrid of antisocial sexual dominance interpreted as love doesn't work to separate from Kier's own agenda (other than class I guess?) but also it's just not very fun, and clashes hard with the hysterical interplay between Arno Juerging and Kier. The first act is the highlight because it's just a straight aristocratic buddy comedy with homogenous narcissists completely in sync. I wish the whole film was that, it would be perfect.
The Parallax View: This is great for a million reasons, but I can't stop thinking about the reading born from my last revisit that essentially asks if we have more in common with the psychopaths we stigmatize than the cold-hearted 'functional' sociopaths running the game
A few revisits:
Cockfighter: Leave it to Hellman to give us an exceptionally unique character study that's far more complex than its deceptively simple shaggy-dog portrayal. This is partially due to the simplicity that Oates clings to in defining his behavior and identity. The film is at once a sincere depiction of small-time American Dream-chasing, dropping us into a detailed fringe underbelly of southern milieu, and also an observational study of fear-based delusion. Oates' life may be simple, but he hides from vulnerability in the 'sport', staking everything on the chase, and never stalling to really engage with a life that might challenge him. A static lifestyle isn't the enemy because it's going to yield regressive consequences, it's Oates' kryptonite because it will challenge him to sit with himself and others and participate fully. The parameters of the game are unknown, so to fail at that would be an existentially-shattering risk, while it's lower-stakes to get back on the Sisyphean wheel and risk lose your life savings in five seconds. I love how the voiceover cues us into the ruse of his silence-as-stoicism - immediately defining Oates as a rambling, boring man, who is only vapid because he doesn't let himself go deeper, but is vapid nonetheless - rather than a cool guy. A silly superstition determines his behavior, after all, not a life choice perpetuated by motivated self-development.
Blood for Dracula: I like these Morrisseys more every time, and never really appreciated this one's best moments until now. There's a lot of fun satire, but outside of the more pronounced irony of the impure raper/pillager craving purity, the specific dynamic of a whiny, unskilled elitist expecting to be spoonfed perfect living conditions is gold. The material with Dallesandro and the girls is pretty lame, especially because his own weird hybrid of antisocial sexual dominance interpreted as love doesn't work to separate from Kier's own agenda (other than class I guess?) but also it's just not very fun, and clashes hard with the hysterical interplay between Arno Juerging and Kier. The first act is the highlight because it's just a straight aristocratic buddy comedy with homogenous narcissists completely in sync. I wish the whole film was that, it would be perfect.
The Parallax View: This is great for a million reasons, but I can't stop thinking about the reading born from my last revisit that essentially asks if we have more in common with the psychopaths we stigmatize than the cold-hearted 'functional' sociopaths running the game
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therewillbeblus
- Joined: Tue Dec 22, 2015 3:40 pm
Re: The 1974 Mini-List
This is the most consistently strong year project yet for me, in that it's the first one where I can honestly say that on any given day films 10-25 could've switched places. Only my top four are really ingrained in their positions. I already feel bad about how low some films are that would've been top ten material in another year.
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Rayon Vert
- Green is the Rayest Color
- Joined: Wed Jan 08, 2014 10:52 pm
- Location: Canada
- Contact:
Re: The 1974 Mini-List
I think mine too
Although next year (75) I won't have a lot of depth but I've got some favorites that are really high among my all-time favorites - so in that sense (only) possibly the best year ever for me.
Although next year (75) I won't have a lot of depth but I've got some favorites that are really high among my all-time favorites - so in that sense (only) possibly the best year ever for me.
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swo17
- Bloodthirsty Butcher
- Joined: Tue Apr 15, 2008 10:25 am
- Location: SLC, UT
Re: The 1974 Mini-List
The 1974 List
##. Film (Director) points/votes(top 5 placements, aka likely votes in decade list)/highest ranking
01. Chinatown (Roman Polanski) 323/14(13)/1(x3)
02. The Conversation (Francis Ford Coppola) 277/16(8)/2(x2)
03. California Split (Robert Altman) 229/13(4)/1
04. Céline et Julie vont en bateau [Céline and Julie Go Boating] (Jacques Rivette) 213/10(7)/1(x2)
05. The Godfather Part II (Francis Ford Coppola) 172/11(4)/1(x3)
06. Alice in den Städten [Alice in the Cities] (Wim Wenders) 164/10(3)/1
07. Martha (Rainer Werner Fassbinder) 162/10(3)/2
08. Angst essen Seele auf [Ali: Fear Eats the Soul] (Rainer Werner Fassbinder) 158/11(2)/3(x2)
09. The Parallax View (Alan J. Pakula) 143/8(2)/2
10. Fontane – Effi Briest (Rainer Werner Fassbinder) 132/9(3)/3(x2)
11. Alice Doesn't Live Here Anymore (Martin Scorsese) 128/9(2)/4(x2)
12. A Woman Under the Influence (John Cassavetes) 125/6(4)/2(x2)
13. The Taking of Pelham One Two Three (Joseph Sargent) 121/9/6
14. Edvard Munch (Peter Watkins) 115/6(4)/2(x2)
15. Jeder für sich und Gott gegen alle [The Enigma of Kaspar Hauser] [Every Man for Himself and God Against All] (Werner Herzog) 92/5(3)/3
(tie) Black Christmas (Bob Clark) 92/6(2)/4
(tie) Le Fantôme de la liberté [The Phantom of Liberty] (Luis Buñuel) 92/6/6(x2)
18. Young Frankenstein (Mel Brooks) 90/6/7
19. Bring Me the Head of Alfredo Garcia (Sam Peckinpah) 83/6/8
20. L'Horloger de Saint-Paul [The Clockmaker] (Bertrand Tavernier) 82/5(2)/1
21. Penda's Fen (Alan Clarke) 79/4(2)/1(x2)
22. Phantom of the Paradise (Brian De Palma) 76/4(2)/1
23. Daisy Miller (Peter Bogdanovich) 75/5(1)/3
24. Cockfighter (Monte Hellman) 68/5/6
25. Szerelmem, Elektra [Electra, My Love] (Miklós Jancsó) 67/5/6
26. In the Shadow of the Sun (Derek Jarman) 64/3(1)/2
27. The Texas Chainsaw Massacre (Tobe Hooper) 60/5/8(x3)
28. Lancelot du Lac [Lancelot of the Lake] (Robert Bresson) 59/4(1)/4
29. Thieves Like Us (Robert Altman) 56/3(1)/2
(tie) Lacombe, Lucien (Louis Malle) 56/4(1)/3
31. Lenny (Bob Fosse) 51/4/7
32. La Gueule ouverte [The Mouth Agape] (Maurice Pialat) 45/3/8
33. مسافر [Mosāfer] [The Traveler] (Abbas Kiarostami) 40/2(1)/1
(tie) Travolti da un insolito destino nell'azzurro mare d'agosto [Swept Away] (Lina Wertmüller) 40/2/6(x2)
35. C'eravamo tanto amati [We All Loved Each Other So Much] (Ettore Scola) 36/2/6
(tie) Blazing Saddles (Mel Brooks) 36/4/11
37. あさき夢みし [Asaki yumemishi] [It Was a Faint Dream] (Akio Jissōji) 32/2(1)/1
38. The Sugarland Express (Steven Spielberg) 29/2/7
(tie) 田園に死す [Den'en ni shisu] [Pastoral: To Die in the Country] (Shūji Terayama) 29/2/11
40. Hearts and Minds (Peter Davis) 28/2(1)/3
(tie) Female Trouble (John Waters) 28/3/12
42. Italianamerican (Martin Scorsese) 23/3/12
43. Général Idi Amin Dada: Autoportrait (Barbet Schroeder) 22/2/10
44. Dark Star (John Carpenter) 20/2/12
(tie) Il fiore delle mille e una notte [Arabian Nights] (Pier Paolo Pasolini) 20/2/14
46. Harry and Tonto (Paul Mazursky) 19/2/10
(tie) Sisyphus (Marcell Jankovics) 19/2/16
48. Les Valseuses [Going Places] (Bertrand Blier) 18/2/16
49. 11 Harrowhouse (Aram Avakian) 16/2/13
(tie) Sweet Movie (Dušan Makavejev) 16/2/17
ALSO-RANS
It's Alive! (Larry Cohen) 10/2/17
Murder on the Orient Express (Sidney Lumet) 4/2/23
ORPHANS
Film (Director) highest ranking
Stavisky... (Alain Resnais) 19
Glissements progressifs du plaisir [Successive Slidings of Pleasure] (Alain Robbe-Grillet) 15
The Year Without a Santa Claus (Arthur Rankin, Jr. & Jules Bass) 25
The Front Page (Billy Wilder) 11
The Tamarind Seed (Blake Edwards) 24
Deathdream (Bob Clark) 16
La prima Angélica [Cousin Angélica] (Carlos Saura) 14
Ransom (Casper Wrede) 25
Je, tu, il, elle (Chantal Akerman) 21
Nada (Claude Chabrol) 13
Vincent, François, Paul et les autres (Claude Sautet) 12
Ziggy Stardust and the Spiders from Mars (D.A. Pennebaker) 3
Profumo di donna [Scent of a Woman] (Dino Risi) 9
Man on a Swing (Frank Perry) 22
Le Pélican (Gérard Blain) 22
Identikit [The Driver's Seat] (Giuseppe Patroni Griffi) 14
Karl May (Hans-Jürgen Syberberg) 15
La Patagonia rebelde [Rebellion in Patagonia] (Héctor Olivera) 2
ساعة التحرير دقت برّه يا إستعمار [Saat el tahrir dakkat, barra ya isti mar] [The Time of Liberation Has Come] (Heiny Srour) 11
暴力街 [Bōryoku gai] [Violent Streets] (Hideo Gosha) 20
Pressure (Horace Ové) 19
The Gravy Train (Jack Starrett) 20
Mes petites amoureuses [My Little Loves] (Jean Eustache) 6
Les Chinois à Paris (Jean Yanne) 18
Claudine (John Berry) 9
Zardoz (John Boorman) 17
Space Is the Place (John Coney) 21
The Towering Inferno (John Guillermin) 7
Caged Heat (Jonathan Demme) 17
Hay que matar a B. [ B Must Die] (José Luis Borau) 18
Symptoms (José Ramón Larraz) 21
Macskajáték [Cat's Play] (Károly Makk) 5
女必殺拳 [Onna hissatsu ken] [Sister Street Fighter] (Kazuhiko Yamaguchi) 24
極私的エロス 恋歌1974 [Gokushiteki erosu: Renka sen kyū-hyaku nana-jū yon-nen] [Extreme Private Eros: Love Song 1974] (Kazuo Hara) 14
サンダカン八番娼館 望郷 [Sandakan hachibanshōkan bōkyō] [Sandakan No. 8] (Kei Kumai) 3
Mahler (Ken Russell) 23
The Land That Time Forgot (Kevin Connor) 21
Boquitas pintadas [Heartbreak Tango] (Leopoldo Torre Nilsson) 12
Il portiere di notte [The Night Porter] (Liliana Cavani) 23
Tutto a posto e niente in ordine [All Screwed Up] (Lina Wertmüller) 24
Tatlo, Dalawa, Isa [Three, Two, One] (Lino Brocka) 24
Tinimbang ka Ngunit Kulang [You Have Been Weighed and Found Wanting] (Lino Brocka) 6
Gruppo di famiglia in un interno [Conversation Piece] (Luchino Visconti) 22
Delitto d'amore [Somewhere Beyond Love] (Luigi Comencini) 14
Diyet [Blood Money] (Lütfi Ömer Akad) 13
Colour Poems (Margaret Tait) 24
Cani arrabbiati [Rabid Dogs] (Mario Bava) 14
卑弥呼 [Himiko] (Masahiro Shinoda) 10
گوزنها [Gavaznhā] [The Deer] (Masoud Kimiai) 20
Thunderbolt and Lightfoot (Michael Cimino) 19
Death Wish (Michael Winner) 7
Le Mouton enragé [Love at the Top] (Michel Deville) 20
The Terminal Man (Mike Hodges) 7
El televisor [The TV] (Narciso Ibáñez Serrador) 21
Dnevnik [Diary] (Nedeljko Dragić) 8
Déjeuner du matin [Breakfast] (Patrick Bokanowski) 6
Moments (Peter Crane) 13
Nora Helmer (Rainer Werner Fassbinder) 10
Look Park (Ralph Steiner) 15
Juggernaut (Richard Lester) 9
The Longest Yard (Robert Aldrich) 20
Cartesius (Roberto Rossellini) 7
The Burning Hell (Ron Ormond) 19
Phase IV (Saul Bass) 22
La tregua [The Truce] (Sergio Renán) 19
अंकुर [Ankur] [The Seedling] (Shyam Benegal) 9
طبیعت بیجان [Tabiate bijan] [Still Life] (Sohrab Shahid Saless) 5
The Stars Are Beautiful (Stan Brakhage) 15
The Text of Light (Stan Brakhage) 16
The Yakuza (Sydney Pollack) 1
ノストラダムスの大予言 [Nosutoradamusu no daiyogen] [Prophecies of Nostradamus] (Toshio Masuda) 25
Arkadaş [Friend] (Yılmaz Güney) 15
Film About a Woman Who... (Yvonne Rainer) 5
17 lists submitted
##. Film (Director) points/votes(top 5 placements, aka likely votes in decade list)/highest ranking
01. Chinatown (Roman Polanski) 323/14(13)/1(x3)
02. The Conversation (Francis Ford Coppola) 277/16(8)/2(x2)
03. California Split (Robert Altman) 229/13(4)/1
04. Céline et Julie vont en bateau [Céline and Julie Go Boating] (Jacques Rivette) 213/10(7)/1(x2)
05. The Godfather Part II (Francis Ford Coppola) 172/11(4)/1(x3)
06. Alice in den Städten [Alice in the Cities] (Wim Wenders) 164/10(3)/1
07. Martha (Rainer Werner Fassbinder) 162/10(3)/2
08. Angst essen Seele auf [Ali: Fear Eats the Soul] (Rainer Werner Fassbinder) 158/11(2)/3(x2)
09. The Parallax View (Alan J. Pakula) 143/8(2)/2
10. Fontane – Effi Briest (Rainer Werner Fassbinder) 132/9(3)/3(x2)
11. Alice Doesn't Live Here Anymore (Martin Scorsese) 128/9(2)/4(x2)
12. A Woman Under the Influence (John Cassavetes) 125/6(4)/2(x2)
13. The Taking of Pelham One Two Three (Joseph Sargent) 121/9/6
14. Edvard Munch (Peter Watkins) 115/6(4)/2(x2)
15. Jeder für sich und Gott gegen alle [The Enigma of Kaspar Hauser] [Every Man for Himself and God Against All] (Werner Herzog) 92/5(3)/3
(tie) Black Christmas (Bob Clark) 92/6(2)/4
(tie) Le Fantôme de la liberté [The Phantom of Liberty] (Luis Buñuel) 92/6/6(x2)
18. Young Frankenstein (Mel Brooks) 90/6/7
19. Bring Me the Head of Alfredo Garcia (Sam Peckinpah) 83/6/8
20. L'Horloger de Saint-Paul [The Clockmaker] (Bertrand Tavernier) 82/5(2)/1
21. Penda's Fen (Alan Clarke) 79/4(2)/1(x2)
22. Phantom of the Paradise (Brian De Palma) 76/4(2)/1
23. Daisy Miller (Peter Bogdanovich) 75/5(1)/3
24. Cockfighter (Monte Hellman) 68/5/6
25. Szerelmem, Elektra [Electra, My Love] (Miklós Jancsó) 67/5/6
26. In the Shadow of the Sun (Derek Jarman) 64/3(1)/2
27. The Texas Chainsaw Massacre (Tobe Hooper) 60/5/8(x3)
28. Lancelot du Lac [Lancelot of the Lake] (Robert Bresson) 59/4(1)/4
29. Thieves Like Us (Robert Altman) 56/3(1)/2
(tie) Lacombe, Lucien (Louis Malle) 56/4(1)/3
31. Lenny (Bob Fosse) 51/4/7
32. La Gueule ouverte [The Mouth Agape] (Maurice Pialat) 45/3/8
33. مسافر [Mosāfer] [The Traveler] (Abbas Kiarostami) 40/2(1)/1
(tie) Travolti da un insolito destino nell'azzurro mare d'agosto [Swept Away] (Lina Wertmüller) 40/2/6(x2)
35. C'eravamo tanto amati [We All Loved Each Other So Much] (Ettore Scola) 36/2/6
(tie) Blazing Saddles (Mel Brooks) 36/4/11
37. あさき夢みし [Asaki yumemishi] [It Was a Faint Dream] (Akio Jissōji) 32/2(1)/1
38. The Sugarland Express (Steven Spielberg) 29/2/7
(tie) 田園に死す [Den'en ni shisu] [Pastoral: To Die in the Country] (Shūji Terayama) 29/2/11
40. Hearts and Minds (Peter Davis) 28/2(1)/3
(tie) Female Trouble (John Waters) 28/3/12
42. Italianamerican (Martin Scorsese) 23/3/12
43. Général Idi Amin Dada: Autoportrait (Barbet Schroeder) 22/2/10
44. Dark Star (John Carpenter) 20/2/12
(tie) Il fiore delle mille e una notte [Arabian Nights] (Pier Paolo Pasolini) 20/2/14
46. Harry and Tonto (Paul Mazursky) 19/2/10
(tie) Sisyphus (Marcell Jankovics) 19/2/16
48. Les Valseuses [Going Places] (Bertrand Blier) 18/2/16
49. 11 Harrowhouse (Aram Avakian) 16/2/13
(tie) Sweet Movie (Dušan Makavejev) 16/2/17
ALSO-RANS
It's Alive! (Larry Cohen) 10/2/17
Murder on the Orient Express (Sidney Lumet) 4/2/23
ORPHANS
Film (Director) highest ranking
Stavisky... (Alain Resnais) 19
Glissements progressifs du plaisir [Successive Slidings of Pleasure] (Alain Robbe-Grillet) 15
The Year Without a Santa Claus (Arthur Rankin, Jr. & Jules Bass) 25
The Front Page (Billy Wilder) 11
The Tamarind Seed (Blake Edwards) 24
Deathdream (Bob Clark) 16
La prima Angélica [Cousin Angélica] (Carlos Saura) 14
Ransom (Casper Wrede) 25
Je, tu, il, elle (Chantal Akerman) 21
Nada (Claude Chabrol) 13
Vincent, François, Paul et les autres (Claude Sautet) 12
Ziggy Stardust and the Spiders from Mars (D.A. Pennebaker) 3
Profumo di donna [Scent of a Woman] (Dino Risi) 9
Man on a Swing (Frank Perry) 22
Le Pélican (Gérard Blain) 22
Identikit [The Driver's Seat] (Giuseppe Patroni Griffi) 14
Karl May (Hans-Jürgen Syberberg) 15
La Patagonia rebelde [Rebellion in Patagonia] (Héctor Olivera) 2
ساعة التحرير دقت برّه يا إستعمار [Saat el tahrir dakkat, barra ya isti mar] [The Time of Liberation Has Come] (Heiny Srour) 11
暴力街 [Bōryoku gai] [Violent Streets] (Hideo Gosha) 20
Pressure (Horace Ové) 19
The Gravy Train (Jack Starrett) 20
Mes petites amoureuses [My Little Loves] (Jean Eustache) 6
Les Chinois à Paris (Jean Yanne) 18
Claudine (John Berry) 9
Zardoz (John Boorman) 17
Space Is the Place (John Coney) 21
The Towering Inferno (John Guillermin) 7
Caged Heat (Jonathan Demme) 17
Hay que matar a B. [ B Must Die] (José Luis Borau) 18
Symptoms (José Ramón Larraz) 21
Macskajáték [Cat's Play] (Károly Makk) 5
女必殺拳 [Onna hissatsu ken] [Sister Street Fighter] (Kazuhiko Yamaguchi) 24
極私的エロス 恋歌1974 [Gokushiteki erosu: Renka sen kyū-hyaku nana-jū yon-nen] [Extreme Private Eros: Love Song 1974] (Kazuo Hara) 14
サンダカン八番娼館 望郷 [Sandakan hachibanshōkan bōkyō] [Sandakan No. 8] (Kei Kumai) 3
Mahler (Ken Russell) 23
The Land That Time Forgot (Kevin Connor) 21
Boquitas pintadas [Heartbreak Tango] (Leopoldo Torre Nilsson) 12
Il portiere di notte [The Night Porter] (Liliana Cavani) 23
Tutto a posto e niente in ordine [All Screwed Up] (Lina Wertmüller) 24
Tatlo, Dalawa, Isa [Three, Two, One] (Lino Brocka) 24
Tinimbang ka Ngunit Kulang [You Have Been Weighed and Found Wanting] (Lino Brocka) 6
Gruppo di famiglia in un interno [Conversation Piece] (Luchino Visconti) 22
Delitto d'amore [Somewhere Beyond Love] (Luigi Comencini) 14
Diyet [Blood Money] (Lütfi Ömer Akad) 13
Colour Poems (Margaret Tait) 24
Cani arrabbiati [Rabid Dogs] (Mario Bava) 14
卑弥呼 [Himiko] (Masahiro Shinoda) 10
گوزنها [Gavaznhā] [The Deer] (Masoud Kimiai) 20
Thunderbolt and Lightfoot (Michael Cimino) 19
Death Wish (Michael Winner) 7
Le Mouton enragé [Love at the Top] (Michel Deville) 20
The Terminal Man (Mike Hodges) 7
El televisor [The TV] (Narciso Ibáñez Serrador) 21
Dnevnik [Diary] (Nedeljko Dragić) 8
Déjeuner du matin [Breakfast] (Patrick Bokanowski) 6
Moments (Peter Crane) 13
Nora Helmer (Rainer Werner Fassbinder) 10
Look Park (Ralph Steiner) 15
Juggernaut (Richard Lester) 9
The Longest Yard (Robert Aldrich) 20
Cartesius (Roberto Rossellini) 7
The Burning Hell (Ron Ormond) 19
Phase IV (Saul Bass) 22
La tregua [The Truce] (Sergio Renán) 19
अंकुर [Ankur] [The Seedling] (Shyam Benegal) 9
طبیعت بیجان [Tabiate bijan] [Still Life] (Sohrab Shahid Saless) 5
The Stars Are Beautiful (Stan Brakhage) 15
The Text of Light (Stan Brakhage) 16
The Yakuza (Sydney Pollack) 1
ノストラダムスの大予言 [Nosutoradamusu no daiyogen] [Prophecies of Nostradamus] (Toshio Masuda) 25
Arkadaş [Friend] (Yılmaz Güney) 15
Film About a Woman Who... (Yvonne Rainer) 5
17 lists submitted
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Rayon Vert
- Green is the Rayest Color
- Joined: Wed Jan 08, 2014 10:52 pm
- Location: Canada
- Contact:
Re: The 1974 Mini-List
Three Top 10s for Fassbinder. I guess he wins!
Thanks once again swo.
Kind of bummed I'm the only one that voted for Cartesius though (at no. 7!).
Thanks once again swo.
Kind of bummed I'm the only one that voted for Cartesius though (at no. 7!).
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therewillbeblus
- Joined: Tue Dec 22, 2015 3:40 pm
Re: The 1974 Mini-List
knives must not have voted
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Rayon Vert
- Green is the Rayest Color
- Joined: Wed Jan 08, 2014 10:52 pm
- Location: Canada
- Contact:
Re: The 1974 Mini-List
what I was thinking! 
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Maltic
- Joined: Sat Oct 10, 2020 1:36 am
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therewillbeblus
- Joined: Tue Dec 22, 2015 3:40 pm
Re: The 1974 Mini-List
Thanks swo! Top ten + orphans
1. California Split
2. Chinatown
3. Effi Briest
4. Celine and Julie Go Boating
5. Film About a Woman Who…
6. In the Shadow of the Sun
7. The Parallax View
8. The Texas Chainsaw Massacre
9. The Conversation
10. Harry and Tonto
17. Caged Heat
19. The Burning Hell
20. The Gravy Train
24. Sister Street Fighter
25. Prophecies of Nostradamus
I dropped a few good-to-great films from my list to make space for recent screenings, but sorry to whoever had The Yakuza orphaned as your number 1(!) - I would've loved to have seen a passionate defense of that one in this thread. And a hat tip to everyone else who had California Split in their top five
1. California Split
2. Chinatown
3. Effi Briest
4. Celine and Julie Go Boating
5. Film About a Woman Who…
6. In the Shadow of the Sun
7. The Parallax View
8. The Texas Chainsaw Massacre
9. The Conversation
10. Harry and Tonto
17. Caged Heat
19. The Burning Hell
20. The Gravy Train
24. Sister Street Fighter
25. Prophecies of Nostradamus
I dropped a few good-to-great films from my list to make space for recent screenings, but sorry to whoever had The Yakuza orphaned as your number 1(!) - I would've loved to have seen a passionate defense of that one in this thread. And a hat tip to everyone else who had California Split in their top five
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Rayon Vert
- Green is the Rayest Color
- Joined: Wed Jan 08, 2014 10:52 pm
- Location: Canada
- Contact:
Re: The 1974 Mini-List
I expected California Split to beat Thieves Like Us and have no problem with that. But although I I love both, in my heart I give the edge to the latter (I ranked them 8 and 2 respectively). With Thieves, Altman lightly deflates the Bonnie & Clyde mythology. I think it's a sweet, subtle, delightful little movie, a cousin to McCabe in terms of its lyricism and gentle rhythm. Bob films in Mississippi set in the 30s (recently I watched the Kansas City Arrow blu ray upgrade and realized he'd made at least two films set in that decade in the south) and it’s an exquisitely pretty picture, shot with natural lighting. The characters are endearing, especially the young, touching doomed couple very nicely played by Cassidine and Duvall. Its feel is gentler than McCabe and it has none of the hysterics of the Clyde picture. When there’s violence, it feels real but it’s never overdone. I also prefer this film over the Nicholas Ray adaptation.
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yoshimori
- Joined: Wed Nov 03, 2004 2:03 am
- Location: LA CA
Re: The 1974 Mini-List
The Shinoda was orphaned, but props to whoever provided the (sadly) only other votes for the Jissoji and the Terayama. My numbers 1 and 10.
Looks like, though only six of us voted for Edvard Munch, four of us had it in the top 5. Same with the Cassavetes. Impressive.
Looks like, though only six of us voted for Edvard Munch, four of us had it in the top 5. Same with the Cassavetes. Impressive.
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knives
- Joined: Sat Sep 06, 2008 6:49 pm
Re: The 1974 Mini-List
Whoops. I really let this one get by me. I’ve been super busy recently and totally forgot I hadn’t voted yet. For what it’s worth below is what my list would have been:Rayon Vert wrote: ↑Sat Jul 01, 2023 12:51 pmThree Top 10s for Fassbinder. I guess he wins!
Thanks once again swo.
Kind of bummed I'm the only one that voted for Cartesius though (at no. 7!).
Cartesisus
Nada
Female Trouble
Phantom of the Paradise
Harry and Tonto
Bring Me the Head…
The Mouth Agape
The Little Prince
Celine and Julie
The Conversation
Zardoz
Cockfighter
The Enigma of Kasper Hauser
Shanks
Arabian Nights
The Taking of Pelham One Two Three
Father of the Kamikaze
Swept Away
Edvard Munch
Blazing Saddles
The Wild and the Brave
Young Frankenstein
It’s Alive
Sisyphus
Elektra, My Love
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Rayon Vert
- Green is the Rayest Color
- Joined: Wed Jan 08, 2014 10:52 pm
- Location: Canada
- Contact:
Re: The 1974 Mini-List
One more for Swept Away, damn. Don't forget to vote knives, you bring Italia!
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swo17
- Bloodthirsty Butcher
- Joined: Tue Apr 15, 2008 10:25 am
- Location: SLC, UT
Re: The 1974 Mini-List
Just for fun, here are the results if I count what knives just posted:
The 1974 List
01. Chinatown (Roman Polanski) 323/14(13)/1(x3)
02. The Conversation (Francis Ford Coppola) 294/17(8)/2(x2)
03. Céline et Julie vont en bateau [Céline and Julie Go Boating] (Jacques Rivette) 230/11(7)/1(x2)
04. California Split (Robert Altman) 229/13(4)/1
05. The Godfather Part II (Francis Ford Coppola) 172/11(4)/1(x3)
06. Alice in den Städten [Alice in the Cities] (Wim Wenders) 164/10(3)/1
07. Martha (Rainer Werner Fassbinder) 162/10(3)/2
08. Angst essen Seele auf [Ali: Fear Eats the Soul] (Rainer Werner Fassbinder) 158/11(2)/3(x2)
09. The Parallax View (Alan J. Pakula) 143/8(2)/2
10. Fontane – Effi Briest (Rainer Werner Fassbinder) 132/9(3)/3(x2)
11. The Taking of Pelham One Two Three (Joseph Sargent) 131/10/6
12. Alice Doesn't Live Here Anymore (Martin Scorsese) 128/9(2)/4(x2)
13. A Woman Under the Influence (John Cassavetes) 125/6(4)/2(x2)
14. Edvard Munch (Peter Watkins) 122/7(4)/2(x2)
15. Jeder für sich und Gott gegen alle [The Enigma of Kaspar Hauser] [Every Man for Himself and God Against All] (Werner Herzog) 105/6(3)/3
16. Bring Me the Head of Alfredo Garcia (Sam Peckinpah) 103/7/6
17. Phantom of the Paradise (Brian De Palma) 98/5(3)/1
18. Young Frankenstein (Mel Brooks) 94/7/7
19. Black Christmas (Bob Clark) 92/6(2)/4
(tie) Le Fantôme de la liberté [The Phantom of Liberty] (Luis Buñuel) 92/6/6(x2)
21. L'Horloger de Saint-Paul [The Clockmaker] (Bertrand Tavernier) 82/5(2)/1
(tie) Cockfighter (Monte Hellman) 82/6/6
23. Penda's Fen (Alan Clarke) 79/4(2)/1(x2)
24. Daisy Miller (Peter Bogdanovich) 75/5(1)/3
25. Szerelmem, Elektra [Electra, My Love] (Miklós Jancsó) 68/6/6
26. In the Shadow of the Sun (Derek Jarman) 64/3(1)/2
(tie) La Gueule ouverte [The Mouth Agape] (Maurice Pialat) 64/4/7
28. The Texas Chainsaw Massacre (Tobe Hooper) 60/5/8(x3)
29. Lancelot du Lac [Lancelot of the Lake] (Robert Bresson) 59/4(1)/4
30. Thieves Like Us (Robert Altman) 56/3(1)/2
(tie) Lacombe, Lucien (Louis Malle) 56/4(1)/3
32. Female Trouble (John Waters) 51/4(1)/3
(tie) Lenny (Bob Fosse) 51/4/7
34. Travolti da un insolito destino nell'azzurro mare d'agosto [Swept Away] (Lina Wertmüller) 48/3/6(x2)
35. Cartesius (Roberto Rossellini) 44/2(1)/1
36. مسافر [Mosāfer] [The Traveler] (Abbas Kiarostami) 42/3(1)/1
(tie) Blazing Saddles (Mel Brooks) 42/5/11
38. Harry and Tonto (Paul Mazursky) 40/3(1)/5
39. Nada (Claude Chabrol) 37/2(1)/2
40. C'eravamo tanto amati [We All Loved Each Other So Much] (Ettore Scola) 36/2/6
41. あさき夢みし [Asaki yumemishi] [It Was a Faint Dream] (Akio Jissōji) 33/2(1)/1
42. Il fiore delle mille e una notte [Arabian Nights] (Pier Paolo Pasolini) 31/3/14
43. The Sugarland Express (Steven Spielberg) 29/2/7
(tie) 田園に死す [Den'en ni shisu] [Pastoral: To Die in the Country] (Shūji Terayama) 29/2/11
45. Hearts and Minds (Peter Davis) 28/2(1)/3
46. Zardoz (John Boorman) 24/2/11
47. Général Idi Amin Dada: Autoportrait (Barbet Schroeder) 23/2/10
(tie) Italianamerican (Martin Scorsese) 23/3/12
49. Sisyphus (Marcell Jankovics) 21/3/16
50. Dark Star (John Carpenter) 20/2/12
ALSO-RANS
Les Valseuses [Going Places] (Bertrand Blier) 18/2/16
11 Harrowhouse (Aram Avakian) 17/2/13
Sweet Movie (Dušan Makavejev) 16/2/17
It's Alive! (Larry Cohen) 13/3/17
Murder on the Orient Express (Sidney Lumet) 4/2/23
The 1974 List
01. Chinatown (Roman Polanski) 323/14(13)/1(x3)
02. The Conversation (Francis Ford Coppola) 294/17(8)/2(x2)
03. Céline et Julie vont en bateau [Céline and Julie Go Boating] (Jacques Rivette) 230/11(7)/1(x2)
04. California Split (Robert Altman) 229/13(4)/1
05. The Godfather Part II (Francis Ford Coppola) 172/11(4)/1(x3)
06. Alice in den Städten [Alice in the Cities] (Wim Wenders) 164/10(3)/1
07. Martha (Rainer Werner Fassbinder) 162/10(3)/2
08. Angst essen Seele auf [Ali: Fear Eats the Soul] (Rainer Werner Fassbinder) 158/11(2)/3(x2)
09. The Parallax View (Alan J. Pakula) 143/8(2)/2
10. Fontane – Effi Briest (Rainer Werner Fassbinder) 132/9(3)/3(x2)
11. The Taking of Pelham One Two Three (Joseph Sargent) 131/10/6
12. Alice Doesn't Live Here Anymore (Martin Scorsese) 128/9(2)/4(x2)
13. A Woman Under the Influence (John Cassavetes) 125/6(4)/2(x2)
14. Edvard Munch (Peter Watkins) 122/7(4)/2(x2)
15. Jeder für sich und Gott gegen alle [The Enigma of Kaspar Hauser] [Every Man for Himself and God Against All] (Werner Herzog) 105/6(3)/3
16. Bring Me the Head of Alfredo Garcia (Sam Peckinpah) 103/7/6
17. Phantom of the Paradise (Brian De Palma) 98/5(3)/1
18. Young Frankenstein (Mel Brooks) 94/7/7
19. Black Christmas (Bob Clark) 92/6(2)/4
(tie) Le Fantôme de la liberté [The Phantom of Liberty] (Luis Buñuel) 92/6/6(x2)
21. L'Horloger de Saint-Paul [The Clockmaker] (Bertrand Tavernier) 82/5(2)/1
(tie) Cockfighter (Monte Hellman) 82/6/6
23. Penda's Fen (Alan Clarke) 79/4(2)/1(x2)
24. Daisy Miller (Peter Bogdanovich) 75/5(1)/3
25. Szerelmem, Elektra [Electra, My Love] (Miklós Jancsó) 68/6/6
26. In the Shadow of the Sun (Derek Jarman) 64/3(1)/2
(tie) La Gueule ouverte [The Mouth Agape] (Maurice Pialat) 64/4/7
28. The Texas Chainsaw Massacre (Tobe Hooper) 60/5/8(x3)
29. Lancelot du Lac [Lancelot of the Lake] (Robert Bresson) 59/4(1)/4
30. Thieves Like Us (Robert Altman) 56/3(1)/2
(tie) Lacombe, Lucien (Louis Malle) 56/4(1)/3
32. Female Trouble (John Waters) 51/4(1)/3
(tie) Lenny (Bob Fosse) 51/4/7
34. Travolti da un insolito destino nell'azzurro mare d'agosto [Swept Away] (Lina Wertmüller) 48/3/6(x2)
35. Cartesius (Roberto Rossellini) 44/2(1)/1
36. مسافر [Mosāfer] [The Traveler] (Abbas Kiarostami) 42/3(1)/1
(tie) Blazing Saddles (Mel Brooks) 42/5/11
38. Harry and Tonto (Paul Mazursky) 40/3(1)/5
39. Nada (Claude Chabrol) 37/2(1)/2
40. C'eravamo tanto amati [We All Loved Each Other So Much] (Ettore Scola) 36/2/6
41. あさき夢みし [Asaki yumemishi] [It Was a Faint Dream] (Akio Jissōji) 33/2(1)/1
42. Il fiore delle mille e una notte [Arabian Nights] (Pier Paolo Pasolini) 31/3/14
43. The Sugarland Express (Steven Spielberg) 29/2/7
(tie) 田園に死す [Den'en ni shisu] [Pastoral: To Die in the Country] (Shūji Terayama) 29/2/11
45. Hearts and Minds (Peter Davis) 28/2(1)/3
46. Zardoz (John Boorman) 24/2/11
47. Général Idi Amin Dada: Autoportrait (Barbet Schroeder) 23/2/10
(tie) Italianamerican (Martin Scorsese) 23/3/12
49. Sisyphus (Marcell Jankovics) 21/3/16
50. Dark Star (John Carpenter) 20/2/12
ALSO-RANS
Les Valseuses [Going Places] (Bertrand Blier) 18/2/16
11 Harrowhouse (Aram Avakian) 17/2/13
Sweet Movie (Dušan Makavejev) 16/2/17
It's Alive! (Larry Cohen) 13/3/17
Murder on the Orient Express (Sidney Lumet) 4/2/23
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therewillbeblus
- Joined: Tue Dec 22, 2015 3:40 pm
Re: The 1974 Mini-List
Totally forgot about Nada and Swept Away too. 11 Harrowhouse is better than both though, so
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Maltic
- Joined: Sat Oct 10, 2020 1:36 am
Re: The 1974 Mini-List
I didn't post a list, but I would've saved Zardoz too.
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Toland's Mitchell
- Joined: Sun Nov 10, 2019 2:42 pm
Re: The 1974 Mini-List
Similarly, I put in 70-75 hours on the job last week, and totally blanked on this project. FWIW, my top 10 would have been something like:
Chinatown
Godfather 2
Bring Me the Head of Alfredo Garcia
California Split
Alice in the Cities
Phantom of the Paradise
Ali: Fear Eats the Soul
Martha
The Conversation
The Parallax View
Alfredo and Phantom would have a landed higher, everything else would have been more or less the same. Thanks swo for all your effort.
Chinatown
Godfather 2
Bring Me the Head of Alfredo Garcia
California Split
Alice in the Cities
Phantom of the Paradise
Ali: Fear Eats the Soul
Martha
The Conversation
The Parallax View
Alfredo and Phantom would have a landed higher, everything else would have been more or less the same. Thanks swo for all your effort.