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Yeah so far for '70 and '71 my shortlists are right around 25, but they were all at around 35 during the 60s. We'll see how long this lasts

swo17 wrote: Mon Feb 27, 2023 6:10 pm Deadlines are the end of the month now but you are still free to treat them like the last Sunday of the month, and then every day beyond that as an extension if you need it

Is this a ‘submit before you wake up tomorrow’ situation or a midnight deadline? Hoping to squeeze in The Ear but won’t get to it til just after midnight

When I wake up and get around to it on the 1st. Or actually you can just say aloud "I've watched The Ear and you know where I want it" and I'll get it that way

swo17 wrote: Tue Feb 28, 2023 3:21 am When I wake up and get around to it on the 1st. Or actually you can just say aloud "I've watched The Ear and you know where I want it" and I'll get it that way

I’m actually dogsitting an hour north this week so can’t even benefit from the bug’s convenience

Oh, we know all about it

Some midnight-hour viewings:

Un, dos, tres, al escondite inglés: I was eager to check out Iván Zulueta's only other feature film before the sensational Arrebato, and while it's undeniably an acid trip off the beaten path, it's a pretty dull one, without the kind of tonal urgency or thematic ambitions as his self-reflexive masterpiece. Instead, we get a light sociopolitical satire that plays a lot like a Head-ripoff populated with local pop bands. It's not particularly fun or funny, and it certainly lets us know it's trying to be both, but some of the music is solid and a few stylistic flourishes indicate a sign of better things to come (and, sadly, basically end there).

Where's Poppa?: A farce this committed to a set of loosely-connected, sprawling full-measured gags risks a lot and rarely succeeds at attaining a high batting average, admirable as its efforts may be. This isn't much different - I enjoyed some bits more than others, the highlight being an early scene of Segal's antisocial protagonist attempting to woo Trish Van Devere. The scene is interesting for how it casts its labile energy and attention, alternating between unprompted fantasy, accentuated interplay pitched at sexual and scatological shock triggers, and culminating in some soft deadpan singing that's abruptly understated. However, I could just as easily understand a reaction of frustration sourced from the exact same reasons of irregularity, and that's how I felt for the majority of its runtime. It's always embarrassing to witness a rape joke drawn out for ten minutes when none of its escalating punchlines land. YMMV, but I found this to be mostly forgettable- though I tend to feel that way about a lot of farce from this period.

La Faute de l'abbé Mouret: Unfocused spiritual parable that can't seem to decide what it's tone is- for a while, I was convinced this was a failed satirical comedy, but then around the halfway mark, I realized it was going for something more biblically allegorical and somewhat tragic. I don't know, I really can't figure out Franju as a filmmaker. He's concocted some confidently-concentrated masterpieces across an eclectic palette of completely distinct moods and aspirations (Thérèse Desqueyroux / Judex), and then at other times doesn't seem to have a clue how to make a movie, decide on an attitude, or center his gaze. Perhaps this one will work better on a second viewing - an LB user compared it to Sous le soleil de Satan, a personal favorite of mine that I seem to read way differently than most, so maybe this is a case of the reverse.

The Ear: I have little to add to the articulate posts from DarkImbecile and ryannichols7, but this is a strong film that echos Pinteresque shifts in psychosocial responses to heighten paranoia as reflected by eroding stability in family system roles. I understand the value in cross-cutting between the present darkened claustrophobic chaos and the bright open political party dinner: There's a tremendous effectiveness in aesthetically flooding us with both ironic juxtapositions in schematic representation and sincerely-impairing surrealism of the disordered encounters, as well as pragmatically serving economic doses of informative narrative splicing.. but I think the film would've been a near-perfect existential horror exercise if it found a way to accrue this basic information first and linearly progress in real time as the noose of spatial and psychological regression tightened. I'd love to watch an alternative fan edit where scenes were re-ordered chronologically just to see if its cumulative effect would be enhanced in certain areas. This has been in my kevyip forever, and I wasn't going to watch it for the project, but I'm glad I did, even if it didn't quite make the cut.

therewillbeblus wrote: Mon Feb 27, 2023 9:38 pm Yeah so far for '70 and '71 my shortlists are right around 25, but they were all at around 35 during the 60s. We'll see how long this lasts

this decade is seriously thinner for me so far after 1970 ends. I'm always open to recommendations but my lists are definitely a lot shorter this goaround

The Landlord - Hal Ashby isn't always a winner for me. upon revisits, The Last Detail aged better than I expected and Being There much poorer. this was my first time seeing his debut and I was really taken by it. this is obviously ahead of it's time and I was genuinely impressed by how he was able to balance tone across the board. this movie is funny, intense, and quite emotional at times. Beau Bridges is phenomenal as the eponymous character, his family terrifying, and all the habitants of the apartment building felt very real. I talk often about how naturalistic all the dialogue in The Last Detail feels and it's the same here - I truly think Ashby had a serious grasp on what he was going for and it shows big time. gotta say, a background in editing will do one wonders!

The Honeymoon Killers - another one-and-done director here. for some reason I always expected this to be a long the lines of Blast of Silence or Samuel Fuller's more gritty 60s movies. it's way more realized than any of that, and again was able to balance humor and tension flawlessly. these people are such losers it's almost hilarious how palpable that is - contrast this with most serial killer films. but in that sense, it's even more thrilling - kinda like the Alfred Molina scene in Boogie Nights stretched to feature length. an incredibly enjoyable film, one I'm surprised I never got around to seeing (our namesake label gave it spine #200, clearly for a reason!)

I will try and write up my #1 (it's a big hitter, so I doubt I'm changing anyone's mind) later tonight, as well as hit at least two more before the deadline

I wonder if others’ problem is the same as I suspect is the cause of mine which is that I just haven’t seen as many ‘70s movies compared with other decades and that’s what leaving me fallow. For example, I’ve seen about a third or more of each years master list until ‘71 where I’m hovering around a quarter of the list.

It may be weird to say about fifty year old films, but I also think the wheat and chaff haven’t yet become as separated as for earlier decades with genre films and just what was popular at the time mostly holding their own against whatever has become canonized for other reasons. Basically, I suspect it’s a decade we have to dig a bit more for because there are less obvious paths.

ryannichols7 wrote: Tue Feb 28, 2023 5:51 pm The Honeymoon Killers

FYI this was already eligible for the 1969 list, where it placed #33

swo17 wrote: Tue Feb 21, 2023 2:59 am I'm gonna vote for a bunch of Lillian Schwartz shorts this decade. Here is a good one to kick things off.

Thank you for bringing this into my life, now I know what I can use to explain to folks what the onset of a migraine looks like.

But for real, I loved that. Will have to delve further into Schwartz.

swo17 wrote: Tue Feb 28, 2023 6:18 pm

ryannichols7 wrote: Tue Feb 28, 2023 5:51 pm The Honeymoon Killers

FYI this was already eligible for the 1969 list, where it placed #33

I blame dustybooks!! either way I enjoyed it

Tristana and Bed and Board will be my last two of the project tonight

The 1970 List



##. Film (Director) points/votes(top 5 placements, aka likely votes in decade list)/highest ranking

01. Le Genou de Claire [Claire's Knee] (Éric Rohmer) 331/17(10)/1
02. Deep End (Jerzy Skolimowski) 315/18(6)/1
03. Il conformista [The Conformist] (Bernardo Bertolucci) 292/14(9)/1(x4)
(tie) Valerie a týden divů [Valerie and Her Week of Wonders] (Jaromil Jireš) 292/16(4)/1(x2)
05. Le Boucher (Claude Chabrol) 249/12(8)/2(x2)
06. Le Cercle rouge (Jean-Pierre Melville) 218/12(5)/1
07. Five Easy Pieces (Bob Rafelson) 204/11(7)/1(x2)
08. Tristana (Luis Buñuel) 198/13(1)/3
09. Zabriskie Point (Michelangelo Antonioni) 186/10(5)/1(x2)
10. Ucho [The Ear] (Karel Kachyňa) 166/10(3)/2(x2)
11. Indagine su un cittadino al di sopra di ogni sospetto [Investigation of a Citizen Above Suspicion] (Elio Petri) 144/8(2)/2
12. Gimme Shelter (Albert & David Maysles & Charlotte Zwerin) 138/9(4)/3(x2)
13. M*A*S*H (Robert Altman) 137/8(2)/1
14. Brewster McCloud (Robert Altman) 136/9(3)/3(x2)
15. Zorns Lemma (Hollis Frampton) 110/6(3)/1(x2)
16. Performance (Donald Cammell & Nicolas Roeg) 90/5(2)/1
17. 俠女 [Xia nu] [A Touch of Zen] (1970-1971) (King Hu) 89/4(3)/1
18. L'Enfant sauvage [The Wild Child] (François Truffaut) 85/7/8
(tie) Diary of a Mad Housewife (Frank Perry) 85/7/7
20. En kärlekshistoria [A Swedish Love Story] (Roy Andersson) 80/4(3)/2
21. The Landlord (Hal Ashby) 79/5(1)/4
22. Peau d'âne [Donkey Skin] (Jacques Demy) 78/5(1)/3
23. Little Big Man (Arthur Penn) 74/6(2)/3
24. 無常 [Mujō] [This Transient Life] (Akio Jissōji) 73/4(3)/1
(tie) 煉獄エロイカ [Rengoku eroica] [Heroic Purgatory] (Kijū Yoshida) 73/4(2)/2
26. Adelheid (František Vláčil) 71/5(1)/4
27. The Ballad of Cable Hogue (Sam Peckinpah) 69/5(1)/2
28. অরণ্যের দিনরাত্রি [Aranyer Din Ratri] [Days and Nights in the Forest] (Satyajit Ray) 67/3(2)/1(x2)
(tie) Wanda (Barbara Loden) 67/5/7
30. L'uccello dalle piume di cristallo [The Bird with the Crystal Plumage] (Dario Argento) 66/5(1)/5
31. 東京戰争戦後秘話 [Tōkyō sensō sengo hiwa] [The Man Who Left His Will on Film] (Nagisa Ōshima) 62/5(2)/1
32. El jardín de las delicias [The Garden of Delights] (Carlos Saura) 61/3(2)/1
33. L'Aveu [The Confession] (Costa-Gavras) 60/5/6
34. L'Ours et la Poupée [The Bear and the Doll] (Michel Deville) 58/3(1)/2
(tie) Kostnice [The Ossuary] (Jan Švankmajer) 58/4(1)/2
36. Případ pro začínajícího kata [Case for a Rookie Hangman] (Pavel Juráček) 54/3(1)/4
37. Reconstituirea [Reconstruction] (Lucian Pintilie) 52/3(1)/5
(tie) Hospital (Frederick Wiseman) 52/4/9(x2)
(tie) Pixillation (Lillian F. Schwartz) 52/4/10(x2)
40. Domicile conjugal [Bed and Board] (François Truffaut) 51/5/9
(tie) Watermelon Man (Melvin Van Peebles) 51/5/8
42. Husbands (John Cassavetes) 45/2(2)/3
(tie) Patton (Franklin J. Schaffner) 45/3/6
44. The Private Life of Sherlock Holmes (Billy Wilder) 43/3(1)/1
45. Les Choses de la vie [The Things of Life] (Claude Sautet) 42/2(1)/4
46. La Rupture (Claude Chabrol) 41/2(1)/5
(tie) Ovoce stromů rajských jíme [Fruit of Paradise] (Věra Chytilová) 41/3(1)/4
(tie) I clowns (Federico Fellini) 41/3/7
49. Uomini contro [Many Wars Ago] (Francesco Rosi) 39/3(1)/5
50. প্রতিদ্বন্দ্বী [Pratidwandi] [The Adversary] (Satyajit Ray) 38/3/6

ALSO-RANS

Bartleby (Anthony Friedmann) 37/4/10
Բնիկներ [Bnikner] [Inhabitants] (Artavazd Peleshian) 36/2/6
Original Cast Album: Company (D.A. Pennebaker) 35/3/7
El topo (Alejandro Jodorowsky) 32/2/6
Black Panthers (Agnès Varda) 32/2/10(x2)
Puzzle of a Downfall Child (Jerry Schatzberg) 32/3/9
Soleil Ô (Med Hondo) 30/3/8
Fårödokument [Fårö Document] (Ingmar Bergman) 29/2/10
Joe (John G. Avildsen) 29/3/7
Colossus: The Forbin Project (Joseph Sargent) 27/2/7

Beyond the Valley of the Dolls (Russ Meyer) 26/2/10
Brzezina [The Birch Wood] (Andrzej Wajda) 25/2(1)/5
Auch Zwerge haben klein angefangen [Even Dwarfs Started Small] (Werner Herzog) 25/4/14
Le Petit Théâtre de Jean Renoir [The Little Theatre of Jean Renoir] (Jean Renoir) 24/3/9
The Kremlin Letter (John Huston) 24/2/11
The Liberation of L.B. Jones (William Wyler) 23/2/6
Warum läuft Herr R. Amok? [Why Does Herr R. Run Amok?] (Rainer Werner Fassbinder & Michael Fengler) 23/2/12
Woodstock (Michael Wadleigh) 23/2/14
Take a Girl Like You (Jonathan Miller) 22/2/7
Король Лир [Korol lir] [King Lear] (Grigori Kozintsev) 22/2/10

Fly (Yoko Ono) 21/2/6
Multiple Maniacs (John Waters) 20/2/14
Loving (Irvin Kershner) 19/2/14
The Vampire Lovers (Roy Ward Baker) 17/2/10
Figures in a Landscape (Joseph Losey) 17/2/13
The People Next Door (David Greene) 17/3/17
The Reckoning (Jack Gold) 14/2/16
Catch-22 (Mike Nichols) 8/2/20

ORPHANS

Film (Director) highest ranking

نان و کوچه [Nān o kūcheh] [The Bread and Alley] (Abbas Kiarostami) 23
どですかでん [Dodes'ka-den] (Akira Kurosawa) 4
Sovereign's Company (Alan Clarke) 18
The Hallelujah Handshake (Alan Clarke) 15
Venga a prendere il caffè... da noi [Come Have Coffee with Us] (Alberto Lattuada) 21
Die unbezähmbare Leni Peickert [The Indomitable Leni Peickert] (Alexander Kluge) 25
Hoffman (Alvin Rakoff) 15
La Dame dans l'auto avec des lunettes et un fusil [The Lady in the Car with Glasses and a Gun] (Anatole Litvak) 3
Krajobraz po bitwie [Landscape After Battle] (Andrzej Wajda) 6
The Body Beneath (Andy Milligan) 15
The Out-of-Towners (Arthur Hiller) 11
Strategia del ragno [The Spider's Stratagem] (Bernardo Bertolucci) 21
Stop! (Bill Gunn) 5
Kelly's Heroes (Brian G. Hutton) 7
Quick Billy (Bruce Baillie) 23
Where's Poppa? (Carl Reiner) 25
報仇 [Bao chou] [Vengeance] (Chang Cheh) 5
Lovers and Other Strangers (Cy Howard) 12
Podróż [The Journey] (Daniel Szczechura) 5
The Grandmother (David Lynch) 7
Two Mules for Sister Sara (Don Siegel) 19
Goin' Down the Road (Donald Shebib) 12
Connecting Rooms (Franklin Gollings) 21
Mumsy, Nanny, Sonny & Girly (Freddie Francis) 21
Scream and Scream Again (Gordon Hessler) 14
Szerelmesfilm [Lovefilm] (István Szabó) 10
Robin Redbreast (James MacTaggart) 21
Petit à petit [Little by Little] (Jean Rouch) 25
British Sounds [See You at Mao] (Jean-Luc Godard & Jean-Henri Roger [Groupe Dziga Vertov]) 12
Le Vent d'est [Wind from the East] (Jean-Luc Godard, Jean-Pierre Gorin & Gérard Martin [Groupe Dziga Vertov]) 19
Les yeux ne veulent pas en tout temps se fermer, ou Peut-être qu'un jour Rome se permettra de choisir à son tour [Othon] (Jean-Marie Straub & Danièle Huillet) 12
Leo the Last (John Boorman) 8
Apotheosis (John Lennon & Yoko Ono) 20
Dernier domicile connu [Last Known Address] (José Giovanni) 19
There Was a Crooked Man... (Joseph L. Mankiewicz) 13
座頭市あばれ火祭り [Zatōichi abare-himatsuri] [Zatoichi Goes to the Fire Festival] (Kenji Misumi) 17
性賊 [Seizoku] [Sex Jack] (Kōji Wakamatsu) 15
新宿マッド [Shinjuku maddo] [Shinjuku Mad] (Kōji Wakamatsu) 16
Lisice [Handcuffs] (Krsto Papić) 9
Fabryka [The Factory] (Krzysztof Kieślowski) 16
The Railway Children (Lionel Jeffries) 3
Black Roots (Lionel Rogosin) 12
¡Vivan los novios! [Long Live the Bride and Groom] (Luis García Berlanga) 19
Berlin Horse (Malcolm Le Grice) 3
उसकी रोटी [Uski Roti] [Our Daily Bread] (Mani Kaul) 11
The Molly Maguires (Martin Ritt) 23
無頼漢 [Buraikan] [The Scandalous Adventures of Buraikan] (Masahiro Shinoda) 17
7 Plus Seven (Michael Apted) 13
Let It Be (Michael Lindsay-Hogg) 22
Myra Breckinridge (Michael Sarne) 18
Kladivo na čarodějnice [Witchhammer] (Otakar Vávra) 9
იყო შაშვი მგალობელი [Iko shashvi mgalobeli] [There Once Was a Singing Blackbird] (Otar Iosseliani) 4
Oisín (Patrick Carey) 18
Alex in Wonderland (Paul Mazursky) 16
Trash (Paul Morrissey) 25
Vampir-Cuadecuc (Pere Portabella) 11
Taste the Blood of Dracula (Peter Sasdy) 8
Rend a házban [Order in the House] (Péter Szoboszlay) 13
Das Kaffeehaus [The Coffeehouse] (Rainer Werner Fassbinder) 21
Die Niklashauser Fahrt [The Niklashausen Journey] (Rainer Werner Fassbinder & Michael Fengler) 14
मेरा नाम जोकर [Mera Naam Joker] [My Name Is Joker] (Raj Kapoor) 4
...tick...tick...tick... (Ralph Nelson) 15
Hòa Bình (Raoul Coutard) 3
Le Passager de la pluie [Rider on the Rain] (René Clément) 8
Getting Straight (Richard Rush) 24
And Soon the Darkness (Robert Fuest) 18
Nelle pieghe della carne [In the Folds of the Flesh] (Sergio Bergonzelli) 13
にっぽん戦後史 マダムおんぼろの生活 [Nippon sengoshi – Madamu onboro no seikatsu] [History of Postwar Japan as Told by a Bar Hostess] (Shōhei Imamura) 18
未帰還兵を追って　第一部　マレー篇 [Mikikan-hei o otte: Marei-hen] [In Search of the Unreturned Soldiers in Malaysia] (Shōhei Imamura) 19
トマトケチャップ皇帝 [Tomato kechappu kōtei] [Emperor Tomato Ketchup] (Shūji Terayama) 10
The Machine of Eden (Stan Brakhage) 8
Necrology (Standish Lawder) 20
Αναπαράσταση [Anaparastasi] [Reconstruction] (Theo Angelopoulos) 13
I girasoli [Sunflower] (Vittorio De Sica) 11
Il giardino dei Finzi-Contini (Vittorio De Sica) 13
Baal (Volker Schlöndorff) 14
Engel, die ihre Flügel verbrennen [Angels with Burnt Wings] (Zbyněk Brynych) 12

24 lists submitted

Thanks Swo and team and also thanks to who else voted for Loving and Catch 22.

Whoa, I was not responsible for the highest placement of El jardín de las delicias?!? A) Who did that and B) are we be best friends now?

Witchhammer was my only Orphan or Also-Ran, and I seem to be a clear outlier on that one.

Also, obligatory quivering awe in the face of swo’s list-managing powers

Nice work swo. An encouraging increase in the number of participants.

DarkImbecile wrote: Wed Mar 01, 2023 8:23 pm Witchhammer was my only Orphan or Also-Ran, and I seem to be a clear outlier on that one.

It almost made the bottom of my list

I almost didn't participate because I don't think my '70 list is currently very strong this early in the overall 70s project, plus it will surely be different 10 months from now, once I've seen several more '70 titles. But I woke up this morning and decided 'eh, why not?' and submitted a roughed in last-minute list. My personal top 4 were the same overall top 4 here, so didn't make much of a difference. Anyway, nice list as always. Will be pulling recommendations from here for the broader decade project. I'm curious how Claire's Knee, Deep End, The Bear and the Doll, and Othon had half points. Are we allowed to make notes on our lists indicating a tie between two films? If so, that's cool, but would it get confusing if every user's list had multiple ties?

Thanks swo! Orphans bolded:

1. Zorns Lemma
2. L’Ours et la poupée
3. The Lady in the Car with Glasses and a Gun
4. Brewster McCloud
5. Stop!
6. Valerie and Her Week of Wonders
7. Zabriskie Point
8. Le Cercle Rouge
9. M*A*S*H*
10. Deep End
11. Pratidwandi
12. Claire’s Knee
13. In the Folds of the Flesh
14. Multiple Maniacs
15. Five Easy Pieces
16. Watermelon Man
17. Why Does Herr R. Run Amok?
18. Myra Breckinridge
19. The People Next Door
20. Original Cast Album: Company
21. Diary of a Mad Housewife
22. This Transient Life
23. Take a Girl Like You
24. Getting Straight
25. The Vampire Lovers

I'm starting to wonder if championing specific rarities in these threads may actually hurt their chances of gaining votes

I doubt it. I actually looked high and low for the Deville given your push and just didn’t find a copy in time.

Toland's Mitchell wrote: Wed Mar 01, 2023 10:11 pm I'm curious how Claire's Knee, Deep End, The Bear and the Doll, and Othon had half points.

So somebody voted twice instead of merely revising their original list. This creates a glitch in the system where the two lists essentially get brundleflied and I have to make some guesses about how the list was actually intended to look (including recognizing some apparent ties with half points). I waited all morning to see if I could get clarification from the user in question but figured it wasn't materially changing things and didn't want to keep people waiting any longer.

EDIT: Issue since corrected, no rankings were impacted other than L'Ours et la Poupée moving up one place into a tie with The Ossuary

knives wrote: Wed Mar 01, 2023 10:19 pm I doubt it. I actually looked high and low for the Deville given your push and just didn’t find a copy in time.

Well I offered to supply copies of several films only available on back channels including that one (so you shoulda PM'd me if you wanted it!) - though this is only referencing orphans. I'm really just surprised Stop! was orphaned, given a few other people here championed it after the film was finally unearthed at the start of covid, and I assumed others would flock to see the Bill Gunn lost film when prompted by this project. The others make complete sense

therewillbeblus wrote: Wed Mar 01, 2023 10:14 pm I'm starting to wonder if championing specific rarities in these threads may actually hurt their chances of gaining votes

Correlation is not causation

Thanks for the nth time swo!

I voted for both but I'm surprised the Antonioni did so well, and the Cassavetes lower than I expected.

swo17 wrote: Wed Mar 01, 2023 7:56 pm (tie) Ovoce stromů rajských jíme [Fruit of Paradise] (Věra Chytilová) 41/3(1)/4

I could say a lot but I'll single this out - this deserved way better. and seeing Peter Hames and Kat Ellinger vote for it on their respective Sight and Sound ballots today helped me feel even more validated in my position on it. is this an instance of people just not enjoying this one as much (entirely fair!) or is it that criminally underseen? I can understand when something like Coach to Vienna or ...And the Fifth Horseman is Fear place a lot lower, those directors aren't nearly as big of names (though I'm obviously very pleased to see The Ear high here!), but when the namesake of this website is constantly posting Chytilova's name all over their social media, I'm surprised this didn't get more love. on Hames' ballot he mentions how this film is due for as much of a rediscovery as Daisies was - and I can't help but agree, as it feels like a far more accomplished film.