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Thread: The cinema thread

  1. #21

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread



    And no "Man With A Movie Camera" either. I second Faust's vote for a bit of Russian 20s cinema to go with the Germans. (Maybe a Buster Keaton movie too)
    </p>

  2. #22

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread

    outside of japanese & german i have not seen very many pre-war films. do you guys have any recommendations? i have seen man with a movie camera, though.

  3. #23
    kitsch killer Faust's Avatar
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    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread



    [quote user=&quot;mass&quot;]outside of japanese &amp; german i have not seen
    very many pre-war films. do you guys have any recommendations? i have
    seen man with a movie camera, though.[/quote]</p>

    I would recommend Alexander Nevsky http://en.wikipedia.org/wiki/Alexand...sky_%28film%29</p>
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  4. #24

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread

    [quote user=&quot;Faust&quot;]

    I&#39;ve only seen Metropolis out of those. I liked it. It must have been amazing to make something like that in the 20&#39;s.</p>

    I must see Cabinet of Dr. Caligari.</p>

    </p>


    No Battleship Potemkin on your list? [:P]</p>

    [/quote]</p>

    Do see Caligari, it has the added bonus of being easily available on DVD and often screened in various cinemas.</p>

    As for Eisenstein no Potemkin (hey there&#39;s only 100 slots so loads of great movies will be left out) but there&#39;s one of his movies coming up soon</p>
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  5. #25
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    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread

    Nevsky, Nevsky, Nevsky!!!
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  6. #26

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread

    thanks for the recommendation. i had the eisenstein boxset which has nevsky although i sold it before i ever got a chance to watch/open it (although i've seen ivan the terrible as well as a few other of his films). i'll check it out!

  7. #27

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread



    <u>Fuuma&#39;s top 100 films: 30s</u></p><ul>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">All Quiet on the Western Front/USA/Milestone/1930: Dramatic anti-war film and a strong indictment of ultra-nationalism, as seen from the German side.</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">M/Germany/Lang/1931: A serial killer is on the loose and the town is in a climate of panic and hysteria after eight children have been found dead. The denunciations, name calling and paranoia present in the film take on an interesting subtext when you consider what was going on in Germany at that time.</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Atalante, l&#39;/France/Vigo/1934: A story that is at times both humorous and deeply poetic. The association of Vigo, who would die a year after completing his masterpiece (and only feature length film), and the cameramen Boris Kaufman, Dziga Vertov&rsquo;s half-brother, yields results of tremendous evocative power</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">39 steps/UK/Hitchcock/1935: This is one hell of a charming movie. Hitchcock invented the guy&amp;girl (both glamorous of course) who&rsquo;re in trouble with the law/bad guys/etc and must join force to succeed while their mutual contempt and attraction for each other fluctuate according to exterior circumstances. Basically a romantic comedy where the typical obstacles to the protagonists love are replaced by elements taken from thrillers.</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Grand illusion, the/Grande Illusion, la/France/Renoir/1937: Renoir once again sets his penetrating gaze on the change of class dynamics after WWI, just looming in the horizon in this case, with this tale of French POW planning their escape from German camps</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Alexander Nevski/URSS/Eisenstein/1938: Made at a time when Russo-Germanic relations weren&rsquo;t at their all time high to say the least, this movie delivers its pro-Russian message with maestria. Observe how clothing, equipment and battle formations, by the judicious use of geometric shapes, contributes to the overall feeling you get from each army. There seems to be a few fans of this one on the board, which is always a sign you&rsquo;re in good company, IMHO</font></font></span></div>[/list]

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  8. #28

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread



    thx 1138 / USA / george lucas / 1971</p>

    he did this.. then made star wars? hmm.
    </p>

  9. #29

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread



    <u>Fuuma&#39;s top 100 movies: 40s</u></p><ul>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Maltese falcon, the/USA/Huston/1941: Quintessential noir movie, the shadows in this one owe a lot to the German impressionist films I listed earlier (see 20s)</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">This gun for hire/USA/Tuttle/1942: Veronica Lake and one of the first &ldquo;hitman who finds redemption in the love he has for a woman&rdquo; type of movie that I&rsquo;m a sucker for </font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Corbeau, le/France/Clouzot/1943: Can be seen as a metaphor for occupied France (made and released during said occupation) oh and Clouzot is the French Hitchcock</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Beauty and the beast\Belle et la b&ecirc;te, la/France/Cocteau/1946: The only movie on the list that I haven&rsquo;t seen since I was a kid, this one is so poetic and aesthetically pleasing that it left a really strong impression on me at the time. A friend of mine later said that he can&rsquo;t stand the movie because Cocteau was so in love with Marais during the filming that he made everyone else ugly by comparison. I&rsquo;ll tell you what I think about that when I re-watch it, I wasn&rsquo;t looking for homo-erotic subtexts in movies when I was eight, and that&rsquo;s a good thing. </font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Out of the past/USA/Tourneur/1947 :<span> </span>Another noir with a femme fatale so wicked you can&rsquo;t help but love her. Featuring Kirk Douglas in a career defining first(?) role</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Bicycle thief, the/Italie/DeSica/1948: Moving, humane, essential</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Third man, the/UK/Reed/1949 : Just a great thriller, a famous cuckoo speech and one of the best, again German impressionism inspired, use of shadows ever (see the last scene).</font></font></span></div>[/list]

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  10. #30
    kitsch killer Faust's Avatar
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    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread

    I figured you meant &quot;40s&quot; - I fixed it in the title. Added &quot;Bicycle Thief&quot; - my Netflix cue is getting dangerously long thanks to you [Y]
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  11. #31
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    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread

    Paging Fuuma - is Great Gatsby with Redford/Farrow on your list? I am buying a few movies (cheap), and it&#39;s one of the two decent ones I found.
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  12. #32

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread



    [quote user=&quot;Faust&quot;]Paging Fuuma - is Great Gatsby with Redford/Farrow on your list? I am buying a few movies (cheap), and it&#39;s one of the two decent ones I found.
    [/quote]</p>

    I&#39;ve never seen it....</p>

    Oh and there are hundreds of movies I like that aren&#39;t on this list.</p>

    </p>

    Good call on the bicycle thief, I&#39;m sure you&#39;ll enjoy it, especially if you liked other neorealist movies (i.e. rome open city)</p>
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  13. #33

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread

    i love this gun for hire, as you might imagine. good pick, among all the others on your list.



    by the way, since you're only picking one film from any director for the list, are the films on the list your favorite from that particular director? ie maltest falcon is your favorite huston? i mean for me a favorite film 'of all time' may not be my favorite in the context of only the director's films (and that also, is completely separate from what i would think is his/her best work, etc)... so i'm just curious.

  14. #34

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread



    [quote user=&quot;mass&quot;]i love this gun for hire, as you might imagine. good pick, among all the others on your list.

    by the way, since you&#39;re only picking one film from any director for the list, are the films on the list your favorite from that particular director? ie maltest falcon is your favorite huston? i mean for me a favorite film &#39;of all time&#39; may not be my favorite in the context of only the director&#39;s films (and that also, is completely separate from what i would think is his/her best work, etc)... so i&#39;m just curious.[/quote]</p><p class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA" style="font-size: 10pt; font-family: Arial">Clarification: I&rsquo;ve included two films by the same director a couple of times&hellip;.maybe I should revise the list and change my criteria to only one film per director. Anyway when you&rsquo;re making such a list a little bit of cheating never hurts.</span></p><p class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA" style="font-size: 10pt; font-family: Arial"></span></p><p class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA" style="font-size: 10pt; font-family: Arial">I didn&rsquo;t rationalize the list to the point you describe (pitting best of all time VS my favourite VS best considering the director&rsquo;s canon), whenever I think of a film or director I&rsquo;ll just throw around those I like the most or are more important/relevant to me. Sometimes I&rsquo;ll have the excruciating pain of choosing, for example, which Wong-Kar-Wai stays in and which stays out, I don&rsquo;t even remember the ones I&rsquo;ve kept, could be any among Days of being wild, ashes of time, Chungking express, Fallen angels, Happy together or In the mood for love. There are of course loads of omissions and I could certainly do another top100 without including any of the ones in this list. Those were just easier to choose/bring back to memory because they&rsquo;re mostly from my DVD collection or watching journal (started pretty recently-jan 2005). There is also some sort of dreamlike associative logic where I&rsquo;ll think about a film which for some reason will evoke another, leading me in turn to the next one.</span></p>

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  15. #35

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread



    <u>Fuuma&#39;s top 100 movies: 50s</u></p><ul>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Rashomon/Japan/Kurosawa/1950: Well known for its use of contradicting flashbacks. The long take where the woodsman is walking through the forest is the perfect example of music, camerawork and previous narrative drive coming together in a magical moment (even though it&rsquo;s just a dude walking through the woods)</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><font size="3"><font face="Times New Roman"><span lang="EN-CA">Tokyo</span><span lang="EN-CA"> story/Japan/Ozu/1953: Very clich&eacute; choice but this is so moving and affecting I had to include it</span></font></font></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Touchez pas au grisbi<span> </span>France/Becker<span> </span>/1954: Another great heist/crime flick with Jean Gabin</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Seven samurai, the/Japan/Kurosawa/1954: Kurosawa shows such a mastery of movement; the quintessential &ldquo;action&rdquo; film</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Diabolique/Diaboliques, les/France/Clouzot<span> </span>/1955: Another gripping Clouzot thriller, this one has lost none of its punch. Hitchcock liked it so much he asked the authors (Boileau/Narcejac) of the original story to write something for him which resulted in Vertigo.</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font face="Times New Roman" size="3"></font></span><span lang="EN-CA"><font size="3"><font face="Times New Roman">Rififi/Rififi chez les hommes, du/France/Dassin/1955: Classic long heist sequence, uninterrupted by music or speech, which would inspire countless directors (and real life criminals) in years to come </font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Bob le flambeur/France/Melville/1955: Great morality tale about gangster honour, luck and getting older. The street sequences are exquisite and definitely inspired the new wave directors who started shooting on location, with natural light and portable cameras. </font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Night and fog/Nuit et brouillard/France/Resnais/1955: 30 Min documentary about the Holocaust (among the first ones made), might be less graphic than some but the quality of the direction and narration makes it all the more effecting</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">A man escaped/Un condamn&eacute; &agrave; mort s&#39;est &eacute;chapp&eacute;/France/Bresson/1956: Bresson&rsquo;s minimalist, almost ascetic vision of cinema shines through in this tale of quiet perseverance.</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA"><font size="3"><font face="Times New Roman">Paths of Glory<span> </span>/USA/Kubrick/1957: This, and all quiet on the western front, are my favourite (anti) war movies. Oh and it&rsquo;s the only Kubrick film on the list.</font></font></span></div>[*]<div class="MsoNormal" style="margin: 0cm 0cm 0pt"><span lang="EN-CA" style="color: black"><font face="Times New Roman" size="3">Vertigo/USA/Hitchcock/1958: The most personal of Hitchcock&rsquo;s movies, the tale of a man who obsessively tries to transform a woman into something else (a physical projection of his own fantasies) to the point of obliterating her own identity. Everything is twisted and spiralling in this film, from staircases and roads to the heroine&rsquo;s hairdo.</font></span><span lang="EN-CA"></span></div>[/list]

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  16. #36

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread

    eventually i would love to see a (for example) top 10 list of favorite films & filmmakers from everybody...!

    just the mention of riffifi puts that song right back in my head...

  17. #37

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread



    [quote user=&quot;mass&quot;]eventually i would love to see a (for example) top 10 list of favorite films &amp; filmmakers from everybody...! just the mention of riffifi puts that song right back in my head...[/quote]</p>

    Just ten films doesn&#39;t say much about someone, but add some thematic elements and then the top 10s become quite fun. This can be quite poetic and evocative &quot;top 10 films you think about when I saybodies&quot; or specific &quot;best 10 movies with car accidents&quot; or even genre/period related &quot;ten best french new wave&quot;. Rififi=pure magic, theoriginal french title sounds a lot more macho (I guess it could be translatedas&quot;battle among men&quot; or something of that nature, rififi=old slang for battle, conflict, confrontation, chaos, etc.)though, which is good in that case.</p>

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  18. #38

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread



    <u>Fuuma&#39;s top 100 movies: 60s</u></p><ul type="disc"><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><font size="3"><font face="Times New Roman">Breathless/&Agrave; bout de souffle/France/Godard/1960: Frantic, fun, irreverential, innovative. <span lang="EN-CA">It&rsquo;s a monument but without any of the pomposity associated with that concept.</span></font></font><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"> </span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><font face="Times New Roman"><span lang="EN-CA"><font size="3">Avventura, l&#39;/Italy/Antonioni/1960: This could be called sex and architecture, the attention given to bodies, shapes and forms is amazing. So modern in its aesthetic and mindset, pretty much everything else looks dated when compared to it. </font></span><span lang="EN-CA" style="font-size: 10pt">&ldquo;-Godard: The drama is no longer psychological, but plastic.-Antonioni: It&#39;s the same thing&rdquo; (okay this conversation was about Red Desert but still&hellip;)</span></font><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"> </span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><font size="3"><font face="Times New Roman"><span lang="EN-CA">Dolce vita, la/Italy/Fellini/1960: So stylish </span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"></span></font></font><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><span lang="EN-CA"><font face="Times New Roman" size="3">Last year at Marienbad/L&rsquo;ann&eacute;e derni&egrave;re &agrave; Marienbad/France/Resnais/1961: Not so much a logical film as one made to evoke concepts and memories. A great discussion starter, you can talk about it&rsquo;s meaning for hours after a viewing</font></span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"> </span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><span lang="EN-CA"><font face="Times New Roman" size="3">Leopard, the/Italy/Visconti/1963: The last days of the aristocratic era made by a communist prince, who, by virtue of his dual nature, conveys the right mix of hope and melancholy</font></span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"> </span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><span lang="EN-CA"><font face="Times New Roman" size="3">Band of outsiders/Bande &agrave; part/France/Godard/1964: Godard successfully re-arranges the polar for his own device</font></span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"> </span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><span lang="EN-CA"><font face="Times New Roman" size="3">Woman in the dunes/Japan/Teshigahara/1964: The most tactile film I&rsquo;ve ever seen and a powerful existentialist allegory.</font></span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"> </span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><font size="3"><font face="Times New Roman"><span lang="EN-CA">Battle of Algiers, theAlgeria/Pontecorvo/1965: At times you feel like you&rsquo;re watching a documentary. I attended a screening where a couple of the actors where present (some of them are now important members of the Algerian government) and they were basically playing themselves, blurring the line between reality and fiction. This is essential viewing in these times of terrorism hysteria </span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"></span></font></font><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><span lang="EN-CA"><font face="Times New Roman" size="3">Blow-up/Italy/Antonioni/1966: Swinging London meet Antonioni&rsquo;s take on reality and bourgeois existential ennui. Asks a lot of interesting questions about art, representation and truth.</font></span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"> </span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><span lang="EN-CA"><font face="Times New Roman" size="3">Persona/Sweden/Bergman/1966: If you&rsquo;re interested in the nature of identity and individuality see this. </font></span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"><span></span></span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><font size="3"><font face="Times New Roman"><span lang="EN-CA">Belle de jour/France/Bunuel/1967: Threads the murkier depths of human sexuality </span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"></span></font></font><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><span lang="EN-CA"><font face="Times New Roman" size="3">Samourai, le/France/Melville/1967: Delon is the height of laconic cool in this, Melville&rsquo;s hieratic characters, reminiscent of the style of Bresson, seem to be unable or unwilling to escape the highly codified destinies the filmmaker has in store for them</font></span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"> </span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><span lang="EN-CA"><font face="Times New Roman" size="3">Stolen kisses/Bais&eacute;s vol&eacute;s/France/Truffaut/1968: Breezy and fun without being inconsequential. Every man can recognize at least part of himself in eternal adolescent Antoine Doinel</font></span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"> </span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><span lang="EN-CA"><font face="Times New Roman" size="3">Once upon a time in the west/Italy/Leone/1968: The western to end all westerns, so epic it hasn&rsquo;t been topped yet.</font></span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"> </span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><span lang="EN-CA"><font face="Times New Roman" size="3">Unfaithful one, the/Femme infid&egrave;le, la/France/Chabrol/1969: Had to pick a Chabrol, any number of his movies could have been included. Chabrol is the master of thrillers illustrating the &ldquo;bourgeois malaise&rdquo;</font></span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"> </span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><span lang="EN-CA"><font face="Times New Roman" size="3">Z/France/Costa-Gavras/1969: Major entry in the political film genre</font></span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"> </span><li class="MsoNormal" style="margin: 0cm 0cm 0pt; color: black; tab-stops: list 36.0pt"><span lang="EN-CA"><font face="Times New Roman" size="3">My night at Maud&#39;s/Ma nuit chez Maud/France/Rohmer/1969: Be warned that Rohmer&rsquo;s movies are ultra talkative and unabashedly intellectual (that&rsquo;s a good thing, right?) but the ethical dilemmas he poses are always fascinating</font></span><span lang="EN-CA" style="font-size: 10pt; font-family: Verdana"></span>[/list]
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  19. #39
    kitsch killer Faust's Avatar
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    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread

    This is awesome. I&#39;ve only seen La Dolce Vita and Persona out of these. Must add Battle of Algiers.
    Fashion is a form of ugliness so intolerable that we have to alter it every six months - Oscar Wilde

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  20. #40

    Default Re: Photography is truth. The cinema is truth twenty-four times per second: The cinema thread

    60s and 70s are when most of my favorite films are from, looking forward to the rest of the list! the only film i haven't seen there is last night at marienbad so i will definitely check it out.



    faust you should check out the leopard, i think you may like it. actually i don't know if you will since i don't know what your taste is... but it's great and the set/costumes are very epic. it's famous for a ballroom scene butttt there is a scene early in the film that imo is a perfect scene... uhm i don't really know how to describe it but it's right after the war and the camera just goes through all the people sitting still during the ceremony or whatever. god i'm inarticulate. fuuma do you know which scene i'm talking about?



    btw there aren't enough american films on your list :D

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