| |
26
|
|
27
|
|
28
|
|
Taxi
Driver |
|
MARTIN
SCORSESE (28) |
 |
|
1976
| 113m | Col | USA | Psychological Drama, Urban Drama |
|
Robert De Niro, Cybill
Shepherd, Jodie Foster, Peter Boyle, Harvey Keitel, Leonard Harris,
Martin Scorsese, Steven Prince, Diahnne Abbott, Albert Brooks
|
|
"Taxi
Driver is a film that does not grow dated, or over-familiar. I have
seen it dozens of times. Every time I see it, it works; I am drawn into
Travis' underworld of alienation, loneliness, haplessness and anger." -
Roger Ebert, Chicago Sun-Times |
|
Selected by
Edgar Wright, Christopher Frayling, Gavin Smith,
Quentin Tarantino, Nick
James. |
| 39 → 38 →
28 → 26 |
|
Amazon
Senses of Cinema
The Village Voice |
|
|
|
The
General |
|
BUSTER
KEATON
&
CLYDE BRUCKMAN (30) |
 |
|
1927
| 74m | BW | USA | Adventure Comedy, Slapstick |
|
Buster Keaton, Marion
Mack, Glen Cavender, Jim Farley, Frederick Vroom, Joe Keaton, Charles
Smith, Frank Barnes, Mike Donlin, Tom Nawn
|
|
"Only superlatives
will do to describe
Keaton’s hilarious Civil War dramatic comedy. Made in 1927,
at the culmination of the silent era, it sees the graceful, stone-faced
genius at his inventive best... a thrilling adventure yarn, based
essentially upon a pair of hurtling and symmetrically opposed train
chases, that is as superbly structured as it is executed."
- Wally Hammond, Time Out, 2006 |
|
Selected by
John Lasseter, Andrew Sarris,
Terry Jones,
Philip French, Vincent
Ward. |
| 27 → 27 →
30 → 27 |
|
Amazon
Images Journal
Derek Malcolm's Century of Films |
|
|
|
Psycho |
|
ALFRED
HITCHCOCK (32) |
 |
|
1960
| 109m | BW | USA | Thriller, Psychological Thriller |
|
Anthony Perkins, Janet
Leigh, Vera Miles, John Gavin, Martin Balsam, John McIntire, Simon
Oakland, John Anderson, Lurene Tuttle, Frank Albertson
|
|
"No introduction needed,
surely, for
Hitchcock's best film, a stunningly realised (on a relatively
low budget) slice of Grand Guignol in which the Bates Motel is the arena
for much sly verbal sparring and several gruesome murders... A
masterpiece by any standard."
- Geoff Andrew, Time Out |
|
Selected by
Alex Proyas,
Sam Raimi, Gavin Smith,
Joe
Dante,
Paul Mazursky. |
| 29 → 30 →
32 → 28 |
|
Amazon
MovieMaker
Roger Ebert's Great Movies |
|
| |
|
| |
|
|
|
|
|
29
|
|
30
|
|
31
|
|
Les
Enfants du paradis |
|
MARCEL
CARNÉ (31) |
 |
| • Children
of Paradise (English title) |
|
1945
| 195m | BW | France | Period Film, Romantic Drama |
|
Pierre Brasseur, Arletty,
Jean-Louis Barrault, Pierre Renoir, Maria Casares, Gaston Modot, Fabien
Loris, Marcel Herrand, Louis Salou, Jane Marken |
|
"Children Of
Paradise is the ultimate theater-as-life movie, rich in historical
allusions past and present, a landmark production that overcame constant
harassment by the Germans and stands as a key testament to the spirit of
the French Resistance. But apart from mere dissertation fodder, the film
remains an exemplary piece of popular entertainment, full of vibrancy
and wit, with unforgettable characters and a delicate, bittersweet tone
that considers their emotions in balance."
- Scott Tobias, The A.V. Club, 2002 |
|
Selected by
Marc Forster,
Kevin Thomas, David Robinson, Guy
Hamilton,
Lewis Gilbert. |
| 24 → 25 →
31 → 29 |
|
Amazon
Derek Malcolm's Century of Films
Senses of Cinema |
|
|
|
The
Third Man |
|
CAROL
REED (24) |
 |
|
1949
| 104m | BW | UK | Mystery, Psychological Thriller |
|
Joseph Cotten, Orson
Welles, Alida Valli, Trevor Howard, Paul Horbiger, Bernard Lee, Ernst
Deutsch, Wilfred Hyde-White, Erich Ponto, Siegfried Breuer |
|
"The Third Man
is one of those rare films that captured its audience immediately and
was regarded as a classic almost from its first release. It marks one of
those unusual conjunctions of script, director, subject, cast and
setting—and, of course, music—in which everything works... This was the
one time Reed,
as a director, reached perfection; and he did it as much by assembling
and marshalling a brilliantly talented company as by the power of his
own vision."
- Michael Wilmington, The Criterion Collection, 1999 |
|
Selected by
Philip Kaufman,
Alan
Parker, David Denby,
Paul Morrissey,
Bryan Forbes. |
| 20 → 23 →
24 → 30 |
|
Amazon
Bright Lights Film Journal
Chicago Reader |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
Sunset
Blvd. |
|
BILLY
WILDER (29) |
 |
| • Sunset
Boulevard (alternative spelling) |
|
1950
| 110m | BW | USA | Showbiz Drama,
Satire |
|
Gloria Swanson, William
Holden, Erich von Stroheim, Nancy Olson, Fred Clark, Jack Webb, Cecil B.
DeMille, Buster Keaton, Hedda Hopper, Lloyd Gough |
|
"Hollywood
craftsmanship at its smartest and just about at its best, and it is hard
to find better craftsmanship than that, at this time, in any art or
country... much the most ambitious movie about Hollywood ever done."
- James Agee |
|
Selected by
John Dahl, Molly Haskell,
John Boorman,
Iain Softley,
Harold Becker. |
| 28 → 31 →
29 → 31 |
|
Amazon
Boston Phoenix
Philadelphia City Paper |
|
See Also:
250 Quintessential
Noir Films |
|
| |
|
| |
|
|
|
|
|
32
|
|
33
|
|
34
|
|
The
Gold Rush |
|
CHARLES
CHAPLIN (27) |
 |
|
1925
| 82m | BW | USA | Comedy,
Slapstick |
|
Charles Chaplin, Mack
Swain, Georgia Hale, Tom Murray, Betty Morrissey, Henry Bergman, Kay
Deslys, Joan Lowell, Malcolm Waite, John Rand |
|
"Charles
Chaplin's best-loved film, with the tramp down-and-out (as
usual) in Alaska, where he looks for gold, falls in love with a
dance-hall girl (Georgia Hale), eats his shoes for Thanksgiving dinner,
and ends up a millionaire. The blend of slapstick and pathos is
seamless, although the cynicism of the final scene is still surprising.
Chaplin's
later films are quirkier and more personal, but this is quintessential
Charlie, and unmissable." - Dave Kehr, Chicago Reader |
|
Selected by
Guillermo del Toro,
Michael Haneke,
Theo Angelopoulos,
Lewis Gilbert, John Anderson. |
| 37 → 34 →
27 → 32 |
|
Amazon
Senses of Cinema
Filmsite |
|
|
|
Dr. Strangelove or: How I
Learned to Stop Worrying and Love the Bomb |
|
STANLEY
KUBRICK (39) |
 |
| • Dr.
Strangelove (alternative title) |
|
1964
| 93m | BW | UK | Military Comedy, Political Satire |
|
Peter Sellers, George C.
Scott, Sterling Hayden, Keenan Wynn, Slim Pickens, Peter Bull, Tracy
Reed, James Earl Jones, Jack Creley, Frank Berry |
|
"Dr.
Strangelove is, first and foremost, absolutely unflinching... Kubrick's
precise use of camera angles, his uncanny sense of lighting, his
punctuation with close-ups and occasionally with zoom shots, all
galvanize the picture into macabre yet witty reality."
- Stanley Kauffman |
|
Selected
by
Cameron Crowe,
Alex Proyas,
Errol Morris,
Peter Segal,
Mike Newell. |
| 35 → 39 →
39 → 33 |
|
Amazon
Derek Malcolm’s Century of Films
Strictly Film School |
|
|
|
Breathless |
|
JEAN-LUC
GODARD (33) |
 |
| • À bout de
souffle (original title) |
|
1959 | 89m | BW | France |
Drama, Crime Drama |
|
Jean-Paul Belmondo, Jean
Seberg, Daniel Boulanger, Jean-Pierre Melville, Van Doude, Liliane
Robin, Henri-Jacques Huet, Claude Mansard, Michel Fabre, Jean-Luc Godard |
|
"Fast and
loose, with a buzzing sense of the potential of the cinema undercut by
the beginnings of
Godard’s intellectual rigour, this is at once a
homage to the American gangster film, and an attack on the very ideas of
Americans, gangsters and films"
- Kim Newman, Empire |
|
Selected by
Wong Kar-Wai,
Jan Nemec,
Michael Winterbottom,
Andrey Plakhov, Bill Rothman. |
| 30 → 29 →
33 → 34 |
|
Amazon
Senses of Cinema
Roger Ebert’s Great Movies |
|
| |
|
| |
|
|
|
|
|
35
|
|
36
|
|
37
|
|
Apocalypse
Now |
|
FRANCIS
FORD COPPOLA (35) |
 |
|
1979
| 150m | Col | USA | Anti-War Film, Adventure Drama |
|
Martin Sheen, Robert
Duvall, Marlon Brando, Frederic Forrest, Albert Hall, Dennis Hopper,
Laurence Fishburne, Sam Bottoms, G.D. Spradlin, Harrison Ford |
|
"Apocalypse
Now is the best Vietnam film, one of the greatest of all films,
because it pushes beyond the others, into the dark places of the soul.
It is not about war so much as about how war reveals truths we would be
happy never to discover."
- Roger Ebert, Chicago Sun-Times |
|
Selected by
Renny Harlin,
Danny Boyle,
Terry Jones,
Roger Ebert, Kim Newman. |
| 44 → 44 →
35 → 35 |
|
Amazon
Images Journal
Roger Ebert’s Great Movies |
|
|
|
Chinatown |
|
ROMAN
POLANSKI (36) |
 |
|
1974
| 131m | Col | USA | Mystery, Post-Noir (Modern Noir) |
|
Jack Nicholson, Faye
Dunaway, John Huston, Perry Lopez, John Hillerman, Darrell Zwerling,
Diane Ladd, Roman Polanski, Roy Jenson, Dick Bakalyan |
|
"Chinatown is
unquestionably one of the best films to emerge from the 1970s... The
production, which went in front of the cameras without a final script,
marks the high-water point in the careers of both lead actor
Jack Nicholson
and director Roman
Polanski. It also represents the finest color entry into the
film noir genre."
- James Berardinelli, Reel Views, 2001 |
|
Selected by
Hubert Cornfield,
Carl Franklin,
John Dahl,
Gillian Armstrong,
Andy Medhurst. |
| 40 → 35 →
36 → 36 |
|
Amazon
Roger Ebert’s Great Movies
metacritic |
|
|
|
The
Night of the Hunter |
|
CHARLES
LAUGHTON (37) |
 |
|
1955
| 93m | BW | USA | Crime Thriller,
Psychological Thriller |
|
Robert Mitchum, Lillian
Gish, Shelley Winters, Peter Graves, Billy Chapin, James Gleason, Sally
Ann Bruce, Evelyn Varden, Don Beddoe, Gloria Castillo |
|
"Agee's
screenplay—from Davis Grubb's relatively graphic, forgotten novel—was a
fearless evocation of revival-tent axiomism that shouldn't have gotten
arrested in Eisenhower-era Hollywood. But
Laughton understood Agee's proximity to
Grimm vaudeville, and fashioned the most intensely expressionistic movie
of its day, outside of
Welles... Few "Golden Age" movies are as visually fecund, and
few have been so ruthlessly plundered."
- Michael Atkinson, The Village Voice, 2001 |
|
Selected by
David Ehrenstein, Joe Dante, Stig Bjorkman, Nigel Andrews,
Gore Verbinski. |
| 52 → 43 →
37 → 37 |
|
Amazon
Derek Malcolm’s Century of Films
Gerald Peary |
|
See Also:
250 Quintessential
Noir Films |
|
| |
|
| |
|
|
|
|
|
38
|
|
39
|
|
40
|
|
Ordet |
|
CARL
DREYER (34) |
 |
| • The Word
(English title) |
|
1955
| 125m | BW | Denmark | Drama, Religious Drama |
|
Henrik Malberg, Emil Hass
Christensen, Preben Lerdoff-Rye, Cay Kristiansen, Birgitte Federspiel,
Ejner Federspiel, Ove Rud, Ann Elisabeth Rud, Susanne Rud, Gerda Nielsen |
|
"Carl
Dreyer's great 1954 film is concerned with the moral and metaphysical
shadings of love: Is it a thing of sex or of the spirit?...
Dreyer's
direction has been described as too theatrical, perhaps because the
action is largely confined to the farmhouse set, yet the spatial
explorations of his camera and cutting are profoundly cinematic and
expressive.
The film is
extremely sensual in its spareness, a paradox always at the center of
Dreyer's work." - Dave Kehr,
Chicago Reader |
|
Selected by
Carrie Rickey, Geoff Andrew,
Olivier Assayas,
Catherine Breillat,
Charles Tesson. |
| 41 → 37 →
34 → 38 |
|
Amazon
Strictly Film School
Senses of Cinema |
|
|
|
L'Avventura |
|
MICHELANGELO ANTONIONI
(38) |
 |
| • The
Adventure (English title) |
|
1960 | 145m | BW |
Italy-France | Drama, Psychological Drama |
|
Monica Vitti, Gabriele
Ferzetti, Lea Massari, Dominique Blanchar, James Addams, Lelio Luttazi,
Esmeralda Ruspoli, Renzo Ricci, Dorothy De Poliolo, Giovanni Petrucci |
|
"More than any other film
L’Avventura seems to define the spirit of a time in cinema when
anything seemed possible and there was no territory into which it could
not venture. Above all what it seeks to capture is the world of fleeting
emotion, feelings which are unstable and crystallize only momentarily in
the camera’s gaze... L’Avventura is the one that started
Antonioni
on his quest, and remains the one that most clearly represents the
unique nature of his art."
-
Geoffrey Nowell-Smith, The Criterion Collection, 2001 |
|
Selected by Albert Maysles, Donald Richie,
Alexander Walker, Armond White, David Denby. |
| 31 → 33 →
38 → 39 |
|
Amazon
Senses of Cinema
Images Journal |
|
|
|
Blade
Runner |
|
RIDLEY
SCOTT (46) |
 |
|
1982
| 118m | Col | USA | Science Fiction, Tech Noir |
|
Harrison Ford, Rutger
Hauer, Sean Young, Edward James Olmos, M. Emmet Walsh, Daryl Hannah,
William Sanderson, Brion James, Joseph Turkel, Joanna Cassidy |
|
"The most remarkably and
densely imagined and visualized SF film since 2001: A Space Odyssey,
a hauntingly erotic meditation on the difference between the human and
the nonhuman. Set in a grungy LA of the 21st century characterized by
nearly constant rain and a good many Chinese restaurants--yielding
textures worthy of
Welles or
Sternberg--the plot involves a former
cop (Ford) hired to track down and kill a series of androids."
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Robert Rodriguez,
Guillermo Del Toro,
Tony Scott,
Michel Chion, Irene Bignardi. |
| 66 → 55 →
46 → 40 |
|
Amazon
Washington Post
Roger Ebert (Chicago Sun-Times) |
|
| |
|
| |
|
|
|
|
|
41
|
|
42
|
|
43
|
|
The
400 Blows |
|
FRANÇOIS
TRUFFAUT (44) |
 |
| • Les
Quatre cents coups (original title); The Four Hundred Blows
(alternate spelling) |
|
1959
| 99m | BW | France | Childhood Drama, Coming-of-Age |
|
Jean-Pierre Leaud, Albert
Remy, Claire Maurier, Guy Decomble, Patrick Auffay, Georges Flamant,
Yvonne Claudie, Robert Beauvais, Claude Mansard, Jacques Monod |
|
"The
later films have their own merits, and Stolen Kisses is one of
Truffaut's
best, but The 400 Blows, with all its simplicity and feeling, is
in a class by itself. It was
Truffaut's first feature, and one of
the founding films of the French New Wave. We sense that it was drawn
directly out of Truffaut's heart."
- Roger Ebert, Chicago Sun-Times, 1999 |
|
Selected by
Mike Leigh,
Sukhdev Sandhu,
Dennis Hopper, Robin Buss,
Norman Jewison. |
| 48 → 46 →
44 → 41 |
|
Amazon
Senses of Cinema
Strictly Film School |
|
|
|
Persona |
|
INGMAR
BERGMAN (40) |
 |
|
1966
| 81m | BW | Sweden | Drama, Psychological Drama |
|
Liv Ullmann, Bibi
Andersson, Margaretha Krook, Gunnar Bjornstrand, Jorgen Lindstrom |
|
"Never before
on film has the derailed psyche been more penetratingly examined, never
before has the drama been played so consistently beneath the surface,
yet without the slightest sacrifice in palpable excitement."
- John Simon |
|
Selected by
Paul Schrader,
István Szabó, Geoff Andrew,
Albert Maysles, Molly Haskell. |
| 34 → 32 →
40 → 42 |
|
Amazon
Strictly Film School
Kinoeye |
|
|
|
Andrei
Rublev |
|
ANDREI
TARKOVSKY
(41) |
 |
| • Andrey
Rublyov (original title) |
|
1966
| 185m | Col-BW | USSR |
Historical Film, Biography |
|
Anatoli Solonitsyn, Ivan
Lapikov, Nikolai Grinko, Nikolai Sergueiev, Irma Raouch, Nikolai
Bourliaiev, Youn Nasarov, Yuri Nikulin, Rolan Bykov, Nikolai Grabbe |
|
"With the
exception of the great
Eisenstein, I can't think of any film which has
conveyed a feeling of the remote past with such utter conviction... A
durable and unmistakable masterpiece."
- Michael Billington, Illustrated London News |
|
Selected by Nick James, Jonathan Glazer,
Olivier Assayas, Peter Bradshaw,
Roy Andersson. |
| 38 → 48 →
41 → 43 |
|
Amazon
Strictly Film School
Senses of Cinema |
|
| |
|
| |
|
|
|
|
|
44
|
|
45
|
|
46
|
|
Rear
Window |
|
ALFRED
HITCHCOCK (47) |
 |
|
1954
| 112m | Col | USA | Mystery, Thriller |
|
James Stewart, Grace
Kelly, Wendell Corey, Thelma Ritter, Raymond Burr, Judith Evelyn, Ross
Bagdasarian, Georgine Darcy, Sara Berner, Frank Cady |
|
"The most densely
allegorical of
Alfred Hitchcock's masterpieces, moving from psychology to
morality to formal concerns and finally to the theological. It is also
Hitchcock's
most innovative film in terms of narrative technique, discarding a
linear story line in favor of thematically related incidents, linked
only by the powerful sense of real time created by the lighting effects
and the revolutionary ambient sound track."
- Dave Kehr, Chicago Reader |
|
Selected by Carrie Rickey, Ty Burr, David Siegel, Ginette Vincendeau,
James Naremore. |
| 45 → 41 →
47 → 44 |
|
Amazon
Senses of Cinema
Boston Phoenix |
|
|
|
It's a Wonderful Life |
|
FRANK
CAPRA (45) |
 |
|
1946
| 129m | BW | USA | Comedy Drama, Fantasy |
|
James Stewart, Donna Reed,
Lionel Barrymore, Thomas Mitchell, Henry Travers, Beulah Bondi, Gloria
Grahame, H.B. Warner, Ward Bond, Frank Faylen |
|
"The only Yuletide
favourite to pivot around an attempted suicide,
Capra’s post-war fable is a fascinating
melange of social and personal impulses and the questionable charms of
home... Funny, compelling and moving."
- Ben
Walters, Time Out, 2007 |
|
Selected by
Owen Gleiberman, Javier Coma, Jonathan Romney, Mark Kermode,
Graham Fuller. |
| 43 → 47 →
45 → 45 |
|
Amazon
Roger Ebert's Great Movies
Reel Views |
|
|
|
The Magnificent Ambersons |
|
ORSON WELLES
(43) |
 |
|
1942 | 88m | BW | USA |
Family Drama, Period Film |
|
Joseph Cotten, Dolores
Costello, Agnes Moorehead, Anne Baxter, Tim Holt, Ray Collins, Richard
Bennett, Erskine Sanford, J. Louis Johnson, Donald Dillaway |
|
"Hacked about by a
confused RKO, Welles' second film (from the novel by Booth Tarkington)
still looks a masterpiece, astounding for its almost magical re-creation
of a gentler age when cars were still a nightmare of the future and the
Ambersons felt safe in their mansion on the edge of town... With
immaculate period reconstruction, and virtuoso acting shot in long,
elegant takes, it remains the director's most moving film."
- Geoff Andrew, Time Out |
|
Selected by
Kevin MacDonald,
Neil LaBute, Tom Charity, Andrew Sarris,
Dennis Hopper. |
| 51 → 36 →
43 → 46 |
|
Amazon
Filmsite
The Village Voice |
|
| |
|
| |
|
|
|
|
|
47
|
|
48
|
|
49
|
|
Ugetsu monogatari |
|
KENJI
MIZOGUCHI (54) |
 |
| • Ugetsu
(alternative title) |
|
1953
| 96m | BW | Japan | Romantic
Fantasy, Period Film |
|
Masayuki Mori, Machiko Kyo,
Eitaro Ozawa, Kinuyo Tanaka, Mitsuko Mito, Sugisaku Aoyama, Ryosuke
Kagawa, Kichijiro Tsuchida, Mitsusaburo Ramon, Ichisaburo Sawamura |
|
"Mizoguchi's
unique establishment of atmosphere by means of long shot, long takes,
sublimely graceful and unobtrusive camera movement, is everywhere
evident... Ravishingly composed, evocatively beautiful" - Rod
McShane, Time Out |
|
Selected by Andrew Sarris, Michel Ciment,
Theo Angelopoulos,
Mika Kaurismäki,
Tom Gunning. |
| 47 → 50 →
54 → 47 |
|
Amazon
Strictly Film School
Senses of Cinema |
|
|
|
M |
|
FRITZ
LANG (53) |
 |
|
1931
| 99m | BW | Germany | Thriller, Psychological Thriller |
|
Peter Lorre, Otto Wernicke,
Ellen Widmann, Gustaf Grundgens, Theodor Loos, Inge Landgut, Theo Lingen,
Georg John, Ernst Stahl-Nachbaur, Paul Kemp |
|
"It's an impeccable
film -- a model of psychological suspense and a stunning display of
Lang's power
and skill. But it's Lorre, in a seamless performance that seems to come
from some horrifying source, whose image lingers long after the end of
M."
- Edward
Guthmann, San Francisco Chronicle, 1997 |
|
Selected by
Michael
Moore, Jonathan Rosenbaum, Ian Christie, Jean-Michel Frodon,
Yvonne Tasker. |
| 53 → 51 →
53 → 48 |
|
Amazon
Bright Lights Film Journal
Chicago Reader |
|
|
|
Jules
et Jim |
|
FRANÇOIS
TRUFFAUT (42) |
 |
| • Jules and
Jim (English title) |
|
1961
| 104m | BW | France | Drama,
Romance |
|
Jeanne Moreau, Oskar
Werner, Henri Serre, Marie Dubois, Vanna Urbino, Sabine Haudepin, Boris
Bassiak, Kate Noelle, Anny Nelsen, Christiane Wagner |
|
"Jules and Jim is
among the masterpieces of the French New Wave and may be considered the
high achievement of that movement... We have a film that is at once
vital, astonishing, and mature. Its solidity as well as its richness
have kept it from fading even under the intense light of scholarship and
criticism to which it has been continually subject."
- Dudley
Andrew, Film Reference |
|
Selected by
Peter Cowie, Armond White, Irene Bignardi,
Paul Mazursky,
Susan Seidelman. |
| 33 → 40 →
42 → 49 |
|
Amazon
Derek Malcolm’s Century of Films
Strictly Film School |
|
| |
|
| |
|
|
|
|
|
50
|
|
• To 51-75
 |
|
La
Strada |
|
FEDERICO FELLINI
(50) |
 |
|
1954 | 115m | BW | Italy |
Melodrama, Romantic Drama |
|
Giulietta Masina, Anthony
Quinn, Richard Basehart, Aldo Silvani, Marcella Rovere, Livia Venturini,
Gustavo Giorgi, Kamadeva Yami, Mario Passante, Anna Primula |
|
"A low-key mood study
about a broken-down carnival strongman and his half-wit assistant
traveling through the bleak backwaters of post-war Italy wouldn’t, at
first glance, appear to have much going for it in the way of
international critical and commercial appeal. But from the moment of its
release in 1954, it was clear that La Strada had everything...
Like the characters’ realizations about themselves and the world, the
meaning of La Strada slips over you gradually, simply,
unforgettably."
- David Ehrenstein, The Criterion Collection, 1988 |
|
Selected by
Ken Russell,
Robin Buss,
Jan Nemec,
Albert Maysles, Lewis
Gilbert |
| 59 → 54 →
50 → 50 |
|
Amazon
Strictly Film School
Roger Ebert (Chicago Sun-Times) |
|
|
|
