Bad Lieutenant (Abel Ferrara)
Buffalo '66 (Vincent Gallo)
Un Coeur en hiver (Claude Sautet)
The Daytrippers (Greg Mottola)
Flirting (John Duigan)
The Ice Storm (Ang Lee)
Jackie Brown (Quentin Tarantino)
Little Odessa (James Gray)
Un Monde sans pitie (Eric Rochant)
Olivier Olivier (Agnieszka Holland)
Source: http://www.combustiblecelluloid.com/bestof90s.shtml
I think this is a very interesting list and I thought it would be nice to post it, since I don't remember it beeing discussed around here. What do you guys think?
I've only seen three of those
Based on the three I've seen, he's got good taste, and it definitely fits his style of movie -- especially Ice Storm and Buffalo '66. I've heard good things about Cries and Whispers. Not so much about Bad Lieutenant, though.
Don't know what Berardinelli is doing in the same company as Anderson, though. But I guess a critic is a critic.
Quote from: Wes AndersonFlirting (John Duigan)
I agree. This film is an underrated gem.
Quote from: ono.bot.opoeiaCries and Whispers
:?:
Anyway, Flirting is great, and so is The Year My Voice Broke. Totally feels like the kind of thing Wes Anderson would choose -- in face, on the Rushmore commentary, he mentioned how they originally wrote Max with Noah Taylor in mind.
Quote from: GhostboyQuote from: ono.bot.opoeiaCries and Whispers
:?:
Yeah..... what?
Never mind, I was thinking about a totally different movie. Misread one of those on the list, got it mixed up with another.
the daytrippers, wtf
Quote from: rustinglassI've only seen three of those
Jackie Brown
Buffalo 66
Bad Leutenant
Is this Wes Anderson's Top 10 or Jeffrey M. Anderson's??
I'm confused.
Since I first saw the list I have seen Bad Lieutenant and Flirting. And I loved them both. Yes I agree with ghostboy, flirting is right up wes's alley, and it's got one of the best boxing scenes I've ever seen.
Un Coeur en hiver (which I rented as a result of this list is brilliant), too.
Wes Anderson gives his Top 10 Criterions
In response to our invitation to contribute his list of favorite Criterion titles, director Wes Anderson wrote, "I thought my take on a top-ten list might be to simply quote myself from the brief fan letters I periodically write to the Criterion Collection team." His selections were, unsurprisingly, delightful.
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#1 The Earrings of Madame de . . . - Max Ophuls
This interview with Louise de Vilmorin on the Earrings of Madame de . . . DVD is very funny. She is already mesmerizing and charming and unlike anybody you've ever met—and then she starts talking about the movie. She hated it, in fact? Max Ophuls made a perfect film.
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#2 Au hasard Balthazar - Robert Bresson
We watched Au hasard Balthazar last night and loved it and also Donald Richie. You hate to see that poor donkey die. He takes a beating and presses on, and your heart goes out to him. Also, Mouchette is terrific, which we watched last week. It's a rare option, of course, to be able to ask Jean-Luc Godard to cut your trailer.
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#3 Pigs and Battleships - Shohei Imamura
#4 The Insect Woman - Shohei Imamura
#5 Intentions of Murder - Shohei Imamura
We are deep into Shohei Imamura. I always loved Vengeance Is Mine, which was the only one I knew, on a double-disc Criterion laser. But now this box set gives me some perspective. Pigs and Battleships. The war didn't exactly work wonders for the people of Tokyo or wherever that was.
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#6 The Taking of Power by Louis XIV - Roberto Rossellini
This is a wonderful and very strange movie. I had never heard of it. The man who plays Louis cannot give a convincing line reading, even to the ears of someone who can't speak French—and yet he is fascinating. I was in his corner from start to finish (which comes unexpectedly—I thought there had to be at least another hour and a half to go when "Fin" came up). Mainly, he just walks in and out of rooms and dresses and undresses. I want to watch it again! What does good acting actually mean? Who is this Tag Gallagher?
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#7 The Spy Who Came in from the Cold - Martin Ritt
I had never seen it before. It's great, and the interview with John le Carré is touching—especially his assessment, or more like admission, at the end that Martin Ritt made "something like a classic."
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#8 The Friends of Eddie Coyle - Peter Yates
It's not upbeat.
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#9 Classe tous risques - Claude Sautet
Classe tous risques is very good. I am a great fan of Claude Sautet, especially Un coeur en hiver. Who is our Lino Ventura?
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#10 L'enfance nue - Maurice Pialat
I was introduced to Pialat in the first place by your À nos amours disc. You should do every one of his you can get your hands on.
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#11 Mishima: A Life in Four Chapters - Paul Schrader
What a great Mishima DVD—and the commentary track. Immediately started the movie again and watched it all the way through with Paul Schrader. This has always been one of my favorites of his, along with Blue Collar. And Donald Richie again!
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#12 The Exterminating Angel - Luis Buñuel
Have just watched The Exterminating Angel for the first time since fuzzy VHS in University of Texas A/V library. He is my hero. Mike Nichols said in the newspaper he thinks of Buñuel every day, which I believe I do, too, or at least every other.
Great post, thanks I'll check those I haven't seen out.
updating my netflix queue. thanks wesly
Preservation Road: Writer-director Wes Anderson and film critic/filmmaker Kent Jones discuss the Film Foundation series at LACMA
Source: LA Weekly
September 14, 2010. Two meticulously prepared film devotees sat before their Macs at the appointed hour and discussed (via Skype) Cavalcanti's 1947 gangster/noir revenge melodrama, They Made Me a Fugitive, a restored print of which will be screened this weekend as part of LACMA's tribute to the Film Foundation, on the occasion of its 20th anniversary.
"Shall we just jump into it then?" said Wes Anderson.
"Absolutely," said Kent Jones.
"I wonder if we need to begin in such a way that we're kind of announcing why we're talking about this movie," said Anderson thoughtfully. "Here's a possible opener: 'One of the films showing in the tribute to the Film Foundation is They Made Me a Fugitive. I had never seen this movie before, and I'd never heard the one name of its director, Cavalcanti.' "
Jones was mildly surprised. "Really?"
"No," said Anderson. "But then I realized I'd seen Dead of Night, the horror omnibus movie from Ealing [Studios] — and he directed the most famous episode, 'The Ventriloquist's Dummy,' and also 'The Christmas Party,' which are both very interesting. Do you know his other films?"
"He was Brazilian," offered Jones as he downshifted into information mode, "and sometimes he used his first name, Alberto. He worked in France, crossed paths with Jean Renoir, wound up in England working for John Grierson's documentary unit, and then made those great fiction films. For instance, he made a tremendous wartime movie called Went the Day Well."
"I should see that," said Anderson. Jones sensed genuine excitement in Anderson's voice: He was always on the lookout for new discoveries. "I loved They Made Me a Fugitive. The grittiness and the style and the great, great dialogue. It's sort of like a British Sweet Smell of Success — which I suppose was directed by an English person, anyway."
"But written by two Americans. The dialogue in this one is amazingly pungent," said Jones by way of amplification. There was to be a good deal more mutual amplification.
"It's very good, and very hard," Anderson continued. "The violence of the language is much more blunt than you'd ever expect of a movie from 1947. What's that sound?"
"New York police sirens," answered Jones abstractedly, as the whining from Broadway peaked and gradually died away. "Maybe we should clearly state that you're in Paris and I'm in New York ..."
"... and that we're talking about a British film showing in Los Angeles."
"After the war, there were a lot of very tough British movies set in the underworld," Jones said, "like It Always Rains on Sunday and Brighton Rock — in fact, all three were made in 1947."
"Brighton Rock is also brutal," Anderson said with an audible tinge of excitement. "They're unexpectedly cruel and frank in their language and violence — they don't hold back."
"For me, Trevor Howard gives They Made Me a Fugitive a special energy."
"Yes, Trevor Howard is great," agreed Anderson, "and so is the guy who plays Narcy. He's wonderful. What's his name?"
"Maybe since we're on our computers, we can look it up." An idle remark, which initiated a quiet cacophony of frantic transcontinental typing.
"Isn't it incredible that there's a gangster named Narcy, short for Narcissus?" asked Jones as his index finger hit the "return" key.
"That's kind of one you want to steal," said Anderson as his computer chimed. "Narcy is ... Griffith Jones."
"Who was also in ... Olivier's Henry V as the Earl of Salisbury. And whose real name is Griffiths Jones — hard to pronounce," Jones said.
"Another thing that intrigued me about They Made Me a Fugitive was that it always seemed like it was going to veer into pure expressionism. Like Sally's beating, for instance, done in a quick montage, which includes a distressed close-up, unusual for its time."
"It's shot by a German cameraman, isn't it?"
"We'd better double-check the good old IMDb." Another round of typing.
"He's an Otto — but maybe he's not German," Anderson suggested. Jones suddenly remembered the menacing German women on The Darjeeling Limited. "That expressionist current of feeling combines with the location shooting and the type of story being told, the rawness of it all, to give the movie a documentary-ish flavor. It's a strange combination. And the dialogue is so graphic and blunt."
"Boy, is it ever. It's like they were trying to outdo the Americans in the hard-boiled department."
"But it's also very literary — quite inventive and funny. They're highly verbal characters."
"So many gaudy, outlandish exchanges. I like the conversation between Narcy and the cop when they run into each other on Sally's stairway," Jones said, quoting: " 'How's the undertaking business these days?' says the cop. 'Booming,' says Narcy. 'I wish I could interest you in one of our new models. And don't forget to tell your friends.' Like when the cop asks him if he can smell a rat — 'I've got a cold. I can't even smell you.' Or: 'Clem'll get about as far as I could throw a dead elephant with one hand tied behind me back.' "
"Narcy has so many great lines, and line readings. I like when he says, 'Curly'll have to cock you one on your pretty coconut' — and he tells one of his boys that if the girl makes any trouble, 'Bash her face in.' It's not just hard-boiled, it's kind of funny, and I think they meant it to be?"
"How about the old woman? 'Watch out you don't overdo it, Narcy. The cops'll be out like hornets 'round a jam jar.' "
"I missed half of her dialogue," admitted Anderson, "because it's so fast and British."
"It seems that Otto Heller was actually Czech," Jones reported. "He did a lot of great work in color — Peeping Tom, Richard III, The Lady Killers. He also made one of the most incredible British films of the '40s, The Queen of Spades."
"This might be a good moment to mention how much They Made Me a Fugitive will benefit from restoration," said Anderson, dutifully circling back to the topic at hand. "On the DVD, you can see how beautiful the black-and-white photography should be, and how much work is needed."
"Some passages are in good shape, others less so. I can't wait to see the restoration. Should we mention some of the other films in the series?"
"Well, there's The Red Shoes."
"Which might be the most stunning restoration I've ever seen."
"And Bonjour Tristesse. And Satyajit Ray's Pather Panchali, which is a masterpiece and probably his best known film."
"There's also Shadow of a Doubt by Hitchcock," added Jones, "an impeccable movie with one of my favorite actresses, Teresa Wright."
"And there's Cloak and Dagger by Fritz Lang, with Gary Cooper."
"As a scientist — curious idea."
"Yes. In fact, I saw it with a physicist. Aren't they trying to smuggle out a German scientist?"
"Yes. Strangely cast, but a striking film."
"There's Wild River by Kazan."
"Which is a great film. It's based on Kazan's memories of going down South in the '30s."
"There's The Big Combo by Joseph H. Lewis."
"Shot by the legendary cinematographer John Alton."
"With Richard Conte and Brian Donlevy."
"And Earl Holliman and Lee Van Cleef as the two gay enforcers."
"Anyway, it's going to be a great series at the Los Angeles County Museum of Art. Starting Friday, October 8."
"That's right, Wes. And for more information, go to lacma.org."
"The perfect ending."
20TH ANNIVERSARY TRIBUTE TO THE FILM FOUNDATION | Oct. 8-30 | All screenings at LACMA's Bing Theater, except Wild River (at the Samuel Goldwyn Theater) and Baby Doll (at the Billy Wilder Theater) | lacma.org
http://www.laweekly.com/2010-10-07/film-tv/preservation-road/