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#1 |
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what are your 10 favorite directors, and the five films you lvoe the most and feel best exemplify said director's vision?
me: Sam Peckinpah: The Wild Bunch Strawdogs The Getaway Pat Garret abd Billy the Kid Bring me the Head of Alfredo Garcia David Lynch: Blue Velvet Eraserhead Mulholland Drive Lost Highway Wild at Heart Akira Kurasawa: Seven Sumurai I Live in Fear Throne of Blood High and Low The Hidden Fortress David Cronenberg: Crash Dead Ringers Videodrome The Naked Lunch Eastern Promises Werner Herzog: Aguirre, The Wrath of God The Great Ecstasy of Woodcarver Steiner Nofeseratu the Vampyre Strozek Signs of Life Jim Jarmusch: Dead Man Down by Law Stranger than Paradise Ghost Dog Mysterey Train Alfred Hitchcock: Vertigo The Birds Psycho Stranger on a Train The Wrong Man Roman Polanski: Rosemary's Baby Chinatown Death and the Maiden What? Frantic Martin Scorcese: Raging Bull Taxi Driver The King of Comedy Goodfellas The Departed The Coen Bros: Blood Simple No Country for Old Men Miller's Crossing Fargo Raising Arizona
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#2 |
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Jean-Pierre Jeunet:
Foutaises Delicatessen Amelie He is probably the only director I can think of as critically untouchable, I picked my favourite three. |
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#3 | |
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I'm surprised you've not got Mean Streets in that list. Definitely my favourite film of his, along with Taxi Driver. I watched Gangs of New York again the other day. I saw it at the cinema the first time around, and absolutely loved it. Watching it on TV afterwards I really didn't enjoy it at all though. A rare case of a film that really must be seen at the cinema. Alien's another one like that. I don't have time for five films by ten directors but, off the top of my head, here's ten I could happily watch over and over again (and often do): [Edited after some re-thinking] Mean Streets Stranger than Paradise Saturday Night Fever The Texas Chainsaw Massacre Annie Hall The Big Heat Assault on Precinct 13 Duel The French Connection Basket Case |
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#4 |
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Jan Svankmajer
Faust The Room (Byt) Dimensions of Dialogue (Can't remember the Czech title offhand) The Death Of Stalinism in Bohemia The Ossuary (Kostice??) Mario Bava Rabid Dogs Shock Danger Diabolik Blood And Black Lace A Bay Of Blood Jean Luc-Godard Au Bout De Souffle Alphaville Le Mepris Weekend British Sounds (a "banned" documentary) Dario Argento Tenebrae Suspiria Inferno Profondo Rosso The Bird With The Crystal Plumage John Carpenter The Thing (sheer genius) Assault On Precinct 13 Dark Star Halloween The Fog Sergio Leone Once Upon A time In The West Once Upon A Time In America The Dollars Trilogy. John Waters Hairspray Pink Flamingoes Female Trouble Desperate Living Multiple Maniacs Andy Warhol/Paul Morrisey Trash Flesh Chelsea Girls Screen Tests (not all of them, mind) The Velvet Underground And Nico footage he shot Terry Gilliam Time Bandits Jabberwocky Monty Python And The Holy Grail Twleve Monkeys Fear and Loathing In Las Vegas Fritz Lang M Metropolis Dr Mabuse, Der Spieler The Big Heat Testament of Dr Mabuse
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#5 | |
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'gangs of new york' had potential to be his best film, great story, amazing sets, beautiful costumes, sharp editing, ridiculous battle scenes, and, DANIEL DAY LEWIS. DDL is the best actor alive, he makes movies that would be otherwise weak, amazing (the ballad of jack and rose, last of the mohicans, my left shoe, in the name of the father, etc...). but it dissapointed for a variety of reasons. first, the studio chopped the shit out of this film, it should have been way more brutal and violent, actually, scorcese's most violent film, but in the wake of 9/11, they made scorcese get rid of a lot of the gore. also, cameron diaz was totally miscast, she was abysmal. dicaprio, was also horrible (though this was the film when he started to show promise, he was excellent in the aviator and especially the departed, scorcese has made him the great actor he should have always been), and the scenes between the two were almost embarassing. the scenes between dicaprio and day-lewis, were funny because day-lewis completley up staged him every time, that said, its still a good movie. i do love 'mean streets', but i love it more as a film that gave a glimpse of how brilliant scorcese was, but i dont feel it is nearly the best representation of his talent. also, there was too much keitel and not enough deniro. to me, it wasnt untill 'taxi driver' that scorcese proved he was gonna be one of the best ever.
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#6 |
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this feels like homework right now...
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#7 |
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God, I really hated "Gangs Of New York" when it came out - overlong, by and large miscast with some textbook wooden acting (ues, I'm looking at you, DiCaprio and Diaz), boring in long stretches, and lumbered with one of the worst soundtracks I think I've heard in a mainstream Hollywood film, which is saying something. I don't think I've bothered seeing a Scorcese film since.
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#8 | |||
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I pretty much agree with everything you say about GoNY. Although I actually think Di Caprio made a very good job of what was a very difficult role to play. DDL steals every scene but it's sort of made easy for him with a character like Bill. Di Caprio's character gave him far less space to move around and I think he did real well in the circumstances. I definitely agree though that he really came into his own in The Departed: a film I'm not entirely convinced by (Jack Nicholson is dreadful) but Di Caprio really is fantastic in it. Cameron Diaz was definitely miscast and there's clearly no chemistry between her and Di Caprio. Her character just seems to have no real purpose in the film, to the point where it becomes rather like an extended cameo. I do think the film works a lot better in the cinema though. It has a grandeur about it which makes details less evident than they are when watching at home. I didn't know that the studio toned down the violence post 9/11, interesting. Quote:
That'd be my top five for Carpenter as well - although I might put Assault at the top. The Thing has a bleakness about it which is simply awesome. Definitely his darkest film. I just think Assault is about as close to perfection as he ever got. Supposedly it had a modest critical reception in the US when it was released but when French critics saw it, they immediately deemed Carpenter a genius. I can see what they meant. It's just perfect in the same way that Spielberg's Duel is perfect. There are moments in The Fog which are the match of anything he's ever done, but I feel that the film sort of runs out of puff in the last half an hour. Brilliant but anybody else's standards though. Quote:
The more I think about Mean Streets the more i just love it. From the opening shot of Keitel in bed to the climax with the mafio boss watching The Big Heat on TV, I just can't fault it. In many ways it's a sort of antidote to the Godfather: little upstarts, doing pointless deals in cheap-shit restaurants and tiny dive bars instead of big-wigs flexing political muscle in large mansions. you can see how it informed almost everything Scorsese has done since, but IMO, he's never matched it. An absolutely amazing film. And Keitel is just a revelation in it. Probably my favourite character in any film. "You don't fuck with the infinite." Brilliance. |
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#9 |
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Stanley Kubrick:
2001: A Space Oddessy A Clockwork Orange Dr. StrangeLove Barry Lydon Paths of Glory |
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#10 | |
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I just don't really get the whole Leone thing at all. I couldn't stand Once Upon a Time in America. The Dollars trilogy is OK, but they all seem to sort of bleed into one film - to the point where all I can really remember is ponchos. |
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#11 | |
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I like your choices, put together. Never saw any Svanmajer film though, but I remember a picture from Alice and it looked interesting. I've linked him with Ladislas Starevitch for some reason. My own would have : Jean Renoir - La règle du jeu / Le fleuve David Lynch - Mulholland Drive / Eraserhead Jerzy Skolimowski - Deep End / Moonlighting probably Alain Resnais - Providence / Mélo George A. Romero - Martin / Dawn of the Dead and Friedrich Wilhelm Murnau - Nosferatu / Sunrise John Boorman - Deliverance / Leo the Last / Point Blank and maybe Argento and Waters too |
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#12 | |
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That's a classy list. La Regle du Jeu clearly warrants a top spot but it's not a film I find myself watching over again. But yeah, it, 8 1/2 and Citizen Kane are about as good as cinema gets in lots of ways. And yet I can honestly say that I never want to ever have to sit through Citizen Kane ever again. I've never seen Deep End, but it's a film I keep looking out for. For some reason it has no distributer in the UK, despite officially being a 'British' film. Martin is a film I watch probably more than any other by Romero. In many ways it's his least typical movie but I love its simple gloominess. I'm slowly coming to think that Argento is among the most overrated filmmakers there is. I like bits of lots of his films but haven't yet seen one which is good throughout. |
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#13 | |
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#14 | |
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I think that, in terms of his overall career, he's made a few decent films followed by a whole bunch of godawful super-size turkeys. I didn't like "Opera" at all, and the whole point of "The Stendhal Syndrome" seemed, well, pointless. As for his "classic period", I personally do like a lot of this, but will admit that a lot of that comes from Argento's sense of art direction, which although not original (taking a lot of his cues from Mario Bava), still is striking and very "painterly", in a way. I have to admit that directing actors is not one of Argento's stronger points - look at Michael Brandon's rather wooden performance in "Four Flies On Grey Velvet", for example. Still, when all is said and done, I still rate Argento overall for his early work. On a footnote, I only wish that Michaele Soavi hadn't had to retire to look after his son, and been given full creative control (i.e. No D Argento mentoring/interfering!) on at least one film. Now that would have been quite something, I reckon. Re Leone - the "Dollars" film have been over-lionised a bit, but me still like 'em. Mind you, their visual look inspired Fields Of The Nephilim. Argh!!!
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#15 | |
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Good point about Soavi. Dellamorte Dellamore is a great film. Stagefright was a bit meh, but even there you could see he had something. I dunno. I like Argento but I increasingly find watching even his 'classic' stuff a bit tiresome. Suspiria is amazing for the first and last half an hour but it just sleepwalks through the middle section. I actually think the idea behind the Stendhal Syndrome was a really good one, but it was so badly executed as to be almost unwatchable. Even so, i do have a weird soft spot for it. For me, Deep Red is probably the most all around successfull film he's made but even that declines into almost total incoherency during the middle. Haha re the Nephilim influence. Absolutely! |
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#16 | |
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I started out with a top ten that included "The Killing" ", "Lolita", Killer's Kiss" "Full Metal Jacket" and "Eyes Wide Shut", but most people are posting thier top five. |
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Then you don't know your Lynch. |
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