Sight and Sound (2002) Greatest Films Club - Page 122

Re: Sight and Sound (2002) Greatest Films Club

This is a Powell and Pressburger that I have yet to see. It sounds very interesting, but I’m not sure that I’ll have Adam’s perseverance in watching five times.

Re: Sight and Sound (2002) Greatest Films Club

I've loved it (a top ten all time film for me) since the first viewing, the trial never bothered me nearly as much as it bothered Brook or Martin.

Re: Sight and Sound (2002) Greatest Films Club

I too thought the trial was the weakest part of the film, but it didn't really bother me at all and certainly didn't ruin the film or anything - still a great film and definitely an A, if not an A+

Re: Sight and Sound (2002) Greatest Films Club

#296 - Napoleon

I was a bit wary about getting into a 4-hour silent (I don't know why... I've had pretty good luck with the other ones I've seen) but this one bowled me over instantly. So masterfully filmed, it's mind-blowing. The opening snowball fight scene is so unusual and dynamic, it even looks like a scene from Dog Star Man or something. And the energy, intensity, quality and brilliance never lets up. Gance's command of cinematic language is awe-inspiring. Cross-cutting, rapid editing, flashbacks, superimpositions and of course the magnificent triple-screen ending, he exploits technique to the fullest to enhance his storytelling. And a great story it is, too, with one of history's most fascinating characters (wonderfully portrayed by Albert Dieudonné) at the center. I don't know a lot about French history, and a few times I wasn't too clear on what was going on, but that didn't hinder my enjoyment of this compelling tale, full of drama, intrigue, action, comedy and romance. I really feel like a schmuck for not having seen this sooner. Not just one of the great silents, or one of the great historical epics, but absolutely one of the greatest films I've ever seen. Rating: 10

Re: Sight and Sound (2002) Greatest Films Club

#297 - The Scarlet Empress

I'm finding it harder to write about movies, a sure sign that I need to take a break for a while. Well, I pretty much liked this one. The production design and camerawork were dynamite, lots of clever visual motifs. And Marlene Dietrich was great... for the second half of the movie. She doesn't pull off naive and innocent well at all (I think it's the husky voice that ruins it), but as she gets more and more conniving, the role suits her better. I guess my biggest problem with the film was that I kind of didn't care much about what was going on. I enjoyed the spectacle and the off-kilter weirdness of it, but I wasn't invested at all. But like I said, I probably need to take some time off from movies for a bit. Rating: 7

Re: Sight and Sound (2002) Greatest Films Club

298 - A City of Sadness

I've been thinking about Hou and wondering why I don't like him. I've seen 11 of his films now and there's not a single one I would want to watch again. They're all in that blah, not-bad-not-great 6-to-8 range on the 10-point scale. His movies just seem like a whole lot of nothing to me. This one is about four brothers (actually three, because one is presumed dead) in postwar Taiwan, which is transitioning from Japanese tyranny to Chinese tyranny. Two of the brothers are aspiring gangsters (as is, I think, their father), and the third is a sensitive deaf-mute photographer. As is often the case with his stories, it takes a while to figure out who everyone is and what their relations are to each other. A lot of it centers around the "White Terror" massacre in February 1947 and the ensuing oppression. The movie has been likened to a Taiwanese Godfather, which I guess is reasonable. It does have a kind of epic sweep to it, and plotwise, it's actually pretty substantial for a Hou film. There's certainly a lot of sadness going on... unfortunately, once again it didn't resonate much with me. It has some nice moments, and is perfectly competent filmmaking. I didn't hate watching it. I even cared about some of the characters. But my overall impression is... not-bad-not-great. Rating: 8


#299 - Voyage to Italy

Rossellini is another director who leaves me rather cold. Here's a domestic drama, simple but realistic (except for the unconvincing ending) and well-played by Ingrid Bergman and George Sanders. It's a rocky marriage and the ebb and flow of their interactions rings true. It's somewhat Bergman-esque (Ingmar, that is). Thrown into the mix is an Italian travelogue, which is kind of nice but it's peppered with really, really obvious symbolism. I thought it was a fine movie, well-paced and never tedious, but I don't see what the big deal is. Rating: 7

Re: Sight and Sound (2002) Greatest Films Club

#300 - Salvatore Giuliano

An interesting story, told with some exceptional camerawork. Some of it is really exciting. However, much of it is quite confusing. Surprisingly, the disjointed timeline didn't pose much of a problem, but there are too many characters to keep track of, episodes happening too quickly, and fuzzy, convoluted political elements. I was frequently unclear about what was happening or why. The large cast also hinders one ability to find an entry point to get involved. I couldn't find an emotional center, and usually felt somewhat distant from the events unfolding onscreen. I'm giving this a 7 (a low 7) primarily for the cinematography and a few very gripping scenes, but I wish I had made more of a connection with the subject matter. Rating: 7


44 to go!

Re: Sight and Sound (2002) Greatest Films Club

#301 - ...And Life Goes On

I've already written about the intricate connections between this movie, Where Is My Friend's House? and Through the Olive Trees, so I won't get into the details again. It's a brilliantly self-referential concept. I only wish I had watched them in order. It was fun spotting the connections and recalling things that would be recreated in the third film. I've love to watch the three movies back-to-back. The more Kiarostami I see, the more I like the cut of his jib. I do have to say that if you divorce the film from its meta-narrative role in the trilogy, it could be considered dull (always an issue with Kiarostami). But I wasn't bored by it. There's a lot of human drama here, it just isn't played out with operatic outbursts or grand gestures. Rating: 8


#302 - India Song

Now THIS is boring. Utterly dreadful. If Duras is making some kind of statement about the tedium of the idle rich, then bravo. A lily-white woman hangs out all day at the French embassy in Lahore with her lily-white husband (I think? the story is deliberately obtuse to the point of annoyance) and some more lily-white Europeans that she apparently boffs whenever they ask. We never see any of this alleged boffing, although we do get a 5-minute closeup of Delphine Seyrig's breast, just in case you missed it in one of her other roles. They all look perfectly depressed and bored, but not as bored as I was. No wonder they're so long-faced all the time... they're in the middle of an exotic and fascinating country, but they seem to never leave the grounds of the embassy. Hell, they barely ever leave the drawing room. I think we're meant to learn something about romance, but it's as if it was written by a 15 year-old girl who knows nothing about romance. There's more to being in love that just talking about being in love and how much it tortures your soul. Points for a somewhat original narrative (although it's blatantly influenced by Resnais) and some painterly images (which you will have a LONG time to study), but otherwise a real drag. Rating: 3

Re: Sight and Sound (2002) Greatest Films Club

I'm loving your reviews Martin. I plan on mainly finishing the top 100ish of this list, but I think I'll use your reviews to set aside films like India Song from my too watch list.

Re: Sight and Sound (2002) Greatest Films Club

Indeed—anyone who likes Kiarostami can’t be all bad. Out of those three, I probably like Through the Olive Trees the most, but I am the most emphatic with Where is My Friend’s House?.

Re: Sight and Sound (2002) Greatest Films Club

I really hated WIMFH the first time I saw it, but I'm quite sure I'd have a deeper appreciation for it now.


Well, you and I have pretty different tastes about some things, but I think I can safely say you would hate India Song.


#303 - Vidas Secas

Very, very depressing film about an impoverished family in Brazil. Somewhat similar to Black God White Devil from the following year, but without all the heavy-handed religious allegory. Dos Santos utilizes a much more neo-realist approach, although like Rocha, he gets a bit avant-garde with the soundtrack. Although the film is harsh, I never felt like I was being manipulated. The high-constrast black & white photography gives the impression of heat very tangibly. You really can feel the sun beating down on you. A very good film, with the only major flaw being some poor dubbing. Rating: 8


#304 - Floating Clouds

This one wasn't much of a pick-me-up either. It centers around a very dysfunctional, co-dependent couple and the progress (or lack thereof) of their relationship over the years. Naruse's films are always well-made, but in my opinion they don't do much to distinguish themselves, especially compared to similar work by Mizoguchi and Ozu. Their main characteristic seems to be an air of cynicism. This one seems to be his most highly-regarded, but to me it was neither much better nor much worse than any other I'd seen. The jumps in time were the most interesting aspect. Like I said, it's well-made, and I liked it, I just didn't think it was especially noteworthy. Rating: 8



It's not on the list, but I'll just add that I also watched Doctor Zhivago and enjoyed it immensely.

Re: Sight and Sound (2002) Greatest Films Club

I never thought that it would be so awful.

John Cassavetes’ directorial debut, Shadows is now properly seen as an (perhaps the) American New Wave film, as it hit the theaters at about the same time as Jean-Luc Godard’s Breathless. Perhaps even more inconsistent as the import from France, it is even more energized, as the camera follows two brothers and a sister around 1957 Manhattan on a somewhat incoherent, but always gripping ride.

American directors from Martin Scorsese to Spike Lee and Woody Allen owe much to both Cassevetes and this movie. I’m not sure that it should be on anyone’s top ten list movie list, but it would on almost any list of ‘most influential films’.

Re: Sight and Sound (2002) Greatest Films Club

I fear the wrath of Brook....

#305 - In a Year With 13 Moons

This movie fails for me because I couldn't make myself care about Elvira, no matter how hard Fassbinder tried to make me. All the time I'm being told how sad and tragic her life has been, but all I could see was a needy, self-absorbed dimwit. Get over your silly gender/sexual issues already, for fuck's sake. Look at All About My Mother: those people have gender issues but they don't spend the whole movie whining about them. They have other things to do besides weep over how lonely they are. And five minutes of gory slaughterhouse footage... really? Is THAT what you think it takes to get my attention? I'm honestly insulted. I also hated most of the writing. Everyone speaks like they're in a novel, but a BAD novel, full of interminable, uninteresting monologues. I did like the moments of humor; they weren't terribly funny, but they provided a welcome break from the doom and gloom pity party. But of course, with Fassbinder you always get incredible cinematography. That, along with the last 30 or so minutes of the film, saved it from a much lower score. I appreciate how personal it was for Fassbinder, but it's not at all my cup of tea. Rating: 5

Re: Sight and Sound (2002) Greatest Films Club

#306 - Le Crime de Monsieur Lange

A delightful socialist-minded movie from Renoir. Primarily a comedy, but with light dashes of drama, romance, musical and thriller. All of the actors are charming, but especially noteworthy is Jules Berry as the devious Batala. I have yet to see a Renoir film I didn't like, except Boudu Saved From Drowning and I was probably too harsh on that one anyway (Michel Simon can be annoying, though). This one was quite enjoyable, right up there with some of his best, and with his usual flair for exceptional camerawork. A bit slight and forgettable, perhaps, but it's one I would return to. Rating: 8


#307 - Miracle in Milan

File under "completely unexpected". When I see Vittorio De Sica's name on something, I definitely do not anticipate that I'll be watching a madcap comedy. A young man leaves the orphanage and ends up in a shantytown the same day. His charm and ability to unite people brings new life to the place... until the capitalist fatcats step in. Part Capra, part Chaplin, part absurdist magic realism. But is it funny? Yeah it is, for the most part. Some of it is a little on the stupid side, and the one-dimensional social commentary is hardly biting satire, but it has a pack of delightful tricks up its sleeve. I like this a lot more than any other De Sica I've seen with the (possible) exception of Bicycle Thieves. Rating: 8

Re: Sight and Sound (2002) Greatest Films Club

I've got a few more of these on deck, and then I think I'm going to take a break for a while and run over some hookers in GTA4.


#308 - Burnt by the Sun

Written by, directed by and starring Nikita Mikhalkov, who does an pretty good job all around. The combination of joyous pandemonium with political commentary (and a touch of magic realism) is very Kusturica, but toned down... let's say a hybrid of early Kusturica and later Kusturica. The sense of joy gradually drains out of the film as Stalinist oppression looms heavier and heavier over the lives of this happy family. The politics and allegories are a little simplistic, and Mikhalkov gives himself too plum a role: Colonel Kotov is just too likeable NOT to sympathize with. But overall I thought it was a good film, particularly during the first half. Rating: 7

Re: Sight and Sound (2002) Greatest Films Club

#309 - Pakeezah

Shot in black and white, then scrapped and shot again in color, then scrapped again and shot in Cinemascope. It took 14 years to finish, but it was worth it. It's a beautiful film, with gorgeous colors, lavish sets, and graceful camera moves that take full advantage of the wide scope. The story avoids the Bollywood pitfall of trying to be everything to everyone: there's no dumb comedy, action, or mystery scenes, just a straight romantic melodrama in the style of Douglas Sirk, with some glorious musical numbers. Unfortunately the songs were not subtitled in the version I saw, and consequently I'm sure I missed out on some of the subtext. But I got the gist of it, and it's a moving and compelling story, with a strong central character. Hopefully this will be properly released on DVD (or, dare I dream, Blu-Ray) one day, because I would definitely add it to my collection. Rating: 9

Re: Sight and Sound (2002) Greatest Films Club

#310 - The Travelling Players

In the immortal words of Casey Kasem: "this is fucking ponderous, man... ponderous, fucking ponderous!". Great movies can be long, and great movies can be slow, but when it's long AND slow, you better have a damn good reason for it. And Angelopolous does not appear to have a good reason. I could have cut these 4 hours down to about two, no problem... maybe even 90 minutes. Endless shots of people walking from one place to another. I understand these are the "travelling players", but what we need here is more play, less travel. The problems escalate during the second half. At first, the film centers around the performers and their travels. It's your standard concept of using the lives of ordinary people to reflect the political, social and military turmoil of the times. I'm a little sick of that kind of thing at the moment, but since some of my favorite films (Underground, Devils on the Doorstep, etc) are based on the same principle, I'm willing to go along with it. But somewhere during the second hour, we start to lose focus on the lives of the players and it becomes more and more overtly political. I didn't care about modern Greek history that much to begin with, but at least it was palatable when there was more of a human element involved. By the final hour of the film, I had pretty much tuned out. The final big stumbling block is that it requires some knowledge not only about mid-20th century Greece, but ancient Greek mythology. It seems to be assumed that the viewer has brushed up on his Aeschylus. I had to consult a plot synopsis to pick up many of the references. I won't deny that there are some interesting scenes. The performance on the beach and the dancehall scene come to mind. But the boring stretches in between are too great, and it's not worth the wait. I hope that the critical community eventually realizes that we don't have to canonize EVERY epic-length film. Not as painful as 1900, but not much better either. Rating: 4

Re: Sight and Sound (2002) Greatest Films Club

I agree with you on this one Martin. And I’m someone who can watch something like Andrei Rublev or Kiarostami with ease and enjoyment. But this movie is just too much—too long and too slow—but most importantly without much meaning.

Obviously some critics have seen more in this than I, but what that is, eludes me.

Re: Sight and Sound (2002) Greatest Films Club

Glad I'm not alone in that. Frankly, I'm starting to wonder if a 4 score might not be too generous.


#311 - Providence

An old man, an author of some modest success, is dying of cancer. As he struggles against the pain, he conjures up (either in his imagination or in his nightmares) vicious little scenarios concerning his son and daughter-in-law, and narrates them. It's another Resnais take on memory and imagination, but more flawed than Last Year at Marienbad. Part of the blame falls on the writer, David Mercer. Since all the dialogue springs from the mind of an author, I can understand why everyone would talk in the same over-literate fashion. But it's really quite off-putting. It just sounds pompous as hell, and I groaned through a lot of it. Compounding the issue is the fact that we have a Frenchman directing his only English-language film. I guess Resnais couldn't know how bad his actors sounded, and the tone is never right. Everything is too wry and self-satisfied, especially Gielgud's narration. Moments where the characters slip into vulgarities (about erections, underwear stains, and so forth) sound hollow and forced. But things turn around considerably in the final act, which I won't reveal, but it puts all the previous events in a different light. As much as I disliked the first 80-90 minutes, the ending honestly made it worthwhile. An original and provocative (and even moving) work, though one that is difficult to enjoy. Rating: 7

Re: Sight and Sound (2002) Greatest Films Club

#312 - Paisà - In my opinion, Rossellini never lives up to his reputation, but this is my favorite yet. The film contains six episodes involving the Allied invasion and occupation of Italy. The first three are very touching, intimate stories. I really loved the first half of the movie. With most of the world hating us these days, it was refreshing to see something sympathetic to Americans. The second half of the film is a slight letdown. Episode four is okay, but lacks that personal touch and feels more like a simple adventure story. And the last episode is fairly typical war stuff, fine for what it is but nothing you haven't seen before. It's the fifth that confounds me. Either Rossellini is being ironic, or it's a celebration of Catholic intolerance. I'd like to believe the former, but without a clear resolution, it's hard to say. I'll give him the benefit of the doubt, though. It's food for thought, anyway. The musical score is bombastic and overbearing, but the cinematography is admirable. I'd watch this one again. Rating: 8


#313 - Pierrot le Fou - I wanted to love this one, I really did. It has the same playful, anarchic spirit as Band of Outsiders. Godard completely disregards the rules and delivers a stream-of-consciousness film only grudgingly attempts to adhere to a plot. Filled with cinematic asides, song and dance numbers, knowing winks, and filmic references (Pepe Le Moko, La Chienne, Nicholas Ray, a Sam Fuller cameo, and a recurring bit of music lifted straight from Vertigo). And Raoul Coutard's cinematography is absolutely glorious, the vibrant primary colors are a delight for the eyes. But, as is so often the case, Godard's intellectual ambitions get the better of him. Ferdinand/Pierrot's wife tells him: "It tires me out just listening to you." Yes, I agree. Pierrot and Godard desperately need to have something important to say, but all either can do is regurgitate stuff other people have written, without any sense of context or apparent comprehension. It's just a drag having people quote shit at you all the time, especially when it's little philosophical nothings that neither enrich nor enlighten. Fortunately, there isn't TOO much of this, but there's enough to make what is otherwise a very fun and inventive film into kind of a chore. Rating: 7


All I have left to see now are some of the 2-vote entries.

Re: Sight and Sound (2002) Greatest Films Club

Crimes and Misdemeanors - 7 of 10
211th S&S film seen

Woody Allen has two ideas for two movies and makes them into one movie, and what really brings off this entire film is the final scene when the two movies meet and Allen talks to Landau, it's poigant, contemplative, and the payoff is worth it.

In movie number one Martin Landau is a respected and wealthy man but his mistress is starting to cause him trouble and threatening to expose him and disrupt his life. He has some shady family connections and must decide how to employ them to find peace from the woman who wants more than he is willing to give.

In movie number two Woody Allen is a failed documentarian being carried along in a loveless marraige by his wife. His charming and uber-successful brother-in-law offers him the chance to direct a TV special about the brother-in-law and when Allen distastefully agrees they both meet the network liason to the production, a stunning and successful woman. Both woo her in their own ways and Allen becomes increasingly desperate and frustrated in his continued failures and she remains tantalizingly out of his reach because he can't find the success within himself that she demands, perfection, for him can only exist in the classic movies he loves so much.

naturally enough these two men, driven mad by women they can't please, meet at wedding and discuss the morality of murder.

Sven Nykvist's photography is superb.

Re: Sight and Sound (2002) Greatest Films Club

The Exterminating Angel - 7 of 10
212th S&S film

A host of wealthy guests arrive at a mansion for dinner after the opera and they are unable to leave the room. They slowly go mad with the enforced company, starvation and thirst. Outside people are unable to enter and everyone is quite perplexed at the ridiculousness of it all.

A very unique and interesting film, quite fascinating to see with a very Charlie Kaufman kind of vibe to it. The cinematography is outstanding and the acting is excellent.

like most Bunuel the images, ideas and concepts linger on, I will probably like this film better in a month. and remember it much more fondly in a year.

I've had this on my tivo since it aired on TCM last June, glad to finally clear it off.

Re: Sight and Sound (2002) Greatest Films Club

No worries Martin, it's a difficult film. I can understand someone not getting anything out of it. I'd be more apt to be critical of your dismissing Godard as having nothing to say or for episode 6 of Paisa being "typical war stuff." But I just don't have the burning desire I used to have to passionately argue such points, especially when its been too long since I've seen them to recall enough specific examples to mount an effective defense.

Got And Life Goes On from the library, so maybe I'll have a couple more reviews to contribute soon. I was reading some of my old stuff, mainly because I couldnt' remember if I'd seen Vidas Secas or not (I wrote a review for it 2 years ago, but can't remember a thing about it) and realized that since Jan. of '06, I've only watched 17 films off the list. That's pretty weak. I'm going to try to at least run through the rest of what the library has in the next couple of months or so, though I have to say after what Martin and Lew have said about it, I'm dreading tackling The Travelling Players.

Re: Sight and Sound (2002) Greatest Films Club

I have Paisa on my tivo, will probably get to it soon, I didn't care for Pierrot le Fou either, but I don't remember any part of it being nearly as fun as you make it sound, I remember it mainly being a chore and a bore.

Re: Sight and Sound (2002) Greatest Films Club

My remaining 40 to see:

Greed (saw all but the last 20-30m of the long version where I cut the ending off of a VHS recording. TCM hasn't reshown it since I've been DVR'ing)
A City of Sadness (several years ago there was a 5 disc box of Hou with this, but I had and have no interest in dropping coin on Hou films even though I like some of them)
The Traveling Players (Library has this)
Voyage to Italy (the art museum is showing this on Friday, I may try to go see it. I have no way to see it otherwise)
Chimes at Midnight (no way to see this, there was a Spanish DVD, but no interest in buying it)
The Earrings of Madame De...(no way to see this, I think there is a French DVD, but again, not buying)
Two or Three Things I know About Her (This was a Rialto release a couple of years ago. I keep waiting for Criterion to put it out)
Floating Clouds (no way to see this)
Jeanne Dielman (no way to see this short of buying French DVD)
Late Spring (Own this)
The Time to Live and the Time to Die (no way to see this)
Ashes and Diamonds (should have seen this years ago, Netflix quit carrying this, though they have a bunch of other Wajda films, so no way to see it short of buying)
Berlin Alexanderplatz (Netflix has, I just don't know when I will find the time to watch it in the way I want to)
Black Dog White Devil (Library has, but I've gotten it and the subtitles are illegible in most scenes so I didn't finish watching it)
Celine & Julie Go Boating (Library has)
Charulata (Netflix has, I should move this higher up my list)
India Song (No way to see)
Life of Oharu (Library has)
Providence (No way to see)
The Rise to Power of Louis XIV (Library has)
Through the Olive Trees (No way to see)
And Life Goes On (checked out from Library)
Angel (No way to see)
Naked Childhood (no way to see)
Fires Were Started (no way to see)
Ludwig (can't remember if the library has this or not)
Make Way for Tomorrow (Have this)
Cloud Capped Star (no way to see other than buy UK DVD)
Miracle in Milan (no way to see)
Pakeezah (no way to see, TCM showed this once years ago but I screwed up taping it)
La Region Centrale (no way to see)
Riff-Raff (no way to see)
The Round-Up (no way to see other than buy DVD)
Les Silences du Palais (no way to see)
Still Life (no way to see)
Time of Gypsies (library has I think)
To Sleep with Anger (no way to see, for awhile this was shown a bunch on WGN, I have no idea if that is still the case)
Les Vampires (Netflix used to have this and I didn't get around to renting it, now they don't carry it)

So I own 2, have checked out 1, there are 4 more the library definitely has, and 2 they might have, plus 2 that netflix has. So I can basically get to 1-3 more than Martin has seen and then be stuck waiting for stuff to be released in a way that I can see it for free or very low cost.

Re: Sight and Sound (2002) Greatest Films Club

Let's see, I have left:

226 Angel Lubitsch 1937
226 Autumn Afternoon, An Ozu 1964
226 Bigger Than Life Ray, Nicholas 1956
226 Death in Venice Visconti 1971
226 Devils, The Russell 1971
226 Naked Childhood Pialat 1970
226 Europa Von Trier 1991
226 Faster Pussycat! Kill! Kill! Meyer 1985
226 Woman Next Door, The Truffaut 1981
226 Fires Were Started Jennings 1943
226 Hotel Terminous: Klaus Barbie, His Life and Times Ophuls, Marcel 1988
226 Red Desert, The Antonioni 1964
226 Love Me Tonight Mamoulian 1932
226 Ludwig Visconti 1972
226 Make Way for Tomorrow McCarey 1937
226 Moment of Innocence, A Makhmalbaf 1996
226 October Eisenstein 1927
226 Odd Man Out Reed 1947
226 Orlando Potter 1992
226 Region Centrale, La Snow 1971
226 Riff-Raff Loach 1990
226 Round-Up, The Jancso 1965
226 Rue Cases-Negres, La Palcy 1983
226 Silences du palais, Les Tlati 1994
226 Steamboat Bill, Jr. Keaton/Reisner 1928
226 Still Life Saless 1974
226 Strike Eisenstein 1925
226 To Sleep with Anger Burnett 1990
226 Touch of Zen, A Hu 1969
226 Vampires, Les Feuillade 1915

A few of these are already in my Netflix or library queue, I need to check on the others. And technically I should rewatch Bride of Frankenstein, since I haven't seen it since I was a child.

EDIT: missed one, P&P's Thief of Bagdad

Re: Sight and Sound (2002) Greatest Films Club

I'm reluctantly willing to accept the possibility that I'm either too stupid or too unmotivated to understand Godard. To me, it seems like he's throwing stuff out there that sounds profound but doesn't really convey anything of value.

It frustrates me, because there's a part of me that really wants to like Godard, but that sort of thing gets in the way far too often. There's only a few of his films that I really like, and Band of Outsiders is the only one I've considered purchasing.

Re: Sight and Sound (2002) Greatest Films Club

Your list looks a lot easier, I own several of the movies on it and Netflix has a fair number. I think Touch of Zen just got released by Miramax on DVD. Bigger than Life gets shown on Fox Movie Channel sometimes if you have access to that. Faster Pussycat gets shown occasionally on TCM. That's how I saw it.

You have some terrific films left to see...Love Me Tonight, Steamboat Bill Jr. (my favorite Keaton), The Devils, Death in Venice, Strike!, Europa, & A Moment of Innocence (my favorite Iranian film)

I missed An Autumn Afternoon. I still have that to see too, but the library has it. Also I found Pakeezah at Netflix, though I assume like pretty much every older Indian DVD, the quality sucks balls.

Re: Sight and Sound (2002) Greatest Films Club

And you've got some of my favorites coming up, especially Charulata, Life of Oharu, Cloud Capped Star, Pakeezah, Time of the Gypsies.

That Netflix version of Pakeezah is full-frame, though. It simply won't do the film justice.

Re: Sight and Sound (2002) Greatest Films Club

Martin, if you have trouble finding Make Way for Tomorrow, I have a DVD I made off a hard to find VHS taping of an AMC airing I can send you. It and Steamboat Bill Jr are probably my two favorites of the films you have left to see.