TOP TEN (Part IV-B)
As I mentioned earlier, the newly established Directors' poll of greatest films varied significantly from that of the international Critics' consortium. Let's take a look: The Sight & Sound Top Ten Poll: 1992 Directors’ poll 1. Citizen Kane (Welles) 2. 8 ½ (Fellini) 2. Raging Bull (Scorsese) 4. La strada ( Fellini) 5. L’Atalante (Vigo) 6. The Godfather (Coppola) 6. Modern Times (Chaplin) 6. Vertigo (Hitchcock) 9. The Godfather Part II (Coppola) 10. The Pass
TOP TEN (Part IV)
In 1992, Sight & Sound magazine added a Directors' poll in addition to the long-established Critics' Top Ten. Surprisingly, they had little in common. It seems likely that all the selections would make the Top 50 in both categories, but only a few made both groups' Top 10. First, the Critics' poll: The Sight & Sound Top Ten Poll: 1992 Critics’ poll 1. Citizen Kane (Welles) 2. La Regle du Jeu (Renoir) 3. Tokyo Story (Ozu) 4. Vertigo (Hitchcock) 5. The Searchers (For
TOP TEN (Part III)
As I discussed in my last post, the 1982 Sight & Sound Critics' poll was remarkable for a number of reasons. I was ecstatic because Alfred Hitchcock was finally being given his due. Francois Truffaut's book-length interview with Hitchcock, Hitchcock/Truffaut , published in 1966, was a seminal text in my life. I had been a fan of Hitchcock films since I was small, but this book opened up a whole new way of looking at film. It is still a fascinating work, and I now own the
TOP TEN (Part II)
As I mentioned yesterday, the 1962 Sight & Sound Critics' poll confirmed a sea change in attitudes toward classic cinema, beginning with the rise of Orson Welles' Citizen Kane to the film pantheon. Here is that list: The Sight & Sound Top Ten Poll: 1962 Critics’ poll 1. Citizen Kane (Welles) 2. L’avventura (Antonioni) 3. La Règle du jeu (Renoir) 4. Greed (von Stroheim) 4. Ugetsu Monogatari (Mizoguchi) 6. Battleship Potemkin (Eisenstein) 7. Bicycle Thieves (De
TOP TEN
I recently viewed a classic French film I had never seen before--Marcel Carne's Le Jour se Leve (Daybreak) (1939). The screenwriter was Carne's frequent collaborator, surrealist Jacques Prevert, and Le Jour se leve came early in a titanic run of films that typified the "Golden Age" of French cinema, reaching its climax with Les Enfants du Paradis ( Children of Paradise ) (1945). I was more familiar with this period in cinema history as the time that generally offered the ty
A SONG FOR YOU (Part 2)
Couldn't help but add Brother Ray's cover of Leon Russell's classic. Enjoy.
A SONG FOR YOU
I've been admiring those lyricists lately who have made the effort to craft their rhymes with precision. I acknowledge that a concern...
