Pretend you have a ballot for the 2012 edition of Sight & Sound's top 10 movies of all time list

well it's better than Fitzcarraldo anyway.

i love Tacita Dean for including The Quince Tree Sun

http://explore.bfi.org.uk/sightandsoundpolls/2012/voter/1179

So why did Goodbye, Dragon Inn do better in ballots than other Tsai films -- because It's About Watching Movies?

well, it only got 2 critics votes and 2 directors votes if you discount Tsai's vote for himself.

the other ones kinda run together cept the OMG Dad climax to The River

So why did Goodbye, Dragon Inn do better in ballots than other Tsai films -- because It's About Watching Movies?

― a regina spektor is haunting europe (Alfred, Lord Sotosyn), Friday, 24 August 2012 00:22 (1 hour ago) Bookmark Flag Post Permalink

vive l'amour seemed to crop up a lot, iirc, & always does, surprising me - i think historically it was his cannes breakthrough but it seems minor tsai, to me, in retrospect, & i feel like maybe survives as people's memorable gateway into his work. i think goodbye did well because it's maybe his most austere - like isn't it something ridiculous like seventeen shots - & so can mathematically be seen as the purest distillation of his aesthetic, ditto vive on account of its one famous long-ass scene. this is worth tearing up wrt a bunch of newer auteurist stuff on the list, i think - like with kiarostami, in which outside of close-up there isn't a consensus pick, & it's hard to settle on objective favourites from a body of work that runs together or works together, like the koker trilogy. i'm sure there are some interesting pie charts to be made exploring how well things did in broader terms than just film by film.

(nb neither is premium tsai for me, & WTIIT would make my ballot)

WTIIT would be my pick, yeah.

i think goodbye did well because it's maybe his most austere - like isn't it something ridiculous like seventeen shots

as many chapters as the DVD's got -- eighteen or nineteen!

lol directors trolling Morbz

A friend sent me a pdf of the '52 poll; here's a link for anyone who wants to look at it. (I should be able to do the same with the '62/'72/'82 polls.)

Watched Au Hasard Balthazar this weekend. Really great! My first Bresson.

I watched it once, bought the Criterion edition thanks to a crazy sale, and haven't been able to rewatch it.

63 ballots total, huh? (Really fascinating, though. Thanks!)

I love some of the names on there: Lindsay Anderson, Rudolf Arnheim, Alexandre Astruc (the "camera-stylo" guy), Bazin, Lotte Eisner, Penelope Houston, Siegfried Kracauer, Gavin Lambert, Henri Langois, Karel Reisz, Paul Rotha. Some of them account for some of the first scholarly books ever written on film.

Here's a pdf for the '62 poll. A lot of repeat voters from '52, but a few new names: Arthur Knight, Dwight Macdonald, Jonas Mekas, Rivette, Rohmer, Richard Roud. I know Sarris voted, but I guess he wasn't a big enough name at that point to get his list published.

Jeez, I didn't even realize L'avventura was 2 votes away from being #1 in '62.

I watched the current 377th-place finisher Outer Space recently. HEADACHE

Almost a three-way tie at the top. Only 70 voters, so over 30% of them voted for the #1; Vertigo was under 25% this year, but if you consider how many more films have been made in the interim, that's even more impressive, I'd say.

xpost aren't you on some wicked painkillers right now?

Would Jonas Mekas' selections (Potemkin, Chaplin, Flaherty) have been considered conservative in taste back then?

I wish, do you have a connection? xp

Jean Douchet's list seems pretty much on the vanguard of new wave auteurism... Preminger, Hawks, Walsh, Ray, Cukor and I'm guessing the first S&S mention of Vertigo.

I probably do, Morbs. But I'm not mailing that stuff.

I think Chaplin, Eisenstein, Flaherty were considered untouchably canonical by most in '62.

I guess I'm mostly thrown because I would've thought Mekas would've been a canon-smasher rather than a canon-builder, but maybe the former wasn't even a thing yet.

I'm just guessing, but maybe harkening back to early silents was somewhat insurrectionary at a time when, with scattered exceptions like Macdonald or Farber, most American film writing (sometimes not even bylined) was still devoted to Doris Day films in general-interest magazines and daily newspapers. I don't know, though.

I imagine children circa 1930 in Lithuania loved Chaplin, too.

even Lithuanians have got soul

Nice catch on the Vertigo vote, Eric. I've never heard of Douchet, but he's still alive.

http://fr.wikipedia.org/wiki/Jean_Douchet

I bet he's been walking around for the last month going, "Told you so--didn't I tell you so?"

Looking over his resume, I feel a little silly for not recognizing the name--apparently I've seen him in a number of films.

Here are the '72 (Bogdanovich, Jay Cocks, Richard Corliss, Judith Crist, Penelope Gilliatt, Stanley Kauffmann, Robin Wood) and '82 (Peter Biskind, Vincent Canby, David Denby, Molly Haskell, Hoberman, James Monaco, Rosenbaum, Richard Shickel, Susan Sontag, David Thomson) polls. Will try to get the '92 poll.

wow, kudos to paul schrader for putting 'lolita' on his list (in '72).

The only thing that would make that Bogdanovich '72 quote more Bogdanovich is the word "Orson".

Lolita is imho a ridic choice as a top-10 film, even SK admitted he was hamstrung by making it a half-decade early.

it prob wouldn't make my own top 10 (maybe top 20, it is really good i think) but i'm always happy when ppl pick kubricks that aren't '2001' or 'strangelove.'

'paths of glory' is the kube i wish got more love on these lists.

Eyes Wide Shut is mine.

I'm ok with both 2001 and Strangelove being the representative Kubricks, but Shining and Barry Lyndon will do just as well for me.

Spartacus is mine.

Heaven's Gate (1980 Cimino)
Chronik der Anna Magdalena Bach (1968 Straub/Huillet)
Streets of Shame (1956 Mizoguchi)
Choses secrètes (2002 Brisseau)
Traviata '53 (1953 Cottafavi)
Donovan's Reef (1963 Ford)
Sunrise (1927 Murnau)
Outrage (1950 Lupino)
Gentleman Jim (1949 Walsh)

if only Spartacus had been a real Kubrick film

if only The Shining had not

Black God, White Devil 1964 Glauber Rocha
Chimes at Midnight 1966 Orson Welles
Mamma Roma 1962 Pier Paolo Pasolini
Night of the Hunter, The 1955 Charles Laughton
Ordet 1955 Carl Theodor Dreyer
Russian Ark 2002 Aleksandr Sokurov
Sacrifice, The 1986 Andrei Tarkovsky
Steamboat Bill, Jr. 1928 Buster Keaton
Turin Horse, The Béla Tarr
Viridiana 1961 Luis Buñuel

http://explore.bfi.org.uk/sightandsoundpolls/2012/voter/1118

excellent list

one of portabella's own films is on rosenbaum's list

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Need NRQ back to start up the 2022 thread.

Saw "L'Atalante" and the rest of Vigo's stuff last week. It's very nice but didn't move much as much as, say, Sunrise, or Boudu. But I admired how much of it was seemingly shot on location. I guess ultimately that's what killed Vigo?

I think I preferred Zero de Conduite to "L'Atalante".

nice list from ferrara, possible exception for russell idk

Cul-de-Sac 1966 Roman Polanski
Devils, The 1971 Ken Russell
Hawks and Sparrows 1966 Pier Paolo Pasolini
Prison 1949 Ingmar Bergman
Lolita 1961 Stanley Kubrick
Los Olvidados 1950 Luis Buñuel
Ran 1985 Akira Kurosawa
Touch of Evil 1958 Orson Welles
Woman Under the Influence, A 1974 John Cassavetes
Zero de Conduite 1933 Jean Vigo

ZDC is vigo's best film

http://www.bfi.org.uk/news/reviewing-greatest-films-all-time

http://www.bfi.org.uk/sites/bfi.org.uk/files/styles/15_columns/public/image/ss-greatest-films-all-time-2012-infographic-001-biggest-gainers-2002-to-2012_0.jpg

http://www.bfi.org.uk/sites/bfi.org.uk/files/styles/15_columns/public/image/ss-greatest-films-all-time-2012-infographic-002-biggest-losers-2002-to-2012_0.jpg

Bump mostly predicated on the fact that the S&S issue finally hit US newsstands. Apparently the downtown B&N here got 8 copies and, by the time I got there, only 2 were left.

Bought one a few days ago. As someone who doesn't buy magazines at all, $13 was eye-opening.

$10 here. Think 2002 ed. was $8.