MC Yearly Consensus - 1958

[Eleven]

Submit your five favorite films from this year and in a week I will give you a top ten. IMDb dates will be used.

The point system is as follows

1st Place-5 points
2nd Place-4 points
3rd Place-3.5 points
4th Place-3 points
5th Place-2.5 points

There will be no restrictions on short films. A minimum of three films must be listed. You may edit your post freely up until the time that the thread is locked, which will be in about a week. I will give at least 24 hours warning before tallying votes.

You may begin now.

IMDB Power Search (http://www.imdb.com/list)

[Eleven]

1. Vertigo
2. Touch of Evil
3. The Hidden Fortress
4. Equinox Flower
5. The Horse's Mouth

HMs: Elevator to the Gallows, Mon Oncle, The Magician.

[Spinal]

1. The Music Room
2. The Legend of Sleepy Hollow
3. Robin Hood Daffy
4. Touch of Evil

[origami_mustache]

1. A Movie
2. The Hidden Fortress
3. Touch of Evil
4. Elevator to the Gallows
5. The Defiant Ones

[Melville]

1. Vertigo
2. Ivan the Terrible Part II
3. Touch of Evil

[Yxklyx]

1. Vertigo (Alfred Hitchcock)
2. Elevator to the Gallows (Louis Malle)
3. The Hidden Fortress (Akira Kurosawa)
4. Touch of Evil (Orson Welles)
5. Ashes and Diamonds (Andrzej Wajda)

6. Giants and Toys (Yasuzo Masumura)
7. Jalsaghar (Satyajit Ray)
8. Horror of Dracula (Terence Fisher)
9. Mon oncle (Jacques Tati)
10. A Night to Remember (Roy Ward Baker)

[Philosophe_rouge]

Wow, I've seen barely any films from 58'...
1. Vertigo
2. Touch of Evil
3. Tarnished Angels
4. Ascenseur pour l'échafaud
5. Cat on a Hot Tin Roof

[Russ]

1. Vertigo
2. Mon Oncle
3. A Night to Remember
4. The Big Country
5. Dracula

[origami_mustache]

found Bruce Conner's A Movie online and posted it in the appropriate thread.

http://www.match-cut.org/showpost.php?p=51614&postcount=57

[Mysterious Dude]

1. Touch of Evil
2. Ashes and Diamonds
3. Elevator to the Gallows
4. Vertigo
5. The Defiant Ones

[Weeping_Guitar]

1. Vertigo
2. Elevator to the Gallows
3. Touch of Evil
4. Indiscreet
5. Auntie Mame

[MadMan]

Wow I've seen very, very little from this year.

1. Touch of Evil
2. The Hidden Fortress
3. Vertigo

[Kurious Jorge v3.1]

1. Vertigo
2. Jalsaghar
3. Elevator to the Gallows
4. Touch of Evil
5. The Horse's Mouth

[Boner M]

1. Vertigo (Hitchcock)
2. Touch of Evil (Welles)
3. L'Opera Mouffe (Varda)
4. The Hidden Fortess (Kurosawa)
5. Mon Oncle (Tati)

Gonna watch A Movie in a minute, will see if things change.

EDIT: NSFW, it seems. Better save for later.

[Melville]

This year is all about Ivan the Terrible, people. Ivan the Terrible:

http://www.youtube.com/watch?v=NKNoqlIP5Dg&feature=related

[Grouchy]

1. Vertigo
2. Touch of Evil
3. Dracula
4. Elevator to the Gallows
5. The Hidden Fortress

[Yxklyx]

I think a lot of people here would like Giants and Toys even more than I. It's a surprisingly modern film - very snazzy.

[monolith94]

1. Vertigo
2. The Big Country
3. The Hidden Fortress
4. Touch of Evil
5. Ivan the Terrible Part II

HMs:The Legend of Sleepy Hollow, The 7th Voyage of Sinbad, The Blob

[origami_mustache]

I think a lot of people here would like Giants and Toys even more than I. It's a surprisingly modern film - very snazzy.

sounds interesting...adding to queue.

[Raiders]

1. Vertigo
2. The Tarnished Angels
3. Mon Oncle
4. Bonjour tristesse
5. Horror of Dracula

[Kurious Jorge v3.1]

This year is all about Ivan the Terrible, people. Ivan the Terrible:

http://www.youtube.com/watch?v=NKNoqlIP5Dg&feature=related

Ivan part 1 >>>>>>>>>> Ivan part 2

[Melville]

Ivan part 1 >>>>>>>>>> Ivan part 2
That must be the wrongest thing I've ever read. All the inequality signs are pointing in the wrong direction, for one thing.

[soitgoes...]

1. Vertigo (Alfred Hitchcock)
2. Cat on a Hot Tin Roof (Richard Brooks)
3. Touch of Evil (Orson Welles)
4. Big Deal on Madonna Street (Mario Monicelli)
5. Ashes and Diamonds (Andrzej Wajda)
-------------------------------------------------
6. The Defiant Ones (Stanley Kramer)
7. The Tarnished Angels (Douglas Sirk)

Meh.

[ledfloyd]

1. Touch of Evil
2. Elevator to the Gallows
3. Vertigo
4. The 7th Voyage of Sinbad (yes!)

[Qrazy]

1. Ashes and Diamonds
2. Touch of Evil
3. Vertigo
4. Big Deal on Madonna Street
5. Hidden Fortress

I feel a little bad about not including Ivan the Terrible Part II but in all honesty I'd rather re-watch the last two on my list than Ivan so in terms of preference/enjoyment they get the vote.

Elevator to the Gallows and Mon Oncle are good, but two of the weaker efforts from their respective directors.

[Melville]

I feel a little bad about not including Ivan the Terrible Part II but in all honesty I'd rather re-watch the last two on my list than Ivan so in terms of preference/enjoyment they get the vote.
Well, I haven't seen number 1, 4, or 5 from your list, so you're forgiven. Actually, I haven't seen many movies from this year at all.

[Qrazy]

Well, I haven't seen number 1, 4, or 5 from your list, so you're forgiven. Actually, I haven't seen many movies from this year at all.

You should check out Wajda's war trilogy when you get the chance (particularly the latter two). I think it's something you'd really enjoy.

[Spinal]

Top Songs of 1958:

1. "Volare (Nel Blu Dipinto Di Blu)", Domenico Modugno
2. "All I Have To Do Is Dream/Claudette", Everly Brothers
3. "Don't/I Beg Of You", Elvis Presley
4. "Witch Doctor", David Seville
5. "Patricia", Perez Prado
6. "Sail Along Silvery Moon/Raunchy", Billy Vaughn
7. "Catch A Falling Star/Magic Moments", Perry Como
8. "Tequila", Champs
9. "It's All In The Game", Tommy Edwards
10. "Return To Me", Dean Martin

source: musicoutfitters.com

[Grouchy]

1. "Volare (Nel Blu Dipinto Di Blu)", Domenico Modugno
Voooooolaree... wowowowo...

[Spinal]

The following television programs debuted in 1958:

Peter Gunn
The Huckleberry Hound Show
Blue Peter (UK) - the world's longest-running children's TV program
The Donna Reed Show
The Friendly Giant (Canada)
An Evening with Fred Astaire

The #1 program in the Nielsen ratings for 1958:

Gunsmoke

[Kurosawa Fan]

1. The Hidden Fortress
2. Touch of Evil
3. Robin Hood Daffy
4. Cat on a Hot Tin Roof
5. Vertigo

[Spinal]

Time Man of the Year for 1958:

http://img.photobucket.com/albums/v696/joel_harmon/more/degaulle.jpg

Charles De Gaulle

[Llopin]

1. Mon Oncle (Tati)
2. Ashes and Diamonds (Wajda)
3. Les Amants (Malle)
4. Elevator to the Gallows (Malle)
5. Equinox Flower (Ozu)

[Derek]

1. Vertigo (Alfred Hitchcock)
2. Touch of Evil (Orson Welles)
3. The Hidden Fortress (Akira Kurosawa)
4. Party Girl (Nicholas Ray)
5. The Music Room (Satyajit Ray)
****************************
6. The Tarnished Angels (Douglas Sirk)
7. Mon Oncle (Jacques Tati)
8. Giants & Toys (Yasuzo Masumura)
9. Bonjour Tristesse (Otto Preminger)
10. Man of the West (Anthony Mann)

HM's :Ivan the Terrible, Part II (Sergei Eisenstein), A Movie (Bruce Conner)

[Russ]

5. Horror of Dracula
Note to compiler: Although IMDb lists the title as Dracula (the title I submitted), I believe the original US release title was indeed Horror of Dracula.

[Duncan]

1. Touch of Evil
2. A Movie
3. Vertigo
4. Equinox Flower

[Duncan]

I've seen a clip from Ashes and Diamonds, it seemed very interesting. It's also come up more than once randomly in film reading I've been doing lately. I'm bumping it up the queue, so to speak.

[Melville]

You should check out Wajda's war trilogy when you get the chance (particularly the latter two). I think it's something you'd really enjoy.
Yeah, I've wanted to see Ashes and Diamonds for years, but I haven't been able to find it.

[koji]

1. Touch of Evil (Welles)
2. Ivan the Terrible, Part II (Eisenstein)
3. Hidden Fortress (Kurosawa)
4. Big Deal on Madonna Street (Mario Monicelli)
5. Elevator to the Gallows (Malle)
********************
6. Giants and Toys (Masumara)
7. Cat on a Hot Tin Roof (Brooks)
8. Vertigo (Hitchcock)
9. The Defiant Ones (Stanley Kramer)

To me, this year is the weakest in what was generally a bountiful decade for movie fans.

[Eleven]

Results maybe tonight, maybe tomorrow.

[Ezee E]

1.Touch of Evil
2.Legend of Sleepy Hollow
3.Vertigo

[Eleven]

#10 (tie)

http://img399.imageshack.us/img399/8080/madonnastreet2kx3.jpg

Big Deal on Madonna Street

Director: Mario Monicelli

Country: Italy

Peppe, formerly a boxer, organizes the break-in of a pawnshop. Tiberio, an unemployed photographer, Mario, a receiver, the Sicilian Michele and Capannelle, an ex-jockey, are the other members of the gang. Though they are advised by Dante, a retired burglar, the task is not so easy...

Inspired the 1986 Broadway Musical "Big Deal" by Bob Fosse. A sequel directed by Nanni Loy followed in 1960, reuniting the entire cast aside from Totò and Marcello Mastroianni, entitled Audace colpo dei soliti ignoti (released in English as Hold-up Ã* la Milanaise). A further sequel was directed by Amanzio Todini titled I Soliti ignoti vent'anni dopo (1987). It was released on DVD in the United States as Big Deal On Madonna Street - 20 Years Later, leading the way for Halloween: H20.

“In contrast to their [Dassin’s and Huston’s] movies, in which blind luck brings about the demise of the plan and the gang members, the luck found on Madonna Street puts the gang on the path to an honest life. If the action in Monicelli’s film is governed by a personified deity, it’s not the vengeful, dark God of American film noir, but a cheerful, whimsical God who smiles and appreciates a good practical joke.� -- Bruce Eder

#10 (tie)

http://img291.imageshack.us/img291/5232/amovieqo1.jpg

A Movie

Director: Bruce Conner

Country: USA

An assocational film, usually considered a metaphorical commentary on humanity’s violent nature, consisting of found footage, taken from B-movies, newsreels, soft-core pornography, novelty shorts and other sources

Selected to the National Film Registry, Library of Congress, in 1994.

“Bruce's movies changed my entire concept of editing. In fact, much of the editing of Easy Rider came directly from watching Bruce's films, and, when I look at MTV, it seems they all must've been students of his.� -- Dennis Hopper

[Eleven]

#9

http://img248.imageshack.us/img248/4371/cat060703110019017widewfa7.jpg

Cat on a Hot Tin Roof

Director: Richard Brooks

Country: USA

Wealthy Mississippi plantation owner Big Daddy Pollitt, unaware that he's dying of cancer and disturbed by the strained and childless marriage of his favored alcoholic son Brick and his other son, Gooper, whose wife is about to bring forth another in the endless line of little "no-neck monsters," celebrates his sixty-fifth birthday with his family. Brick's wife, Maggie, beautiful and desirable, tries unsuccessfully to coax her husband away from the bottle, while alternately enticing him and taunting him about his obsession with his deceased best friend and the guilt about their relationship. The seamy tensions reach a climax when the truth of Big Daddy's health is revealed.

Playwright Tennessee Williams so disliked this adaptation that he told people in the queue "This movie will set the industry back 50 years. Go home!" Ben Gazzara, who originated the role of Brick on Broadway, turned down the role for the film version. George Cukor turned down MGM's offer to direct the film because the references to Brick's homosexuality had been removed. This film was originally to be filmed in black and white, as was the standard practice with "artistic" films in the 1950s. However, once Newman and Taylor were cast in the lead, director Brooks insisted on shooting in color, in deference to the public's well known enthusiasm for Taylor's violet and Newman's strikingly blue eyes.

“Heretical to suggest it, I think the film is better than the play because all of its homoeroticism, all of its randiness (pulled taut like Liz's breasts against her soft silk blouse), is forced into the basement and left there to fester like a metaphor for just how much time we spend in our day-to-day shoving those same animals into our own root cellars…The play ‘tells’—the picture lets you tell. And in that telling, Cat on a Hot Tin Roof does a little excavating of its own.� --Walter Chaw

[Eleven]

#8

http://img527.imageshack.us/img527/1622/augustivan2zj9.jpg

Ivan the Terrible, Part II: The Boyars' Plot

Director: Sergei Eisenstein and M. Filimonova

Country: Soviet Union

His wife dead from poisoning and his chief warrior, Kurbsky, defected to the Poles, Ivan is lonely as he pursues a unified Russia with no foreign occupiers. Needing friendship, he brings to court Kolychev, now Philip the monk, and makes him metropolitan bishop of Moscow. Philip, however, takes his cues from the boyars and tries to bend Ivan to the will of the church. Ivan faces down Philip and lets loose his private force, the Oprichniks, on the boyars. Led by the Tsar's aunt, Euphrosyne, the boyers plot to assassinate Ivan and enthrone her son, Vladimir. At a banquet, Ivan mockingly crowns Vladimir and sends him in royal robes into the cathedral where the assassin awaits.

This film was withheld by Soviet authorities by order of Joseph Stalin, since this film, dealing with Ivan's slide into madness and the tyranny of the Oprichnina, did not properly mythologize Ivan I Grozny to Stalin's satisfaction. It was not finally released until 10 years after the deaths of director Sergei M. Eisenstein and Stalin. The film features two color sequences, Ivan eating dinner with feeble-minded Vladimir while the "oprichniki" dance and sing for them and a final shot of Ivan denouncing all enemies of Russia's independence and unity.

“If the Soviet authorities expected to see Ivan’s glorious push to the Baltic, they were rudely disappointed. Even more extreme in its stylization than the first part, Ivan’s second installment presented an unmistakable, if medieval, vision of Stalin’s rule, replete with political assassination and secret police. (No less disturbing perhaps are the campy, if not overtly homoerotic, touches that Eisenstein gave to his portrayal of Ivan’s court.) Ivan the Terrible, Part II was condemned as “erroneous� by the Central Committee and its release was delayed.� -- J. Hoberman

[Melville]

Excellent.

[Eleven]

#7

http://img177.imageshack.us/img177/2638/jalsagharta9.jpg

The Music Room

Director: Satyajit Ray

Country: India

Biswambhar Roy is a zamindar (landlord) and the last of his kind. With the title, he has none of the perquisites, inheriting diminishing lands that are being eroded by the neighbouring river. But he must maintain the lifestyle of his heritage. This ostentation is most apparent in the grandest room of his mansion, the music room. Here he inports the finest musicians and dancers to perform, and invites the area's most important commoners. His wife's entreaties to control spending are ignored, and the puberty party he throws for his son bring him down to the last few sacks of family jewels. Then, struck by tragedy, he locks the music room and slips into lethargy - until a final grand soiree consumes the last of his funds.

“The great Indian director, with his fine dramatic sense, here portrays an extinct world with a blend of mordant satire and reluctant admiration, then miraculously achieves something close to tragedy in the final reel. The film's central figure, played beautifully by the prominent stage actor Biswas, is a decadent and thoughtless fool, and yet his stubborn denial of reality for the sake of a single evening of music has a reckless, absurd grandeur. Ray's theme is the pride of the heart in the face of inevitable change, the refusal to let go even when all that is dear is threatened. The old man is pitiful, never admirable, but his is a way of thought that we can perhaps notice in ourselves, which is what makes The Music Room moving.� -- Chris Dashiell

[Yxklyx]

#9

http://img248.imageshack.us/img248/4371/cat060703110019017widewfa7.jpg

Cat on a Hot Tin Roof



Featuring the kids you would most ever want to kill.


#7

http://img177.imageshack.us/img177/2638/jalsagharta9.jpg

The Music Room



Were votes for Jalsaghar counted as The Music Room?

[Eleven]

Were votes for Jalsaghar counted as The Music Room?

Of course.

[Eleven]

#6

http://img90.imageshack.us/img90/4527/111feature350x180ts0.jpg

Mon oncle

Director: Jacques Tati

Country: France

Monsieur Hulot's brother-in-law is the manager of a factory where plastics are manufactured. His nephew grows up in a house where everything is fully automated and the boy is raised in a similar fashion. To take away the influence of the uncle on his son, his brother-in-law gets Hulot a job in his factory.

Won the the Academy Award for Best Foreign Language Film, a Special Prize at Cannes, and the New York Film Critics Award.

“Much of Mon oncle is like this—a voyeuristic comedy in which the only person spying is the audience; Rear Window played for whimsy. Like the characters in Hitchcock's apartment complex, Tati's people are sketches of urban anthropology. The film's situational humor encloses them—boxes them, figuratively and sometimes literally, like zoo animals (though at least zoo animals know they're caged). We study them, realize how much we share with them, and smile.� --Matt Zoller Seitz

[Eleven]

#5

http://img170.imageshack.us/img170/6641/285feature350x180vg8.jpg

Ashes and Diamonds

Director: Andrzej Wajda

Country: Poland

Maciek, a young Resistance fighter, is ordered to kill Szczuka, a Communist district leader, on the last day of World War II. Though killing has been easy for him in the past, Szczuka was a fellow soldier, and Maciek must decide whether to follow his orders.

One of Martin Scorsese's favorite movies.

“If, for all its tragedy and multiple ironies, the film exhilarates, it is through the power of its artistry and because the authority of its synthetic image of the postwar Polish dilemma does indeed tell as much of the truth as could be told—as Dabrowska had said. The artistry is not confined to Cybulski’s performance or Wajda’s compression of Andrzejewski’s more leisurely novel and list of dramatic personae into a tightly knit, twenty-four-hour confrontation. It is also continually present in the deep focus of cameraman Jerzy Wojcik, which both underscores the ironies and evokes the oppressiveness of a history with whose cruelty Poles had become all too well acquainted.� --Paul Coates

[Eleven]

#4

http://img246.imageshack.us/img246/732/335feature350x180ku0.jpg

Elevator to the Gallows

Director: Louis Malle

Country: France

Florence Carala and her lover Julien Tavernier, an ex-paratrooper, want to murder her husband by faking a suicide. But after Julien has killed him and he puts his things in his car, he finds he has forgotten the rope outside the window and he returns to the building to remove it...

Louis Malle shot lead actress Jeanne Moreau in close-up and natural light and often without make-up. Moreau had never been seen like this before, to the extent that lab technicians, reportedly appalled at how unflatteringly she was photographed, refused to process the film. Miles Davis recorded the music with a quartet of French musicians in a few hours (from 11pm to 5am one night), improvising each number and sipping champagne with Moreau and Malle.

“The new wave doesn’t quite get born in Elevator to the Gallows, but it’s clearly in the late term here, more than ready to emerge. You can sense it in Decaë’s remarkably daring natural-light cinematography…; in the funky ebullience of young bit players like Jean-Claude Brialy and Charles Denner, both destined to become new wave luminaries; and, most of all, in the unleashing of Jeanne Moreau, who, nearing thirty, was a busy actress but never quite a star until Malle turned her loose in the nocturnal city and did justice, for the first time, to that amazing, imperious, gravely sexy walk of hers—which would, over the next couple of decades, come to seem the defining movement of the new wave, the embodied rhythm of freedom.� --Terrence Rafferty

[Eleven]

#3

http://img338.imageshack.us/img338/384/116feature350x180sr2.jpg

The Hidden Fortress

Director: Akira Kurosawa

Country: Japan

Two luckless peasants escape the aftermath of a battle. While trying to make their way home, they meet and begin to travel with General Makabe, trying to transport the princess of a defeated royal family and what remains of their wealth to safe territory in secret. The peasants mostly impede his mission sometimes trying to run off with the gold. They are later joined by a farmer’s daughter whom they acquire at an inn from a slave-trader, or procurer. Together, the five make an arduous and desperate trek through enemy territory, transporting a treasure of gold that the princess and the general hope to use to rebuild the princess's military to one day retake her land and rebuild her realm.

One of the inspirations for Star Wars, especially in the comical interplay between two characters through whose eyes the story is partially told. Kurosawa's first feature filmed in a widescreen format, Tohoscope, which he continued to use for the next decade, as well as Perspectasound.

“Kurosawa set a new standard for visualized excitement that filmmakers have been imitating ever since. Photographing man in nature, man confronting fate, Kurosawa’s imagery depicts human beings as pawns to destiny or their own animal instincts. This extra-sensual significance derives from the photography’s tactile quality—the way the opening scenes of sand and rock give way to flora and water when the hidden fortress is revealed. The adventure film concept is philosophically, spectacularly rendered.� --Armond “Dangerous� White

[Eleven]

#2

http://img175.imageshack.us/img175/9619/filmqm2.jpg

Touch of Evil

Director: Orson Welles

Country: USA

Mexico's chief narcotics officer, Mike Vargas, is in a border town on a quick honeymoon with his U.S. wife. Soon he must testify against Grande, a drug lord whose brother and sons are tracking him, hoping to scare his wife and back him off the case. When a car bomb kills a rich U.S. developer, Vargas embroils himself in the investigation, putting his wife in harm's way. After Vargas catches local legendary U.S. cop, Hank Quinlan, planting evidence against a Mexican national suspected in the bombing, Quinlan joins forces with the Grande family to impugn Vargas's character.

Was screened at the 1958 Brussels World's Fair, where judges Jean-Luc Godard and François Truffaut awarded it the top-prize. Welles shot predominantly at night in order to fend off meddlesome studio suits. When Welles discovered that his film was recut, he wrote a letter to the production house with specifics on how he would have wanted the film to be released. This memo, thought to be lost, was found to be in the possession of star Charlton Heston and was the basis for the re-edited 1998 re-release.

“This version makes it even clearer that Touch of Evil is a flat-out all-cylinders-running, eye-popping masterpiece, one of a few monumental 1950s swan songs marking the end of the great epoch of traditional studio filmmaking. It belongs alongside Vertigo and The Searchers and Kiss Me Deadly and Some Came Running as a tribute to the kind of directorial vision that used the machinery of the studio to create a work of pure visual poetry, translating a script into stunningly original compositions and camera movements that unify the narrative and the imagery…If you're open to the idea that the visual qualities of depth and perspective are a key part of the language that film speaks, Touch of Evil should offer nearly two hours of ecstatic if uneasy pleasure: together the style and script intertwine the themes of moral corruption and mental breakdown.� --Fred Camper

[Eleven]

#1

http://img510.imageshack.us/img510/2824/vertigoms0.jpg

Vertigo

Director: Alfred Hitchcock

Country: USA

A San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her.

San Juan Batista, the Spanish mission which features in key scenes in the movie doesn't actually have a bell tower - it was added with trick photography. Costume designer Edith Head and director Alfred Hitchcock worked together to give Madeleine's clothing an eerie appearance. Her trademark grey suit was chosen for its colour because they thought it seemed odd for a blonde woman to be wearing all grey. Also, they added the black scarf to her white coat because of the odd contrast. The film is based upon the novel D'Entre les Morts (From Among the Dead) which was written specifically for Alfred Hitchcock by Pierre Boileau and Thomas Narcejac after they heard that he had tried to buy the rights to their previous novel Celle qui n'était plus (She Who Was No More), which had been filmed as Les Diaboliques. The movie contains the only score that composer Bernard Herrmann wrote but did not conduct himself. When Novak questioned Hitchcock about her motivation in a particular scene, the director is said to have answered, "Kim, it's only a movie!"

“Over and over in his films, Hitchcock took delight in literally and figuratively dragging his women through the mud--humiliating them, spoiling their hair and clothes as if lashing at his own fetishes. Judy, in Vertigo, is the closest he came to sympathizing with the female victims of his plots. And Novak, criticized at the time for playing the character too stiffly, has made the correct acting choices: Ask yourself how you would move and speak if you were in unbearable pain, and then look again at Judy.� --Roger Ebert

[Eleven]

Results
1. Vertigo 88
2. Touch of Evil 84
3. The Hidden Fortress 38.5
4. Elevator to the Gallows 33.5
5. Ashes and Diamonds 18
6. Mon Oncle 15
7. The Music Room 11.5
8. Ivan the Terrible II 10.5
9. Cat on a Hot Tin Roof 9.5
10t. A Movie 9
10t. Big Deal on Madonna Street 9

Almost there
Equinox Flower 8.5
Horror of Dracula 8.5
The Legend of Sleepy Hollow 8

[dreamdead]

Awesome finish. This is a year I must explore more since I've only seen the top two...

[Melville]

Results
2. Touch of Evil 84
3. The Hidden Fortress 38.5

This year seems a bit top heavy.

[Eleven]

This year seems a bit top heavy.

Number of mentions:
Vertigo and Touch of Evil, 20 and 21, respectively.
Hidden Fortress and Elevator to the Gallows, 11 and 10, respectively.

[Melville]

Number of mentions:
Vertigo and Touch of Evil, 20 and 21, respectively.
Hidden Fortress and Elevator to the Gallows, 11 and 10, respectively.
At least one person didn't mention Vertigo? Madness!

[Qrazy]

I really need to get on Charulata and The Music Room. I watched The Apu trilogy when I was first getting into cinema and really liked them all. I have a good feeling about Cat on a Hot Tin Roof too since I like both Williams and Newman, Cukor is alright, haven't really seen enought to judge. I find Mon Oncle to be Tati's most hit and miss and dated work... about on par with Jour de Fete, but I love the man so I suppose no complaints really.

[DrewG]

found Bruce Conner's A Movie online and posted it in the appropriate thread.

http://www.match-cut.org/showpost.php?p=51614&postcount=57

Saw this in class a few months ago and really enjoyed it.

[Yxklyx]

I really need to get on Charulata and The Music Room.

Mahanagar is where it's at.

[Duncan]

Sigh...so many movies from the 40's and 50's that I need to see.

In the meantime, I'll pimp Conner's Report because I think it may be even better than A Movie.

[Qrazy]

Sigh...so many movies from the 40's and 50's that I need to see.

In the meantime, I'll pimp Conner's Report because I think it may be even better than A Movie.

I prefer Vivian, Breakaway and Take the 5:10 to Dreamland to either.