{"id":7841,"date":"2012-07-24T20:09:27","date_gmt":"2012-07-25T00:09:27","guid":{"rendered":"http:\/\/deeperintomovies.net\/journal\/?p=7841"},"modified":"2015-05-31T22:02:57","modified_gmt":"2015-06-01T03:02:57","slug":"inventory-rosenbaums-top-hundred-films","status":"publish","type":"post","link":"https:\/\/deeperintomovies.net\/journal\/archives\/7841","title":{"rendered":"Inventory: Rosenbaum’s Top Hundred Films"},"content":{"rendered":"

Film critic Jonathan Rosenbaum has been vital to my cinema hobby. Back in the early 2000’s I knew I wanted to watch more good films – but how to tell which films are good? Everybody seemed to recommend exactly the same ol’ boring things as everyone else. Then one day, looking up some best-of-decade lists online, I found Rosenbaum’s top-ten, which featured Dead Man<\/em> (one of my own faves which I felt was criminally underappreciated) and eight I’d never even heard of. “I must see these movies,” I thought. But I couldn’t find them all straight away, so I busied myself by buying all of Rosenbaum’s books and trying to figure out what else he likes (because anyone who loves Dead Man<\/em> has the very best taste). Fortunately, he soon published another book (Essential Cinema<\/em>) with lists of his favorite films, highlighting the top hundred.<\/p>\n

I’d managed to see most of the top hundred early last year when I decided to make an effort to watch the last thirty, and others by the same filmmakers for context, so I could better enjoy (or at least understand) what I’m seeing. I loved most of these, with some definite exceptions – but you can’t argue with a man’s list of favorites, you can only make your own.<\/p>\n

Watched in the last few years, with link to blog entry:<\/p>\n

Le Tunnel sous la Manche<\/a><\/em> (1907 Melies)
\nTih Minh<\/a><\/em> (1918 Feuillade)
\nFoolish Wives<\/a><\/em> (1922 von Stroheim)
\nGreed<\/a><\/em> (1924 von Stroheim)
\nSunrise: A Song of Two Humans<\/a><\/em> (1927 Murnau)
\nThe Docks of New York<\/a><\/em> (1928 von Sternberg)
\nArsenal<\/a><\/em> (1929 Dovzhenko)
\nLonesome<\/a><\/em> (1929 Fejos)
\nNight at the Crossroads<\/a><\/em> (1932 Renoir)
\nI Was Born, But…<\/a><\/em> (1932 Ozu)
\nIvan<\/a><\/em> (1932 Dovzhenko)
\nLove Me Tonight<\/a><\/em> (1932 Mamoulian)
\nHallelujah, I’m a Bum<\/a><\/em> (1933 Milestone)
\nSylvia Scarlett<\/a><\/em> (1935 Cukor)
\nMake Way For Tomorrow<\/a><\/em> (1937 McCarey)
\nRules of the Game<\/a><\/em> (1939 Renoir)
\nStory of the Late Chrysanthemums<\/a><\/em> (1939 Mizoguchi)
\nChristmas in July<\/a><\/em> (1940 Sturges)
\nThe Magnificent Ambersons<\/a><\/em> (1942 Welles)
\nHeaven Can Wait<\/a><\/em> (1943 Lubitsch)
\nSeventh Victim<\/a><\/em> (1943 Robson)
\nThe Best Years of Our Lives<\/a><\/em> (1946 Wyler)
\nSpring in a Small City<\/a><\/em> (1948 Fei Mu)
\nStars In My Crown<\/a><\/em> (1950 Tourneur)
\nThe Big Sky<\/a><\/em> (1952 Hawks)
\nGentlemen Prefer Blondes<\/a><\/em> (1953 Hawks)
\nThe Naked Spur<\/a><\/em> (1953 Mann)
\nThe Sun Shines Bright<\/a><\/em> (1953 Ford)
\nThe Saga of Anatahan<\/a><\/em> (1954 von Sternberg)
\nJohnny Guitar<\/a><\/em> (1954 Ray)
\nSansho the Bailiff<\/a><\/em> (1954 Mizoguchi)
\nTrack of the Cat<\/a><\/em> (1954 Wellman)
\nOrdet<\/a><\/em> (1955 Dreyer)
\nA Man Escaped<\/a><\/em> (1956 Bresson)
\nGuys and Dolls<\/a><\/em> (1956 Mankiewicz)
\nThe Killing<\/a><\/em> (1956 Kubrick)
\nIndia<\/a><\/em> (1958 Rossellini)
\nHiroshima Mon Amour<\/a><\/em> (1959 Resnais)
\nRio Bravo<\/a><\/em> (1959 Hawks)
\nShadows<\/a><\/em> (1959 Cassavetes)
\nBreathless<\/a><\/em> (1960 Godard)
\nThe Cloud-Capped Star<\/a><\/em> (1960 Ghatak)
\nLast Year at Marienbad<\/a><\/em> (1961 Resnais)
\nA Wife Confesses<\/a><\/em> (1961 Masumura)
\nThe House Is Black<\/a><\/em> (1963 Farrokhzad)
\nPlay Time<\/a><\/em> (1967 Tati)
\nThe Young Girls of Rochefort<\/a><\/em> (1967 Demy)
\nL’Amour Fou<\/a><\/em> (1969 Rivette)
\nLa Region Centrale<\/a><\/em> (1971 Snow)
\nOut 1<\/a><\/em> (1971 Rivette)
\nOut 1: Spectre<\/a><\/em> (1972 Rivette)
\nAvanti!<\/a><\/em> (1972 Wilder)
\nParade<\/a><\/em> (1973 Tati)
\nCeline and Julie Go Boating<\/a><\/em> (1974 Rivette)
\nProvidence<\/a><\/em> (1977 Resnais)
\nDoomed Love<\/a><\/em> (1978 Oliveira)
\nPerceval Le Gallois<\/a><\/em> (1979 Rohmer)
\nToo Early, Too Late<\/a><\/em> (1981 Straub\/Huillet)
\nOrderly or Disorderly<\/a><\/em> (1981 Kiarostami)
\nManuel on the Island of Wonders<\/a><\/em> (1985 Ruiz)
\nMix-Up<\/a><\/em> (1985 Romand)
\nMelo<\/a><\/em> (1986 Resnais)
\nWhere is the Friend’s Home?<\/a><\/em> (1987 Kiarostami)
\nYeelen<\/a><\/em> (1987 Cisse)
\nDistant Voices, Still Lives<\/a><\/em> (1988 Davies)
\nA Tale of the Wind<\/a><\/em> (1988 Ivens\/Loridan)
\nThe Asthenic Syndrome<\/a><\/em> (1989 Muratova)
\nNouvelle Vague<\/a><\/em> (1990 Godard)
\nActress \/ Center Stage \/ Ruan Ling Yu<\/a><\/em> (1991 Kwan)
\nA Brighter Summer Day<\/a><\/em> (1991 Yang)
\nThe Puppetmaster<\/a><\/em> (1993 Hou Hsiao-hsien)
\nSatantango<\/a><\/em> (1994 Tarr)
\nWhen It Rains<\/a><\/em> (1995 Burnett)
\nDead Man<\/a><\/em> (1995 Jarmusch)
\nInquietude<\/a><\/em> (1998 Oliveira)
\nThe Wind Will Carry Us<\/a><\/em> (1999 Kiarostami)
\nPlatform<\/a><\/em> (2000 Jia)<\/p>\n

Watched in the ancient pre-blog era:<\/p>\n

Les Vampires<\/em> (1915 Feuillade)
\nDie Nibelungen<\/em> (1924 Lang)
\nSpies<\/em> (1928 Lang)
\nCity Lights<\/em> (1931 Chaplin)
\nM<\/em> (1931 Lang)
\nCitizen Kane<\/em> (1941 Welles)
\nDay of Wrath<\/em> (1943 Dreyer)
\nIvan the Terrible 1 & 2<\/em> (1945 Eisenstein)
\nMonsieur Verdoux<\/em> (1947 Chaplin)
\nThe Steel Helmet<\/em> (1951 Fuller)
\nOthello<\/em> (1952 Welles)
\nRear Window<\/em> (1954 Hitchcock)
\nThe Tiger of Eschnapur \/ The Indian Tomb<\/em> (1959 Lang)
\nL’Eclisse<\/em> (1962 Antonioni)
\nGertrud<\/em> (1964 Dreyer)
\nAu Hasard Balthazar<\/em> (1966 Bresson)
\nBlack Girl<\/em> (1966 Sembene)
\nF For Fake<\/em> (1974 Welles)
\nBarry Lyndon<\/em> (1975 Kubrick)
\nStalker<\/em> (1979 Tarkovsky)
\nLove Streams<\/em> (1984 Cassavetes)
\nClose Up<\/em> (1990 Kiarostami)
\nArtificial Intelligence: AI<\/em> (2001 Spielberg)<\/p>\n

The rest of the top-thousand list is going to take a while. Bear with me.<\/p>\n","protected":false},"excerpt":{"rendered":"

Film critic Jonathan Rosenbaum has been vital to my cinema hobby. Back in the early 2000’s I knew I wanted to watch more good films – but how to tell which films are good? Everybody seemed to recommend exactly the same ol’ boring things as everyone else. Then one day, looking up some best-of-decade lists […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[1588,152],"class_list":["post-7841","post","type-post","status-publish","format-standard","hentry","category-movie","tag-inventory","tag-lists"],"_links":{"self":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/7841","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/comments?post=7841"}],"version-history":[{"count":10,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/7841\/revisions"}],"predecessor-version":[{"id":9950,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/7841\/revisions\/9950"}],"wp:attachment":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/media?parent=7841"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/categories?post=7841"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/tags?post=7841"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}