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Thursday, August 23, 2012

Las 50 mejores películas de todos los tiempos


 

Las 50 mejores películas de todos los tiempos según los 846 críticos, programadores, académicos y distribuidores encuestados por la revista Sight & Sound. Estos provienen de 73 países y fueron quienes respondieron a las más de mil solicitudes que hizo la revista. Se votaron un total de 2045 filmes.


·         Vertigo (1958)


Alfred Hitchcock

A former detective with a fear of heights is hired to follow a woman apparently possessed by the past, in Alfred Hitchcock’s timeless thriller about obsession.

1

·         Citizen Kane (1941)


Orson Welles

Given extraordinary freedom by Hollywood studio RKO for his debut film, boy wonder Welles created a modernist masterpiece that is regularly voted the best film ever made.

2

·         Tokyo Story (1953)


Ozu Yasujirô

The final part of Yasujiro Ozu’s loosely connected ‘Noriko’ trilogy is a devastating story of elderly grandparents brushed aside by their self-involved family.

3

·         Règle du jeu, La (1939)


Jean Renoir

Made on the cusp of WWII, Jean Renoir’s satire of the upper-middle classes was banned as demoralising by the French government for two decades after its release.

4

·         Sunrise (1927)


F. W. Murnau

Lured to Hollywood by producer William Fox, German Expressionist filmmaker F.W. Murnau created one of the silent cinema’s last and most luminous masterpieces.

5

·         2001: A Space Odyssey (1968)


Stanley Kubrick

Adapting Arthur C. Clarke’s novel, Kubrick took science fiction cinema in a grandly intelligent new direction with this epic story of man’s quest for knowledge.

6

·         Searchers, The (1956)


John Ford

John Ford created perhaps the greatest of all westerns with this tale of a Civil War veteran doggedly hunting the Comanche who have kidnapped his niece.

7

·         Man with a Movie Camera (1929)


Dziga Vertov

An impression of city life in the Soviet Union, The Man with a Movie Camera is the best-known film of experimental documentary pioneer Dziga Vertov.

8

·         Passion of Joan of Arc (1927)


Carl Theodor Dreyer

Silent cinema at its most sublimely expressive, Carl Theodor Dreyer’s masterpiece is an austere but hugely affecting dramatisation of the trial of St Joan.

9

·         8½ (1963)


Federico Fellini

Federico Fellini triumphantly conjured himself out of a bad case of creative block with this autobiographical magnum opus about a film director experiencing creative block.

10


Sergei Eisenstein, 1925 (63 votes)


Jean Vigo, 1934 (58 votes)


Jean-Luc Godard, 1960 (57 votes)


Francis Ford Coppola, 1979 (53 votes)


Ozu Yasujiro, 1949 (50 votes)


Robert Bresson, 1966 (49 votes)


Kurosawa Akira, 1954 (48 votes)

17= Persona

Ingmar Bergman, 1966 (48 votes)

19. Mirror

Andrei Tarkovsky, 1974 (47 votes)


Stanley Donen & Gene Kelly, 1951 (46 votes)


Michelangelo Antonioni, 1960 (43 votes)


Jean-Luc Godard, 1963 (43 votes)


Francis Ford Coppola, 1972 (43 votes)

24= Ordet

Carl Dreyer, 1955 (42 votes)


Wong Kar-Wai, 2000 (42 votes)


Kurosawa Akira, 1950 (41 votes)


Andrei Tarkovsky, 1966 (41 votes)


David Lynch, 2001 (40 votes)

29= Stalker

Andrei Tarkovsky, 1979 (39 votes)

29= Shoah

Claude Lanzmann, 1985 (39 votes)


Francis Ford Coppola, 1974 (38 votes)


Martin Scorsese, 1976 (38 votes)


Vittoria De Sica, 1948 (37 votes)


Buster Keaton & Clyde Bruckman, 1926 (35 votes)


Fritz Lang, 1927 (34 votes)

35= Psycho

Alfred Hitchcock, 1960 (34 votes)


Chantal Akerman, 1975 (34 votes)


Béla Tarr, 1994 (34 votes)


François Truffaut, 1959 (33 votes)


Federico Fellini, 1960 (33 votes)


Roberto Rossellini, 1954 (32 votes)


Satyajit Ray, 1955 (31 votes)


Billy Wilder, 1959 (31 votes)

42= Gertrud

Carl Dreyer, 1964 (31 votes)


Jean-Luc Godard, 1965 (31 votes)


Jacques Tati, 1967 (31 votes)


Abbas Kiarostami, 1990 (31 votes)


Gillo Pontecorvo, 1966 (30 votes)


Jean-Luc Godard, 1998 (30 votes)


Charlie Chaplin, 1931 (29 votes)


Mizoguchi Kenji, 1953 (29 votes)


Chris Marker, 1962 (29 votes)

 


Las diez mejores de todos los tiempos según los directores

 

358 directores de cine respondieron a la invitación de Sight & Sound. Esta es la lista de los directores:

 
 

1. Tokyo Story

2 (tie). 2001: A Space Odyssey

2 (tie). Citizen Kane

4. 8 1/2

5. Taxi Driver

6. Apocalypse Now

7 (tie). The Godfather

7 (tie). Vertigo

9. Mirror

10. Bicycle Thieves

 

 


Las diez mejores sonoras (críticos)

Como considero que el cine silente y el sonoro son dos formas de arte diferentes, eliminé las silentes entre las primeras diez y este es el resultado contando solamente con las sonoras. Curiosamente, los directores de cine no incluyeron ninguna silente en sus diez primeras. (RM)


1.- Vertigo

2.- Citizen Kane

3.- Tokyo Story

4.- La Regle du Jeu

5.-2001 A Space Oddysey

6.- The Searchers

7.-8 e mezzo

8.- L’Atalante

9.- Breathless

10.- Apocalypse Now

 


Listas individuales de algunos directores de interés

 


Woody Allen

Bicycle Thieves (1948, dir. Vittorio De Sica)

The Seventh Seal (1957, dir. Ingmar Bergman)

Citizen Kane (1941, dir. Orson Welles)

Amarcord (1973, dir. Federico Fellini)

8 1/2 (1963, dir. Federico Fellini)

The 400 Blows (1959, dir. Francois Truffaut)

Rashomon (1950, dir. Akira Kurosawa)

La Grande Illusion (1937, dir. Jean Renoir)

The Discreet Charm of the Bourgeoisie (1972, dir. Luis Bunuel)

Paths of Glory (1957, dir. Stanley Kubrick)

 

Francis Ford Coppola

Ashes and Diamonds (1958, dir. Andrzej Wajda)

The Best Years of Our Lives (1946, dir William Wyler)

I Vitteloni (1953, dir. Federico Fellini)

The Bad Sleep Well (1960, dir. Akira Kurosawa)

Yojimbo (1961, dir. Akira Kurosawa)

Singin' in the Rain (1952, dir. Stanley Donen and Gene Kelly)

The King of Comedy (1983, dir Martin Scorsese)

Raging Bull (1980, dir. Martin Scorsese)

The Apartment (1960s, dir. Billy Wilder)

Sunrise (1927, dir. F.W. Murnau)

 

Guillermo Del Toro

Frankenstein (1931, dir. James Whale)

Freaks (1932, dir. Todd Browning)

Shadow of a Doubt (1943, dir. Alfred Hitchcock)

Greed (1925, dir. Erich Von Stroheim)

Modern Times (1936, dir. Charlie Chaplin)

La Belle Et La Bete (1946, dir. Jean Cocteau)

Goodfellas (1990, dir. Martin Scorsese)

Los Olvidados (1950, dir. Luis Bunuel)

Nosferatu (1922, dir. F.W. Murnau)

8 1/2 (1963, dir. Federico Fellini)

 

Martin Scorsese

8 1/2 (1963, dir. Federico Fellini)

2001: a Space Odyssey (1968, dir. Stanley Kubrick)

Ashes and Diamonds (1958, dir. Andrzej Wajda)

Citizen Kane (1941, dir. Orson Welles)

The Leopard (1963, dir. Luchino Visconti)

Palsa (1946, dir. Roberto Rossellini)

The Red Shoes (1948, dir. Michael Powell and Emeric Pressburger)

The River (1951, dir. Jean Renoir)

Salvatore Giuliano (1962, dir. Francesco Rosi)

The Searchers (1956, dir. John Ford)

Ugetsu Monogatari (1953, dir. Kenji Mizoguchi)

Vertigo (1958, dir. Alfred Hitchcock)

 

Quentin Tarantino

The Good, the Bad and the Ugly (1966, dir. Sergio Leone)

Apocalypse Now (1979, dir. Francis Ford Coppola)

The Bad News Bears (1976, dir. Michael Ritchie)

Carrie (1976, dir. Brian DePalma)

Dazed and Confused (1993, dir. Richard Linklater)

The Great Escape (1963, dir. John Sturges)

His Girl Friday (1940, dir. Howard Hawks)

Jaws (1975, dir. Steven Spielberg)

Pretty Maids All in a Row (1971, dir. Roger Vadim)

Rolling Thunder (1977, dir. John Flynn)

Sorcerer (1977, dir. William Friedkin)

Taxi Driver (1976, dir. Martin Scorsese)

 


Listas individuales de algunos críticos de interés



Slavoj Zizek

Filósofo y crítico cultural
Eslovenia
Votó en el critics poll

Votó por:

1957
Delmer Daves
1984
David Lynch
1948
King Vidor
1944
Veit Harlan
2002
Zhang Yimou
2007
Xavier Gens
1947
Edmund Goulding
1942
Goffredo Alessandrini
1951
Nicholas Ray
1965
Robert Wise

Comments

This time, I opted for pure madness: the list contains only ‘guilty pleasures’, from two screen versions of Ayn Rand to a top Nazi melodrama, from David Lynch’s greatest flop to height of musical kitsch, from a low-budget Hollywood action thriller to a Chinese big-budget historical spectacle, plus a half-forgotten Western and two marginal noirs. This is what I really enjoy – no compromises for high quality or good taste.



Camille Paglia

Profesora, Humanities and Media Studies, University of the Arts, Philadelphia
US
Votó en el critics poll

Votó por:

1959
William Wyler
1960
Federico Fellini
1972
Francis Ford Coppola
1974
Francis Ford Coppola
1939
Victor Fleming
1962
David Lean
1959
Alfred Hitchcock
1950
Jean Cocteau
1966
Ingmar Bergman
1958
Alfred Hitchcock

Comments

My favorite films combine spectacular photography with strength and depth of character. Their intense emotional resonance is often amplified by superb orchestral scores, more expressive than mere words. A great film creates a world of its own. It can be seen again and again without ever losing its freshness and surprise.


Críticos cubanos incluidos entre los votantes


Ambrosio Fornet

Crítico
Cuba
Votó en el critics poll

Votó por:

1925
Sergei M Eisenstein
1964
Glauber Rocha
1960
Jean-Luc Godard
1941
Orson Welles
1960
Federico Fellini
1925
Charles Chaplin
1968
Tomás Gutiérrez Alea
1955
Satyajit Ray
1950
Akira Kurosawa
1961
Luis Buñuel


Gilberto Pérez

Autor y académico
E.U.A./Cuba
Votó en elcritics poll

Votó por:

1976
Ousmane Sembene
1930
Aleksandr Dovzhenko
1962
Michelangelo Antonioni
1939
Jean Renoir
1954
Mizoguchi Kenji
1924
Buster Keaton
1994
Abbas Kiarostami
1961
Luis Buñuel
1950
John Ford
1933
Jean Vigo

Comments

I regret I have no room in the arbitrary top ten for Chaplin or Murnau, Cagney or Stanwyck, Bruce Baillie or Ernie Gehr, It Happened One Night or Mr. Thank You, Shadow of a Doubt or The Reckless Moment, Day of Wrath or Andrei Rublev, Not Reconciled or Eloge de l’amour.

 


Juan Antonio García Borrero

Crítico y profesor: cinecubanolapupilainsomne.wordpress.com
Cuba
Votó en el critics poll

Votó por:

1960
Federico Fellini
1972
Francis Ford Coppola
1925
Charles Chaplin
1934
Frank Capra
1962
Andrei Tarkovsky
1968
Tomás Gutiérrez Alea
1995
Luis Buñuel
1950
Akira Kurosawa
1960
Luchino Visconti
1960
Ingmar Bergman

Comments

Behind the amusing anecdote of the fortune seeker, behind the ingenious gags that are scattered throughout the film, The Gold Rush is one of the most profound cinematic representations of the tragic sense that pervades life. Chaplin is not a comedian; he is a genius who knows to expose the essence of human existence. On the other hand, up till this point there’s never been in all the history of cinema a character as universal as Charlot, who is capable of describing human beings with shivering exactitude, regardless of race, sex or standing in society. That is to say, capable of describing us as what we are deep inside: tramps in search of that golden chimera called happiness. Rashomon is a very fine study of the genuine possibilities that humans have to access truth. Kurosawa does not exactly declare himself to be in favour of relativism. Rather, he encourages us to be wary of any rush to understanding, or treating as definitive the first versions of truth that we build. And everything is done with an enviable sense of the cinematographic, in a story where the actors’ performances acquire great relevance. Violent yet profoundly human, The Godfather Part I works as a masterful portrait of modern societies. Coppola does not analyse his characters, nor seeks to moralise, but instead constructs these characters with all those ingredients that constitute the human condition. The visual and narrative elements are simply fascinating. The superbly thorough study that Fellini makes of a world characterised by the loss of moral values remains intact. But La Dolce Vita is not only about moral denunciation; it’s a film that has managed to leave for posterity sequences that work in the collective imaginary in an autonomous way. Los Olvidados is a Buñuel film capable of higher strike rates than those by Italian Neorealism, and with the latter’s own ingredients. His look on the world of the poor is bereft of any kind of idealisation. The poor, by virtue of being ‘poor’, are not granted any assistance by history or reason. Buñuel gives voice to the excluded, but goes even further than fake compassion and shows the spiritual misery that hides behind all material poverty. In Ivan’s Childhood, his first feature, Tarkovsky seems to be complying with the demands of a cinema that praises the virtues of the ‘socialist man’, as was required at the time. However, his creative genius means he can insert sequences that go beyond any desire for a ‘socialist realism’, to show us a protagonist who is not only vulnerable because of his age and physique, but also because of his own nature. The childhood the title is referring to could also be interpreted as that fleeting, violent and innocent passage that is human life. In The Virgin Spring Bergman captures the innocence of an 18th-century Swedish legend in a film where the debate around Good and Evil reaches philosophic heights. But the profundity of the discussion is guaranteed by his masterful use of filmic language. With a perfect dramaturgic structure, the film manages to shift, with chilling effectiveness, from candour to anguish, leaving in the viewer that deep sense of unease that tragedy inspires. Visconti’s extraordinary sensitivity manages to deliver a vigorous social portrait in the form of melodrama. The incredibly finely textured sociological study of the protagonist’s family members reveals a shocking emotional universe, and all the performances (all of them great) enable Rocco and his Brothers to acquire a great tragic density. It Happened One Night is an unforgettable film. Capra unfurls his great gifts as a narrator, turning this simple (if only in appearance) romantic comedy into a memorable cinematographic exercise. The way in which he distributes the various tensions (sexual, economical, social) guarantees that the rhythm of the film is vertiginous at all times. Gutiérrez Alea’s Memories of Underdevelopment continues to be a surprising film which does not age, owing to the fact that, more than telling a story about a bourgeois man whose been surpassed by History, it examines the destiny of an individual who in reality feels like a foreigner in Existence. The fact that the plot is developed in the context of an underdeveloped country where a revolution is taking place can raise the suspicion that it is part of ‘the school of resentment’, but a closer look from our present perspective proves that its focus is not exactly sociological. Even people who live in first world countries can identify with this character’s scepticism, nonconformity and doubt in the face of that programmed optimism that elites seem to be dictating to us, dazzled as they are by the idea of the Progress of illuminism.


Apéndice

La lista del 2002 con la lista individual de Alfredo Guevara y la de Zizek


Los diez mejores según los críticos


Dazzlingly inventive, technically breathtaking, Citizen Kane reinvented the way stories could be told in the cinema, and set a standard generations of filmmakers have since aspired to. An absorbing account of a newspaper tycoon’s rise to power, Orson Welles’ debut film feels as fresh as tomorrow's headlines. And he was only 26 when he made it.


A gripping detective story or a delirious investigation into desire, grief and jealousy? Hitchcock had a genius for transforming genre pieces into vehicles for his own dark obsessions, and this 1958 masterpiece shows the director at his mesmerising best. And for James Stewart fans, it also boasts the star’s most compelling performance.


Tragedy and comedy effortlessly combine in Renoir’s country house ensemble drama. A group of aristocrats gather for some rural relaxation, a shooting party is arranged, downstairs the servants bicker about a new employee, while all the time husbands, wives, mistresses and lovers sweetly deceive one another and swap declarations of love like name cards at a dinner party.


Few films have portrayed the US immigrant experience quite so vividly as Coppola’s Godfather films, or exposed the contradictions of the American Dream quite so ruthlessly. And what a cast, formidable talent firing all cylinders: Brando, De Niro, Pacino, Keaton, Duvall, Caan. Now that’s an offer you can’t refuse.


A poignant story of family relations and loss, Ozu’s subtle mood piece portrays the trip an elderly couple make to Tokyo to visit their grown-up children. The shooting style is elegantly minimal and formally reticent, and the film’s devastating emotional impact is drawn as much from what is unsaid and unshown as from what is revealed.


One of the most ambitious Hollywood movies ever made, 2001 crams into its two-hour plus running time a story that spans the prehistoric age to the beginning of the third millennium, and features some of the most hypnotically beautiful special effects work ever committed to film. After seeing this, you can never listen to Strauss’ Blue Danube without thinking space crafts waltzing against starry backdrops.


Eisenstein's recreation of a mutiny by sailors of the battleship Potemkin in 1905 works as daring formal experiment - which pushed the expressive potential of film editing to its limit - and rousing propaganda for the masses. The Odessa Steps sequence remains one of the most memorable set-pieces in cinema.

 


Having left his native Germany for the US, F.W. Murnau had all the resources of a major Hollywood studio at his disposal for this, his American debut. What he produced was a visually stunning film romance that ranks as one of the last hurrahs of the silent period.


Wonderfully freefloating, gleefully confusing reality and fantasy, provides a ringside seat into the ever active imaginative life of its director protagonist Guido, played by Fellini’s on-screen alter-ego Marcello Mastroianni. The definitive film about film-making - as much about the agonies of the creative process as the ecstasies - it’s no wonder the movie is so popular with directors.

Singin’ In the Rain (Kelly, Donen)

Impossible to watch without a smile on your face, this affectionate tribute to the glory days of Hollywood in the 1920s is pleasure distilled into 102 minutes. With Gene Kelly dance sequences that take your breath away and a great score by Brown and Freed, this is the film musical at its best.

 

Los diez mejores según los directores

 


Dazzlingly inventive, technically breathtaking, Citizen Kane reinvented the way stories could be told in the cinema, and set a standard generations of film-makers have since aspired to. An absorbing account of a newspaper tycoon's rise to power, Orson Welles' debut film feels as fresh as tomorrow's headlines. And he was only 26 when he made it.


Few films have portrayed the US immigrant experience quite so vividly as Coppola's Godfather films, or exposed the contradictions of the American Dream quite so ruthlessly. And what a cast, formidable talent firing all cylinders: Brando, De Niro, Pacino, Keaton, Duvall, Caan. Now that's an offer you can't refuse.


Wonderfully freefloating, gleefully confusing reality and fantasy, 8½ provides a ringside seat into the ever active imaginative life of its director protagonist Guido, played by Fellini's on-screen alter-ego Marcello Mastroianni. The definitive film about film-making - as much about the agonies of the creative process as the ecstasies - it's no wonder the movie is so popular with directors.


Filmed in the desert in lavish widescreen and rich colours, Lawrence of Arabia is David Lean at his most epic and expansive. You can almost feel the waves of heat glowing from the cinema screen.


A black comedy about impending nuclear annihilation that was made at the height of the cold war, Dr. Strangelove is perhaps Kubrick's most audacious movie and certainly his funniest. Peter Sellers has never been better, and provides good value playing three roles.


Mixing melodrama, documentary and social commentary, De Sica follows an impoverished father and son treading the streets of post-war Rome, desperately seeking their stolen bicycle. Deeply compassionate, this poignant film is one of the outstanding examples of Italian neorealism.


An unblinkingly honest biopic of Jake La Motta - a great prizefighter but a deeply flawed human being - this catches Scorsese in fighting fit form. The boxing sequence are both brutal and beautiful, and De Niro, who famously put on weight to play the middle-aged La Motta, gives one of the performances of modern cinema.


A gripping detective story or a delirious investigation into desire, grief and jealousy? Hitchcock had a genius for transforming genre pieces into vehicles for his own dark obsessions, and this 1958 masterpiece shows the director at his mesmerising best. And for James Stewart fans, it also boasts the star's most compelling performance.


Offering four differing accounts of a rape and murder, all told in flashbacks, Kurosawa's 1951 film is a complex meditation on the distortive nature of memory and a gripping study of human behaviour at its most base. Mifune Toshiro is magnetic as the bandit Tajomaru.


Tragedy and comedy effortlessly combine in Renoir's country house ensemble drama. A group of aristocrats gather for some rural relaxation, a shooting party is arranged, downstairs the servants bicker about a new employee, while all the time husbands, wives, mistresses and lovers sweetly deceive one another and swap declarations of love like name cards at a dinner party.


The blueprint for The Magnificent Seven was Kurosawa's magnificent swordplay epic of self-sacrifice about a band of hired samurai who come together to protect a helpless village from a rapacious gang of 40 thieves who descend every year to steal the harvest and kidnap women. The final sequence of the fight in the mud and rain has never been bettered.


Alfredo Guevara

International Film Festival of New Latin American Cinema

Cuba












Slavoj Zizek

Eslovenia