Ivan Groznyy I, Ivan Groznyy II: Boyarsky Zagovor (Eisenstein, 1944-46) Soviet UnionĢ1. Tsuzurikata Kyoshitsu (Yamamoto, 1938) JapanĢ0. La Grande Illusion (Renoir, 1937) Franceġ7. Tange Sazen yowa: Hyakuman ryo no tsubo (Yamanaka, 1935) Japanġ4. Tonari no Yae-chan (Shimazu, 1934) Japanġ3. Leise Flehen Meine Lieder (Forst, 1933) Austria/Germanyġ2. Die 3groschenoper (Pabst, 1931) Germanyġ0. Der Kongress Tanzt (Charell, 1931) Germanyĩ. La Chute de la Maison Usher (Jean Epstein, 1928) FranceĦ. Mabuse, der Spieler – Ein Bild der Zeit ( Part 1 – Part 2) (Lang, 1922) Germanyĥ.
Broken Blossoms or The Yellow Man and the Girl (Griffith, 1919) USAĢ. Caligari, which you can otherwise find in our collection, 4,000+ Free Movies Online: Great Classics, Indies, Noir, Westerns, Documentaries & More.ġ. Above we have the second film on the list, The Cabinet of Dr. You can see his 100 essential movies below.
The Godfather, Part 2 over The Godfather? The King of Comedy over Goodfellas? Ivan the Terrible over Battleship Potemkin? The Birds over Vertigo? Barry Lyndon over pretty much anything else that Stanley Kubrick did? And while I am pleased that Mikio Naruse gets a nod for Ukigumo – in a just world, Naruse would be as readily praised and celebrated as his contemporaries Yasujiro Ozu and Kenji Mizoguchi – I am also struck by the list’s most glaring, and curious, omission. His policy of one film per director yields some surprising, almost willfully perverse results. Hayao Miyazaki’s utterly wonderful My Neighbor Totoro makes the cut, as does Ishiro Honda’s Gojira and Peter Weir’s Witness. Many of the movies are exactly the ones you would see on any Film Studies 101 syllabus - Truffaut’s 400 Blows, Carol Reed’s The Third Man and DeSica’s Bicycle Thieves. In between is a remarkably thorough and diverse collection of films, mixing in equal parts Hollywood, art house and Japanese classics. Griffith’s Broken Blossoms and ends with Takeshi Kitano’s Hana-Bi.
Organized chronologically, the list starts with D.W. This is the way I made a list of 100 films of Kurosawa’s choice. The principle of the choice is: one film for one director, entry of the unforgettable films about which I and my father had a lovely talk, and of some ideas on cinema that he had cherished but did not express in public. That explains why you cannot find in this list many of the titles of the films he regarded as wonderful. My father always said that the films he loved were too many to count, and to make a top ten rank. His daughter Kazuko Kurosawa described the list’s selection process: Such a list was published in his posthumously published book Yume wa tensai de aru (A Dream is a Genius). So when Kurosawa comes out with a recommended viewing list, movie mavens everywhere should take note.
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