Léon Morin, Priest (Jean-Pierre Melville, 1961)
Quite a departure from the other Melville films that I had seen previously, instead of relying on exteriors and landscapes to create striking images, Melville relies on the performances and physicality of the two lead actors. Emmanuelle Riva and Jean-Paul Belmondo both give terrific performances, subdued at times but packed emotion, conveying immense complex feelings. From their first encounter, I was hooked on their relationship. The film builds up great sexual tension and tackles its central themes with respect and sincerity which I think adds to the power and makes it feel genuine in the same way Melville treats the codes of the cop or the criminal, studying their dynamics with other humans.
Vampyr (Carl Theodor Dreyer, 1932)
This almost silent film could have been made without any spoken dialogue at all, as Dreyer utilises all the common elements of silent cinema combining striking images, clever editing, moody photography and a suspenseful story. Some of the sequences are absolutely superb, with Dreyer really succeeding in creating a nightmare type atmosphere of terror.
Frankenstein (James Whale, 1931)
Another unforgettable horror film that similarly manages to build up fantastic atmosphere and has a number of striking set pieces that elevate the film to a high level. It’s a classic story, but Whale’s direction makes sure that there’s no excess or cheesiness holding it down, his cinematography and editing make for a really exciting and sometimes emotional film. A great back to back double feature with Vampyr, as two superb and massively influential films.
The Silence (Ingmar Bergman, 1963)
As usual this Bergman film is mysterious and enthralling, with two strong performances at its heart as is often the case with the director. The story remains largely unexplained, with very little dialogue, leaving feelings and memories to be discerned through actions instead, on the contrast to Autumn Sonata that I recently watched.