The Young Turk's Top 100 Films - Revised

After suffering illness this past month I feel my film taste has changed significantly, and so have the films that I would deem the greatest ever made. Therefore I have decided to rethink my list, and create another list of 100 films I believe to be the greatest 100 films ever made. The list shall be posted shortly.

__________________
p e a c e a n d l o v e : - )

1. Mirror (1973) – Andrei Tarkovsky
2. The Red Shoes (1948) – Michael Powell & Emeric Pressburger
3. Bande A Part (1964) – Jean-Luc Godard
4. Persona (1966) – Ingmar Bergman
5. Late Spring (1951) – Yasujiro Ozu
6. Strike (1925) – Sergei Eisenstein
7. High and Low (1963) – Akira Kurosawa
8. Pickpocket (1959) – Robert Bresson
9. Rome, Open City (1945) – Roberto Rossellini
10. Accattone (1961) – Pier Paolo Passolini
11. Blow Up (1963) – Michelangelo Antonioni
12. 2001: A Space Odyssey (1968) – Stanley Kubrick
13. Sacrifice (1987) – Andrei Tarkovsky
14. Ikiru (1952) – Akira Kurosawa
15. Charaluta (1964) – Satyajit Ray
16. A Man With A Movie Camera (1929) – Dziga Vertov
17. Sunrise (1927) – FW Murnau
18. 8 ½ (1963) – Federico Fellini
19. The Seventh Seal (1957) – Ingmar Bergman
20. Rashomon (1950) – Akira Kurosawa
21. Ordet (1955) – Carl Theodor Dreyer
22. Bitter Victory (1957) – Nicholas Ray
23. Tokyo Story (1953) – Yasujiro Ozu
24. Saturday Night and Sunday Morning (1960) – Karel Reisz
25. The Gospel According to St. Matthew (1964) – Pier Paolo Passolini
26. Rebel Without a Cause (1955) – Nicholas Ray
27. M (1931) – Fritz Lang
28. Sunset Blvd. (1950) – Billy Wilder
29. Black Narcissus (1947) – Michael Powell & Emeric Pressburger
30. City Lights (1931) – Charles Chaplin
31. Casablanca (1942) – Michael Curtiz
32. Apocalypse Now (1979) – Francis Ford Coppola
33. Taxi Driver (1976) – Martin Scorsese
34. Citizen Kane (1941) – Orson Welles
35. Wings of Desire (1987) – Wim Wenders
36. Ugetsu (1953) – Kenji Mizoguchi
37. Wild Strawberries (1957) – Ingmar Bergman
38. Breathless (1960) – Jean-Luc Godard
39. La Regle du Jeu (1939) – Jean Renoir
40. Johnny Guitar (1954) – Nicholas Ray
41. A Matter of Life and Death (1946) – Michael Powell & Emeric Pressburger
42. Hobson’s Choice (1954) – David Lean
43. Early Summer (1951) – Yasujiro Ozu
44. Belle de Jour (1967) – Luis Bunuel
45. A Short Film About Killing (1988) – Krzysztof Kieslowski
46. Once Upon a Time in the West (1968) – Sergio Leone
47. Ivan’s Childhood (1962) – Andrei Tarkovsky
48. Seven Samurai (1954) – Akira Kurosawa
49. The Third Man (1949) – Carol Reed
50. Summer With Monika (1953) – Ingmar Bergman
51. A Story of Floating Weeds (1934) – Yasujiro Ozu
52. Fear Eats the Soul (1974) – Rainer Werner Fassbinder
53. Some Like It Hot (1955) – Billy Wilder
54. Pather Panchali (1955) – Satyajit Ray
55. Modern Times (1936) – Charles Chaplin
56. Goodfellas (1990) – Martin Scorsese
57. The Passion of Joan of Arc (1928) – Carl Theodor Dreyer
58. Alphaville (1965) – Jean-Luc Godard
59. Dr. Strangelove: or How I Learned to Stop Worrying and Love the Bomb (1963) Stanley Kubrick
60. L’Avventura (1960) – Michelangelo Antonioni
61. Mon Oncle (1958) – Jacques Tati
62. The Godfather part II (1974) – Francis Ford Coppola
63. Earth (1930) – Alexander Dovzhenko
64. The Godfather (1972) – Francis Ford Coppola
65. Solaris (1972) – Andrei Tarkovsky
66. The Discreet Charm of the Bourgeoisie (1972) – Luis Bunuel
67. If… (1968) – Lindsay Anderson
68. Black Orpheus (1959) – Marcel Camus
69. Great Expectations (1946) – David Lean
70. The Conversation (1974) – Francis Ford Coppola
71. The Life of Oharu (1952) – Kenji Mizoguchi
72. Paris, Texas (1984) – Wim Wenders
73. Paths of Glory (1957) – Stanley Kubrick
74. The Perfect Human (1967) – Jorgen Leth
75. La Grande Illusion (1937) – Jean Renoir
76. Throne of Blood (1957) – Akira Kurosawa
77. Vampyr (1932) – Carl Theodor Dreyer
78. Peeping Tom (1960) – Michael Powell
79. Double Indemnity (1944) – Billy Wilder
80. The 400 Blows (1959) – Francois Truffaut
81. Edward Munch (1974) – Peter Watkins
82. La Ballon Rouge (1956) – Albert Lamorisse
83. Weekend (1967) – Jean-Luc Godard
84. The Good, The Bad, and The Ugly (1966) – Sergio Leone
85. Secrets and Lies (1996) – Mike Leigh
86. Bigger Than Life (1956) – Nicholas Ray
87. Soviet Toys (1924) – Dziga Vertov
88. I Am Cuba (1964) – Mikhail Kalatozov
89. Rio Bravo (1959) – Howard Hawks
90. Festen (1998) – Thomas Vinterberg
91. Nostalghia (1983) – Andrei Tarkovsky
92. The Big Sleep (1946) – Howard Hawks
93. The Piano (1993) – Jane Campion
94. A Place in the Sun (1951) – George Setevens
95. La Belle et la Bete (1946) – Jean Cocteau
96. Jules et Jim (1962) – Francois Truffaut
97. The Trial (1962) – Orson Welles
98. Au Hasard Balthasar (1966) – Robert Bresson
99. Nymphomaniac I & II (2014) – Lars von Trier
100. A Page of Madness (1926) – Teinoskue Kinugasa

A few comments on the list, you will notice that none of the films of Alfred Hitchcock, Quentin Tarantino, or Elia Kazan are present. This is as though I believe their films are entertaining I have reasoning behind why each one of them cannot be seen as credible or influential. Also, this is a list of what I believe are the best films ever made, however it is completely opinion based.

I know maybe I should have got something else out of your list but did you just say Hitchcock and Tarantino were not influential? It may be for better or worse, I say better, but they are probably the two most influential directors of their era.

__________________
Letterboxd

I would have to disagree, especially with Tarantino, there is no one less influential, the man makes glorified grindhouse films that are yes entertaining, but are they art? I'd have to say no.

Beyond Tarantino, how does Hitchcock not count as influential nor credible? I find this especially odd, given that you included Peeping Tom on the list, which combined with Psycho formed the blueprints for the Slasher sub-genre (and I would strongly argue that Psycho is both the better and more influential of the two).

I absolutely love The Celebration, I have to say. It's an immeasurably underrated and )especially) underseen film.

__________________
Filmquisition: Raking Modern Entertainment Over the Coals Daily
Unrealitymag.com: New Articles Contributed Every Friday
Arcanis' 100 Favorite Films: 2015 Edition

And on Hitchcock, his horrific misogyny is beyond any other director's, so to not renounce him would be doing film an injustice. His films are ripe with misogyny, and to me this makes them unbearable.

Examples?

The entirety of Vertigo

Nice list, but Kazan is one of the greatest ever.. What's the reason for omitting him?

__________________
https://www.youtube.com/c/LoyalOpposition

I don't follow the logic here, in at least two places. The first being the conflation of Hitchcock's personal views (or Tarantino's homages/borrowing/steailng/whatever from other sources) with his influence; they have nothing to do with one another. Terrible people can be influential.

The second is the idea that you are somehow "doing film an injustice" by not "renouncing" him. Film is an abstract category. It cannot suffer injustices. People, however, can.

To you and that's fine. That is not the definition of influential though. After Pulp Fiction was released it is impossible to count the number of film makers that made movies influenced by it in the past twenty years. Personally, even though I don't love all the copycats, I like it. Stylistically he has been influential of course, but for me he brought dialogue back to genre. That's what I appreciate about him the most. I know there are some 80's fans on the forum that this will probably upset, but that is something that was sorely lacking from genre during that decade.

So while I can appreciate you not enjoying Tarantino's style, to say he is not an influential director is dead wrong in my opinion.

How is Vertigo in any way misogynistic? I don't get it. It deals with personal themes of obsession and desire, with the main character being obsessive and controlling over a woman he loves, if you think he acts inappropriately or offensively, even then I don't think you can call the film or Hitchcock misogynistic. It in no way degrades woman or is indicative in any way that Hitchcock thinks less of women than he should, it's not secret that he loved his films to feature attractive, blonde women, and I don't see any problem with that. James Stewart character is human and actually falls victim to the control of a woman instead of the other way round, its about how our obsessions and way we act can be driven by lust and relationships.

Could you explain why it is misogynistic in your opinion?

Kazan worked with some brilliant actors yes, but when I see his name I also see the many careers he destroyed through the House of Unamerican Activities. Gregory Peck says you should separate the man from his work, however as I am a strong believer in Les Politique des Auteurs I cannot do so.

Well, at least you got Wilder on there. Hitchcock is my favorite director ever so it's disappointing not to see him on here but laughable that you don't think he's influential. Even if you don't like him. I like Kazan too.

In the film Vertigo Hitchcock reduced women to two stereotypes, either they are something for men to long for, or they are a motherlike figure who will try to look after men and care for them. There are two living female characters in Vertigo, each one fits into one of the stereotypes. Also, James Stewart's Scottie following Kim Novak's Judy, and forcing her to dress like Madeline is completely romanticized by Hitchcock. This is how Vertigo is misogynistic.

There is no need to answer how Hitchcock is misogynistic. We need just look at how he treated Tippi Hedren due to the fact that she would not sleep with the man.

I don't see how the auteur theory leads you to conflate personal lives with professional ones at all. It simply means that films are primarily the product of the director's vision--it in no way implies that this "vision" is necessarily a clear reflection of their politics or personal relationships. They may or may not be.

As for Kazan, he's already movingly responded to the accusation you're leveling:


Saying he "destroyed" people's career is false at worst, and incredibly simplistic at best.

And if anything I think the politic actions of Elia Kazan make his work ever more fascinating and influential. The same with Hitchcock's personal desire and obsessions. Auteur theory regards Hitchcock as one of the greatest for the reasons you seem to dismiss him.

Are Pickpocket and Band of Outsiders art? I'd have to say no.

Well then rather it would be immoral of me to do so.

And influentialwise, yes that is right terrible people can be influential, I just do not take Hitchcock's influence into account.

I don't think this is a particularly unreasonable stereotype, especially throughout the eyes of men who can be naive as you could describe James Stewart's character, he becomes so driven by his obsession that he fails to see women as anything else but objects that he can control. That is what makes the film fascinating. You have missed the point of the film I think.

Again, yes, this is meant to be uncomfortable and show what obsession can do. We're not meant to be supporting and enjoying everything that happens. Vertigo is a haunting movie the deals with many dark themes successfully

Accusations which don't really seem to have that much basis.