So yeah... about this list...
Ha, I'll update it later today.
79. Nashville (Altman, 1975)
An organic tapestry of archaic trends - defined by a mise en ab?me relation of social locations - and the encroaching effects of counterculture, Robert Altman's bicentennially set Nashville is largely an assay on tradition, one that details how products-of-a-time will eventually erode at the hands of an ever-progressing Zeitgeist. Told in typical Altman fashion, the work doesn't bounce from plot point to plot point but exists individual within its own realized realm -- exposition, in a traditional sense, is largely eschewed and the camera glides idyllic over the picture's aura: a stew of the city's heritage and musical customs laced with political intervention. In this, the film is more symphonic than it is narratively dependent; an amalgam of the arts that knows that parts cannot surpass their sum.
78. The Sacrifice (Tarkovsky, 1986)
Though I no longer find myself aligned with the Russian master's moral compass, the works of Andrei Tarkovsky still resonate in the way he delicately reflects upon the conflicts of the psyche through contrasting images of nitid compositions and monochromatic dreamscapes. His camera is like an apparition: a silent, static observer to his protagonists' most personal struggles that, when put into kinesis, goes on to depict the complexities of life through tonally sober formalism. But this isn't to say that this work is inherently dreary or reads as an existential claptrap. Tarkovsky is able to approach his principles' most dire concerns with a humble sort of grace; even in a piece that features a central theme of keeping one's faith in the face of a science-spawned apocalypse, his hand still reads as passive, not assertive. Rather than posit his own beliefs as the picture's pulse, he instead uses the motif to make a polystylistic commentary on Ingmar Bergman and the way he explored fealty throughout his career, even going as far as setting the picture in Bergman's native Sweden and casting Erland Josephson - a frequent Bergman collaborator - in the lead role.
Last edited by Line; 08-11-2010 at 02:09 AM.
Two updates forthcoming later today. This means I'll be 1/4 of the way through the list, at which point I'll post a breakdown by what decades, countries, and directors have been featured thus far.
You seem to grow tired of your own top-100 lists once you reach 70-something, I bet your taste has changed once again as it did in 2008 but would you mind posting your former or your current list, or perhaps focus on presenting your current top 25 -- write-ups included -- with the promise of driving it to an end?
Personally I always find your writeups amusing. I find myself discovering not only new and interesting movies but also new words and new levels of nerdiness, which I truly appreciate.
No trees were killed in the posting of this message. However a large number of electrons were terribly inconvenienced.
I also enjoy reading you reviews and opinions on films, I really want to read what you have to say about the films towards the top of the list as well and second the opinion you should just do write ups for your top 25.
Last edited by Pioneer; 02-18-2011 at 09:13 PM.