Sight and Sound Top 250 – #033 Bicycle Thieves (1948)

It’s been a bit as I’ve been trying to get caught up on a few other things, but finally, here we are with another look at one of the films on Sight and Sound’s most recent Top 250 All-Time Greatest Films list. Today it’s #33, Vittorio De Sica‘s Bicycle Thieves. Also, for those just joining us, you can find a full introduction to what the Sight and Sound Top 250 list is, and a look at the complete list of the movies on it, along with links to the ones I’ve already written about here. And, if you want to be sure not to miss any of these posts, be sure to head on over to the Facebook page and give it a “like”or follow me on Twitter (both of those links are also in the sidebar) where I post anytime one of these – or anything else on the blog, along with just random other links and thoughts that may not make it into full posts – goes up.

bt1Let’s start today with a quick note about the title of this film. The original Italian title is Ladri di biciclette which translates to Bicycle Thieves, which is the title I’ve used above and will throughout this write-up. However, upon its initial release in the US, the title was changed to the singular The Bicycle Thief, and it is still referred to in that manner in some circles, and there are those who feel that the singular title, though a mistranslation, is actually more impactful, given the events the movie portrays, especially the ending. It’s an argument I can see, and in a way agree with, but nonetheless, I’m going to stick with the original. 

With that out of the way, let’s move on to the movie itself. Simply put, this is an incredible moving and heartfelt film, which depicts the desperate struggles of a man who faces some incredible odds and seemingly no-win choices in his effort to get and maintain a job in order to provide for his family, and does a tremendous job of asking the question of just how far he will go in order to do that.

bt6Set in post-war Italy, a time of deep depression, when everyone was still feeling the impact of the war, and jobs were incredibly hard to come by, Antonio Ricci is offered a position putting up posters throughout the city of Rome. The only catch is that in order to both get and maintain the job, he must have a bicycle to make his way through the town. While he does own one, it is in the pawn shop, but he promises the employment agent that by the time he is to report to the job in the morning he will have it with him. Not knowing exactly how he will retrieve it, he returns home, where his wife, realizing the rare opportunity that this represents in the long run, promptly strips the beds of its sheets and linens so that he can take them to the pawn shop in order to get enough money to recover the bicycle. At first reluctant to even consider the deal, the pawn broker finally relents and Ricci is able to get his bike and reports for work the next day as he has promised. Unfortunately, not long after he has begun his work, the bicycle is stolen, which leads an increasingly desperate Ricci, accompanied by his young son Bruno, to attempt to track down the thief and recover his bicycle before his manager finds out and gives the job to someone else.

bt3From this point on the movie becomes a desperate search through the streets and alleys of Rome, leading Ricci not only into areas of the town into which he should not go, but also to having to examine his own morality and ultimately to face the question of whether or not he, himself, in order to provide for his family, must also become a thief.

Upon its initial release, the film was somewhat divisively received in its native Italy, as it was thought by some to be a negative portrayal of Italians, but that viewpoint was quickly dismissed by those who recognized the true beauty and impact of the film. In America, it received an honorary Oscar at the 1950 Academy Awards ceremony, having been voted by the Academy Board of Governors as the most outstanding foreign language film released in the United States during 1949 – since at that time there was no regular foreign language award – and its screenwriter,  Cesare Zavattini, was nominated for Best Writing, Screenplay. It’s also interesting to note that in 1954, in the first Sight and Sound Top 250 list, Bicycle Thieves actually topped the list at #1 before being displaced ten years later in the second poll by Citizen Kane, which held the top spot from then until the most recent poll when it was finally deposed by Alfred Hitchcok’s Vertigo.

bt2As far as my own reaction to this film, I found it to be an incredibly moving portrayal not just of the inner and outer torment that Ricci is forced to undergo, but also how it affects not only his own life, but his viewpoint of the world around him and his relationships with and outlook towards his fellow man. Also, central to the conflict and question of his relationships is how it will affect his son and how, in the end, that relationship will also affect both his thoughts and his actions.

There really is a lot to like about this movie. By shooting only on location and using only non-professional actors, director De Sica is able to present a kind of realism (this was, after all, a part of the Italian neorealism movement which had begun only a few years before with Roberto Rosellini’s 1945 film Rome, Open City) that gives the film even more power and believability. It also speaks to De Sica’s directorial skills that he is able to pull such nuanced and powerful performances from his cast, especially 8-year-old Enzo Staiola who plays Tony’s son Bruno, and not only steals pretty much every scene he is in, but provides a huge part of the emotional heft of this film. (Reportedly, Staiola was cast when De Sica noticed him watching the film’s production on a street while helping his father sell flowers.)

MBDBITH EC005At this point, I could go on and on about just what makes this movie great, and well deserving of its place in the Sight and Sound honor roll – if anything, I’d personally rank it even higher, but then, the numbering really isn’t that important when you’re discussing a wide range of films and where it lands at the top of the list is so dependent upon the vagaries of the voting in any given year, but instead I’ll simply say that I highly encourage you to seek out this film and give it a try even if you think you’re not inclined to like watching a black and white film with subtitles, because the story and De Sica’s interpretation of it is one that transcends both time and language.

Here’s a trailer:




Top 250 Tuesday #174 – Notorious (1946)

Continuing to wend my way through the Sight and Sound Top 250 Greatest Movies of All Time. This week, it’s #180 on the list,  Alfred Hitchcock’s Notorious. For a longer introduction to this series and a look at the full list, just click here. And if you want a heads-up on what I’ll be watching for next week in case you want to watch along, just head on over to the Facebook page or follow me on Twitter (both of those links are also in the sidebar) where I’ll generally be posting that info later in the day.

not1So  in writing about today’s entry into the Sight and Sound Top 250 line-up, Alfred Hitchcock’s Notorious, one has to consider what can only be termed the “Hitchcock problem” which is somewhat inherent in any poll like this, and especially in one that produces such a large list of films.

Simply put, the problem is an overabundance of truly excellent films to choose from.

Yeah, it may perhaps seem strange to consider this a “problem”, but…

Here’s the deal from my perspective: Hitchcock directed so many truly great movies over the years that there’s no way that anyone can possibly make a list of “Greatest Movies” without including him somewhere on the list. Well, that’s not quite true, I suppose. One could certainly make such a list, but the exclusion of Sir Alfred would have to be purposeful and mostly an exercise not just in trying to be non-conformist, but also in denying an truly great director his place in the film-making landscape.

not2 So then the question really becomes two separate ones. It’s not so much “does Hitchcock get a place on my list”, but “how many places?” and “which Hitchcock”?

Obviously, the consensus answer to the second question at least in 2012, the year this version of the poll was released fell to Vertigo enough times that it actually managed to displace Citizen Kane from it’s long standing place in the top spot of the list. Is it really the best film Hitchcock made in his long career? Personally, I’d argue no – my vote goes to Rear Window, which has become my go-to answer when anyone asks me for my all-time favorite movie, if for no other reason than one has to have an answer to that question readily available, and I think it goes a long way towards being Hitchcock’s best and certainly a good way to open the discussion – but at that point one truly gets into personal preference, which, in the end is where these lists are finally built anyway.

not3As far as the first question above, that of how many places one allows for Hitchcock films, well, that’s not one that I’m really looking at to answer numerically, but rather I bring it up in order to point out that I think it’s that question that places at least five different movies from the director’s filmography on the list, and finds (or perhaps makes?) room for a movie like Notorious on it.

Make no mistake. Notorious is an excellent movie, and if it were made by anyone other than Hitchcock it could easily qualify as a director’s greatest work. However, when placed within the scope of this particular director’s achievements, one has to wonder in a way if it simply doesn’t pale in comparison.

Again, another aspect of the “Hitchcock problem”: when a director has made so many movies that could be considered other directors’ best work, how does one deal with those which are simply “great” but not “the greatest” in compiling a list like this?

not4Okay, so I’m six hundred words into this, and i really haven’t even gotten to the movie itself, but I suspect you’ve likely already picked up in the comments that I’ve made my response to it. Simply put, Notorious is an excellent film from an excellent director that, while it may not be his very best certainly shows why he has to be considered as one of the most elite film-makers of all time.

It’s a movie that showcases a number of Hitch’s favorite tropes – especially that of a relatively “common man” (though in this case the “common man” is female) caught up in unexpected circumstances beyond their experience or control. In a way, one could actually consider it largely a gender-swapped version of North By Northwest – which, just by the way, also appears on the list at number 54.

not5It also is a movie that shows why the director is so highly ranked among his peers as it contains a number of unique camera angles, editing decisions, and shot set-ups that showcase a great dramatist at the height of his game.

And finally, it is a movie that – no matter how various actors may have responded to their treatment by Hitchcock both on and off screen, and his reported attitudes toward those who worked under him, once again simply shows just how good he was at pulling quality performances from not only his stars – Cary Grant, Ingrid Bergman, and Claude Rains all shine here – but from those who are also simply there to help populate his films.

In other words, yes, Notorious really is a great film which deserves its place on the list, and one which I highly recommend not just watching, but seeking out if you haven’t seen it already.

And that’s an evaluation I have no problem making at all.


Top 250 Tuesday – An Interlude: Trailers For The Top Ten

sandsSince I’ve found myself with not as much time for a proper movie write-up as I would have liked this week, I thought I’d do something a little different, and give you a taste of things to come with a countdown of the top 10 via their trailers. Actually, “things to come” is not quite accurate, since I’ve already written about three of these (and I’ll link to those write-ups below), but that still leaves seven that I’ve yet to tackle. Anyway, here you go, counting down from number ten to number one:

#10: 8 ½ (Fellini, 1963)

#09 – The Passion of Joan of Arc (Dreyer, 1927) (This is actually a reissue trailer, but It’s the closest I could find to an actual trailer.)

#08 – Man with a Movie Camera (Vertov, 1929) (Another reissue trailer, tis time for a showing with a live score, but it serves the purpose well, I think.)

#07 – The Searchers (Ford, 1956)

#06 – 2001: A Space Odyssey (Kubrick, 1968)

#05 – Sunrise: a Song for Two Humans (Murnau, 1927)

#04 – La Règle du jeu (Renoir, 1939) (This trailer is for the Janus Films restoration/re-release.)

#03 – Tokyo Story (Ozu, 1953)

#02 – Citizen Kane (Welles, 1941)

#01 – Vertigo (Hitchcock, 1958)

So there you go. Just a bit of a look ahead. I am curious, though, if there are any of these that you’re particularly looking forward to, or that you particularly like yourself? Which of these, if you’ve seen them, would make your own personal top 10 and which ones wouldn’t? And are there any that you think are overrated, or perhaps there are some further down the list you think should be here in the top ten? Speak out in the comments below and let me know.

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Top 250 Tuesdays: #000 – An Introduction

sandsSo I finally decided to take the plunge. As a movie lover, as well as someone who enjoys writing about them, there are those movies that you’ve either always heard about or feel like you should have seen to really be a “literate” film viewer. Of course, just what those movies are changes depending not only on who you ask, but also with time and tastes.

Nonetheless, I decided that I wanted some kind of a guide, some kind of a list that I could go through, could check things off of, and could, at the end, say “Okay, I’ve done that”, and for various reasons that would take far too long to go into now, I decided to go with the Sight and Sound Greatest Films Poll. You can find out more about the poll here, but the short version is that every 10 years The British Film Institute invites a number of critics to submit their all-time top 10 movies and then collates those lists until it has a list of the top 250.

The poll always sparks a lot of discussion in film circles, not only concerning the actual results – which were somewhat surprising in the last go-round because Hitchcock’s Vertigo actually supplanted Citizen Kane as the number one film for the first time in decades – but the methodologies that are used and the ways various critics used to compile their lists. Still, when it came down to it, the final list has enough variety of content and enough of a selection of movies – some I’ve seen already, some I’ve known about but never watched, and some I’ve never even heard of before – and enough variation in time-period, country of origin, and all the other factors I was trying to weigh out, to be useful for the purpose I was looking for.

citizen_kaneSo, then, having picked the list I was going to use, the next question, of course, was “what now?’ How was I going to make my way through such an extensive list without just getting completely overwhelmed by it. Well, that’s where Top 250 Tuesdays comes in. The plan, at least here at the beginning, is that each week I will pick one of the movies from the list, watch it, and then on Tuesday post a blog entry about it. That way I have a set goal, and also a relatively reasonable time frame to execute it in. Of course, life is what it is, and there are likely to be times when I won’t be able to hit the Tuesday mark, but I’m going to give it a shot, anyway.

And even if I do hit every a movie every week, we’re still talking about a five-year project.

I’ve also decided that rather than going through the list from top to bottom or something like that, I’m going to hit it in a sort of random order. Not strictly random, though sometimes I will just pick a number and go with it, but also the selection for the week may depend on various circumstances such as availability, a particularly keen interest at any given time, or whatever other factor I may choose for that week. And the number in the title will be the movie’s number on the list,, not a consecutive number, so don’t be surprised if you see, for instance, #198 before #085.

So basically what the idea boils down to is this: Each week I’ll pick a movie from the list, and on Tuesday I’ll blog about it. Then, when I post the link to that week’s post on the blog’s Facebook page  (and while you’re there why not go ahead and click like so you can keep up with all the Durnmoose goodness and also catch some of the little extras and heads up that don’t make it to the blog proper?). I’ll also announce there what the next week’s movie is going to be, in case you want to watch along. (Though this week you’ll also find the info for the first movie at the bottom of this post.) I’ll also be using the list below as a master list for posting, so each time I post about a movie I’ll put a link to the post here to make it easy to see which ones I’ve already covered and for newer readers to easily catch up.

Ok, that’s more than enough introduction, I think. Let’s get on with it.

Here’s the list in full. The way the list is organized may look a little odd at first, but what you’ll see is two numbers – the first is simply the number that the movie falls on the list, and the second (in parentheses) is the movie’s actual rank. The difference, of course, is because of ties where two or more films my have received the same number of votes. So, for instance, Seven Samurai and Persona, both of which garnered 48 votes, are actually tied at number 17. However, they have been (arbitrarily as far as I can tell)  assigned numbers 17 and 18 to make them easier to find on the list. So, to make the write-ups easier to keep track of, I’ll be going by the first number as I write them up,, and that’s the number you’ll see in the title of each post. Also, for the first 50 or so, you’ll see the names of the director, and the date of release. I hope to update the list soon and finish filling those in, again, in order to make them easier to find. Finally, you’ll see a number in brackets []. That’s the number of votes each film got in order to qualify it for the list.

936full-vertigo-poster001 (1) – Vertigo (Hitchcock, 1958) [191 votes]
002 (2)- Citizen Kane (Welles, 1941) [157 votes]
003 (3) – Tokyo Story (Ozu, 1953) [107 votes]
004 (4)- La Règle du jeu (Renoir, 1939) [100 votes]
005 (5) – Sunrise: a Song for Two Humans (Murnau, 1927) [93 votes]
006 (6) – 2001: A Space Odyssey (Kubrick, 1968) [90 votes]
007 (7) – The Searchers (Ford, 1956) [78 votes]
008 (8) – Man with a Movie Camera (Vertov, 1929) [68 votes]
009 (9)- The Passion of Joan of Arc (Dreyer, 1927) [65 votes]
010 (10) – 8 ½ (Fellini, 1963) [64 votes]
011 (11)- Battleship Potemkin (Eisenstein, 1925) [63 votes]
012 (12) – L’Atalante (Vigo, 1934) [58 votes]
013 (13) – Breathless (Godard, 1960) [57 votes]
014 (14)- Apocalypse Now (Coppola, 1979) [53 votes]
015 (15) – Late Spring (Ozu, 1949) [50 votes] Part 2, Part 3
016 (16) – Au hasard Balthazar (Bresson, 1966) [49 votes]
017 (17) – Seven Samurai (Kurosawa, 1954) [48 votes]
018 (17) – Persona (Bergman, 1966)
019 (19) – Mirror (Tarkovsky, 1974) [47 votes]
020 (20) – Singin’ in the Rain (Donen & Kelly, 1951) [46 votes]
021 (21) – L’avventura (Antonioni, 1960) [43 votes]
022 (21) – Le Mépris (Godard, 1963)
023 (21) – The Godfather (Coppola, 1972)
024 (24) – Ordet (Dreyer, 1955) [42 votes]
025 (24) – In the Mood for Love (Wong, 2000)
026 (24) – Rashomon (Kurosawa, 1950)
027 (27) – Andrei Rublev (Tarkovsky, 1966) [41 votes]
028 (28) – Mulholland Drive (Lynch, 2001) [40 votes]
029 (29) – Stalker (Tarkovsky, 1979) [39 votes]
030 (29) – Shoah (Lanzmann, 1985)
031 (31) – The Godfather Part II (Coppola, 1974) [38 votes]
032 (31) – Taxi Driver (Scorsese, 1976)
033 (33) – Bicycle Thieves (De Sica, 1948) [37 votes]
034 (34) – The General (Keaton & Bruckman, 1926) [35 votes]
035 (34) – Psycho (Hitchcock, 1960)
036 (36) – Metropolis (Lang, 1927) [34 votes]
037 (36) – Jeanne Dielman, 23 quai du Commerce 1080 Bruxelles (Akerman, 1975)
400blowsposter04038 (36) – Sátántangó (Tarr, 1994)
039 (39) – The 400 Blows (Truffaut, 1959) [33 votes]
040 (39) – La dolce vita (Fellini, 1960)
041 (41) – Journey to Italy (Rossellini, 1954) [32 votes]
042 (41) – Pather Panchali (Ray, 1955)
043 (43) – Some Like It Hot (Wilder, 1959) [31 votes]
044 (43) – Gertrud (Dreyer, 1964)
045 (43) – Pierrot le fou (Godard, 1965)
046 (43) – Play Time (Tati, 1967)
047 (43) – Close-Up (Kiarostami, 1990)
048 (48) – The Battle of Algiers (Pontecorvo, 1966) [30 votes]
049 (48) – Histoire(s) du cinéma (Godard, 1998)
050 (50) – City Lights (Chaplin, 1931) [29 votes]
051 (50) – Ugetsu monogatari (Mizoguchi, 1953)
052 (50) – La Jetée (Marker, 1962)
053 (53) – Rear Window [28 votes]
054 (53) – North By Northwest
055 (53) – Raging Bull
056 (56) – M [27 votes]
057 (57) – Touch of Evil [26 votes]
058 (57) – The Leopard
059 (59) – Sherlock Jr [25 votes]
060 (59) – Sansho Dayu
061 (59) – La Maman et la Putain
062 (59) – Barry Lyndon
063 (63) – Modern Times [24 votes]
064 (63) – Sunset Blvd
065 (63) – The Night of the Hunter
066 (63) – Wild Strawberries
067 (63) – Rio Bravo
068 (63) – Pickpocket
069 (69) – A Man Escaped [23 votes]
blade_runner_xlg070 (69) – Blade Runner
071 (69) – Sans Soleil
072 (69) – Blue Velvet
073 (73) – La Grande Illusion [22 votes]
074 (73) – Les Enfants du Paradis
075 (73) – The Third Man
076 (73) – L’eclisse
077 (73) – Nashville
078 (78) – Once Upon a Time in the West [21 votes]
079 (78) – Chinatown
080 (78) – Beau Travail
081 (81) – Magnificent Ambersons [20 votes]
082 (81) – Lawrence of Arabia
083 (81) – Spirit of the Beehive
084 (84) – Greed [19 votes]
085 (84) – Casablanca
086 (84) – Colour of Pomegrantes
087 (84) – The Wild Bunch
088 (84) – Fanny & Alexander
089 (84) – A Brighter Summer Day
090 (90) – Partie de campagne [18 votes]
091 (90) – A Matter of Life and Death
092 (90) – Aguirre, Wrath of God
093 (93) – Intolerance [17 votes]
094 (93) – Un chien andalou
095 (93) – Colonel Blimp
096 (93) – Madame de…
097 (93) – Seventh Seal
098 (93) – Imitation of Life
touki-bouki-film-poster099 (93) – Touki-Bouki
100 (93) – A One and a Two
101 (93) – Ali: Fear Eats the Soul
102 (102) – Wavelength [16 votes]
103 (102) – The Conformist
104 (102) – The Traveling Players
105 (102) – Meshes of the Afternoon
106 (102) – Last Year At Marienbad
107 (102) – Tree of Life
108 (102) – Two or Three Things I Know About Her
109 (102) – Ivan the Terrible
110 (110) – The Lady Eve [15 votes]
111 (110 ) – Los Olividados
112 (110) – Bringing Up Baby
113 (110) – Performance
114 (110) – The Passenger
115 (110) – Viridiana
dr-strangelove-australian-movie-poster-1964116 (110) – L’Age d’Or
117 (117) – A Canterbury Tale [14 votes]
118 (117) – Mouchette
119 (117) – Dr. Strangelove
120 (117) – Nosferatu
121 (117) – The Red Shoes
122 (117) – Trouble In Paradise
123 (117) – A City of Sadness
124 (117) – Amacord
125 (117) – The Man Who Shot Liberty Valance
126 (117) – Days of Heaven
127 (127) – Spring In a Small Town [13 votes]
128 (127) – Do the Right Thing
129 (127) – Out 1
130 (127) – Tropical Malady
131 (127) – The River
132 (127) – Jules et Jim
133 (127) – Pulp Fiction
134 (127) – Meet Me In St. Louis
135 (127) – L’Argent
136 (127) – Ikiru
137 (127) – Three Colours: Blue
138 (127) – Don’t Look Now
139 (127) – Celine and Julie Go Boating
140 (127) – Annie Hall
141 (127) – The Apartment
142 (127) – The Last Laugh
143 (127) – Hiroshima Mon Amour
144 (144) – Blow-Up [12 votes]
145 (144) – The Great Dictator
1146 (144) – Memories of Underdevelopment
147 (144) – Diary of a Country Priest
148 (144) – Chungking Express
149 (144) – To Be or Not to Be
150 (144) – A Woman Under the Influence
151 (144) – Napoleon
152 (144) – Vivre Sa Vie
153 (144) – The Wizard of Oz
154 (154) – Marketa Lazarová [11 votes]
155 (154) – Hidden
156 (154) – The Shining
157 (154) – Solaris
158 (154) – Chimes at Midnight
159 (154 )- The Gold Rush
160 (154) – Letter From an Unknown Woman
161 (154) – Brief Encounter
162 (154) – In a Lonely Place
163 (154) – Black Narcissus
164 (154) – My Neighbor Totoro
165 (154) – Only Angels Have Wings
166 (154) – Vampyr
167 (154) – Come and See
168 (154) – Distant Voices, Still Lives
169 (154) – Once Upon a Time in America
170 (154) – Cries and Whispers
171 (171) – King Kong [10 votes] (also revisited here)
his-girl-friday-movie-poster-1940-1020143587172 (171) – The Werkmeister Harmonies
173 (171) – Star Wars
174 (171) – Notorious
175 (171) – His Girl Friday
176 (171) – Goodfellas
177 (171) – The Umbrellas of Cherbourg
178 (171) – A Trip To the Moon
179 (171) – Sweet Smell of Success
180 (171) – Kind Hearts and Coronets
181 (171) – Tabu
182 (171) – Earth
183 (183) – Breaking the Waves [9 votes]
184 (183) – The Grapes of Wrath
185 (183) – Paris, Texas
186 (183) – E.T.: The Extra-Terrestrial
187 (183) – Faces
188 (183) – Rome, Open City
189 (183) – The Music Room
190 (183) – The Story of the Late Chrysanthemums
191 (183) – A Touch of Zen
192 (183) – Listen to Britain
193 (183) – Day of Wrath
194 (183) – The Thin Red Line
195 (183) – Eraserhead
196 (183) – The Texas Chainsaw Massacre
197 (183) – The Discreet Charm of the Bourgeoisie
198 (183) – The Conversation
199 (183) – Out of the Past
200 (183) – I Was Born, But…
201 (183) – I Know Where I’m Going
202 (202) – The Death of Mr. Lazarescu [8 votes]
203 (202) – Red Desert
204 (202) – Chelsea Girls
205 (202) – Badlands
206 (202) – Kings of the Road
207 (202) – There Will Be Blood
208 (202) – WALL-E
209 (202) – Berlin Alexanderplatz
Boonmee_German_MPOTW210 (202) – Videodrome
211 (202) – Daisies
212 (202) – Uncle Boonmee Who Can Recall His Past Lives
213 (202) – Manhattan
214 (202) – Cleo from 5 to 7
215 (202) – West of the Tracks
216 (202) – Russian Ark
217 (202) – A Tale of Tales
218 (202) – Spirited Away
219 (202) – La Strada
220 (202) – Paisà
221 (202) – The Shop Around the Corner
222 (202) – The Big Sleep
223 (202) – Killer of Sheep
224 (202) – Wanda
225 (202) – Germany Year Zero
226 (202) – The Life of Oharu
227 (202) – Army of Shadows
228 (202) – Salo, or the 120 Days of Sodom
229 (202) – Duck Soup
230 (202) – The Devil Probably
231 (202) – The Turin Horse
232 (202) – Love Streams
233 (202)  – The Exterminating Angel
234 (202) – Floating Clouds
235 (235) – The Piano [7 votes]
236 (235) – Gone With the Wind
237 (235) – Melancholia
238 (235) – The House is Black
239 (235) – The Cabinet of Doctor Caligari
240 (235) – Red River
241 (235) – A Clockwork Orange
242 (235) – Two-Lane Blacktop
243 (235) – An Autumn Afternoon
244 (235) – The Thin Blue Line
245 (235) – The World of Apu
246 (235) – The Testament of Dr – Mabuse
247 (235) – My Darling Clementine
248 (235) – The Double Life of Veronique
249 (235) – Kes
250 (235) – Three Colors: Red

So which one will be first? Well, thanks to the loan of a copy of the Masters of Cinema three disk DVD set, I’ve decided to go ahead and kick things off with the film that ranked #5 on the list: F. W. Murnau’s Sunrise: a Song for Two Humans from 1927. This is one that fits into that category of “I’ve heard a lot about it, but never seen it”, so I’m definitely looking forward to checking it out, especially with all of the supplements and special features that MOC always packs onto their releases which will hopefully help with giving more context to the film and putting it into perspective. So be sure to come back next week for that.

Oh, and one more thing: this is definitely a project I’d like to get a lot of feedback and comment on, whether it’s about the project itself, Top Whatever polls in general, or even specific movies that you’d like to see me bump up on the list to cover early on. Or if you’d like to contribute your own personal top 10 list, I’d love to see those. So use the comments section, either here or on the facebook page to let me know what you think.

Or even just to wish me luck as I take this one on. I’ve got a feeling it may be a bumpy ride at times.