Robert the List's Reviews with Pictures

In a Lonely Place France 8.75
La Jetee (1962) (30 minute, short)France 9.75 Masterpiece
Bonnie and Clyde (1967) USA 9
Two Lane Blacktop (1971)USA 8.9
Kings of the Road (1976) Germany 8.5
Stranger than Paradise (1984) USA 9 Masterpiece
Late Spring (1949) Japan Ozu, 9.75 Masterpiece
Il Grido (1957) Italy Antonioni, 8.5 - 8.75
Last of the Chrysanthemums (1939) Japan, Ozu 9 Masterpiece
There was A Father (1942) Japan, Ozu 8.75
Miss Oyu (1951) Japan, Kenji Mizoguchi 8.25
A Geisha (1953) Japan, Kenji Mizoguchi 8.75
An Autumn Afternoon (1962) Japan Yasujirō Ozu 8

In a Lonely Place 8.75
That's maybe slightly harsh, but I'm not sure I'd quite give it a 9.
I actually hadn't heard of it, but it was quickly obvious it was a serious movie.
You had to give the friendship with one of the cops involved a bit of artistic license, and it was always pretty much a question of 'did it or didn't do it', which only has limited engagement for me, but it was a well put together film with strong performances, and moved at a good pace. Some strong images too. For me it didn't have quite the mystery or surprise or even thrill of a Laura, nor the chemistry of a Mitchum and Greer to make you feel really bothered about the relationship. The final 10 or so was good though and I did find myself having a strong opinion on one of the characters, and therefore caring about the outcome of the film. Would make my top 10 noir I think, and probably make my top 200 films. Glad I saw it.

La Jetee (1962) (30 minute, short) 9.75
I thought this was sensational. In fact if I was asked for an idea for a movie, I would say how about a feature length version of La Jetee?
The story is brilliant, as well as the narration (in English or French). It's a really far out science fiction narrative, that actually seems to make sense; at least while you're in the film's world it does anyway. It has more than science fiction, and at the end you really care about the outcome.
But besides all this, it is a whole new way of creating and presenting a movie. Almost entirely in (beautiful, black and white) still images, with the exceptional being one further stroke of genius.
When you think you might have seen everything, see La Jetee.

Bonnie and Clyde (1967) 9
Just about makes it up to a 9 for me, which is not bad going for a shoot em up. But it's a shoot em up with a hell of a lot of class.
Firstly, it has the new American Brigitte Bardot, by the name of Faye Dunaway. Secondly the lead Warren Beatty is made for the role of Clyde. I hear they are talking about making a film about Butch Cassidy and the Sundance Kid, and I can see him playing one of the leads in that too. Thirdly, oh my what a lot of very very pretty shots; Arthur Penn does not linger, the cuts fly by, but that doesn't mean he doesn't take time over making them, because he clearly does. The visuals in this film are a knockout.
There's some slight moral controversy about the film, by portraying Bonnie and Clyde with sympathy, but it makes for a very entertaining movie, and an American cultural classic.
Roger Ebert called it the first masterpiece he had professionally reviewed.
I wonder whether Coppola could have made The Godfather without seeing this.
Check these out:

Two Lane Blacktop (1971) 8.9
I'm pleased I found this one, and I really enjoyed watching it.
You could maybe call it the connoisseur's Smokey and the Bandit.
It's a road movie, but I think there is meaning in there. I think it says that you can write your own story and reality, and that life is just about where you are on your own journey, who you meet and witch way you're headed, and about the moments and the memories.
I couldn't work out what happened in the race so I had to check it on wikipedia, but it didn't really make any difference because the movie just wound its own path and was what it was. Although only '71, was a great slice of 70s Americana, and just an enjoyable ride with some interesting folk. Look out for the cameo from a H D Stanton.
Photos aren't up to much but it's not that kind of a movie.

Kings of the Road (1976) 8.5
So first it's 45 minutes too long. I was pretty much just waiting for it to end.
I also felt myself wondering how these guys can just wander round pissing about like it's the summer holidays.
But there are some nice parts in the story, which are quite engaging. It has a charm to it as well as a decent soundtrack.
And you can't deny that it is gorgeous to look at. In fact, you forget this wasn't made in the last decade or so because the pictures are that good. It must be the most beautiful looking black and white film of the last 40 years of the 20th century, if not even the whole century (the stills don't really do it justice tbh).
It's also the 2nd film (and made long before the other one) where I've watched someone doing a poo and the poo coming out.

Stranger than Paradise (1984) 9
So now I know what inspired Frances Ha (incidentally, Adam Driver would fit in like the third triplet with these two guys)!
In turn it was probably influenced itself by the previous film reviewed above.
A very simple plot idea, superbly executed and aesthetically gorgeous. Also a slice of Americana, and a light exploration of what it is to be American.
The ending is improbable, but you can live with it, because it's one of the coolest films ever made.

Late Spring (1949) 9.75
Wow, so pleased I have finally watched one of these properly.
Also now I understand why there were so many in the series: because it was kind of like the original of Friends!! A social saga.
It's a really beautiful story. A journey with this family, or the few members of it who we are shown (I love that one or two key characters, we never actually see). Even today it is an insight into the feelings and connections in a healthy family unit.
Just looking through my list of greatest films, I'm not sure that there was anything to this date of a similar nature in terms of how it made us privy to the bonds and love of this family, and the journey of emotional passage. Maybe Gone With the Wind or La Belle et La Bette, but not really to this extent. This film makes a real connection.
Also no doubt it would have been a revelation in Japanese society in the way it was prepared to depict topics such as divorce and 'disrespect'/dissent to elder family members. I can easily believe this was very edgy and I suspect it had its dissenters in Japan.
The acting is superb. Every performance is perfect, but especially the lead actress whose emotions radiate. I suspect that the actors became like family for the rest of their lives, and never forgot the experience of making this film together.
Visually it's a masterpiece; not only gorgeous shots, but groundbreaking perspective (some of the stills below do not do justice to the moving image), that the likes of Antonioni and Godard would later try to emulate/replicate, and imagination and thought that has gone into the arrangements. In addition, some of these shots with depth aren't only visual masterpieces, but they reflect and metaphorically portray the motion, passage and cycle of life which is at the heart of the film.
No doubt this film is a masterpiece of cinema.
So hard to pick 10 images!!!

Il Grido (1957) 8.5 - 8.75
I enjoyed and was impressed by a lot of this film.
It had a similar sort of feel in some ways to La Strada. Half way through I actually thought it was a better film than that. But it seemed to lose its way a bit.
I started to get the feeling that it was like the story was on a rope which had become detached at the far end. There were some things that just didn't seem to be realistic, or where an explanation wasn't really clear. One of which being why - having been dumped by a partner his own age for a younger man - every woman he met threw herself at him. Why he made a big sacrifice for a relationship, and then just left it. And then the ending, where he returned just at the very moment that the town was going crazy.

But it was still a good film and well worth watching.

Aside from the fact it is Antonioni so you know the cinematography is going to be good, there are clearly a lot of shots which are visually impressive, but unfortunately the unrestored copy of the film is not very clear and has low definition, so these are the best that I could do:

Last of the Chrysanthemums (1939) 9
I found the story contrived and even bordering on a bit silly tbh, and perhaps in part for that reason it didn't really fully engage me emotionally or fully draw me into its world.
It was absolutely beautifully shot though. Unfortunately even the restored version doesn't really do it justice, particularly in terms of still images, as it is clearly a visual masterwork.
Some real innovation with a camera on rails for several sequences which is very effective.
Great Kabuki scenes too.
Acting was good and I even got over a 45 year old being cast as a teenager/young man.
Happy to add this to my masterpiece list.

This one is worth mentioning if El Grido is.

There was A Father (1942) Japan, Ozu 8.75

Before Ozu made the masterpiece Late Spring (reviewed above), he cut his teeth on this very personal tale of a father and son relationship. Both of these films show how important the role of a father is, and the impact that a good father can have on their child. Some lovely sequences, especially the fishing! A gentle paced film, which works nicely. An enjoyable movie, in which you see a great director getting his stuff together.

Miss Oyu (1951) Japan, Kenji Mizoguchi 8.25

Another somewhat improbably tale. Another examination of sacrifice, selflessness and human suffering.
It does examine those themes provocatively. If I had watched this in the cinema, I think I would have left thinking why do we put spend our lives putting ourselves through these emotions rather than just trying to enjoy our time on earth. Mind you, I would have left the cinema having watched Palm Springs, and think that's it from now on every day I'm just going to say 'f**k it' and do whatever the hell I want. It would probably have lasted about 20 minutes.
I wasn't hugely taken to the film. Again I didn't really find myself personally connected to the characters, and I didn't really believe in the story.
There are some gorgeous images as you can see below, however I felt they were more patchy than in Chrysanthemums. The camera equipment and production here was of a far higher quality, but whereas in the 1939 film I felt it was consistently making the absolute most of film techniques of the time, this one was more some brilliant shots separated by ordinary and at times even lazy camerawork. Maybe that's harsh. An interesting film, but not one which I ever felt was going to be great.

A Geisha (1953) Japan, Kenji Mizoguchi 8.75
I would not have guessed that this is the same director as Story of the Last Chrystanthemum and Miss Oyu.
Gone is the 16th century, we are now 21st century. In fact it's so modern I would have guessed the film was made in the 1960s, (notwithstanding that it is set in Kyoto which still looks ancient to the current day).
Gone is the parable style subject, replaced by a realistic story narrative.
Gone for the most part - with the exception of one camera angle repeated numerous times, of the alleyway outside the protagonists' accommodation - are the lingering artistic shots, and cinematographic invention, replaced with a few exceptions with a much more functional style (surprisingly the cinematographer is the same as Miss Oyu). In fact, whilst perhaps this was thought at the time to be a technological leap forward, in fact it looks quite cheap. Tbh, I'm not sure why this trade off was necessary. The realistic story narrative could have been achieved with the long takes and carefully choreographed sets and lighting etc. But that's the way he's gone anyway.
I very nearly turned it off after 35 minutes and was not compelled to complete the film. But as it's a short film anyway, and I was wanting to do a review on it, I kept going. And this is one where I'm glad I did, because the film revealed itself as a serious commentary on a serious subject, addressing the pressure put on Geishas to give themselves to their clients. This is seriously bod subject matter for 1953, particular I should think in Japan which seems to have had a much more conservative culture than for example the US. Mizoguchi is taking what seems likely to have been a bold risk in commenting on the abuse of Geishas in this way. Bear in mind that 1953 is before the likes of Varda took strides in the feminist film making movement. And this is a guy doing it, so respect to him for that.
And you know, I think this is probably why he ditched the artistic filming techniques, because this isn't just some parable this time, this is a serious subject, and he doesn't want to detract from that. And the result is that it becomes a gritty, moody drama, even bordering on tense thriller at times. Gone are the caricatures, replaced by real characters (the relationship between the two women had some depth and substance to it). And unlike the parables, this one I did find engaging and engrossing. I began to care about these characters, and the plight of others like them. We feel their fear, their guilt, their repulsion, as well as their sense of mutual protection, hinting back to the themes in the earlier Mioguchi movies where sacrifice was the leading subject.
Did the ending pull its punches though, with a sugared coating? Perhaps.

It's sad that unfortunately many women around the world face similar circumstances to those depicted in this film (and worse) 70 years later. I'm sure Mizoguchi would be disappointed, even if he can take credit from the fact that this film has periods where it has real dramatic clout.

I got some decent shots out of it in the end too.

An Autumn Afternoon (1962) Japan Yasujirō Ozu 8

I was hoping for a masterpiece, but I got the last of the summer wine. In fact that's what it should have been titled.
It reminded me of the final ever episode of a long running tv series, which is partly an episode in itself, and partly a look back. It's part man saying goodbye to his daughter, and part director saying goodbye to the film industry.
It's a pleasant and enjoyable film, humorous in parts and thoroughly cozy. Some further gentle observations on changes in Japanese society as well.
If it was an Autumn Afternoon, then it would be a Sunday stroll.
Well played, with a couple of very familiar figures saying their own farewell to a long running partnership.
Some nice cinematography, but the days of really showing off are gone already.
Late Spring was a leading masterpiece. This was a pleasant digestif or nightcap.
Goodbye Master Ozu, and thank you for your work.

Rio Bravo (1959) 9-9.25
What a treat for the eyes.
And whilst it''s very simple and formulaic, and goes on a bit too long, it's just what I've always wanted from a John Wayne western.
Also, I think it may have inspired Dragon Inn.

The Travelling Players (1975) 8.75-9
SPOILERS
Spent most of the day watching this. It's an epic that is very worth a watch.

Some random disjointed thoughts/points:
-it takes 3.75 hours and spans several years, but is constantly set in winter
-SPOILER I appreciate that there must have been a huge amount of turmoil in Greece during this period, but the way that every 3rd scene for much of the film seems to be a new group of fighters sneaking down the street in the shadows with their guns out. This got to the stage at one point where I was wondering whether it might be best to view the film as a black comedy along the lines of Scream (even though this obviously wasn't the intention).
- SPOILER Every 3rd scene also seems to be one of our players getting bumped off, but the troop didn't seem to get any smaller. I don't know which of them was being bumped off because generally I had little connection with the characters, or ability to distinguish them. In case of interest, the other every 3rd scene is the players walking somewhere carrying their box of costumes.
-I didn't really follow what was happening much of the time, probably in part because there is minimal dialogue, but it didn't bother me too much
-There is a lovely laconic pace to much of it (literally at times with the movement of the actors), which draws you in and absorbs you. I love this.
-There is some lovely thought gone into the framing of a lot of the shots. It's a pretty film with attention to detail.
-I learned something about the history of this period, from the perspective of the director, and some of the stuff the British got up to in this arena manipulating the politics like they and USA still do today.
-There are a few moments which absolutely grab you and startle you and capture your close attention. A couple of scenes are chilling. They tend to come out of the blue and are very skilfully delivered. One monologue in particular is completely captivating and very powerful. You listen.
-If you are Greek then this would be one of the most important films ever made.

I don't know that it makes my top 100 films, but I would have no problem calling it a masterpiece.

Story of a Prostitute (1965) 8.5
Worth a watch. In spite of the quality of the available versions not being great there are still some gorgeous images, as typical with the Japanese New Wave.
It's novel for all the attention to be on the goings on inn the whorehouse, as a war rages outside! haha.
A decent yarn. Even made 20 years after the war, Suzuki seems to really push the boundary in terms of criticism of Japan, and even embracing enemy China.
Can't think of anything else to say really.

I'd recommend checking out Ulysses' Gaze as well. I watched it recently and was blown away by it.

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Au Revoir Les Enfants (1987) Louis Malle. 9

An unusual format, with c95% of the film being the background/build up, and the last c5% being the action/the real point of the movie.
It's visually impressive. It kind of looks cozy I guess. Reminded me a little bit (not too much) of Robert Bresson in terms of visual style.
It draws you in, and you can almost imagine yourself as one of the boys at the school. The characters are developed nicely and by the end of the film, the boys are friends of ours.
It also reminded me in terms of atmosphere of my favourite French film since the 1960s, Entre Nous a.k.a Coup De Foudre a.k.a At First Sight. I would put this one slightly below that film. It delivers a very powerful message, and provides a reminded of some truly awful events in fairly recent history. Recommended.

Notorious (1946) USA Alfred Hitchcock 9.75
A perfectly executed suspense thriller.
Hitchcock comes roaring back from the efforts of the 1930s with a masterpiece.

There already is, 12 Monkeys by Terry Gilliam.

Great thread btw, I like reading your thoughts but having the visuals of the films really makes me want to watch them. I've seen a lot of the films here, but in particular I'm reminded that I still have plenty of Ozu to discover and revisit.

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