Saturday, December 3, 2011


So long everyone.  Thanks for five great years of Metro Classics!

Wednesday, November 30, 2011

Friday, November 25, 2011

Wednesday, November 23, 2011

Monday, November 21, 2011

Wednesday, November 16, 2011

Wednesday, November 9, 2011

Wednesday, November 2, 2011


Tonight at 6:50 pm and 9:15 pm.

Giveaways:  Man Hunt DVD courtesy of Scarecrow Video and a Gift Certificate to Cinema Books, respectively.

Friday, October 28, 2011

Wednesday, October 26, 2011

Wednesday, October 19, 2011


Tonight at 7 & 9:10 PM.

Giveaways: Sleeper DVD courtesy of Scarecrow Video and a Gift Certificate to Cinema Books, respectively.

Wednesday, October 12, 2011


Tonight at 7 & 9:10 PM.

Giveaways: Radio Days DVD courtesy of Scarecrow Video and a Gift Certificate to Cinema Books, respectively.

Saturday, October 8, 2011

Wednesday, October 5, 2011


At 7:00 and 9:10 PM.

Giveaways: A DVD from Scarecrow Video and a gift certificate to Cinema Books, respectively.

Friday, September 30, 2011

Monday, September 26, 2011

Links: Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

Vincent Canby reviewed Jeanne Dielman in the New York Times back in 1983 (8 years after the film was made), noting the film's roots in the art house style of the 1960s and making an important distinction between minimalism and naturalism:

"Like its blunt title, Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, deals in unadorned facts. It's about the looks and sounds of ordinary things and people, which it records with such precise, unsettling clarity that it has the effect of finding threats in mundane objects and doom in commonplace characters. . . .

Jeanne Dielman is not quite like any other film you've ever seen, though it does recall the early films of Jean-Luc Godard as well as some of the work of our structuralist film makers of the late 1960's and 70's. It's as fastidious and deadpanned as its title character, a genteel, middle-class widow-and-mother who supports herself and her teen-age son by prostitution each afternoon, in her depressingly tidy apartment, with a series of fastidious gentlemen callers, middle-aged and older.

Jeanne Dielman, which opens today at the Film Forum, has been described as minimalist, though I don't see how any film this long and so packed with information could be equated with minimalism as defined in painting. The manner of the film is spare, but the terrible, obsessive monotony of the life it observes is ultimately as melodramatic as, say, Roman Polanski's Repulsion.

Miss Akerman records three crucial days in the life of Jeanne Dielman (Miss Seyrig) as if she were observing the habits of some previously unknown insect."

25 years later, Dennis Lim wrote about the film in the Times, noting its widespread influence on contemporary art house filmmaking:

"it has long enjoyed canonical status among cinephiles and regularly turns up on critics’ polls of all-time great films. With Jeanne Dielman, Ms. Akerman forged a link between the high modernism of golden-age European cinema and the emerging trend of postmodernist deconstruction. Today the film’s observational strategies — its long takes and scrupulous framing — practically amount to a lingua franca of international art film, discernible in the works of artists from Portugal’s Pedro Costa to Thailand’s Apichatpong Weerasethakul to China’s Jia Zhangke. Among American independents, its descendants include Todd Haynes’s Safe, Lodge Kerrigan’s Claire Dolan and Gus Van Sant’s Last Days."

Lim also talked to Ackerman herself, who agrees that the film is far from minimalist:

"While Ms. Akerman acknowledges that the rise of women’s studies lifted the film’s reputation in the United States, she has little patience for the various “isms” — feminism, minimalism, structuralism — that have framed the discussion around it. “I don’t think it’s minimalist,” she said. “I think it’s maximalist. It’s big! And if I did the film now I don’t know that it would be called feminist. It could have been done about a man, too.

“All those labels are a bit annoying,” she continued. “To name something is a way to possess it. I think it makes the film smaller. And O.K., maybe they are right, but they are never right enough.”"

When they released the film on DVD, Criterion sponsored a web video cooking contest to go along with the distinctive cooking scenes in Jeanne Dielman.  Here are some of their favorites.

Personally, I think everyone's underrating the influence of this film on Phil Hartman's career:

Monday, September 19, 2011

Links: Celine & Julie Go Boating

Nora Sayre reviewed Celine & Julie Go Boating in the New York Times back in October of 1974, and noted in particular the film's literary allusions, Lewis Carroll, Marcel Proust and Henry James, but also it's Choose Your Own Adventure nature, both for the characters and the audience:

"There's some delightful slapstick afoot as the two run amok, and the last section of the movie is on a par with the comedy of the beginning. In between, there are some marshy passages, mainly due to relentless whimsey. As in Out One/Spectre, the actresses invented their own parts (although the scenes in the house were scripted). In both movies, there are leading characters who are obsessed with solving a mystery; as they become detectives, the audience is invited to do likewise. We're also supposed to create our own plotline for what's actually occurring in that house."

In Slant Magazine, Keith Uhlich adds some filmic allusions:

"Jacques Rivette's masterpiece—quite possibly his greatest film—is a deceptively light-hearted confection that begins and ends (or, rather, begins again) at the entrance to a Parisian wonderland. Bespectacled librarian Julie (Dominique Labourier) pursues amateur magician Céline (Juliet Berto) across a city of dreams (hence the film's homage-to-Feuillade subtitle, "Phantom Ladies Over Paris"), though Rivette doesn't distinguish between the real and the imagined. Theirs is a world of limitless, initially aimless possibilities (reflecting the film's own improvisational genesis) that are slowly honed to a sharp precision point. Those bracing themselves for (or already baffled by) David Lynch's Inland Empire will find the seeds of that film's madness in Céline and Julie Go Boating, what with its pervasive Lewis Carroll referents and seamless doubling effects. . . .(The) story-within—which also features Bulle Ogier, Marie-France Pisier, and Barbet Schroeder going through a series of hilariously deadpan motions—has been described as everything from an RKO programmer to a Henry James pastiche: like a fourth-wall smashing Kuleshov experiment, it is what you make of it."

I think Jeffrey Anderson sums it all up nicely though at Combustible Celluloid:

"One possible explanation is that Celine and Julie Go Boating is a fantasy where Rivette and the audience can enter into a movie filled with ghosts and change things around. How often have we imagined what old movies would be like if we could change one little thing? The other important thing to point out is that Celine and Julie Go Boating seems primarily focused on the joy of cinema. Truffaut once said that a movie should represent either the joy of making cinema or the agony of making cinema--anything inbetween did not interest him. Celine and Julie Go Boating has magic, poetry, singing, lots of laughter (the actresses seem to have giggle fits every time the camera is on them), as well as the ghost and murder story.

A third explanation for the movie is that it seems like we're watching realism; the long takes and natural sound. When in reality the whole creation is one of pure cinema. There is no reality in this movie. In a perfect world, there would be an old movie palace somewhere that plays Celine and Julie Go Boating over and over. Then there would be balance."

Friday, September 16, 2011

Announcing the Fall Metro Classics Series

With two films left in the current series (don't miss Celine & Julie Go Boating and Jeanne Dielman: it'll probably be the last time they'll let us run 3+ hour French language movies!), it's time to announce the second part of our 18 weeks of Movies With Names series.  Starting October 5th and running through November 30th, we've got three Woody Allen movies, three Doctor movies and three Monster movies.

Woody and His Sisters:

Oct. 05 - Hannah and Her Sisters (Allen,1986)
Oct. 12 - Zelig (Allen, 1983)
Oct. 19 - Annie Hall (Allen, 1977)

Doctor Who?:

Oct. 26: Dr. Strangelove (Kubrick, 1964)
Nov. 02: The Testament of Dr. Mabuse (Lang, 1933)
Nov. 09: Doctor Zhivago (Lean, 1965)

Scary Monsters:

Nov. 16: Carrie (DePalma, 1976)
Nov. 23: Frankenstein (Whale, 1931)
Nov. 30: Harvey (Koster, 1950)

All shows will be digitally projected and as always, there will be giveaways at each show courtesy of Scarecrow Video and Cinema Books.

Thursday, September 8, 2011

Wednesday, September 7, 2011

Monday, September 5, 2011

Links: Rosemary's Baby

Roger Ebert reviewed Rosemary's Baby way back in July of 1968:

"Roman Polanski's Rosemary's Baby is a brooding, macabre film, filled with the sense of unthinkable danger. Strangely enough it also has an eerie sense of humor almost until the end. It is a creepy film and a crawly film, and a film filled with things that go bump in the night. It is very good. . . . When the conclusion comes, it works not because it is a surprise but because it is horrifyingly inevitable. Rosemary makes her dreadful discovery, and we are wrenched because we knew what was going to happen --and couldn't help her.

This is why the movie is so good. The characters and the story transcend the plot. In most horror films, and indeed in most suspense films of the Alfred Hitchcock tradition, the characters are at the mercy of the plot. In this one, they emerge as human beings actually doing these things."

Dave Kehr agreed, packing more than the usual number of insights into his capsule.  he notes the film's ties to the long tradition of "women's pictures" wherein the wife is terrorized by her husband (Gaslight, The Secret Beyond the Door, Dragonwyck, etc) and also that "The horror is more clinical than supernatural, as Polanski transforms Ira Levin's story into a metaphor for the loss of identity induced by pregnancy. A very sophisticated, very effective piece of work spun from primal images."

Renatta Adler was lukewarm on the film in the New York Times when it premiered.  But AO Scott has corrected the Times's position on the film by including it in his Critics' Picks video series:

Friday, September 2, 2011

Top 5 Top 5 Lists Related To, But Not Including, Rosemary's Baby

Top 5 Roman Polanski Movies:

1. Chinatown (1974)
2. Repulsion (1965)
3. The Ninth Gate (1999)
4. The Ghost Writer (2010)
5. Death and the Maiden (1994)

Top 5 Mia Farrow Movies Directed By Woody Allen:

1. Hannah and Her Sisters (1986)
2. The Purple Rose of Cairo (1985)
3. Zelig (1983)
4. Crimes and Misdemeanors (1989)
5. Husbands and Wives (1992)

Top 5 John Cassavetes-Directed Movies I Haven't Seen:

1. A Woman Under the Influence (1974)
2. The Killing of a Chinese Bookie (1976)
3. Shadows (1959)
4. Faces (1968)
5. Husbands (1970)

Top 5 Ralph Bellamy Movies:

1. The Awful Truth (Leo McCarey, 1937)
2. His Girl Friday (Howard Hawks, 1940)
3. Trading Places (John Landis, 1983)
4. Pretty Woman (Garry Marshall, 1990)
5. Carefree (Mark Sandrich, 1938)

Top 5 Films of 1968:

1. Once Upon a Time in the West (Sergio Leone)
2. 2001: A Space Odyssey (Stanley Kubrick)
3. The Lion in Winter (Anthony Harvey)
4. Petulia (Richard Lester)
5. Night of the Living Dead (George Romero)

Thursday, September 1, 2011

Coming Attractions: Rosemary's Baby

Wednesday, September 7th at 7 & 9:30 PM.

Giveaways: A DVD courtesy of Scarecrow Video and a Gift Certificate from Cinema Books, respectively.

Monday, August 29, 2011

Links: Sullivan's Travels

Todd McCarthy valorizes Sullivan's Travels and writer-director Peston Sturges in his essay for the Criterion Collection:

"The sweetest, most generous-hearted satire of the Hollywood film industry the town has ever produced, Sullivan’s Travels was the fourth of the eight films Preston Sturges made during his astonishingly prolific streak between 1940 and 1944. Deserving of eternal veneration as the first screenwriter to decisively break through as a director, Sturges paved the way for the likes of John Huston, Billy Wilder, and Joseph L. Mankiewicz. Sturges’ reputation surpassed even those screen giants in the sense that he was, in every respect, the author of his films, working without a collaborator and always from his own original stories. Having already made his mark as a Broadway playwright, he was the first filmmaker to function like a playwright/theatrical impressario at a major studio, not only creating his own material but assembling his own troupe of players. More than anyone in that era of Hollywood, he fully deserved the authorial billing on the title card: “Sullivan’s Travels by Preston Sturges.”"

While Dan Harper at Senses of Cinema sees Sullivan's Travels as an all-out assault by Sturges on Frank Capra and his piously liberal films of the late 1930s:

"Preston Sturges pokes fun at virtually everything in Sullivan’s Travels – including (luckily) himself. While sparing neither the single-minded hucksters otherwise known as producers nor the successful director of comedies suddenly gripped with a social conscience, Sturges also attacks just the sort of movie Frank Capra was making at the time – Meet John Doe (1941). Capra himself had also been a successful director of comedies (It Happened One Night [1934], You Can’t Take It With You [1938]), before his seriousness got the better of him. When Capra tried to combine his social conscience with his comedic genius, the results were usually uneven. While Mr. Deeds Goes To Town (1936) was initially successful as a serio-comic look at Depression-era economics, Capra found himself increasingly at odds with the status quo. And his populism pushed both Mr. Smith Goes To Washington (1939) and Meet John Doe into perilous territory. Neither film had a suitable ending, as if Capra, having confronted Good and Evil so convincingly, couldn’t decide who should win."

I think he's seriously overrating You Can't Take it With You (which is surely as simplistic in its conception of Good and Evil as anything else he made) and underrating Mr. Smith (which is far more complex than is generally allowed) here, but his general point is solid.

Me, I just can't get over the fact that Veronica Lake wasn't even five feet tall.  At 4'11", I've met dogs that are bigger than her.  She had a pretty sad life too:

"When one-time lover Marlon Brando heard she was working as a barmaid, he promptly had his people deliver her a check for $1,000.  Too proud to cash it, Lake instead chose to have it framed as a memory of days gone by, and a not-so-subtle notice to others that she was once Hollywood’s reigning sex symbol."

Friday, August 26, 2011

Top 5 Top 5 Lists Related To, But Not Including, Sullivan's Travels


Top 5 Veronica Lake Movies:

1. I Married a Witch (René Clair, 1942)
2. This Gun for Hire (Frank Tuttle, 1942)
3. The Glass Key (Stuart Heisler, 1942)
4. Ramrod (André de Toth, 1947)
5. The Blue Dahlia (George Marshall, 1946)

Top 5 Joel McRea Movies:

1. Stars in My Crown (Jacques Tourneur, 1950)
2. The Palm Beach Story (Preston Sturges, 1942)
3. Ride the High Country (Sam Peckinpah, 1962)
4. The Most Dangerous Game (Irving Pichel & Ernest Schoedsack, 1932)
5. Barbary Coast (Howard Hawks, 1935)

Top 5 Films Shot by John F. Seitz:

1. Double Indemnity (Billy Wilder, 1944)
2. Sunset Blvd. (Billy Wilder, 1950)
3. The Big Clock (John Farrow, 1948)
4. This Gun for Hire (Frank Tuttle, 1942)
5. Five Graves to Cairo (Billy Widler, 1943)

Top 5 Films Wherein Movie-Watching is a Spiritual Experience:

1. Hannah and Her Sisters (Woody Allen, 1986)
2. The Purple Rose of Cairo (Woody Allen, 1985)
3. My Life to Live (Jean-Luc Godard, 1962)
4. The Spirit of the Beehive (Victor Erice, 1973)
5. Cinema Paradiso (Giuseppe Tornatore, 1988)

Top 5 Films of 1941:

1. Citizen Kane (Orson Welles)
2. The Lady Eve ( Preston Sturges)
3. The Strawberry Blonde (Raoul Walsh)
4. The Shanghai Gesture (Josef von Sternberg)
5. The Maltese Falcon (John Huston)

Thursday, August 25, 2011

Coming Attractions: Sullivan's Travels

Trailer provided by Video Detective

Wednesday, August 31st at 7 & 9 pm.

Giveaways: The Palm Beach Story DVD courtesy of Scarecrow Video and a Gift Certificate to Cinema Books, respectively.

Tuesday, August 23, 2011

Eric Rohmer: Comedies and Proverbs

After finishing his series of Six Moral Tales (of which this week's classic, My Night at Maud's is the third) with 1972's Love in the Afternoon, Eric Rohmer spent the rest of the 1970s working in television and making a pair of period films, The Marquise of O and Perceval le Gallois.  In 1981, he began a new series of six films he called Comedies and Proverbs, each starting with a famous saying ("It is impossible to think about nothing." "He who talks too much will hurt himself." and so on).  Like the Moral Tales, the films revolve around the twin poles of romantic relationships and vacation.  In each of the films one of the main characters is driven by an ideal (usually of a potential lover, but not always) and has that ideal frustrated.  Unlike the Moral Tales, most of the protagonists are women, and we get a much more balanced view of gender dynamics than in that earlier series.  Like every Rohmer movie, the films are dominated by conversation and are beautifully shot in a style that rarely calls attention to itself.  Every time I think about watching one of his movies, I kind of dread it (Do I really want to watch 90 minutes of French people talking?  Doesn't that sound like the most boring thing in the world?).  But every time I find myself entertained throughout, enraptured even.  I don't exactly know how he does it, his movies sneak in and surprise me every time.  In 14 films, I've never once been bored by Eric Rohmer.

The Aviator's Wife - A young man, a law student, sees an older man leaving his (the student's) older girlfriend's apartment early in the morning.  The man was her ex-boyfriend, and he had been there to end their relationship because he was re-committing to his wife.  The student confronts the girl, but she denies everything and gets annoyed.  Later in the day, the student spots the older man and decides to follow him (he's especially suspicious when he sees the man with a mysterious blonde woman).  In a park, he meets a younger girl who decides to help him in his caper.  The film comes alive when the younger girl, played by Anne-Laure Meury (who has a supporting role in My Boyfriend's Girlfriend), appears.  She's clearly much more interesting and a much better fit for the student than the older woman, but he doesn't notice.  The location for the middle section of the film, a man-made park in Paris, is used wonderfully, and Meury and the student's adventures creating plotlines for the behavior of the older man and the blonde woman harken back to the kinds of protagonists that reinvent Paris in cinematic and narrative terms, a New Wave trope familiar from the likes of Celine & Julie Go Boating and Band of Outsiders, among many others.  This is the only one of the Comedies and Proverbs wherein the main character is a man, and as a fairly deluded one, he serves as a nice transition between the aggressively masculine (though of course quite talky and usually deluded) heroes of the Moral Tales.

A Good Marriage - A young art history student (Béatrice Romand) breaks up with her painter boyfriend and moves back home to her small town (Le Mans) where she meets a cousin of her best friend and decides to marry him.  Unfortunately for her, the young man doesn't ever seem to have enough free time to fall in love with her as well.  The man is played by André Dussollier, familiar, though looking much much younger, from last year's releases Wild Grass and Micmacs, directed by Alain Resnais and Jean-Pierre Jeunet, respectively.  It's a film where quite literally nothing happens, all of the students schemes end in failure, but is nonetheless so full of beautiful little heart-breaking moments as to always be compelling (Romand putting her head on Dussolier's shoulder as they leave a restaurant in particular lasts maybe two seconds, but it is the kind of image that will stick in your mind forever).

Pauline at the Beach - The actress who played the best friend in The Good Marriage, Arielle Dombasle, here plays Marion, vacationing with her younger cousin Pauline (Amanda Langlet) on the coast.  There she meets her ex-boyfriend Pierre (Pascal Greggory, who was in Luc Besson's Joan of Arc movie The Messenger and the late Raúl Ruiz's Time Regained), who is still annoyingly in love with her, and the older, more dangerous Henri.  Marion hooks up with Henri, which makes Pierre jealous, so she tries to get Pauline to like Pierre, but Pauline prefers Sylvain, a boy her own age.  While Marion is out of town, Henri hooks up with a local salesgirl and uses Sylvain to cover for him when he's almost discovered by Marion and Pierre.  Eventually, the women choose to believe their own version of events and go off reasonably happy.  This is by far the most complex Rohmer film I've seen in terms of plot, with so many major characters and their intertwining relationships.  But it's also one of the most satisfying: the beachside village is lovely, once again Rohmer proves himself the master of the vacation film.  This is probably the most representative example of what the Comedies and Proverbs are all about.  Each character has their ideal of love, and most get a chance to declaim it at length.  But in the end, none of their ideals prove practical and they are left to recreate a narrative of reality the best way they can.  It has a typically elegant visual style (with dominant reds, whites and blues and inspiration from a Matisse painting), with typically lovely cinematography from frequent Rohmer collaborator Néstor Almendros.

Full Moon in Paris - The apotheosis of one of the mini-tropes running throughout Comedies and Proverbs: the horror of white people dancing.  Both A Good Marriage and Pauline at the Beach feature cringe-worthy looks at this peculiar and disgusting social phenomenon, but Full Moon in Paris takes it over the top.  Not only are we treated to at least three extended sequences of drunk French people boogieing, this film is steeped in the 1980s like no movie I've seen in a long, long time.  Pascale Ogier (daughter of Bulle Ogier, from Celine & Jule Go Boating) plays a young woman who lives in the suburbs with her boyfriend Tchéky Karyo (from Bad Boys, GoldenEye and the upcoming Dobermann II: Arm Wrestle).  She's convinces him that it'd be a good idea for her to keep an apartment in the city, where she can spend her Fridays partying with her friends (he prefers to stay home).  Karyo's place is all dull modernism, with Mondrians on the walls providing the only small hints of colors that aren't bluish grey, where Ogier's city apartment is a masterpiece of 80s kitsch, she even has fake Greek columns framing her bed.  Infidelity is, of course, inevitable.  Ogier suspects Karyo when she spies him in town, but decides it was nothing.  Later, she hooks up with a fellow she meets at a party who wears cotton gloves with the fingers cut-out, a neck warmer and "plays sax in a band".  Feeling guilty, she returns home and finds she had the story wrong all along.

The Green Ray - A pretty, well-meaning, but slightly annoying woman (Marie Rivière, who also played the lead woman in The Aviator's Wife) can't decide what to do on vacation. Seems the friend she was going to Greece with ditched her at the last minute. She spends some time in the country with another friend's family (freaking them out with her freaky vegetarianism) goes back to Paris and mopes, heads off to the mountains and immediately leaves, and ends up on the coast watching the sunset. It's less verbal than the Moral Tales, which all feature male protagonists who non-stop talk themselves into and out of infidelities. Instead, we get a female protagonist, one who occasionally communicates in conversations, but just as often overhears other conversations, or simply walks alone through the various environments she finds herself in. Nature is more vital here than any of the other Rohmer's I've seen, as it should be given its title, a peculiar and potentially life-changing atmospheric phenomenon. Rohmer is great at endings, and the one here is as beautiful and epiphanic as any in cinema.  This remains my favorite Rohmer film, just nudging past My Night at Maud's.

My Girlfriend's Boyfriend - A Cultural Affairs bureaucrat named Blanche meets a computer student named Lea (played by Sophie Renoir, who had a small role in The Good Marriage and is the grand niece of director Jean Renoir) for lunch and the two quickly become friends.  Blanche lives in a trendy suburban housing complex from which you can almost make out the Eiffel Tower on the horizon.  Lea is dating Fabien, though she doesn't really like him that much (he's too earnest for her).  Through Lea and Fabien, Blanche meets the handsome and charming Alexandre and instantly falls in lust with him.  Unfortunately, he makes her so nervous she can hardly say a word in his presence.  When Lea goes on vacation with another man (trying out a break up with Fabien), Blanche and Fabien hang out a lot playing water sports (windsurfing, mostly) and have what they agree is a one-night stand.  The ending isn't as uplifting as The Green Ray (it's less ambiguous) and its Shakespearean dynamics aren't exactly unexpected, but it's the happiest ending of any of the Comedies and Proverbs, a pleasant surprise after the downer that is the Moral Tales closer Love in the Afternoon.

After watching most of these over the last week, here's how I'd rank them:

1. The Green Ray
2. Pauline at the Beach
3. My Girlfriend's Boyfriend
4. The Aviator's Wife
5. Full Moon Over Paris
6. The Good Marriage

But really, they're all pretty great.

Monday, August 22, 2011

Top 5 Top 5 Lists Related To, But Not Including, My Night at Maud's

Top 5 Eric Rohmer Films:

1. The Green Ray (1986)
2. Pauline at the Beach (1983)
3. Claire's Knee (1970)
4. The Romance of Astrea and Celadon (2007)
5. My Girlfriend's Boyfriend (1987)

Top 5 Films Photographed by Néstor Almendros:

1. Days of Heaven (Terrence Malick, 1978)
2. Pauline at the Beach (Eric Rohmer, 1983)
3. Claire's Knee (Eric Rohmer, 1970)
4. The Wild Child (François Truffaut, 1970)
5. Sophie's Choice (Alan J. Pakula, 1982)

Top 5 Jean-Louis Trintignant Films I Haven't Seen Yet:

1. Those Who Love Me Can Take the Train (Patrice Chéreau, 1998)
2. . . And God Created Woman (Roger Vadim, 1956)
3. Les biches (Claude Chabrol, 1968)
4. The Great Silence (Sergio Corbucci, 1968)
5. Confidentially Yours (François Truffaut, 1983)

Top 5 French New Wave Films By Cahiers du cinema Directors:

1. Pierrot le fou (Jean-Luc Godard, 1965)
2. The Green Ray (Eric Rohmer, 1986)
3. A Woman is a Woman (Jean-Luc Godard, 1961)
4. Celine & Julie Go Boating (Jacques Rivette, 1974)
5. The 400 Blows (François Truffaut, 1959)

Top 5 Films of 1969:

1. A Touch of Zen (King Hu)
2. Age of Consent (Michael Powell)
3. Army of Shadows (Jean-Pierre Melville)
4. Butch Cassidy and the Sundance Kid (George Roy Hill)
5. The Sorrow and the Pity (Marcel Ophuls)