The 2012 Ira Winners, Part 2: The Annual Accolades

We know you’ve been waiting with bated breath! Here are the 2012 Ira winners:

Best Costume Design: Kari Perkins, Bernie

Best Editing: Todd Woody Richman & Tyler H. Walk, How to Survive a Plague

Best Score: Dan Rohmer & Benh Zeitlin, Beasts of the Southern Wild

Best Production Design: Arvinder Grewal, Cosmopolis

Best Cinematography: Gökhan Tiryaki, Once upon a Time in Anatolia

Best Supporting Actress: Cecile de France, The Kid with a Bike

Best Supporting Actor: Taner Birsel, Once upon a Time in Anatolia

Best Actress: Rachel Weisz, The Deep Blue Sea

Best Actor: Jean-Louis Trintignant, Amour

Best Screenplay: Ebru Ceylan, Nuri Bilge Ceylan & Ercan Kesal, Once upon a Time in Anatolia

Best Director: Nuri Bilge Ceylan, Once upon a Time in Anatolia

Best Picture: Once upon a Time in Anatolia


And the ironic awards…

Mechanical Actress: Anne Hathaway, Les Miserables

Mechanical Actor: Russell Crowe, Les Miserables

Sominex: Tie: Les Miserables & Beasts of the Southern Wild

Dramamine: The Intouchables

Posted in Uncategorized | Leave a comment

The 2012 Ira Winners, Part 1: The Best of the 1950s.

Here are the 100 best films of the 1950s, ranked according to the judgment of our august body:

1. The Earrings of Madame de… (Max Ophüls, 1953)
2. Touch of Evil (Orson Welles, 1958)
3. Vertigo (Alfred Hitchcock, 1958)
4. Rear Window (Alfred Hitchcock, 1954)
5. The Searchers (John Ford, 1956)
6. In a Lonely Place (Nicholas Ray, 1950)
7. Anatomy of a Murder (Otto Preminger, 1959)
8. Tokyo Story (Yasujiro Ozu, 1953)
9. North by Northwest (Alfred Hitchcock, 1959)
10. Pickpocket (Robert Bresson, 1959)

11. A Man Escaped (Robert Bresson, 1956)
12. Some Came Running (Vincente Minnelli, 1958)
13. Ordet (Carl Theodor Dreyer, 1955)
14. Pickup on South Street (Samuel Fuller, 1953)
15. Written on the Wind (Douglas Sirk, 1956)
16. The Big Heat (Fritz Lang, 1953)
17. Kiss Me Deadly (Robert Aldrich, 1955)
18. The River (Jean Renoir, 1951)
19. Sunset Blvd. (Billy Wilder, 1950)
20. Some Like It Hot (Billy Wilder, 1959)

21. The Naked Spur (Anthony Mann, 1953)
22. Ugetsu (Kenji Mizoguchi, 1953)
23. Night and the City (Jules Dassin, 1950)
24. Rio Bravo (Howard Hawks, 1959)
25. The Band Wagon (Vincente Minnelli, 1953)
26. French Cancan (Jean Renoir, 1954)
27. Imitation of Life (Douglas Sirk, 1959)
28. Pather Panchali (Satyajit Ray, 1955)
29. Rebel Without a Cause (Nicholas Ray, 1955)
30. The Night of the Hunter (Charles Laughton, 1955)

31. Kanal (Andrzej Wajda, 1956)
32. On Dangerous Ground (Nicholas Ray, 1952)
33. Sansho the Bailiff (Kenji Mizoguchi, 1954)
34. Bigger Than Life (Nicholas Ray, 1956)
35. Early Summer (Yasujiro Ozu, 1951)
36. Diary of a Country Priest (Robert Bresson, 1951)
37. Floating Weeds (Yasujiro Ozu, 1959)
38. Smiles of a Summer Night (Ingmar Bergman, 1955)
39. All About Eve (Joseph L. Mankiewicz, 1950)
40. Sweet Smell of Success (Alexander Mackendrick, 1957)

41. Strangers on a Train (Alfred Hitchcock, 1951)
42. The Man From Laramie (Anthony Mann, 1955)
43. Johnny Guitar (Nicholas Ray, 1954)
44. Gun Crazy (Joseph H. Lewis, 1950)
45. All That Heaven Allows (Douglas Sirk, 1955)
46. The 400 Blows (François Truffaut, 1959)
47. Lola Montès (Max Ophüls, 1955)
48. Viaggio in Italia (Roberto Rossellini, 1953)
49. The Bad and the Beautiful (Vincente Minnelli, 1952)
50. Bob le Flambeur (Jean-Pierre Melville, 1956)

51. Ashes and Diamonds (Andrzej Wajda, 1958)
52. Ride Lonesome (Budd Boetticher, 1959)
53. Late Chrysanthemums (Mikio Naruse, 1954)
54. The Asphalt Jungle (John Huston, 1950)
55. Senso (Luchino Visconti, 1954)
56. I Vitelloni (Federico Fellini, 1953)
57. Bend of the River (Anthony Mann, 1952)
58. The Quiet Man (John Ford, 1952)
59. A Star Is Born (George Cukor, 1954)
60. Pyaasa (Guru Dutt, 1957)

61. The Killing (Stanley Kubrick, 1955)
62. Invasion of the Body Snatchers (Don Siegel, 1956)
63. Winchester ’73 (Anthony Mann, 1950)
64. 99 River Street (Phil Karlson, 1953)
65. Bonjour Tristesse (Otto Preminger, 1958)
66. It’s Always Fair Weather (Stanley Donen, Gene Kelly, 1955)
67. The Life of Oharu (Kenji Mizoguchi, 1952)
68. Seven Samurai (Akira Kurosawa, 1954)
69. Mr. Arkadin (Orson Welles, 1955)
70. Stalag 17 (Billy Wilder, 1953)

71. Where the Sidewalk Ends (Otto Preminger, 1950)
72.The Big Combo (Joseph H. Lewis, 1955)
73. Forty Guns (Samuel Fuller, 1957)
74. The Tall T (Budd Boetticher, 1957)
75. Touchez Pas au Grisbi (Jacques Becker, 1954)
76. Rashomon (Akira Kurosawa, 1950)
77. Wagon Master (John Ford, 1950)
78. The Girl Can’t Help It (Frank Tashlin, 1956)
79. East of Eden (Elia Kazan, 1955)
80. Hiroshima, Mon Amour (Alain Resnais, 1959)

81. The Man Who Knew Too Much (Alfred Hitchcock, 1956)
82. Stars in My Crown (Jacques Tourneur, 1950)
83. Ace in the Hole (Billy Wilder, 1951)
84. The Phenix City Story (Phil Karlson, 1955)
85. Rififi (Jules Dassin, 1955)
86. Nights of Cabiria (Federico Fellini, 1957)
87. The Golden Coach (Jean Renoir, 1952)
88. Street of Shame (Kenji Mizoguchi, 1956)
89. 3:10 to Yuma (Delmer Daves, 1957)
90. The Flowers of St. Francis (Roberto Rossellini, 1950)

91. Wild Strawberries (Ingmar Bergman, 1957)
92. The Big Knife (Robert Aldrich, 1955)
93. The Cranes Are Flying (Mikhail Kalatozov, 1957)
94. The Wages of Fear (Henri-Georges Clouzot, 1953)
95. Paths of Glory (Stanley Kubrick, 1957)
96. Will Success Spoil Rock Hunter? (Frank Tashlin, 1957)
97. Mon Oncle (Jacques Tati, 1958)
98. Singin’ in the Rain (Stanley Donen, Gene Kelly, 1952)
99. Gentlemen Prefer Blondes (Howard Hawks, 1953)
100. M. Hulot’s Holiday (Jacques Tati, 1953)

Posted in Uncategorized | Leave a comment

Alex’s 2012 Ira Ballot

Another Destination Iras! This year we’re going to beautiful Truro, MA, the hometown of our friends Howard and Ed, who are graciously hosting our grand ceremony this year.

And again this year the Iras are a two-night affair: The first night will be devoted to our round-up of the best films of the 1950s. (We’re going to do a different decade every year. In 2014 it’ll be the 1960s.)

The second night will be our usual deal: the best and worst of 2012.

We’ll post the results of both on Sunday night.

I had a harder time filling out my ballot for 2012 than for any year since I’ve been an Ira voter. My favorite film of the year is unlikely to get support from anyone else (mock away, Aaron) and so I might change some of this around when we’re actually in the room casting votes. (You’re allowed to do that.) But while we’re in the void of Pomona, here’s my ideal Ira ballot.

(A reminder: The ballot works on a point system. So The Grey is my top choice for Best Editing, i.e. my 5-pointer. Wuthering Heights is my next-favorite, etc.)

Best Editing

5 points: Roger Barton & Jason Hellman, The Grey
4 points: Nicolas Chaudeurge, Wuthering Heights
3 points: Todd Woody Richman & Tyler H. Walk, How to Survive a Plague
2 points: Wolfgang Widerhofer, Michael
1 point: Bob Ducsay, Looper

Best Production Design

5. Rick Carter, Lincoln
4. Hugh Bateup & Uli Hanisch, Cloud Atlas
3. Martin Whist, The Cabin in the Woods
2. Arvinder Grewal, Cosmopolis
1. Beth Mickle, Arbitrage

Best Costume Design

5. Jany Tamime, Skyfall
4. Tran Nu Yên Khê, Norwegian Wood
3. Steven Noble, Wuthering Heights
2. Kari Perkins, Bernie
1. Anaïs Romand, Holy Motors

Best Score

5. Reinhold Heil, Johnny Klimek & Tom Tykwer, Cloud Atlas
4. David Holmes, Haywire
3. Stuart Bogie, How to Survive a Plague
2. Johnny Greenwood, The Master & Norwegian Wood
1. Mark Streitenfeld, The Grey

Best Cinematography

5. Masanobu Takanayagi, The Grey
4. Caroline Champetier, Holy Motors
3. Gökhan Tiryaki, Once upon a Time in Anatolia
2. Mark Lee Ping Bin, Norwegian Wood
1. Robbie Ryan, Wuthering Heights

Best Supporting Actress

5. Cecile de France, The Kid with a Bike (though I have a hunch the decision-making body of the Iras will rule her a lead)
4. Rinko Kikuchi, Norwegian Wood
3. Lara Cayoutte, Django Unchained
2. Emily Blunt, Looper
1. Shirley MacLaine, Bernie
Alternate (in case Cecile jumps to Best Actress): Juliette Binoche, Cosmopolis

Best Supporting Actor

5. Zachary Booth, Keep the Lights On
4. Bradley Whitford, The Cabin in the Woods
3. Nate Parker, Arbitrage
2. Sam Rockwell, Seven Psychopaths
1. Ezra Miller, The Perks of Being a Wallflower

Best Actress

5. Hani Furstenberg, The Loneliest Planet
4. Ariane Labed, Attenberg
3. Rachel Weisz, The Deep Blue Sea
2. Michelle Williams, Take This Waltz
1. Nadezhda Markina, Elena

Best Actor

5. Daniel Day-Lewis, Lincoln
4. Anders Danielsen Lie, Oslo, August 31st
3. Jack Black, Bernie
2. Michael Fuith, Michael
1. Denis Lavant, Holy Motors

Best Screenplay

5. Joe Carnahan & Ian Mackenzie Jeffers, The Grey
4. Tony Kushner, Lincoln
3. Julia Loktev, The Loneliest Planet
2. Andrea Arnold & Olivia Hetreed, Wuthering Heights
1. Ira Sachs & Mauricio Zacharias, Keep the Lights On

Best Director

5. Joe Carnahan, The Grey
4. Andrea Arnold, Wuthering Heights
3. Julia Loktev, The Loneliest Planet
2. Sarah Polley, Take This Waltz
1. Nure Bilge Ceylon, Once upon a Time in Anatolia

Best Picture

5. The Grey
4. The Loneliest Planet
3. How to Survive a Plague
2. Lincoln
1. Wuthering Heights

And the ironic awards:

Mechanical Actor

5. Hugh Jackman, Les Miserables
4. Russell Crowe, Les Miserables
3. Sacha Baron Cohen, Les Miserables
2. Eddie Redmayne, Les Miserables
1. Aaron Tveit, Les Miserables

Mechanical Actress

5. Amanda Seyfried, Les Miserables
4. Anne Hathaway, Les Miserables
3. Isabelle Allen, Les Miserables
2. Helena Bonham Carter, Les Miserables
1. Quvenzhané Wallis, Beasts of the Southern Wild

Sominex (for the movie that puts you to sleep)

5. The Turin Horse
4. Les Miserables
3. The Master
2. Rust and Bone
1. Beasts of the Southern Wild

Dramamine (for the movie that makes you sick)

5. The Impossible
4. Silver Linings Playbook
3. The Sessions
2. Monsieur Lazhar
1. Hitchcock

Posted in Uncategorized | Leave a comment

Aaron’s 2012 Ira Ballot

So, I guess it’s my turn. I don’t have many comments, aside from saying that in my ironic awards I was not targeting movies that you love, Alex—it’s just that you happen to love garbage movies (Best Exotic Marigold Hotel and Flight). There are some nice overlaps on our lists. I think we only disagree on a handful of important titles:

Best Editing

5 Paul Gaillard, Declaration of War
Mario Battistel, Norwegian Wood
Bora Goksingol, Once Upon a Time in Anatolia
Nelly Quettier,  Holy Motors
Nicolas Chaudeurge, Wuthering Heights

Best Production Design

5 Arvinder Grewal, Cosmopolis
4 Norifumi Ataka, Tran Nu Yen-Khe Norwegian Wood
3 Dafni Kalogianni Attenberg)
2 James Merifield, The Deep Blue Sea
1  Howard Cummings, Haywire

Best Costumes

5 Denise Cronenberg, Cosmopolis
Tran Nu Yen-Khe, Norwegian Wood
Anais Romand, Holy Motors
Ruth Myers, The Deep Blue Sea
Thanos Papastergiou, Vasileia Rozana, Attenberg

Best Music

5 Dan Romer, Benh Zeitlin, Beasts of the Southern Wild
Jonny Greenwood, Norwgian Wood, The Master
David Holmes, Haywire
2 Philip Glass, Elena
Dario Marianelli, Anna Karenina, Quartet

Best Cinematography

5 Ping Bin Lee, Norwegian Wood
Inti Briones, The Loneliest Planet
Gökhan Tiryaki, Once Upon a Time in Anatolia
Peter Suschitzky, Cosmopolis
Caroline Champetier, Holy Motors

Best Supporting Actress

5 Cecile de France, Kid with a Bike
4 Isabella Rossellini, Keyhole
3 Shirley MacLaine, Bernie
 Juliette Binoche, Cosmopolis
1 Susan Sarandon, Arbitrage

Best Supporting Actor

5 Leo DiCaprio, Django Unchained
4 Shlomo Bar-Aba, Footnote
3 Matthew McConaughey, Bernie, Magic Mike
2 Paul Giamatti, Cosmopolis
1 Jeremie Renier, The Kid with a Bike

Best Actress

5 Ariane Labed, Attenberg
4 Hani Furstenberg, The Loneliest Planet
3 Marianne Cotillard, Rust and Bone
2 Rachel Weisz, Deep Blue Sea
1 Valerie Donzelli, Declaration of War

Best Actor

5 Robert Patinson, Cosmopolis
4 Joaquin Phoenix, The Master
3 Jack Black, Bernie
2 Gael Garcia Bernal, The Lonliest Planet
1 Jason Patric, Keyhole

Best Script

5 Athina Rachel Tsangari, Attenberg
4 Julia Loktev, The Loneliest Planet
3 Ebru Ceylan, Nuri Bilge Ceylan, Ercan Kesal, Once Upon a Time in Anatolia
2 David Cronenberg, Cosmopolis
1 Quentin Tarantino, Django Unchained

Best Director

5 Nuri Bilge Ceylan, Once Upon a Time in Anatolia
Chantal Akerman, Almeyer’s Folly
David Cronenberg, Cosmopolis
Athina Rachel Tsangari, Attenberg
Julia Loktev, The Loneliest Planet

Best Picture

5  Once Upon a Time in Anatolia
Almeyer’s Folly
The Loneliest Planet

And the ironics…

Mechanical Actor

5 Paul Dano, For Ellen, Ruby Sparks
4 Dev Patel, The Best Exotic Whorehouse in Texas
3 Christian Bale, The Dark Knight Rises
2 Denzel Washington, Flight
1 John Hawkes, The Sessions


Mechanical Actress

5 Anne Hathaway, Les Miserable
4 Judi Dench, BEMH
3 Maggie Smith, BEMH
2 Penelope Wilton, BEMH
1 Jennifer Lawrence, The Hunger Games


5 Les Miserable
The Hunger Games
The Turin Horse
Red Hook Summer


5 The Intouchables
4 Friends with Kids
3 Best Exotic Marigold Hotel
2 Silver Linings Playbook
1 Flight

Posted in Uncategorized | Leave a comment

Alex Finally Catches up with “The Best Exotic Marigold Hotel” … and Risks Getting Dumped By Aaron.

Alex: It looked terrible. It looked sun-kissed and sentimental. It looked like a bunch of uptight English prunes on a reluctant journey that ultimately reminds them of life’s joys. It looked racist. It looked like this year’s The Help. It had to be a turkey.

But I loved The Best Exotic Marigold Hotel. Again and again I underestimated it. I thought it was going to give its token brown characters some token emotional moments, but in fact the story of Dev Patel — who runs the titular hotel — and his girlfriend is complicated and has many concerned parties and far-reaching consequences. I thought it was going to let us laugh at its fish-out-of-water heroes, but in fact it affords its characters complete dignity (which is their struggle, anyway — i.e. to preserve their dignity). I thought it was going to sentimentalize an “exotic” journey and thus sanctify the idea of home, but in fact several of these characters have to redefine “home” — and I was (happily) surprised that a troubled marriage dissolves rather than repairing itself.

The Judi Dench character is blogging about the trip, and I thought we were going to get schtick about how she stumbles when trying to speak the language of the internets, but in fact the blog entries become voice-over narration that both serves the storytelling — another surprise: the movie takes place over two months, it’s not an eight-day jaunt — and allows for some beautifully written reflection. Again and again I found myself appreciating the word-by-word writing in this movie. (The script is by Ol Parker.) The one-liners aren’t cheap or easy; the advice from elders to youngers about life and love is never hackneyed but, rather, thought through and slightly verbose in that way that indicates someone trying to articulate something as opposed to deploying platitutdes.

I thought it was going to be lit with dusty streams of golden sunlight and scored by sitar and tabla, but both the cinematography (by Ben Davis) and the score (by Thomas Newman) are restrained and unpretentious and don’t exoticize what they observe. (The deeper I got into the movie the more I appreciated the joke of its title.)

I thought that when Tom Wilkinson reunites with his male lover we’d have a tawdry scene in which the lover’s wife cries and screams and throws things. But in fact, she’s known all along about her husband and is gratified by Wilkinson’s return.

Two things I didn’t like and that do fit the cliches of this sort of movie:

I wish the gay character didn’t die wistfully and alone, having made a kind of peace. (Wilkinson is keeping a big secret about his health but his terminal condition is a cheap motivator for his quitting his career and making this journey. What if he just quit his career and made the journey?)

And while I love the Maggie Smith storyline — who she was in her former life and whom she bonds with in this one are unexpected and very touching — I wish she wouldn’t be the one who saves the hotel when it’s in its worst crisis. It smacks of inept brown people being rescued by a cool-headed and educated white person. (But I’m being a little unfair; Dev Patel, whom Maggie rescues with her accounting acumen, is consistently a showman, a pitchman, who is terrible with numbers and money. He does need to be rescued, he does need a partner.)

I was a little surprised that the Academy gave no love to this movie — it seemed the early-year prestige film that the voters would be proud of themselves for remembering and honoring — but then I actually saw the movie. Now I see why it’s not an Oscar contender: It’s too good.

Aaron: Oh, Jesus Christ walking to the ocean in sandals while fasting! I mean, what the fuck am I supposed to say to this?! Pillorying you for such a dumb opinion makes me a dick and a spoil sport and some sort of intellectual highbrow dilettante (I am all those things, thankyouverymuch!), so I’ll try to avoid being too mean.

I will say it’s amazing how your squish and squirm your way through your laudatory post. Basically you praise the film for being not stupid and not offensive with the thinnest evidence. Oh! The marriage of two people who loathe one another actually ends! That’s SOOOOOO bold! No—that’s a fucking small hat tip (the only one) to unsentimentalized life. Go watch In a Lonely Place. It’s brutal and doesn’t involve an exploited group of Orientals (hat tip to Edward Said). “Several of these characters have to redefine ‘home'”. Uh, that’s the most banal Hollywood trope ever. Take just about any horribly middlebrow domestic melodrama from the 1940s through 1960s and you’ll see that exact same notion… but they won’t idealize brown people from the Subcontinent.

Oh wait—here’s a chance for me to bring up Renoir’s The River (Jean, I’m really, really sorry that I have to bring up your masterpiece in the context of such dreck. Really, don’t blame me; Alex is making me do it). That is a film about the “redefining of ‘home'” and how there are similarities across cultures and skin colors (what Renoir once described as the “horizontality of the world”) and how things like miscegeny is a reality on the ground in subaltern cultures and how there’s a natural world (rivers) that supersedes everything in the human world. It sounds a lot like the Madden (I almost wrote “the Hooper,” but then realized this was not a hackjob by Tom, but one by the man who brought us Shakespeare in Love), but it doesn’t insult the viewer and treat us like we watch movies at a third-grade level. It doesn’t make something **important** and sentimental out of a white boy dying after getting bitten by a viper; it just shows that in the natural flow of time and the world, shit happens and you have to deal with it. (You’re right about Wilkinson dying being dumb; but not because it’s a dumb cliché for the fag to die. It’s a stupid inclusion here because it’s a HOTEL THAT CATERS TO OLD PEOPLE, so they should have a death every other day.)

You’re wrong about the cinematography in this film. It’s not restrained; it’s garbage and shoves pictures of beautiful environmental things and places along with **beautiful flowing colorful silks** in our faces. The whole thing is soft-focused and **dramatically lighted** so we will sit back and say “it’s beautiful,” when in fact it’s just pictures of beautiful places that are almost impossible to mess up. Like grilled cheese.

I mean, Jesus—what the hell?! To say that Judi Dench’s blogging is some special thing because it serves as diegetic voice-over narration, is like praising Madden for using a score. Who gives a hell? First, I couldn’t imagine this movie not having a narrator telling me exactly what one character feels and thinks in a suffocatingly banal way (because people like you, who appreciate mindless sentimentality, need explicit emotional instruction); second, I think the blog/journal-as-narrator idea is such a cliché I will invoke Doogie Howser, M.D. to say, “it’s been done before, Vinnie.”

Mostly the film is very proud of itself for being above the racial fray and transcending some notions of “culture” and “tradition” and “post-colonialism.” The Dev Patel romance thread is ridiculous and annoying (really, any romance of the “mom/dad-doesn’t-want-son-to-marry-that-woman” variety is not worth discussion). I was most upset that one of them didn’t try to get a cheap experimental surgery from an Indian hospital… though I guess you have to be in the American healthcare system to do that (NHS is probably great for olds).

This film reminds me of that Ryan Murphy magnum opus Eat Pray Love, which I previously described as “white people using the developing world as their toilet.” I would say the same here, though it’s more “white people using the developing world as their sanitary diaper bin.”

Posted in Uncategorized | 1 Comment

Alex’s 100 Favorite Movies of the 1950s

Alex: So our beloved circle of film nerds/experts/snobs — I refer, of course, to the voting body of the Ira Awards — are now doing a decade-by-decade round-up, starting, this year, with the 1950s. By New Year’s Day each voter was supposed to submit his own personal list of the 100 best movies of the 1950s.

I won’t bore you with the next steps — mostly because I don’t really understand them — but all of this will lead to an aggregate list, and on Ira Night 2013 (start shopping for dresses now, ladies) we’ll rank all 100 of those titles.

In the meantime, here are Aaron’s and my personal lists. Although we’re not required — we’re not even supposed — to rank the titles, we thought it would be fun to pull out our top ten anyway.

So. Without further blah-blah, here are Alex’s 100 Favorite Movies of the 1950s:

Top Ten:

1. Sansho the Bailiff (Mizoguchi, 1954)

2. The River (Renoir, 1951)

3. The Flavor of Green Tea over Rice (Ozu, 1952)

4. Rally ’Round the Flag, Boys! (McCarey, 1958)

5. The Earrings of Madame de… (Ophuls, 1953)

6. I Confess (Hitchcock, 1953)

7. Elevator to the Gallows (Malle, 1958)

8. Kanal (Wajda, 1957)

9. Touch of Evil (Welles, 1958)

10. Ugetsu (Mizoguchi, 1953)

And the remaining 90, in alphabetical order:

3:10 to Yuma (Daves, 1957)
99 River Street (Karlson, 1953)
The 400 Blows (Truffaut, 1959)
All about Eve (Mankiewicz, 1950)
All that Heaven Allows (Sirk, 1955)
Ashes and Diamonds (Wajda, 1958)
The Asphalt Jungle (Huston, 1950)
Bad Day at Black Rock (J. Sturges, 1954)
The Band Wagon (Minnelli, 1953)
Bend of the River (Mann, 1952)

The Big Combo (Lewis, 1955)
Bigger than Life (N. Ray, 1956)
Bob le Flambeur (Melville, 1956)
The Big Heat (Lang, 1953)
A Catered Affair (Brooks, 1956)
Clash by Night (Lang, 1952)
The Cranes are Flying (Kalatozov, 1957)
Creature from the Black Lagoon (Arnold, 1954)
Day of the Outlaw (de Toth, 1959)
Detective Story (Wyler, 1951)

Early Spring (Ozu, 1956)
Early Summer (Ozu, 1951)
East of Eden (Kazan, 1955)
A Face in the Crowd (Kazan, 1957)
The Far Country (Mann, 1954)
Floating Clouds (Naruse, 1955)
Floating Weeds (Ozu, 1959)
The Furies (Mann, 1950)
A Generation (Wajda, 1955)
Great Day in the Morning (Tourneur, 1956)

Hiroshima Mon Amour (Resnais, 1959)
House of Bamboo (Fuller, 1955)
In a Lonely Place (N. Ray, 1950)
Invasion of the Body Snatchers (Siegel, 1956)
The Killing (Kubrick, 1956)
Limelight (Chaplin, 1952)
The Lusty Men (N. Ray, 1952)
A Man Escaped (Bresson, 1956)
The Man from Laramie (Mann, 1955)
The Man Who Knew Too Much (Hitchcock, 1956)

The Naked Spur (Mann, 1953)
The Narrow Margin (Fleischer, 1952)
Night and the City (Dassin, 1950)
The Night of the Hunter (Laughton, 1955)
Nightfall (Tourneur, 1957)
Nights of Cabiria (Fellini, 1957)
North by Northwest (Hitchcock, 1959)
On Dangerous Ground (N. Ray, 1952)
Ordet (Dreyer, 1955)
Orpheus (Cocteau, 1950)

Pather Panchali (S. Ray, 1955)
The Phenix City Story (Karlson, 1955)
Pickpocket (Bresson, 1952)
Pickup on South Street (Fuller, 1953)
Le Plaisir (Ophuls, 1952)
Pyaasa (Dutt, 1957)
Ransom! (Segal, 1956)
Rashomon (Kurosawa, 1950)
Ride Lonesome (Boetticher, 1959)
Rififi (Dassin, 1955)

Rio Bravo (Hawks, 1959)
Room at the Top (Clayton, 1959)
Sabrina (Wilder, 1954)
Seven Men from Now (Boetticher, 1956)
Seven Samurai (Kurosawa, 1954)
Singin’ in the Rain (Donen, 1952)
Smiles of a Summer Night (Bergman, 1955)
Some Like It Hot (Wilder, 1959)
Stars in My Crown (Tourneur, 1950)
Strangers on a Train (Hitchcock, 1951)

Street of Shame (Mizoguchi, 1956)
Sunset Blvd. (Wilder, 1950)
Sweet Smell of Success (Mackendrick, 1957)
The Tall T (Boetticher, 1957)
There’s Always Tomorrow (Sirk, 1956)
Throne of Blood (Kurosawa, 1957)
To Catch a Thief (Hitchcock, 1955)
Tokyo Story (Ozu, 1953)
Touchez Pas au Grisbi (Becker, 1954)
Viaggio in Italia (Rossellini, 1955)

I Vitelloni (Fellini, 1953)
The Wages of Fear (Clouzot, 1953)
Wagon Master (Ford, 1950)
The War of the Worlds (Haskin, 1953)
Where the Sidewalk Ends (Preminger, 1950)
Wichita (Tourneur, 1957)
Wild Strawberries (Bergman, 1957)
Winchester 73 (Mann, 1950)
Witness for the Prosecution (Wilder, 1957)
Written on the Wind (Sirk, 1956)

Posted in Uncategorized | Leave a comment

Aaron’s 100 Favorite Movies of the 1950s

Aaron: Leave it to Alex to format his list in a special way that looks good and would take me an hour to replicate. Alex, you love, er, gilding lilies. So here is my list. I think we have a lot in common, and there are very few movies on your list that I don’t like (most of the ones you have that I don’t are ones that I haven’t seen, others are ones that just missed my 100).

Aaron’s Top Ten Films of the 1950s

1 Rear Window (Hitchcock, 1954)
2 In a Lonely Place (N. Ray, 1950)
3 The River (Renoir, 1951)
4 Tokyo Story (Ozu, 1953)
5 Pather Panchali (S. Ray, 1955)
6 The 400 Blows (Truffaut, 1959)
7 Night of the Hunter (Laughton, 1955)
8 Rio Bravo (Hawks, 1959)
9 Written on the Wind (Sirk, 1956)
10 A Man Escaped (Bresson, 1956)

And the rest of ’em, in alphabetical order:

3:10 to Yuma (Daves, 1957)
99 RIver Street (Karlson, 1953)
All About Eve (Mankiewicz, 1950)
Angel Face (Preminger, 1952)
Anatomy of a Murder (Preminger, 1959)
Aparajito (Ray, 1956)
Ashes and Diamonds (Wajda, 1958)
Asphalt Jungle (Huston, 1950)
Bad and the Beautiful, The (Minnelli, 1952)
Band Wagon, The (Minnelli, 1953)

Bend of the River (Mann, 1952)
Big Combo, The (Lewis, 1955)
Big Heat, The (Lang, 1953)
Big Knife, The (Aldrich, 1955)
Bigger than Life (Ray, 1956)
Bob le Flambeur (Melville, 1956)
Bonjour Tristesse (Preminger, 1958)
Broken Arrow (Mann, 1950)
Casque D’Or (Becker, 1952)
Catered Affair, A (Brooks, 1956)

Clash by Night (Lang, 1952)
Cranes are Flying, The (Kalatozov, 1957)
Diary of a Country Priest (Bresson, 1951)
Earrings of Madame de…, The (Ophüls, 1953)
East of Eden (Kazan 1955)
Elevator to the Gallows (Malle, 1958)
Face in the Crowd, A (Kazan, 1957)
Far Country, The (Mann, 1954)
Floating Weeds (Ozu, 1959)
Forty Guns (Fuller, 1957)

French Cancan (Renoir, 1954)
Girl Can’t Help It, The (Tashlin, 1956)
Hiroshima, Mon Amour (Resnais, 1959)
Invasion of the Body Snatchers (Siegel, 1956)
Jet Pilot (von Sternberg/Furthman/Ray, 1949-57)
Johnny Guitar (Ray, 1954)
Journey in Italy (Rossellini, 1954)
Kanal (Wajda, 1957)
Kiss Me Deadly (Aldrich, 1955)
Life of Oharu, The (Mizoguchi, 1952)

Lola Montès (Ophüls, 1955)
Lusty Men, The  (Ray, 1952)
Man From Laramie, The (Mann, 1955)
Mon Oncle (Tati, 1958)
Mr. Hulot’s Holiday (Tati, 1953)
Murder by Contract (Lerner, 1958)
Naked Spur, The (Mann, 1954)
Narrow Margin, The (Fleischer, 1952)
Niagara (Hathaway, 1953)
Night and the City (Dassin, 1950)

Nightfall (Tourneur, 195
Nights of Cabiria (Fellini, 1957)
North by Northwest (Hitchcock, 1959)
On Dangerous Ground (Ray, 1952)
Ordet (Dreyer, 1955)
Pickpocket (Bresson, 1959)
Pickup on South Street (Fuller, 1953)
Plasir, Le (Ophüls, 1951)
Ransom! (Segal, 1956)
Rashomon (Kurosawa, 1950)

Rebel Without a Cause (Ray, 1955)
Ride Lonesome (Boetticher, 1959)
Rififi (Dassin, 1955)
Sansho the Bailiff (Mizoguchi, 1954)
Sawdust and Tinsel (Bergman, 1953)
Seven Samurai (Kurosawa, 1954)
Seven Year Itch, The (Wilder, 1955)
Shane (Stevens, 1953)
Singin’ in the Rain (Donnen, 1952)
Some Came Running (Minnelli, 1958)

Some Like it Hot (Wilder, 1959)
Stalag 17 (Wilder, 1953)
Stars in My Crown (Tourneur, 1950)
Strangers on a Train (Hitchcock, 1951)
Sunset Blvd. (Wilder, 1950)
Sweet Smell of Success (Mackendrick, 1957)
Tall T, The (Boetticher, 1957)
There’s Always Tomorrow (Sirk, 1956)
Touch of Evil (Welles, 1958)
Touchez pas au Grisbi (Becker, 1954)

Ugetsu (Mizoguchi, 1953)
Umberto D. (De Sica, 1952)
Vitelloni, I (Fellini, 1953)
Vertigo (Hitchcock, 1958)
Wages of Fear, The (Clouzot, 1953)
Where the Sidewalk Ends (Preminger, 1950)
Wichita (Tourneur, 1955)
Wild Strawberries (Bergman, 1957)
Will Success Spoil Rock Hunter? (Tashlin, 1957)
World of Apu, The (Ray, 1959)

Posted in Uncategorized | Leave a comment