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 The Corrierino Consensus 
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Despite delays, despite frustrations, this finally goes up. And I’m happy to say that despite every delay, it was worth it – indeed, instead of a half-baked, incomplete and near-aborted exercise in number crunching, most of the list has been written for. To those who helped, Thank you for your efforts, with special thanks to Snapper and Shieldmaiden for jumping into the process as much as they did, individually thanking each writer would be quite a list, but if you wrote something for the thread, you’ve my gratitude. Will this thread live up to the kind of hype a nearly half a year delay might have created? Not likely, but I’m happy to present the work of the community anyway.

Beyond that – this was an interesting exercise; lists maintained high ratios of unique titles throughout the entirety of voting, the final list tallies in a huge number of films, 935 unique films to be exact – only 50 films made it to the top – now, without further ado, let’s start posting the list.

Index of consensus:
51-100 can be found here.
50. Millennium Mambo [Hsiao-hsien Hou/2001/Taiwan]
49. Touch of Evil [Orson Welles/1958/USA]
48. Hiroshima, Mon Amour [Alain Resnais/1959/France]
47. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb [Stanley Kubrick/1964/UK and USA]
46. The New World [Terrence Malick/2005/USA and UK]
45. Eyes Wide Shut [Stanley Kubrick/1999/UK and USA]
44. La Dolce Vita [Federico Fellini/1960/Italy and France]
43. Dead Ringers [David Cronenberg/1988/Canada and USA]
42. Syndromes and a Century [Apichatpong 'Joe' Weerasethakul/2006/Thailand]
41. Alien [Ridley Scott/1979/USA]
40. The Texas Chainsaw Massacre [Tobe Hooper/1974/USA]
39. F For Fake [Orson Welles/1973/France]
38. Celine and Julie Go Boating [Jacques Rivette/1974/France]
37. Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles [Chantal Akerman/1975/Belgium and France]
36. Beau Travail [Claire Denis/1999/France]
35. Rear Window [Alfred Hitchcock/1954/USA]
34. Andrei Rublev [Andrei Tarkovsky/1966/USSR]
33. Naked [Mike Leigh/1993/UK]
32. Happy Together [Wong Kar-Wai/1997/Hong-Kong]
31. The Bitter Tears of Petra Von Kant [Rainer Werner Fassbinder/1972/Germany]
30. L'eclisse [Michelangelo Antonioni/1962/Italy]
29. Vertigo [Alfred Hitchcock/1958/USA]
28. Fallen Angels [Wong Kar-Wai/1995/Hong-Kong]
27. Lawrence of Arabia [David Lean/1962/UK]
26. Singin' in the Rain [Stanley Donen & Gene Kelly/1952/USA]
25. The Shining [Stanley Kubrick/1980/UK & USA]
24. Blade Runner [Ridley Scott/1982/USA, Hong-Kong & UK]
23. Paris, Texas [Wim Wenders/1984/France, Germany, UK & USA]
22. L'avventura [Michelangelo Antonioni/1960/Italy and France]
21. Fanny and Alexander [Ingmar Bergman/1982/Sweden, France and Germany]
20. The Young Girls of Rochefort [Jacques Demy/1967/France]
19. The Passion of Joan of Arc [Carl Theodor Dreyer/1928/France]
18. Sunrise [F.W Murnau/1927/USA]
17. Persona [Ingmar Bergman/1966/Sweden]
16. The Red Shoes [Michael Powell and Emeric Pressburger/1948/UK]
15. The Tree of Life [Terrence Malick/2011/USA]
14. Playtime [Jacques Tati/1967/France and Italy]
13. Suspiria [Dario Argento/1977/Italy]
12. Last Year at Marienbad [Alain Resnais/1961/France and Italy]
11. Once Upon a Time in the West [Sergio Leone/1968/Italy and USA]
10. Taxi Driver [Martin Scorsese/1976/USA]
9. Three Colors: Red [Krzysztof Kieslowski/1994/France, Switzerland and Poland]
8. Barry Lyndon [Stanley Kubrick/1975/UK and USA]
7. In the Mood for Love [Wong Kar-Wai/2000/Hong-Kong]
6. Apocalypse Now [Francis Ford Coppola/1979/USA]
5.The Double Life of Veronique [Krzysztof Kieslowski/1991/France, Poland]
4. 2001: A Space Odyssey [Stanley Kubrick/1968/USA, UK]
3. Stalker [Andrei Tarkovsky/1979/USSR]
2. Mulholland Dr. [David Lynch/2001/USA]
1. 8 1/2 [Federico Fellini/1963/Italy]

Individual list index:
Individual lists 1-6
Individual lists 7-12
Individual lists 13-18
Individual lists 19-24
Individual lists 25-30
Individual lists 31-36


Sun Dec 02, 2012 8:54 am
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Hot diggity!

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Sun Dec 02, 2012 8:56 am
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Post 50. Millenium Mambo

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Hsiao-hsien Hou/2001/Taiwan
Writing by: Charulata
Tallied points in consensus: 90

The title suggests a dance and indeed Hou's film unravels much like one. Rather than adhering to chronology or traditional plot progression, Mill Mambo's scenes with their repetition and mirroring unfold like a series of graceful dance steps that collectively capture the frenzied ecstasy as well as the trembling uncertainty that marks the terminus of youth as well as the end of a century. This carefully choreographed structure is perfectly complemented by the techno score that runs throughout the film mirroring the circularity of the structure and evoking the sense of drift that envelopes the lives of these characters. And finally, there's the narration that along with the visuals and the music, acts as a third component that reinforces this sense of a dance. Rather than simply fill in plot ellipses, the narration is equally as fragmentary and often repeats certain phrases and motifs as Vicky keeps going back to Kao Kao and talking about leaving him once she runs out of money.

But it's not merely the fact that the film is such a perfect confluence of image, sound and voice that makes it one of my favorite films ever. There is that of course. Hou fills the screen with fluorescent light and luminous bead curtains and wispy cigarette smoke and the entire film feels like a dreamscape or perhaps more appropriately a melancholic drug-induced haze. What really stuns me about the film is that Hou examines the spirit and malaise of an entire country, its history, maybe even the entire world at a specific point in time - and all this by pointing his lens at a young club-hopping party girl in Taipei, an unlikely muse given the themes at hand. He replaces the relatively broad canvas of his earlier films and instead closes in on this single individual and demonstrates that a techno brat is just as capable of representing the spirit of a nation and its history as an old puppetmaster or a revolutionary.

And then there's my own personal relationship with the film which has evolved over time and over re-watches but never ceases to feel like it's speaking directly to me. The film is being narrated from the future. Vicky is looking back at her life ten years ago but we never get to see Vicky in the present. I find myself relating to the film differently now than I did when I watched it for the first time a few years ago. I realize now that back then what I was relating to most of all was the young girl's malaise. Her grasping for direction and a path forward. What I related even more to this time around is the voice from the future that's looking back not with anger or judgment but just this sense of wistfulness that is so familiar to me in my own life. Watching this film, I invariably am a little choked up with sadness and a sense of loss (of youth, of a certain innocence) but also rejuvenated by the idea that pain and the need to move past it is perhaps integral to the human condition and part of what keeps us vital and alive. And ultimately, the final scenes of the film with Vicky walking through Hokkaido in the snow and imprinting her face on the snow always strike me as relentlessly hopeful and full of possibilities. Vicky's embracing transience and I know she's going to be okay.


Sun Dec 02, 2012 9:06 am
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oh my god :O .. it's begun!
It's a little tragic that my subpar writing starts off this thread but the film and your design are totally worthy!

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Sun Dec 02, 2012 9:08 am
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Oh, yes.

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Sun Dec 02, 2012 9:12 am
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Well, this list peaked early.

*checks out*

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Sun Dec 02, 2012 9:17 am
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I wish I had been back for voting (if nothing else, MM would have been a bit higher), but I'm glad to see this up.

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Sun Dec 02, 2012 9:17 am
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Post 49. Touch of Evil

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Orson Welles/1958/USA
Writing by: Das
Tallied points in consensus: 90

One has to wonder what exactly the 1958 recut of Touch of Evil was like – how did the universal staff mangle Welles' vision to the degree that he publicly decried that version of his work? I suppose, that’s more a matter of history now, as while Welles' intended cut was never fully realized, we at least have an idea of it. Touch ranks among the most compelling American films, arriving at the tail-end of the noir genre, whether it fits as the end of noir, or the birth of neo-noir, is a decades old discussion at this point – it’s in many ways a matter of ambiguity at this point, highly appropriate considering the film itself, which lives in the realm of perception, the sounds of the street leaking inside the buildings alongside the smoldering heat of the film’s dark, down-south border-town drama to make every inch of Touch of Evil a grey, the film’s cinematography rarely allows brightness into its frame, preferring to exist in a world of greys and blacks, an absence of light established by dark motivations and corrupt individuals, each element of the film chips away at the comfort of the viewer, before at last letting the viewer in, to soak in the film’s paranoid, cramped spaces.

The whole of it adds to an extraordinarily sensory experience, while much is said of the film’s long tracking shot, more should be said about the film’s exemplary sound design – it takes me to the streets of the film effortlessly, has me looking over my shoulder, dreading getting in the way of the wrong person – due in no small part because of the sounds, the street fades in and out of the buildings, and there’s bustle, the slow draw of breath and voices in-between the film’s ambience. But perhaps the greatest success of the film lies in its ability to make such unsettling characters intimate to the audience. I feel like I’m in the same room as Welles' decrepit, seedy police chief, Quinlan, I feel like I’m in that space for the duration of Touch of Evil, I’m compelled by its ugly, low locales, Welles’ proof of his mastery was clear, and it’s a film that remains a compelling example of one of the great American directors.


Sun Dec 02, 2012 9:30 am
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Beautiful.

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Sun Dec 02, 2012 9:30 am
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One of the best noirs.

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Sun Dec 02, 2012 9:31 am
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What a start! Great films, great write-ups. :)

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Sun Dec 02, 2012 9:36 am
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charulata wrote:
oh my god :O .. it's begun!
It's a little tragic that my subpar writing starts off this thread but the film and your design are totally worthy!

Don't be so down on your writing Char, it's good.
Quote:
One of the best noirs.

I think it's the best noir, myself.


Sun Dec 02, 2012 9:37 am
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Best noir, Welles' best.

Would have been my write-up.

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Vimeo / / / Flickr


Sun Dec 02, 2012 9:38 am
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charulata wrote:
oh my god :O .. it's begun!
It's a little tragic that my subpar writing starts off this thread but the film and your design are totally worthy!
You're a better writer than you give yourself credit for.


Sun Dec 02, 2012 9:50 am
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I'm not falling for Charulata's bait!

Good shit though. Exciting!


Sun Dec 02, 2012 9:51 am
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Fist wrote:
Best noir, Welles' best.

I agree with the first part, but I think I slightly prefer The Trial and Chimes At Midnight. They're all roughly equal though.

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Sun Dec 02, 2012 9:51 am
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Von Samuel wrote:
You're a better writer than you give yourself credit for.

I genuinely wasn't fishing but thank you so much!

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Sun Dec 02, 2012 9:53 am
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Great stuff. :)


Sun Dec 02, 2012 9:53 am
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charulata wrote:
I genuinely wasn't fishing but thank you so much!

I know this by the way--I was just messing with you, to be clear :P


Sun Dec 02, 2012 9:54 am
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elixir wrote:
I know this by the way--I was just messing with you, to be clear :P

i know babes <3

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Sun Dec 02, 2012 9:58 am
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Shut up Char, your writing is good. I'm jealous. ;)

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Sun Dec 02, 2012 9:58 am
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My writing is the stuff to be ashamed of. I wasn't satisfied with anything I wrote for this great thread.


Sun Dec 02, 2012 10:00 am
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Vasco wrote:
Shut up Char, your writing is good. I'm jealous. ;)

i know it's my ex you're jealous of :P. he's a cutie for sure :D

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Sun Dec 02, 2012 10:01 am
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Von Samuel wrote:
My writing is the stuff to be ashamed of. I wasn't satisfied with anything I wrote for this great thread.

Impossible.

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Sun Dec 02, 2012 10:03 am
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charulata wrote:
Impossible.

Prepare to be heartbroken.


Sun Dec 02, 2012 10:03 am
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charulata wrote:
i know it's my ex you're jealous of :P. he's a cutie for sure :D

I'm jealous 'cause I don't have a Willem Dafoe autograph. :D

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Sun Dec 02, 2012 10:13 am
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Oh hey, this is happening

Good stuff so far.

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Sun Dec 02, 2012 10:15 am
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yay, great essays char and Da!!! i'm scared of my bullshit showing up :(

the banners look cool too whoever is doing that :up:


Sun Dec 02, 2012 10:17 am
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Vasco wrote:
I'm jealous 'cause I don't have a Willem Dafoe autograph. :D

Ferrara >>> Dafoe :D

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Sun Dec 02, 2012 10:18 am
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wigwam wrote:
the banners look cool too whoever is doing that :up:

Das

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Sun Dec 02, 2012 10:18 am
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Vasco wrote:
Das

:up: :heart:

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Sun Dec 02, 2012 10:21 am
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Can I quietly edit your signature out of the posts? :D


Sun Dec 02, 2012 10:24 am
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Epistemophobia wrote:
Can I quietly edit your signature out of the posts? :D

You can do that? I've never noticed the option - but go ahead.


Sun Dec 02, 2012 10:26 am
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You can do it too, check out the options below when making a post.


Sun Dec 02, 2012 10:28 am
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I'll be sure to do that in the first place for future entries.


Sun Dec 02, 2012 10:29 am
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Hey, it's already lived up to the hype in my opinion. I look forward to getting a lot of recommendations from this thread.

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Sun Dec 02, 2012 10:38 am
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Vasco wrote:
I'm jealous 'cause I don't have a Willem Dafoe autograph. :D


:rotten:


Sun Dec 02, 2012 11:12 am
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omg

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Sun Dec 02, 2012 11:31 am
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Touch of Evil is incredible. Glad you delved into the sound design so much.

Char wrote:
and demonstrates that a techno brat is just as capable of representing the spirit of a nation and its history as an old puppetmaster or a revolutionary.

:up:

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Sun Dec 02, 2012 11:38 am
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lovely

amazing thread already

can't wait for other entries to show up tomorrow

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Sun Dec 02, 2012 11:39 am
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Senor Heston.


Sun Dec 02, 2012 12:57 pm
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"He was some kind of a man... what does it matter what you say about people?"

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Sun Dec 02, 2012 1:00 pm
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I wish there were more than two entries a day.


Sun Dec 02, 2012 1:13 pm
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Von Samuel wrote:
I wish there were more than two entries a day.

Please no.


Sun Dec 02, 2012 1:15 pm
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Mean Old Bastard Ed wrote:
Senor Heston.

"I'm supposed to do a thriller for Universal. They want Charlton Heston as a Mexican."

:D

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Sun Dec 02, 2012 2:36 pm
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Been looking forward to this. Nice write-ups.


Sun Dec 02, 2012 2:38 pm
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Will it get as unconventional as Mill Mambo again, though?

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Sun Dec 02, 2012 2:40 pm
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It will.

Question, would you guys like to see the 50 films that didn't quite make the cut now, or would you like that at the end of the thread? I'll be posting the excel with every film mentioned at the end of the thread as well.


Sun Dec 02, 2012 2:45 pm
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Das wrote:
It will.

Question, would you guys like to see the 50 films that didn't quite make the cut now, or would you like that at the end of the thread? I'll be posting the excel with every film mentioned at the end of the thread as well.

I vote now, before we get too involved in the list.


Sun Dec 02, 2012 2:47 pm
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Save it for the end.


Sun Dec 02, 2012 2:47 pm
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