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CounterPunch
August
13, 2002
CounterPunch's Favorite
Films
Last week Sight and Sound released
its list of "the
top 10 films of all time." The titles were terribly predictable,
stuffy and boring. So we asked a few our friends to come up with
a list of their own 10 favorite films. We pleaded with the contributors
to refrain from excessive research and instead insisted that
they just jot down the ten movies they'd like to spend a Sunday
afternoon watching. We think you'll agree that it's a compelling
and at times bizarre inventory. Don't ask us what it reveals
us about the psychology of the writers. -- AC / JSC
Alexander Cockburn
coeditor CounterPunch
(with apologies to Kim Novak and Tuesday Weld.)
1. The
Girl Can't Help It, 1956, written and directed by Frank
Tashlin. (Also author of the incomparable Bear That Wasn't, very
influential on my childhood)
2. Invasion
of the Body Snatchers,1956, based on a story by Jack
Finney, screenplay by Daniel Mainwaring, maybe with input from
Sam Peckinpah; director Don Siegel. [Communists, homosexuals.
They're here, there, everywhere!]
3. Sweet
Smell of Success, 1957, written by Clifford Odets and
Ernest Lehman; directed by Alexander Mackendrick. [Best thing
ever done on the press.]
4. Some
Like It Hot, 1959, written by Billy Wilder and I.A.L.
Diamond; directed by Billy Wilder. [The perfect movie.]
5. La
Dolce Vita, 1960, written by Fellini and Flaiano, directed
by Federico Fellini. [I know, I know. What about all the other
Italians, but this one did have Antia Ekberg dancing in the fountain.]
6. Jason
and the Argonauts, 1963, written by Beverley Cross &
Jan Read; directed by Don Chaffey. [Peplums are my great love.]
7. Pierrot
Le Fou, 1965, written & directed by Jean-Luc Godard,
with Anna Karina. [Sums up the sixties for me.]
8. The
Fantastic Voyage, 1966, adapted by David Duncan from
an Otto Klement-Jay Lewis Bixby story; directed by Richard Fleischer.
[With Raquel Welch and a terrific scene of Donald Pleasance being
eaten by white antobodies. I think it sort of prefigures the
AIDS epidemic.]
9. Life
of Brian, 1979, writers, Terry Jones, Graham Chapman,
John Cleese, Terry Gilliam, Eric Idle, Michael Palin; director,
Terry Jones. [World's greatest political movie. About the sectarian
left, made when the awful Trot Gerry Healy was wooing the Redgrave
family.]
10. Eating
Raoul,1982, written and directed by Paul Bartel. [Perfect
Happy Enders film.]
[Haven't seen too many movies since then,
though I watched a funny parody of teengirl films the other day
in a motel in Los Angeles. Back in the 60s when I first began
to look up movies in What's On-type guides in London, no one
bothered to list directors. So I've included writers here as
a souvenir of the old days, when they had some standing. I loved
Homeward
Bound: The Incredible Journey, watched without headphones
on a plane between NYC and LAX and wept when the Golden Retriever
came over the hill at the end. The tough A&R chick in the
window seat stared at my tear-stained cheeks, revolted. It came
as a big shock when they told me there was voice-over. As can
be seen, movies aren't a big thing in my life. I'd like to have
included Bergman's Smiles
on a Summer's Night, (another from that amazing cultural
year of 1955) if only because I took Judith Oakley to the Headington
Classic in Oxford to watch it in 1962 and held the door open
for her. She slammed it on my fingers as a reproof to my male
chauvinist profession of "manners", which was my introduction
to the Women's Movement.--AC]
Jeffrey St.
Clair
coeditor CounterPunch
[In the blissful 1970s,
before the demands of parenthood and career (if that's what this
is), I raced out to see nearly 10 movies a week, and liked something
about most of them. Mind you, these weren't necessarily new movies,
except to me. In those days, there were actually independently-owned
theaters that ran old and foreign films, even in the outback
of Indianapolis. I fell in love with actresses two or three times
my age (even dead ones): Gene Tierney in Whirlpool, Gloria Graham
in Human Desire, Paulette Goddard in Modern Times, Simone Simon
in Cat
People, Anna
Karina in anything, Natalie Delon in Le Samourai, the icy Monica
Vitti in L'Avventura and, towering above them all,
the Tunisian goddess, Claudia Cardinale, who, in a long career,
graced only two good films, Sergio Leone's Once Upon a Time in
the West and Blake Edwards' The Pink Panther, but made dozens
of others worth watching, if only for a few fleeting moments.
And the men--Bogart, Connery, Belmondo, Montand, Mifune, Roundtree--gave
a sheltered Hoosier boy covert lessons in the art of cool.
Like rock'n'roll, movies,
the good ones, are all about sex and attitude. These days I go
out to see maybe 10 movies a year, dragged kicking and grumbling,
and like almost nothing about any of them. When it comes to today's
films, I feel like the pre-Viagra Bob Dole on a long, humid cab
ride with that Texas harridan, Kay Bailey Hutchison. But I haven't
given up hope that prospects will improve. And it's nice to see
that both Anna Amezcua and Bill & Kathy Christison like so
many recent films--and not the same ones! There's something about
movies that appeals to the necrophiliac lurking in us all. Perhaps
that's part of what Godard was getting at in the final frame
of Week-End: "the End...of Cinema". Of course, he kept
making films and we kept watching: sort of. The movies may be
kaput. They may be quite dead. But that doesn't mean the remains
still can't be picked over and enjoyed.--JSC]
1. Week-End,
1969, written & directed by Jean-Luc Godard.
[The French Revolution, road rage, woodland orgies, cannibalism...there's
something more to life?]
2. The
Big Sleep, 1946, written by Willliam Faulkner, et al;
directed by Howard Hawks [Faulkner couldn't make heads or tails
out of Raymond Chandler's novel, so he just re-wrote Sanctuary
for film and set it in LA. It didn't matter. The story isn't
the point. If there is a point.]
3. Rome:
Open City, 1945, written by Sergio Amedie, Frederico
Fellini and Roberto Rossellini; directed by Rossellini. [Filmed
for less money than Spielberg spends in a day, every frame displaying
images that Spielberg will never equal with all his technical
hocus pocus.]
4. Belle
de Jour , 1968, written and directed by Luis Buñuel.
[Deneuve meets de Sade. Enough said.]
5. Richard
Pryor Live in Concert, 1979, written by Richard Pryor;
directed by Jeff Margolis. [Pryor is so funny it hurts...and
it's meant to hurt.]
6. The
Blues According to Lightnin' Hopkins, 1969, written &
directed by Les Blank. [The great Lightnin' Hopkins greets Les
Blank at the door with a shotgun stuffed down his pant leg and
Texas BBQ smoldering in the backyard. Then Hopkins breaks out
his guitar and plays it like his pants are on fire.]
7. In
a Lonely Place, 1950, from a novel by Dorothy Hughes,
adapted by Edmund North and Andrew Solt; directed by Nicholas
Ray. [Bogart, writer's block and how life in LA can really get
on your nerves.]
8. High
and Low, 1963, based on a novel by Ed McBain, written
and directed by Akira Kurosawa. [Forget the swordplay and costume
pagentry of the samurai flicks. This is Kurosawa at his most
lethal: corporate takeovers, kidnapping, rebellious youth and
class warfare played out on the streets of Tokyo. Toshiro Mifune's
greatest role?]
9. Hail,
the Conquering Hero, 1944, written and directed by Preston
Sturges. [Knee-jerk patriotism vs. screwball anarchy.
Sound familiar?...Guess which prevails.]
10. Chinatown,
1973, written by Robert Towne and directed by Roman Polanski.
[Incest, greed and environmental villainy; AKA, the making of
Southern California.]
Anna Amezcua
CounterPumch Business Staff
1. Y Tu Mama Tambien, 2002, Alfonso Cuarón
2. Gadjo
Dilo: the Crazy Stranger, 1999, Tony Gatlif
3, Jesus'
Son, 1999, Alison Maclean
4. Happiness,
1999, Todd Solondz
5. Amélie,
2001, Jean-Pierre Jeunet
6. Annie
Hall, 1977, Woody Allen
7. Five
Easy Pieces, 1970, Bob Rafelson
8. Badlands,
1973, Terence Malick
9. Legally
Blonde, 2001, Robert Luketic
10. Heathers,
1989, Michael Lehmann
Bill and Kathleen
Christison
CounterPunch writers and former CIA
analysts
1. The
English Patient, 1996, Anthony Minghella
2. Sunshine,
2000, István Szabó
3. As
Good As It Gets, 1997, James L. Brooks
4. The
Lover, 1992, Jean-Jacques Annuad
5. Burnt
By The Sun, 1995, Nikita Mikhalkov
6. The
Hairdresser's Husband, 1990, Patrice Leconte
7. Cider
House Rules, 1999, Lasse Hallstróm
Susan Davis
author of Spectacular Nature and CounterPunch writer.
1. Rat
Race, 2001, Jerry Zucker
2. Orange
County, 2001, Jake Kasdan
3. Children
of Heaven, 1999, Majid Majidi
4. Yol, 1982, Serif Goren
5. Dr
Strangelove, 1964, Stanley Kubrick
6. Harlan
County USA, 1976, Barbara Kopple
7. Always
for Pleasure, 1978, Les Blank / Chris Strachwitz
8. Chulas
Fronteras, 1976, Les Blank / Chris Strachwitz
9. A
Face in The Crowd, 1957, Elia Kazan
10. Postman
Always Rings Twice, 1946, Tay Garnett
Michael Donnelly
Green Party organizer, forest activist, CounterPunch writer
1. Dr
Strangelove, 1964, Stanley Kubrick
2. Godfather
I and II, 1972/4 , Francis Ford Coppola
3. Max Havelaar, 1976, Fons Rademakers
4. Blazing
Saddles, 1974, Mel Brooks
5. The
Outlaw Josie Wales, 1976, Clint Eastwood
6. The
Shootist, 1976, Don Siegel
7. To
Kill a Mockingbird, 1962, Robert Mulligan
8. Apocalypse
Now, 1979, Francis Ford Coppola
9. Who'll
Stop the Rain, 1978, Karl Reisz
10. Cutter's
Way, 1991, Ivan Passer
Christine Karatnytsky
New York Public Library for the Performing Arts; Open City Collective
1. Amarcord,
1974,
Fredrico Fellini
2. Ball
of Fire, 1941, Howard Hawks
3. Beauty
and the Beast, 1947, Jean Cocteau
4. Celine
and Julie Go Boating, 1974, Jacques Rivette
5. Christ Stopped at Eboli, 1979, Francesco
Rosi
6. The
Exterminating Angel, 1962, Luis Buñuel
7. The
Piano, 1993, Jane Campion
8. Prospero's
Books, 1991, Peter Greenaway
9. Rock
'n Roll High School, 1979, Joe Dante / Jerry Zucker
10. The
Third Man, 1950, Carol Reed
Gavin Keeney
author of On
the Nature of Things and CounterPunch writer.
1. Mirror,
1975, Andrei Tarkovsky
2. Andrei
Rublev, 1966, Andrei Tarkovsky
3. The
Sacrifice, 1986, Andrei Tarkovsky
4. Closely
Watched Trains, 1966, Jiri Menzel
5. Derzu
Uzula, 1975, Akira Kurosawa
6. JLG
/ JLG, 1992, Jean-Luc Godard
7. Caravaggio, 1991, Derek Jarman
8. Dead
Man, 1996, Jim Jarmusch
9. Eternity
& A Day, 1999, Theo Angelopoulos
10. King Lear, 1971, Peter Brook
Dave Marsh
author of The
Heart of Rock and Soul and CounterPunch writer.
1. The
Miracle of Morgan's Creek, 1944. Preston Sturges
2. City
Lights, 1931, Charlie Chaplin
3. Once
Upon a Time in the West, 1968, Sergio Leone
4. Double
Indemnity, 1944, Billy Wilder
5. The
Wild Bunch, 1969, Sam Peckinpah
6. The
Sorrow and the Pity, 1972, Marcel Ophuls
7. Bringing
Up Baby, 1938, Howard Hawks
8. The
Man Who Shot Liberty Valance, 1962, John Ford
9. The
General, 1927, Buster Keaton
10. Moonrise,
1948, Frank Borzage
David Orr
environmental organizer
and CounterPunch writer.
1. Wizard
of Oz, 1939, Victor Fleming
2. Where the Green Ants Dream, 1984,
Werner Herzog
3. Picnic
at Hanging Rock, 1979, Peter Weir
4. On
the Waterfront, 1954, Elia Kazan
5. Apocalypse
Now, 1979, Francis Ford Coppola
6. Debbie Does Dallas, 1974, Jim Clark
7. Atomic
Cafe, 1982, Pierce Rafferty & Jayne Loader
8. Return of Navajo Boy,
2000, Jeff Spitz
9. Streetcar
Named Desire, 1951, Elia Kazan
10. Treasure
of the Sierra Madre, 1948, John Huston
Steve Perry
columnist for The Rake and CounterPunch writer.
1. The
Singing Detective, 1987, Dennis Potter
2. The
Big Sleep, 1946, Howard Hawks
3. Bringing
Up Baby, 1938, Howard Hawks
4. Bulworth,
1998, Warren Beatty
5. The
Cable Guy, 1996, Ben Stiller
6. Ikiru,
1960, Akira Kurosawa
7. It's
a Wonderful Life, 1947, Frank Capra
8. Last
Picture Show, 1971, Peter Bogdanovich
9. Once
Around, 1991, Lasse Hallestrom
10. Rio
Bravo, 1959, Howard Hawks
Max B. Sawicky
economist at the Economic Policy Institute and Tsar of the MaxSpeak site.
[I'm sorry but you're all wrong. These
are the ten greatest films of all time.]
1. The
Producers, 1968, Mel Brooks
("Your honor, we find these men incredibly guilty.")
2. Blazing
Saddles, 1974, Mel Brooks
("'Scuse me while I whip this out.")
3. Young
Frankenstein, 1974, Mel Brooks
("What hump?")
4. Robin
Hood: Men In Tights, 1993, Mel Brooks
5. Dracula:
Dead and Loving It, 1995, Mel Brooks
("Wrong me! Wrong me!")
6. High
Anxiety, 1977, Mel Brooks
("What a dramatic airport!")
7. Spaceballs,
1987, Mel Brooks
("Check please.")
8. History
of the World Part I, 1987, Mel Brooks
("The Inquisition")
9. To
Be or Not To Be, 1983, Mel Brooks / Alan Johnson
10. Silent
Movie, 1976, Mel Brooks
Jonathan
Shainan
works for The New Press & is co-editor of The
Other Israel: Voices of Refusal and Dissent
1. Au Hasard, Balthazar, Robert Bresson,
1967
2. Strike!,
Sergei Eisenstein, 1924
3. Days
of Heaven, Terrence Malick, 1978
4. Goodbye
South, Goodbye, Hou Hsiao-Hsien, 1996
5. Side/Walk/Shuttle, Ernie Gehr, 1991
6. My
Darling Clementine, John Ford, 1946
7. Artists
and Models, Frank Tashlin, 1955
8. Sans
Soleil, Chris Marker, 1982
9. Two-lane
Blacktop, Monte Hellman, 1971
10. The Chelsea Girls, Andy Warhol, 1966
Ben Sonnenberg
CounterPunch counselor and author
of Lost
Property: confessions of a Bad Boy
1. Fox
and His Friends, 1975, Rainer Maria Fassbinder
2. The
Man With the Movie Camera, 1929, Dziga Vertov
3. Mon
Oncle, 1958, Jacques Tati
4. Latcho
Drom, 1994, Tony Gatlif
5. The
Ladykillers, 1955, Alexander MacKendrick
6. It's
a Gift, 1934, W.C. Fields and Norman Z. McLeod
7. Steamboat Bill, Jr,
1928, Buster Keaton
8. The
Last Command, 1928, Josef von Sternberg
9. Day
for Night, 1973, François Trufaut
10. Lamerica,
1994, Gianni Amelio
11. Grand
Illusion, 1938, Jean Renoir
Christine TenBarge
teaches social work and Native American studies at the University
of Utah, and CounterPunch writer.
1. Thelma
and Louise, 1991, Ridley Scott
2. Dangerous
Liaisons, 1989, Stephen Frears
3. Maltese
Falcon, 1941, John Huston
4. Big
Trouble in Little China, 1986, John Carpenter
5. Reds,
1981, Warren Beatty
6. Seven
Samurai, 1956, Akira Kurosawa
7. A
Fish Called Wanda, 1988, John Cleese
8. Casablanca,
194 , Michael Curtiz
9. Gandhi,
1982 , Richard Attenborough
10 Modern
Times, 1936, Charlie Chaplin.
Douglas Valentine
author of The
Phoenix Program and CounterPunch writer.
1. It's
a Mad Mad Mad Mad World, 1963, Stanley Kramer
2. Some
Like It Hot, 1959, Billy Wilder.
3. Maltese
Falcon, 1941, John Huston
4. Pulp Fiction, 1994, Quentin Tarrantino
5. The
Pink Panther, 1964 , Blake Edwards
6. Rumble
Fish, 1984, Francis Ford Coppola
7. Breaker
Morant, 1980, Bruce Beresford
8. Last
of the Mohicans, 1992, Michael Mann
9 A
Touch Of Evil, 1958 , Orson Welles
David Vest
piano-player for The Cannonballs and CounterPunch writer.
1. Death
in Venice, 1971, Luciano Visconti
2. The
Train, 1965, John Frankenheimer
3. The
Portrait of a Lady, 1996, Jane Campion
4. The
Ballad of Narayama, 1984, Shohie Inamura
5. Damage,
1993, Louis Malle
6. Wilde, 1998, Brian Gilbert
7. Howard's
End, 1992, James Ivory
8. Buchanan Rides Alone, 1958 , Budd
Boetticher
9. The
Night Porter, 1974, Liliana Cavani
10. The
Dresser, 1983, Peter Yates
Jesse Walker
an associate editor
at Reason Magazine and author of Rebels
on the Air: an alternative history of radio in America. [Walker is fiercely anti-authoritarian and refuses
to rank.]
* The Apartment, 1960, Billy Wilder
[Everything you ever wanted to know about hierarchy -- and it's
funny, too.]
* Duck
Soup, 1933, Leo McCarey
[A premature documentary.]
* The
Exterminating Angel, 1962, Luis Bunuel
[I especially like all those sheep.
* Glen
or Glenda, 1953, Ed Wood
If "outsider art" means anything, then this film belongs
on the list.
* Orpheus,
1949, Jean Cocteau
The best thing I can say about this movie is that I can't reduce
it to a pithy description line.
* Repo
Man, 1984, Alex Cox
Sergio Leone meets Philip K. Dick, plus the Circle Jerks.
* Seven
Beauties, 1976, Lina Wertmuller
The best movie ever made about fascism.
* Shadow
of a Doubt, 1943, Alfred Hitchcock
Hitchcock's sensibility collides with Thornton Wilder's, with
wonderfully weird results.
* Touch
of Evil, 1958, Orson Welles
Much better than Citizen Kane. (And so is *F for Fake*.)
* The
Wizard of Oz, 1939, Victor Fleming
"I can't give you a brain, but I can give you a diploma."
Kimberly Willson-St.
Clair
Millar Library, Portland State University
1. Citizen
Kane, 1941, Orson Welles
2. Un Partie de Campagne, 1937, Jean
Renoir
3. A
Clockwork Orange -- Stanley Kubrick
4. Unforgiven,
1992, Clint Eastwood
5. Bringing
Up Baby, 1938, Howard Hawks
6. Three Women, 1977, Robert Altman
7. Bonnie
and Clyde, 1967, Arthur Penn
8. Lost Highway,
1997, David Lynch
9. The
Piano, 1993, Jane Campion
10. Le
Samourai, 1967, Jean-Pierre Melville
Daniel Wolff
author The
Memphis Blues Again and CounterPunch writer.
1. The
Last Wave, 1977, Peter Weir
2. Jonah
Who Will Be 21 In The Year 2000, 1976, Alan Tanner
3. Thelonius
Monk: Straight, No Chaser, 1989, Charlotte Zwerin
4. Viva
Zapata, 1952, Elia Kazan
5. Grapes
of Wrath, 1940, John Ford
6. The
Manchurian Candidate, 1962, John Frankenheimer
7. Who
Framed Roger Rabbit?, 1988, Robert Zemeckis
8. The
Night of the Hunter, 1955, Charles Laughton
9. Elvis
'68: Comeback Special, 1968,
10. The Agronomist, which is a documentary
I'm helping to produce about Haitian activist Jean Dominique
and is going to be great.
JoAnn Wypijewski
author of Blue
Skies and Broken Hearts: A Tour Across the Political Geography
of Star Wars and CounterPunch writer.
1. Burn!,
1970, Gillo Pontecorvo
2. The
Battle of Algiers, 1966, Gillo Pontecorvo
3. Last
Tango in Paris, 1972, Bernardo Bertolucci
4. Life
of Brian, 1979, Terry Jones
5. Funny
Girl, 1968, William Wyler
6. The
Naked Gun, 1988, David Zucker
7. It
Happened One Night, 1934, Frank Capra
8. Vertigo,
1958, Alfred Hitchcock
9. The
Manchurian Candidate, 1962, John Frankenheimer
10. Shaft,
1971, Gordon Parks
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August 14
/ 19, 2002
Susan Davis
Played
Out: a Journey to Central City, Colorado
CounterPunch
Staff
Our Favorite
Films
Jeffrey St.
Clair
Usonian
Utopia's:
Frank Lloyd Wright, Working Class Housing and the FBI
Uri Avnery
A Phone
Call from Hell
Wendy Brinker
Racism
is Alive and Well in the South Carolina Death House
Hamit Dardagan
The
Unbearable Lightness of Bombing
Ahmad Faruqui
The Legacy
of Hiroshima and Nagasaki
Philip Farruggio
Leading
by Example
Anthony Gancarski
Union
Jackass: Richard Perle's UK Charm Offensive
Jeff Halper
Fortress
Israel: the Message of the Bulldozer
Gary Leupp
An Open
Letter to Bruce Springsteen about Bush's War on Terrorism
Dave Marsh
Sing a
Simple Song
Rashmi Mayur
To Johannesburg
in Search of Hope
Steve Perry
Another Fine Mess:
Martha Stewart and Paul Wellstone
Anis Shivani
What's
Next...Concentration Camps?
Edward Said
Punishment
by Detail
Jeff Taylor
Paul Wellstone's
Legacy
August 10/11,
2002
Walt Brasch
The Bush
2 Legacy...So Far
August 9,
2002
Mokhiber
/ Weissman
Corporate
Crime:
More Shareholder Power
Not the Solution
Ansar Ahmed
The Waning
of the
Pax Americana
Alexander
Cockburn
War,
the Military and the Hunt for the "Violence Gene"
August 8,
2002
Ron Jacobs
Iraq:
The Final Storm?
Dave Marsh
Now Ain't
the Time
for Your Tears
Mark Weisbrot
Bush
Administration Tries to Hide Role in Venezuela Coup
Anthony Gancarski
AIPAC,
Congress and Iraq
Robert Fisk
Families
of the
Disappeared Demand Answers
Gary Leupp
Karzai's
Bodyguard
August 7,
2002
Anis Shivani
The First
21st Century
Police State
Jeffrey St.
Clair
Fallon's
Fallen
Is the US Navy Killing
Children in Nevada?
Robert Fisk
For the
Forgotten Afghans,
the UN Offers a Fresh Hell
Dr. Susan
Block
Rigas in
Cuffs
Bill Christison
Disastrous
Foreign Policies of the US Part 5: the Call of Democracy?
August 6,
2002
Philip Farruggio
Signs
of the Elites
Bruce Gagnon
We Must
Come Alive
David Krieger
From
Hiroshima to Hope
Jerre Skog
Global
Reach of Corporate Crime or What the Hell are
They Teaching at Harvard?
Robert Fisk
Return to
Afghanistan:
Collateral Damage
Alexander
Cockburn
The
Fox in the Pension Fund
August 5, 2002
Rahul Mahajan
Iraq
and the New Great Game
Jordy Cummings
The
Last Frontier of
Israel and Palestine
Bernard Weiner
Inside
Saddam's Diary
Mike Leon
US Mute
to Israeli Brutality
Norman Madarasz
Brazil:
the Most Important Election of 2002?
August 4, 2002
Susan Davis
Fat Americans
August 3, 2002
David Krieger
Nuclear
Apartheid
Gilad Atzmon
The End
of Innocence
Gavin Keeney
Everybody's
a Critic
Alexander Cockburn
Can the Times' Jeff Gerth
Save Dick Cheney?
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