{"id":2468,"date":"2018-01-03T11:35:00","date_gmt":"2018-01-03T16:35:00","guid":{"rendered":"http:\/\/curtsiesandhandgrenades.com\/index.php\/2018\/01\/03\/top-50-of-2017\/"},"modified":"2018-01-03T11:35:00","modified_gmt":"2018-01-03T16:35:00","slug":"top-50-of-2017","status":"publish","type":"post","link":"http:\/\/curtsiesandhandgrenades.com\/index.php\/2018\/01\/03\/top-50-of-2017\/","title":{"rendered":"Top 50 of 2017"},"content":{"rendered":"

If there is a theme in my favourite viewings from 2017 it is that I filled in many blind-spots or gaps in my personal viewing within the largely recognized canon of the greatest films ever made. How had I not seen Rebel Without a Cause? <\/i>or The Umbrellas of Cherbourg<\/i>? or Pretty in Pink? <\/i>That last one is absolutely great and I’ll hear no lip from anyone. There’s also a recurring theme of melodrama which coincided with the Lincoln Center’s recent retrospective series “Emotion Pictures”, which was without a doubt the most cinematically fulfilling experience I’ve had this year with older movies. I don’t live in New York, but I took it upon myself to watch loads of the films that were playing there from home and eventually wrote an article<\/a> on the series for The Film Stage. Finally, and on a much sadder note we lost Jonathan Demme. When I grieve I tend to engage with the art they made as a way of coping, and I took it upon myself to watch a handful of his films that I already loved and a few that I hadn’t seen before. It becomes exhausting characterising a year based on who we lost, but since Chantal Akerman passed away that’s exactly how things have been in my case. On this list you’ll see a lot of the canon, new experiences with old favourites like Jacques Rivette, and multiple films featuring Bob Dylan. So long 2017. May 2018 bring virtue and cinema.<\/p>\n

*One note Films from 2016 and 2017 are not eligible. Everything else is fair game. <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
1. Up Down Fragile <\/i>(Jacques Rivette, 1995)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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2. Dogfight <\/i>(Nancy Savoca, 1991)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
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<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
3. Lola Montes <\/i>(Max Ophuls, 1955)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
4. Privilege <\/i>(Yvonne Rainer, 1990)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n

<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
5. Week-End <\/i>(Jean-Luc Godard, 1967)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
6. Tampopo <\/i>(Juzo Itami, 1985)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
7. Stop Making Sense <\/i>(Jonathan Demme, 1984)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
8. The Cranes are Flying <\/i>(Mikhail Kalatozov, 1957)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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9. Shanghai Express <\/i>(Josef Von Sternberg, 1932)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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10. Scarlet Empress <\/i>(Josef Von Sternberg, 1934)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
11. When the Tenth Month Comes <\/i>(Dang Nhat Minh, 1984)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
`12. Suit Yourself or Shoot Yourself!!! The Heist <\/i>(Kiyoshi Kurosawa, 1995)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/p>\n\n\n\n\n
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13. Monterey Pop <\/i>(D.A. Pennebaker, 1967)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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14. Blue Steel <\/i>(Kathryn Bigelow, 1990)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
15. Late Spring <\/i>(Yasujiro Ozu, 1949)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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16. Ley Lines <\/i>(Takashi Miike, 1999)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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17. Gaslight <\/i>(George Cukor, 1944)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
18. The Umbrellas of Cherbourg <\/i>(Jacques Demy, 1964)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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19. Film About a Woman Who… <\/i>(Yvonne Rainer, 1974)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
20. The Body Snatcher <\/i>(Robert Wise, 1945)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/p>\n\n\n\n\n
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21. Imitation of Life <\/i>(Douglas Sirk, 1959)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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22. Dishonoured <\/i>(Josef Von Sternberg, 1931)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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23. By the Sea <\/i>(Angelina Jolie, 2015)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
24. Rebel Without a Cause <\/i>(Nicholas Ray, 1955)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
25. Bride of Chucky <\/i>(Ronny Yu, 1998)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
26. Forget Me Not <\/i>(Kei Horie, 2015)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
27. Melvin and Howard <\/i>(Jonathan Demme, 1980)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
28. L’atalante <\/i>(Jean Vigo, 1934)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
29. Deep Cover <\/i>(Bill Duke, 1992)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
30. Graveyard of Honour <\/i>(Kinji Fukasaku, 1975)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
31. Rainy Dog (<\/i>Takashi Miike, 1997)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
32. The Tale of Zatoichi <\/i>(Kenji Misumi, 1962)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
33. Where Is My Friend’s House? <\/i>(Abbas Kiarostami, 1987)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
34. Bigger Than Life <\/i>(Nicholas Ray, 1956)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
35. The Blue Angel <\/i>(Josef Von Sternberg, 1930)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
36. Industrial Symphony #1: The Dream of the Brokenhearted <\/i>(David Lynch, 1990)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
37. Morocco <\/i>(Josef Von Sternberg, 1930)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
38. The Young Master <\/i>(Jackie Chan, 1980)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
39. Brides of Dracula <\/i>(Terrence Fisher, 1960)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
40. Repo Man <\/i>(Alex Cox, 1984)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
41. The Funhouse <\/i>(Tobe Hooper, 1981)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
42. A Perfect Getaway <\/i>(David Twohy, 2009)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
43. Desire Me <\/i>(Various, 1947)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
44. The Tale of Zatoichi Continues <\/i>(Kazuo Maori, 1962)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n

<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
45. Quatermass and the Pit <\/i>(Roy Ward Baker, 1967)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
46. Renaldo and Clara <\/i>(Bob Dylan, 1978)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
47. Pretty in Pink <\/i>(Howard Deutch, 1986)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
48. The New Tale of Zatoichi <\/i>(Tokuzo Tanaka, 1963)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
49. Rouge <\/i>(Stanley Kwan, 1988)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
50. Gone With the Wind <\/i>(Various, 1939)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Best Short Films<\/b><\/u>
Emmet Otter’s Jug-Band Christmas <\/i>(Jim Henson, 1977)
The Clown’s Pup <\/i>(Dave Fleischer, 1919)
Snow-White <\/i>(Dave Fleischer, 1933)
Minnie the Moocher <\/i>(Dave Fleischer, 1932)
Bimbo’s Initiation <\/i>(Dave Fleischer, 1931)
Koko’s Earth Control <\/i>(Dave Fleischer, 1928)<\/p>\n","protected":false},"excerpt":{"rendered":"

If there is a theme in my favourite viewings from 2017 it is that I filled in many blind-spots or…<\/p>\n

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