A to Zed : A Variation on a Theme of Lists on Best Directors
Now before you peruse this list of auteurs that I have chosen as who I feel are personally crop's very cream, I would like you to know that this was one painstaking event for me, to have to quantify each director, by way of surname to their alphabetical value, was quite unusual punishment for me really. And having a Libra sunsign ♎ , doesn't help during crucial decision time. I offer you this, my readers, as an alternative to those ludicrous lists on that equally ludicrous place they call 'IMDB'. Sadly, that seems to be the 'go-to' place for people to consult 'facts' about film. And then there is that other, other ludicrous place, I think you know what I am getting about, it's pure wicked. I will tell you this, I spent hours and hours editing and correcting as much misinformation as I could on there, and it would take a lifetime to make all the reparations necessary.
No more of this ado, here are The Filmographer's personal picks :
Antonioni, Michelangelo (1912-2007)
The film Antonioni was most lauded for was 1966's Blow Up , and this director who earned the honors of the letter A, worked until his last years on earth - I am talking a nonagenarian here! The man personified what it is to be a polymath, from being an accomplished painter to having political 'planet-brain' The Antonioni film I think you should see... (now) : Il Grido (The Cry, 1957).
Bertolucci, Bernardo (b. 1940)
The moment that put this man on the map would be 1972's Ultimo tango a Parigi (Last Tango in Paris) but there was little warning at the time about the crepuscular character Marlon Brando would portray, and his disturbing use for cooking fats. And yes, yes a coupla years before many would conform to Il Conformista, (The Conformist, 1970) And while this is all goodeth and welleth ; The Bertolucci film I'd really like for you to watch is : La Luna (1979) A testament to the depth of actress Jill Clayburgh, may I add, (but the eighties were soon to approach, so get her while the getting was good).
Cassavetes, John ( 1929-1989)
Okay, I know, I know - and you know you know, I have been not so subliminally drumming the brilliance of this director in your heads, but it's well worth the para diddles. And he would have his most critical claim for what I feel was his weakest entry in 1980's Gloria. And even as diluted as it is, Gena Rowlands still wins that day, as dreadful as it was. And this is making me seriously perspire, but - The film that I feel is most compulsory from the Cassavetes canon for you to see : Opening Night (1977) And you will probably need to see it a few times, it's virtually Rorschachian, my former students would attest to this.
Dassin, Jules (1911-2008)
Now that big bad blacklist couldn't stop the unstoppable director Dassin. He just moved to France, and did the Cannes-Cannes dance. He was most noted for 1960's Never on a Sunday, which is true, that film is best to see on a rainy Wednesday afternoon. He actually married it's star - his hellenic honey Melina Mercouri, but I think they actually did marry on a Sunday, so never say never? And what Dassin film do I really want for you to see? The noirgasmic Brute Force (1947) one of Burt Lancaster's bestest - and that is certainly says something!
Eisenstein, Sergei M. (1898-1948)
Ain't no two ways about it, and the moment that said it all, really, was his theory of relativity (gotcha). The film that would define eccentric Soviet filmmaker Eisenstein was indubitably the propaganda masterpiece 1925's silent Battleship Potemkin, and rightfully so, you will get no arguments from this film historian here. Eisenstein was one of the first film historians and theorists, and he is pretty holy to me, just based on this one aspect of the creator. But the other Eisenstein film I feel you should also allow yourself to be privy to : The Storming of La Sarraz (1929) Why, you say? Well for it's ahead of itself factor, methinks is a good selling point, perhaps you may be a sucker for it's an allegorical and sardonic look at how independent cinema is superior to mainstream cinema. The only problem is, you can't see it - it's lost, but if by chance it happens to lazarus up - do see it, do - and please send me a copy.
Ain't no two ways about it, and the moment that said it all, really, was his theory of relativity (gotcha). The film that would define eccentric Soviet filmmaker Eisenstein was indubitably the propaganda masterpiece 1925's silent Battleship Potemkin, and rightfully so, you will get no arguments from this film historian here. Eisenstein was one of the first film historians and theorists, and he is pretty holy to me, just based on this one aspect of the creator. But the other Eisenstein film I feel you should also allow yourself to be privy to : The Storming of La Sarraz (1929) Why, you say? Well for it's ahead of itself factor, methinks is a good selling point, perhaps you may be a sucker for it's an allegorical and sardonic look at how independent cinema is superior to mainstream cinema. The only problem is, you can't see it - it's lost, but if by chance it happens to lazarus up - do see it, do - and please send me a copy.
Fassbinder, Rainer Werner (1945-1982)
Oh my is this going to be a toughie for me. The director is best known for Mother Kusters Goes To Heaven (1975), and it is's a beauty 'tis. It should have all that the mother kuster heaven allows, yes, that is true, but you need to, need to need to see everything he has done. Yes the filmographer wants you to imbibe of every Fassbinder moment possible, and don't forget about his early shorts, yes the tericloth striped ones. See Angst vor der Angst (Fear of Fear, 1975) one of Rainer's televisual productions that still packs all his traditional wallop and watch this one first please, you will need to get eased into this director and this is me being gentle, but with all that said, still proceed with extreme caution, Fassbinder is not for the slight of heart.
Godard, Jean-Luc (b. 1930)
The fellar who made nouvelle-vague, in vogue and does he ever put 'le pied' wrong? Nein! I revere him for so many reasons, his film articles for starters and he has been consistently working since the early 1950's and Jean-Luc is about to release anudder one soon; he is currently filming Adieu au language (Goodbye to Language 3D, 2013) And while Breathless, did just that for me and for many a discerning film viewer - Do not hesitate to see this other Godard goldmine : Band of Outsiders (1964) Anna Karina does her best gig since Tolstoy - yes, no I am kidding, I need a disclaimer in case any irony evaders are about.
The fellar who made nouvelle-vague, in vogue and does he ever put 'le pied' wrong? Nein! I revere him for so many reasons, his film articles for starters and he has been consistently working since the early 1950's and Jean-Luc is about to release anudder one soon; he is currently filming Adieu au language (Goodbye to Language 3D, 2013) And while Breathless, did just that for me and for many a discerning film viewer - Do not hesitate to see this other Godard goldmine : Band of Outsiders (1964) Anna Karina does her best gig since Tolstoy - yes, no I am kidding, I need a disclaimer in case any irony evaders are about.
Hawks, Howard (1896-1977)
Now Hawks is another all over the gamut kinda geezer, pre-code crime efforts, comedies romantique and of course he visited the Planet of the Japes, frequently with his all out Americana apple-pie screwball funnyfilms. What they all talk about ? His Girl Friday (1940) naturally. What The Filmographer wants you to talk about? The Criminal Code (1931) one of his pre-Hays days releases, an early prisoner-on-run production starring an early talkie for Boris Karloff who plays Ned Galloway.
Ichikawa, Kon (1915-2008)
The celebrated Ichikawa, was the veritable architect that helped structure independent Japanese cinema. He had a penchant for the adaptation of classic literature to the ol' silvers. He was also a master of satire and absurdist theatre, as seen in A Billionaire (1954). The beauty of Ichikawa was that his canon is a seeming roulette, he is one of the most unpredictable auteurs to date. He lived to be 93 years young - and admirably directed until he was the tender age of 91 when he released the 2006 film The Inugamis. The Ichikawa film I prescribe is, and not a cut and dry decision given the selections : Kokoro (The Heart, 1955) a literary masterpiece that he transforms beautifully into a cinematic opus.
Jodorowsky, Alejandro (b.1929)
This Chilean polymath, one-chap band, is mindblowingly also a mystic, as well as a filmmaker, thespian, scribe, comic book writer, puppeteer and yes I am sure, baker and butcher is somewhere in the C.V. as well. Jodorowsky is other, other-worldly and will leave you with jaws agape, for every which way he turneth. Oh yeah, the pickshas he made, let's see now... one of the most celebrated cult films in the whole of time : El Topo (1970) is what this awe bringer, bringed. What Jodorowksy film does The Filmographer suggest you get your peepers privy to? Anticlimax (1973) Please don't let the title predisposition, it's anything but anticlimactic. Inflected with some tones of Bunuel; it's one helluva surreal deal, it's pure poetry in 16mm motion.
Now Hawks is another all over the gamut kinda geezer, pre-code crime efforts, comedies romantique and of course he visited the Planet of the Japes, frequently with his all out Americana apple-pie screwball funnyfilms. What they all talk about ? His Girl Friday (1940) naturally. What The Filmographer wants you to talk about? The Criminal Code (1931) one of his pre-Hays days releases, an early prisoner-on-run production starring an early talkie for Boris Karloff who plays Ned Galloway.
The celebrated Ichikawa, was the veritable architect that helped structure independent Japanese cinema. He had a penchant for the adaptation of classic literature to the ol' silvers. He was also a master of satire and absurdist theatre, as seen in A Billionaire (1954). The beauty of Ichikawa was that his canon is a seeming roulette, he is one of the most unpredictable auteurs to date. He lived to be 93 years young - and admirably directed until he was the tender age of 91 when he released the 2006 film The Inugamis. The Ichikawa film I prescribe is, and not a cut and dry decision given the selections : Kokoro (The Heart, 1955) a literary masterpiece that he transforms beautifully into a cinematic opus.
This Chilean polymath, one-chap band, is mindblowingly also a mystic, as well as a filmmaker, thespian, scribe, comic book writer, puppeteer and yes I am sure, baker and butcher is somewhere in the C.V. as well. Jodorowsky is other, other-worldly and will leave you with jaws agape, for every which way he turneth. Oh yeah, the pickshas he made, let's see now... one of the most celebrated cult films in the whole of time : El Topo (1970) is what this awe bringer, bringed. What Jodorowksy film does The Filmographer suggest you get your peepers privy to? Anticlimax (1973) Please don't let the title predisposition, it's anything but anticlimactic. Inflected with some tones of Bunuel; it's one helluva surreal deal, it's pure poetry in 16mm motion.
This was one of the easiest choices for 'K', practically a no-brainer, to be honest. And yes the Kurosawa film most likely to be played on television the ad-nauseum way is Seven Samurai (1954), and although it is peerless perfection, and gave Sergio Leone quite a bit of impetus himself. The Kurosawa film to see if you have not already, is Nora Inu (Stray Dog, 1949) Kurosawa goes chiaroscuro san in this police procedural which proves a flawless application of America's noir tempo and style but to a Japanese setting, in which a rookie cop desperately tries to track down his long lost gun in Tokyo. While the homegrown yakuza films led the way and Kurosawa shifted to other genres - he was certainly wallop whipping in this one. Asakazu Nakai's lens is inexhaustible. For more on Kurosawa and Japanese cinema, please consult my earlier article from my 'Melting Pot Cinema' series.
Any film I would recommend seeing from ol' Ernst, you will just Lubitsch. He was quite a soul and revered for his supernal use of the aesthetic, in fact, it was such a gospel that he did so that his technique would be coined 'The Lubitsch touch.' What he did for Weimer, as if that was not enough oy vey factor! While The Shop Around the Corner is one of the more recognized of his catalogue there is so much more. Here is a compulsory one : Trouble in Paradise (1932) Lubitsch's pre-code charmer centering on a coupla fingersmiths (Miriam Hopkins & Herbert Marshall) who fall deeply in love - and even deeper into unsuspecting pockets.
Now this man gave Ealing some feeling! I shudder to think of a life lest 1949's wundervoll Whisky Galore! (well I do on account I am seriously a tee-totaler) Mackendrick, far too undersung actually was one of the writers of 1957's The Sweet Smell of Success, but ain't nobody fessed up to that! Please see : Crash of Silence (1952) Macka would really appresh if you saw this, which was one of the helmsmith's more poignant moments. The consummate less is more director;Only thirteen directing credits, but Mackendrick truly made each one of those count.
Naruse, Mikio (1905-1969)
And yet another cat from Japan makes the Filmographer's list. Naruse is absolutely heroic, and oh the red tape he had to cut through just to be able to make his first picture in 1930; A Record of Shameless Newlyweds (Oshikiri shinkonki). And I says, you have to have to see : When a Woman Ascends the Stairs (1960) The zero punch pulling story all about the life of an ageing geisha courtesy of an actress inimitable in Miss Hideko Takamine - speechlessness shall ensue, trust me on this prediction. Naruse and Kurosawa and Ichikawa - oh my!
And yet another cat from Japan makes the Filmographer's list. Naruse is absolutely heroic, and oh the red tape he had to cut through just to be able to make his first picture in 1930; A Record of Shameless Newlyweds (Oshikiri shinkonki). And I says, you have to have to see : When a Woman Ascends the Stairs (1960) The zero punch pulling story all about the life of an ageing geisha courtesy of an actress inimitable in Miss Hideko Takamine - speechlessness shall ensue, trust me on this prediction. Naruse and Kurosawa and Ichikawa - oh my!
Ophuls, Max (1902-1957)
This director had quite an adventurous life, he escaped Nazi Germany, became a citizen of France and then when France did their belly-up routine, made his way to America. Ophuls distinctive, innovative slick camera work is virtually unsurpassed. Now if I am going to recommend a noir, you will sit up and listen, yes? Being its one of my specialities, and he churned out one achingly brilliant one in 1949 - The Reckless Moment and James Mason, is full-throttle to boot. You may also be interested to know that he was the original director in his subsequent Howard Hughes produced Vendetta (1950) but was terminated from his directing duties, and Preston Sturges was his replacement - and guess what ? Sturges got the pink slip too. They shouldn't have pussyfooted around with Hughes after all eh?
Pressburger, Emeric (1902-1988)
How can I not love Mr Pressburger , we are kindred Jewish gypsies, afterall. He started out as a journalist but would realize there was another thread to follow and glad he heeded the call - is this fellar an innate screenwriter and director or what? And more Powell to him. Can you imagine british cinema without him ? He is an institution within himself. I am far from discounting partner Powell, as you will see I have gushed about him in a previous essay. It is quite cruel to ask me which film to suggest. The Pressburger moment that personally endeared me most was A Matter of Life and Death (1946) I watched it with someone I love, and it inspired me to love them even more. How is that for selling you on to the idea of watching it? A full two boxes of Kleenex may be in order. Kim Hunter and David Niven may seem like strangebedfellows on paper - but the pair absolutely had some uncanny chemistry. I also revere the fact of how well researched it is. It took months of long, hard research just to gather those infinitesimal details of the brain injury suffered by Niven's Peter Carter.
How can I not love Mr Pressburger , we are kindred Jewish gypsies, afterall. He started out as a journalist but would realize there was another thread to follow and glad he heeded the call - is this fellar an innate screenwriter and director or what? And more Powell to him. Can you imagine british cinema without him ? He is an institution within himself. I am far from discounting partner Powell, as you will see I have gushed about him in a previous essay. It is quite cruel to ask me which film to suggest. The Pressburger moment that personally endeared me most was A Matter of Life and Death (1946) I watched it with someone I love, and it inspired me to love them even more. How is that for selling you on to the idea of watching it? A full two boxes of Kleenex may be in order. Kim Hunter and David Niven may seem like strangebedfellows on paper - but the pair absolutely had some uncanny chemistry. I also revere the fact of how well researched it is. It took months of long, hard research just to gather those infinitesimal details of the brain injury suffered by Niven's Peter Carter.
Quine, Richard (1920-1989)
And hey can you believe this? I actually managed to list a director whose surname begins with the letter 'Q!' Quine was much more noted for his stage career and would star in many a Great White Way show. He made his directorial mark with a lesser known noir entry Leather Gloves in 1948. Quine was befittingly quirky and had a few satirical tricks up the celluloid sleeve. And yes it is one of his most popular releases, but see it again. I have a hunch you won't mind the revisit, if you have seen it before : The World of Suzie Wong (1960) It was adapted from the Broadway play and William Holden plays on screen - the character originated by William Shatner. Could those two be any more spectrum opposite?
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Ray, Nicholas (1911-1979)
Hummina Hummina! Oh boy, goosepimple time for this auteur. I could not j'adore him anymore than I already do. Don't believe the hype about Gloria Grahame, and all that such skulduggery. He worshiped the velvet carpets she walked on. Now getting back to serious filmographer bizness. The most striking quality of Ray's was how Ray had this signature method of getting the audience's empathy and inspiring pathos from his most brutal characters, and I am talking making pussycats out of lions here. What Nicholas Ray film should appeal to you? Try on 1956's Bigger Than Life on for size. And you will see what I mean with James Mason in this one. He earns the asshole of the century award, but you will still want to some how give him a bear hug. Yes you will!
Sturges, Preston (1898-1959)
It would be absolutely implausible to think about the screwball comedy, without thinking of this bloke here. Sturges was a hallmark of the genre. But he hosted a dark comical side in coalition with his other such madcap fare. In 1948, he would give credence to my statement to this with Unfaithfully Yours. Ironically starring Rex Harrison who portrays an insanely jealous musician, who is so utterly paranoid his woman is doing the two-time tango, he fantasizes about murdering her to various musical compositions And my oh my, I must tell you that Harrison was surely the black kettle calling pot, as he was horrifically unfaithful a lover. In fact he did the really bad no-no with Carole Landis who committed suicide over the anguish she felt when Harrison refused to leave wife Lilli Palmer for the blonde beauty. I know yes I am skewering, but admite it, that makes you even more anxious to see Unfaithfully Yours.
Tati, Jacques ( 1907-1982)
Playtime (1967) is all you need to know. ah yes me and Monsieur Hulot, down by the schoolyard I am deliberatel keeping this passage succinct. It is too painful to pigeonhole the undeniable legend that was Jacques Tati.
Ulmer, Edgar G. ( 1904-1972)
His first one says, makes that screams, yes, screams it all: People on Sunday (1930). Now I will tell you this, that never in mine natural life have I had the pleasure of witnessing any director become instantly seasoned in a debut feature the way that a dialed-in Ulmer can. If this were the only Ulmer film you ever saw, it would probably be genug.
Vidor, King (1894-1982)
Now King Vidor can inspire a Pavlovian response from zero to sixty in under ten and ten to the dozen does my heart beat for this director, perhaps Eleanor Boardman's was quicker. I do have an issue about his political ideologies, but spare that and voila... the virtuoso Vidor will knock your socks with and I am unanimouser than Mrs Slocombe on this; the pre-code paradiso known as 1931's Street Scene.
Wertmuller, Lina ( b.1926)
You will be just swept away by the Seven Beauties (1975) Giancarlo Giannini her right hand man bringeth this one home. An abomination occurred in 2002 courtesy of director Guy Ritchie who did not get a nod in this list. But don't be too harsh on the lad, it was Madonna who (shockingly) stars in the remake that influenced that decision, but we all know Mariangela Melato she doth not make.
Xie Jin (1923-2008)
Kudos to me, yayyyy! I came up with the 'X' factor here. Two Stage Sisters (1964).
Yates, Peter (1929-2011)
Now everyone says ' Bullit, 'But I says The Friends of Eddie Coyle (1973) and you will surely be thanking me in the morning,
Zeffirelli, Franco (b.1923)
Believe it or not, I am recommending a 1999 release this time, Tea with Mussolini - and that is the second reference I made to said dictator. Maybe an A to Zed dictator list beckons.
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