Tele's List of 100 Lesser-Known or Under-Appreciated Films Everyone Should See (THE LIST IS COMPLETE! p26)

[JohnnyGossamer]

5 minutes ago, Baumer said:

 

You've seen every single film listed here?  I find that kind of hard to believe.  Not everyone has seen everything.  

The reason I both love and hate these lists. I already have a list, a damn long list, of movies I need to see. Then, someone like you or Telemachos drops another list and I have to add to my growing list. Then, I start forgetting what I've seen and what I haven't seen. It's maddening. My world begins to collapse on itself. Haha.

[The Stingray]

Horror + comedy never really works for me. However, I do find the scene where the doctor's decapitated head gives former horror hottie Barbara Crampton cunnilingus to be hilarious.
 

[Jake Gittes]

35 minutes ago, The Stingray said:

The Mirror can't be as good as Stalker, can it?
 

 

I think it's not just Tarkovsky's best but the best Russian film I've ever seen, although... as much as I don't like the whole idea of "mysterious Russian soul" or whatever, I think being from here helps a bit. His science-fiction and historical films strike me as more universal. 

[Dementeleus]

47 minutes ago, The Stingray said:

The Mirror can't be as good as Stalker, can it?
 

 

STALKER's my personal fave. 

[The Stingray]

39 minutes ago, Jake Gittes said:

 

I think it's not just Tarkovsky's best but the best Russian film I've ever seen, although... as much as I don't like the whole idea of "mysterious Russian soul" or whatever, I think being from here helps a bit. His science-fiction and historical films strike me as more universal. 

 

I've been meaning to see Come and See. How does that one stack up among Russian films?

 

[Fancyarcher]

The Mirror is not as good as Stalker, but it explores just as many interesting ideas as that film does.

[Jake Gittes]

21 minutes ago, The Stingray said:

 

I've been meaning to see Come and See. How does that one stack up among Russian films?

 

 

Ashamed to admit it but I'm still mentally preparing for that one myself.

 

Speaking of Soviet WWII movies that don't fuck around, I highly recommend Trial on the Road if you can track it down. And of course Ivan's Childhood if you haven't seen that yet. 

 

 

[narniadis]

I assume that as this list gets deeper I will have seen almost none of them... just like the last 10 or so.... *adds more movies to my list*

[IronJimbo]

2 hours ago, Baumer said:

 

You've seen every single film listed here?  I find that kind of hard to believe.  Not everyone has seen everything.  

Well not everyone is IronJimbo.

 

If there is a film I haven't seen it's because the director shoved the film reel in a weighted time capsule upon completion, then let it sink to the bottom of the Mariana Trench. Although James "Iron Jim" Cameron probably found it, afterall he is the first person to see deepest point in the ocean with his own eyes.

 

Of course I'm lying and I've barely seens 5 films on Tele's list, not lying about Jim though he really set that record.

[RobinHood26]

I have a list of 3,800 movies to watch... 

[Dementeleus]

Speaking of which...

 

35. Sorcerer (1977)

written by: Walon Green (based on the novel by Georges Arnaud)
directed by: William Friedkin
starring: Roy Scheider, Bruno Cremer, Francisco Rabal, Amidou

 

Synopsis:
Four unfortunate men from different parts of the globe agree to risk their lives transporting gallons of nitroglycerin across dangerous South American jungle.

 

So, in a bit of serendipity, both the original WAGES OF FEAR and its remake -- SORCERER -- make my list. Friedkin's version is paced a little better, IMO, and its darker outlook holds up well today.  The story is essentially the same: four men transporting unstable nitroglycerine to stop an oil fire, but Friedkin takes the time to establish each's man's backstory at the beginning, so we understand what they're running from and why.

 

Friedkin is a masterful director at creating tension with action (and non-action) -- he had already made the huge blockbusters FRENCH CONNECTION and EXORCIST, and every bit of his skill is on display here. As the men drive deeper into the jungle, the very concept of "roads" becomes more and more abstract: they start off as normal roads, then become gravel-paved, then dirt, then merely trails, and finally, in the depths of the madness, the men are basically driving through sludges of mud, in torrential downpours, hacking through undergrowth with machetes, without any clear concept of whether they're still on the right path or not. And, of course, Tangerine Dream's awesome score provides the pulsing backdrop of emotion and anxiety.

 

The 1970s are famous as the Golden Age of American filmmaking, featuring character studies that often were bleak or had ambiguous or downbeat endings… and SORCERER falls into a classic 70s movie in that regard. However, a sea change in Hollywood was coming, and SORCERER had the outrageous bad fortune of opening a week before a little movie called STAR WARS. Audiences embraced this new style of upbeat, exciting, less thought-provoking blockbusters, and SORCERER was an epic flop at the box-office. In recent years, it's been re-discovered and rightfully hailed as a masterpiece of suspense and tension.

 

A must-see.
 

 

[Jake Gittes]

Fuck yeah.

 

It can't be overstated how jaw-dropping that bridge scene is. 

[Dementeleus]

34. The Man Who Would Be King (1975)

written by: John Huston and Gladys Hill (based on the story by Rudyard Kipling)
directed by: John Huston
starring: Sean Connery, Michael Caine, Christopher Plummer

 

Synopsis:
Two British soldiers in India decide to resign from the Army and set themselves up as deities in Kafiristan--a land where no white man has set foot since Alexander.

 

A great old-fashioned epic, made by a legendary director and starring legendary stars. John Huston had wanted to make THE MAN WHO WOULD BE KING for decades: he had originally planned it as a Clark Cable / Humphrey Bogart vehicle, and over time also considered Burt Lancaster and Kirk Douglas, and Robert Redford and Paul Newman. Newman was the one who actually suggested Connery and Caine, and they're so great in their roles you can't really imagine anyone else playing the parts.

 

Supposedly this is Sean Connery's favorite film role, and it's not hard to see why: he gets to play someone with incredible ambition, more than a bit of occasional silliness, who gets to experience great romance, great drama, and great adventure. And who could pass up playing a god? (Or at least a man impersonating a god.)

 

 

[TalismanRing]

5 hours ago, Telemachos said:

37. The Enemy Below (1957)

written by: Wendell Mayes (based on the novel by D.A. Rayner)

directed by: Dick Powell

starring: Robert Mitchum, Curd Jurgens

 

Synopsis: 

During World War II, the USS Haynes, an American destroyer escort, discovers a German U-boat in the South Atlantic. A deadly duel between the two ships ensues, and Captain Murrell must draw upon all his experience to defeat the equally experienced German commander.

 

A classic WWII movie that’s had some long-lasting influence. One of the most famous first-season episodes of Star Trek (“Balance of Terror”) was directly based on it, and in style and temperament it set the tone for the whole sub genre, from DAS BOOT to CRIMSON TIDE (where it was mentioned as a tribute, by Tarantino, when he polished the script). Mitchum is very good as the new captain of the Haynes — initially distrusted by his crew, who quickly come around when they realize he’s experienced and battle-tested. But Curd Jurgens — in his first role in Hollywood — is even better as the German U-boat captain, wily and deadly yet tired and worn-out from the war.

 

Coming only twelve years after WWII, the movie is surprisingly sympathetic to the Germans, although care is made to point out that the captain, his mate, and most of the crew aren’t Nazi diehards. (Which, in fact, was generally true). Some of the miniature VFX are pretty dated today (although the movie won a special Academy Award for them at the time), but since it was made with the full cooperation and support of the Navy, the numerous depth charge sequences were shot live (off the coast of Hawaii) and are very impressive visually—Michael Bay would tip his hat.

 

 

 

 

 

Great movie I've seen several times so how did I not know it was directed by actor/singer Dick Powell? 

 

 

[TalismanRing]

28 minutes ago, Telemachos said:

34. The Man Who Would Be King (1975)

written by: John Huston and Gladys Hill (based on the story by Rudyard Kipling)
directed by: John Huston
starring: Sean Connery, Michael Caine, Christopher Plummer

 

Synopsis:
Two British soldiers in India decide to resign from the Army and set themselves up as deities in Kafiristan--a land where no white man has set foot since Alexander.

 

A great old-fashioned epic, made by a legendary director and starring legendary stars. John Huston had wanted to make THE MAN WHO WOULD BE KING for decades: he had originally planned it as a Clark Cable / Humphrey Bogart vehicle, and over time also considered Burt Lancaster and Kirk Douglas, and Robert Redford and Paul Newman. Newman was the one who actually suggested Connery and Caine, and they're so great in their roles you can't really imagine anyone else playing the parts.

 

Supposedly this is Sean Connery's favorite film role, and it's not hard to see why: he gets to play someone with incredible ambition, more than a bit of occasional silliness, who gets to experience great romance, great drama, and great adventure. And who could pass up playing a god? (Or at least a man impersonating a god.)

 

 

Of those proposed pairings I could really see Lancaster/Douglas and maybe Gable/Bogart but Connery/Caine are perfect in these roles.

 

Connery, post Bond- pre Untouchables is his best era of work while being the least financially lucrative. The Andersen Tapes, The Wind & The Lion, The Man Who Would Be King, The Name Of The Rose,  The Great Train Robbery

[TalismanRing]

58 minutes ago, Telemachos said:

Speaking of which...

 

35. Sorcerer (1977)

written by: Walon Green (based on the novel by Georges Arnaud)
directed by: William Friedkin
starring: Roy Scheider, Bruno Cremer, Francisco Rabal, Amidou

 

Synopsis:
Four unfortunate men from different parts of the globe agree to risk their lives transporting gallons of nitroglycerin across dangerous South American jungle.

 

So, in a bit of serendipity, both the original WAGES OF FEAR and its remake -- SORCERER -- make my list. Friedkin's version is paced a little better, IMO, and its darker outlook holds up well today.  The story is essentially the same: four men transporting unstable nitroglycerine to stop an oil fire, but Friedkin takes the time to establish each's man's backstory at the beginning, so we understand what they're running from and why.

 

Friedkin is a masterful director at creating tension with action (and non-action) -- he had already made the huge blockbusters FRENCH CONNECTION and EXORCIST, and every bit of his skill is on display here. As the men drive deeper into the jungle, the very concept of "roads" becomes more and more abstract: they start off as normal roads, then become gravel-paved, then dirt, then merely trails, and finally, in the depths of the madness, the men are basically driving through sludges of mud, in torrential downpours, hacking through undergrowth with machetes, without any clear concept of whether they're still on the right path or not. And, of course, Tangerine Dream's awesome score provides the pulsing backdrop of emotion and anxiety.

 

The 1970s are famous as the Golden Age of American filmmaking, featuring character studies that often were bleak or had ambiguous or downbeat endings… and SORCERER falls into a classic 70s movie in that regard. However, a sea change in Hollywood was coming, and SORCERER had the outrageous bad fortune of opening a week before a little movie called STAR WARS. Audiences embraced this new style of upbeat, exciting, less thought-provoking blockbusters, and SORCERER was an epic flop at the box-office. In recent years, it's been re-discovered and rightfully hailed as a masterpiece of suspense and tension.

 

A must-see.

 

 

 

Wages Of Fear was on my Top 100 lists but I've never seen this one.  It goes on my TBS List.

[DAR]

Watched Breaking Away last night, 61 on the list.  Glad to say it still held up

[baumer]

Never seen Sorcerer. It's the one film on this list I 100% will see. In fact I'll order it tonight when I get home. Friedkin was bad ass in the 70s and Schrider is awesome.

 

Thanks Tele.

[Dementeleus]

33. Wind (1993)

written by: Rudy Wurlitzer and Mac Gudgeon (story by Jeff Benjamin and Roger Vaughn & Kimball Livingston)
directed by: Carroll Ballard
starring: Matthew Modine, Jennifer Grey, Stellan Skarsgard, Cliff Robertson

 

Synopsis:
Will Parker, played by Matthew Modine, loses the Americas Cup (the worlds biggest sailing prize) to the Australians and decides to form his own syndicate to win it back.

 

This would typically be a by-the-numbers sports adventure. Young man strives to win the ultimate prize (to satisfy himself and his girlfriend), fails, and then has to retrain so he can win and impress them again. But while some of these beats happen, the story zigs when you expect it to zag. Characters threaten to fall into stock stereotypes and then twist out of that. All of this is anchored by Carroll Ballard's typically brilliant visuals (courtesy of master cinematographer John Toll) and Basil Poledeuris's vivid and peppy score. All the performances are good, but I really got a kick out of Stellan Skarsgard. This, combined with HUNT FOR RED OCTOBER, made me really start to keep an eye out for his name.

 

It's a great example how of a movie can survive the development process of a major studio and still come through with interesting wrinkles and scratches.

 

@MrPink @4815162342 @ddddeeee

 

 

[Dementeleus]

32. The Gods Must Be Crazy (1980)

written and directed by: Jamie Uys
starring: N!xau, Marius Weyers, Sandra Prinsloo

 

Synopsis:
A comic allegory about a traveling Bushman who encounters modern civilization and its stranger aspects, including a clumsy scientist and a band of revolutionaries.

 

This tiny independent project, financed and made entirely in South Africa, ended up being a huge hit globally. And it's not hard to see why. It's very appealing, easy to follow, cute and filled with slapstick -- all things that make a movie easy for worldwide consumption no matter the territory or culture.

 

The movie itself is about the clash of cultures. The main character is a Bushman living in the Kalahari Desert, with no knowledge of the outside world. One day, a plane flies high overload and the pilot throws an empty Coke bottle out the window. It falls to the ground and is found by the Bushman's tribe. At first it seems like a wonderful new tool and truly a gift sent from the gods, but as each of the the villagers increasingly want to use it for themselves, the formerly peaceful village becomes filled with envy and anger. After a fight breaks out, Xi the Bushman has had enough, and he decides to take the bottle and travel to the end of the world, where he'll throw the bottle off the edge and return it to the gods. So he sets out on his journey, and in doing so, ends up increasingly involved with all aspects of the modern world: cars, trucks, poachers, scientists, teachers, guerillas.

 

All of this is presented in such a warm simple way that it's almost impossible not to like it. What a wonderful, happy, silly little movie.