TSPDT 最伟大的1000部电影（2020版）

评语：RANKING 1: CITIZEN KANE "The source book of Orson Welles, and still a marvellous movie. Thematically less resonant than some of Welles' later meditations on the nature of power, perhaps, but still absolutely riveting as an investigation of a citizen - newspaper tycoon William Randolph Hearst by any other name - under suspicion of having soured the American Dream. Its imagery as Welles delightedly explores his mastery of a new vocabulary, still amazes and delights, from the opening shot of the forbidding gates of Xanadu to the last glimpse of the vanishing Rosebud (tarnished, maybe, but still a potent symbol). A film that gets better with each renewed acquaintance." - Tom Milne, Time Out Selected by Terry Gilliam, Pupi Avati, Joe Dante, Paul Greengrass, Paul W.S. Anderson.

评语：RANKING 2: VERTIGO "Nowhere else did Hitchcock's perfectionism yield such feverish results, in an eerily perverse exploration of this director's obsessive themes. Way ahead of its time in dreamily suggestive power, Vertigo lures James Stewart's Scottie Ferguson, a man terrified of falling, onto the trail of the voluptuous ice blonde who will bring him down. The lure of death, the power of the past, the guilty complicity of a clean-cut hero, the near-fetishistic use of symbol and color: these Hitchcock hallmarks are all mesmerizingly on view… Hitchcock deliberately violated the conventions of the thriller to heighten tensions and abruptly shift the audience's point of view." - Janet Maslin, The New York Times Selected by Paul Verhoeven, Margarethe von Trotta, Wim Wenders, Geoffrey Macnab, Richard Dyer.

评语：RANKING 3: 2001:A SPACE ODYSSEY "The genius is not in how much Stanley Kubrick does in 2001: A Space Odyssey, but in how little. This is the work of an artist so sublimely confident that he doesn't include a single shot simply to keep our attention. He reduces each scene to its essence, and leaves it on screen long enough for us to contemplate it, to inhabit it in our imaginations. Alone among science-fiction movies, 2001 is not concerned with thrilling us, but with inspiring our awe." - Roger Ebert, Chicago Sun-Times Selected by Sebastián Lelio, Paul W.S. Anderson, Juan Antonio Bayona, Denis Villeneuve, Gaspar Noé.

评语：RANKING 4: THE RULES OF THE GAME "Renoir's brilliant social comedy is epitomised by the phrase 'everyone has their reasons'… The film effects audacious slides from melodrama into farce, from realism into fantasy, and from comedy into tragedy. Romantic intrigues, social rivalries, and human foibles are all observed with an unblinking eye that nevertheless refuses to judge… Embracing every level of French society, from the aristocratic hosts to a poacher turned servant, the film presents a hilarious yet melancholic picture of a nation riven by petty class distinctions." - Nigel Floyd, Time Out Selected by Mariano Llinás, Michael Haneke, Cameron Crowe, Amy Taubin, Geoffrey Macnab.

评语：RANKING 5: TOKYO STORY "Yasujiro Ozu’s Tokyo Story follows an aging couple, Tomi and Sukichi, on their journey from their rural village to visit their two married children in bustling, postwar Tokyo… From a simple tale unfolds one of the greatest of all Japanese films. Starring Ozu regulars Chishu Ryu and Setsuko Hara, the film reprises one of the director’s favorite themes—that of generational conflict—in a way that is quintessentially Japanese and yet so universal in its appeal that it continues to resonate as one of cinema’s greatest masterpieces." - The Criterion Collection Selected by Silvio Soldini, Geoffrey Macnab, Isao Takahata, Ang Lee, Andrei Ujica.

评语：RANKING 6: EIGHT AND A HALF "If all you know about this exuberant, self-regarding 1963 film is based on its countless inferior imitations (from Paul Mazursky's Alex in Wonderland and The Pickle to Woody Allen's Stardust Memories to Bob Fosse's All That Jazz), you owe it to yourself to see Federico Fellini's exhilarating, stocktaking original, an expressionist, circuslike comedy about the complex mental and social life of a big-time filmmaker (Marcello Mastroianni) stuck for a subject and the busy world surrounding him. It's Fellini's last black-and-white picture and conceivably the most gorgeous and inventive thing he ever did—certainly more fun than anything he made after it." - Jonathan Rosenbaum, Chicago Reader Selected by Terry Gilliam, Ari Aster, Paolo Sorrentino, Pupi Avati, Sebastián Lelio.

评语：RANKING 7: THE GODFATHER "The Godfather is just about as great as a movie's ever gonna be. The 1972 best picture Oscar-winner is a great pulp drama co-authored for the screen by Coppola and novelist Mario Puzo. And all the while, we think we're watching a Mafia crime story but we're actually watching one of the great American family melodramas. The casting is nothing to sneeze at either with Marlon Brando delivering one of the signature performances of his career (he, too, won an Oscar) and the very young Al Pacino seizing his screen destiny. So many great roles and characters in this movie and then there's that eternally haunting Nino Rota score." - Marjorie Baumgarten, The Austin Chronicle Selected by James L. Neibaur, Bertrand Bonello, Paul Greengrass, Richard Curtis, Shinya Tsukamoto.

评语：RANKING 8: SUNRISE "The best foreign film ever made in the United States. German director F.W. Murnau was given a free hand by William Fox for his first Hollywood production; it's breathtaking to see the full range of American technology and American budgets in the service of a great artist's personal vision… The miracle of Murnau's mise-en-scene is to fill the simple plot and characters with complex, piercing emotions, all evoked visually through a dense style that embraces not only spectacular expressionism but a subtle and delicate naturalism. Released in 1927, the last year of silent film, it's a pinnacle of that lost art." - Dave Kehr, Chicago Reader Selected by Barbet Schroeder, Luca Guadagnino, Bertrand Bonello, Walter Lima Jr., Andrei Ujica.

评语：RANKING 9: THE SEACHERS "We may still be waiting for the Great American Novel, but John Ford gave us the Great American Film in 1956. The Searchers gathers the deepest concerns of American literature, distilling 200 years of tradition in a way available only to popular art, and with a beauty available only to a supreme visual poet like Ford. Through the central image of the frontier, the meeting point of wilderness and civilization, Ford explores the divisions of our national character, with its search for order and its need for violence, its spirit of community and its quest for independence." - Dave Kehr, Chicago Reader Selected by James L. Neibaur, Lisandro Alonso, Geoffrey Macnab, Carlos F. Heredero, Christopher Frayling.

评语：RANKING 10 : SEVEN SAMURAI "One of the most thrilling movie epics of all time, The Seven Samurai tells the story of a sixteenth-century village whose desperate inhabitants hire the eponymous warriors to protect them from invading bandits. This three-hour ride from Akira Kurosawa—featuring legendary actors Toshiro Mifune and Takashi Shimura—seamlessly weaves philosophy and entertainment, delicate human emotions and relentless action, into a rich, evocative, and unforgettable tale of courage and hope." - The Criterion Collection Selected by Terry Gilliam, Gareth Evans, Alexander Payne, Paul W.S. Anderson, Chad Stahelski.

评语：RANKING 11: APOCALYPSE NOW "In contrast to Coppola’s earlier The Godfather Part II and The Conversation, Apocalypse Now isn’t a conspicuously ‘smart’ film: literary references aside, there are no intellectual pretensions here. Instead, as befits both its tortuous hand-to-mouth genesis and the devastating conflict it reflects, this is a film of pure sensation, dazzling audiences with light and noise, laying bare the stark horror – and unimaginable thrill – of combat. And therein lies the true heart of darkness: if war is hell and heaven intertwined, where does morality fit in? And, in the final apocalyptic analysis, will any of it matter?" - Tom Huddleston, Time Out Selected by Paul W.S. Anderson, Scott Derrickson, Denis Villeneuve, Tetsuya Nakashima, Antoine Fuqua.

评语：RANKING 12: SINGIN' IN THE RAIN "There is no movie musical more fun than Singin' in the Rain, and few that remain as fresh over the years. Its originality is all the more startling if you reflect that only one of its songs was written new for the film, that the producers plundered MGM's storage vaults for sets and props, and that the movie was originally ranked below An American in Paris, which won a best picture Oscar. The verdict of the years knows better than Oscar: Singin' in the Rain is a transcendent experience, and no one who loves movies can afford to miss it." - Roger Ebert, Chicago Sun-Times Selected by Andrei Ujica, Alexander Horwath, Carrie Rickey, Francis Ford Coppola, David Stratton.

评语：RANKING 13: BICYCLE THIEVES "Hailed around the world as one of the greatest movies ever made, Vittorio De Sica’s Academy Award–winning Bicycle Thieves defined an era in cinema. In postwar, poverty-stricken Rome, a man, hoping to support his desperate family with a new job, loses his bicycle, his main means of transportation for work. With his wide-eyed young son in tow, he sets off to track down the thief. Simple in construction and dazzlingly rich in human insight, Bicycle Thieves embodied all the greatest strengths of the neorealist film movement in Italy: emotional clarity, social righteousness, and brutal honesty." - The Criterion Collection Selected by Carlos Manga, Walter Lima Jr., Jia Zhangke, Ang Lee, Aki Kaurismäki.

评语：RANKING 14: TAXI DRIVER "Martin Scorsese's searing portrait of loneliness and violence on the mean streets of New York, is an American original. Robert De Niro's Travis Bickle, the insomniac taxi driver of the title, is an angry, alienated Vietnam veteran who takes a job driving a taxi on the night shift… It remains one of the quintessential films of 1970s American cinema, a brooding blast of modern gothic cinema that boils over in madness and self destruction. Scorsese's uncompromising vision and vivid direction and a fierce, fearless performance by De Niro have inspired countless young filmmakers and actors in the decades since its release." - Sean Axmaker, TCM Selected by Ari Aster, Paolo Sorrentino, Scott Derrickson, Shinya Tsukamoto, Edgar Wright.

评语：RANKING 15: BATTLESHIP POTEMKIN "The Battleship Potemkin has been so famous for so long that it is almost impossible to come to it with a fresh eye. It is one of the fundamental landmarks of cinema. Its famous massacre on the Odessa Steps has been quoted so many times in other films (notably in The Untouchables) that it's likely many viewers will have seen the parody before they see the original… Battleship Potemkin is no longer considered the greatest film ever made, but it is obligatory for anyone interested in film history." - Roger Ebert, Chicago Sun-Times Selected by Christopher Frayling, Joan Mellen, Manoel de Oliveira, Michael Mann, Paul Greengrass.

评语：RANKING 16: BREATHLESS "There was before Breathless, and there was after Breathless. Jean-Luc Godard burst onto the film scene in 1960 with this jazzy, free-form, and sexy homage to the American film genres that inspired him as a writer for Cahiers du cinéma. With its lack of polish, surplus of attitude, anything-goes crime narrative, and effervescent young stars Jean-Paul Belmondo and Jean Seberg, Breathless helped launch the French New Wave and ensured cinema would never be the same." - The Criterion Collection Selected by Carlos Diegues, Atom Egoyan, Lone Scherfig, Paul Greengrass, Michael Apted.

评语：RANKING 17: THE PASSION OF JOAN OF ARC "Stunning in its power, uncompromising in its severity and seriousness, Carl Theodor Dreyer's silent masterpiece from 1928 all but scorches a hole in the screen. The martyrdom of Joan of Arc is represented in what is almost a series of painterly close-ups, most compellingly on Joan's face as she is taunted and tormented by an ecclesiastical court… It could almost have been made at any time; there is nothing the least bit creaky about it technically. On the contrary, it transcends the limitations of early cinema, and its simplicity and procedural asceticism are inspired." - Peter Bradshaw, The Guardian Selected by Scott Derrickson, Armond White, Atom Egoyan, Béla Tarr, Jonathan Glazer.

评语：RANKING 18: L'ATALANTE "In Jean Vigo’s hands, an unassuming tale of conjugal love becomes an achingly romantic reverie of desire and hope. Jean (Dasté), a barge captain, marries Juliette (Parlo), an innocent country girl, and the two climb aboard Jean’s boat, the L’Atalante—otherwise populated by an earthy first mate (Simon) and a multitude of mangy cats—and embark on their new life together. Both a surprisingly erotic idyll and a clear-eyed meditation on love, L’Atalante, Vigo’s only feature-length work, is a film like no other." - The Criterion Collection Selected by Mariano Llinás, Hong Sang-soo, Josh Safdie, Luca Guadagnino, Michel Gondry.

评语：RANKING 19: PERSONA "Bergman at his most brilliant as he explores the symbiotic relationship that evolves between an actress suffering a breakdown in which she refuses to speak, and the nurse in charge as she recuperates in a country cottage. To comment is to betray the film's extraordinary complexity, but basically it returns to two favourite Bergman themes: the difficulty of true communication between human beings, and the essentially egocentric nature of art.… Not an easy film, but an infinitely rewarding one." - Tom Milne, Time Out Selected by Sebastián Lelio, Márta Mészáros, Sarah Polley, Geoffrey Macnab, Ang Lee.

评语：RANKING 20: MAN WITH A MOVIE CAMERA "An analytical account of the State of the (Soviet) Union at a crucial transitional stage, this is one of the most seminal and therefore controversial films in the history of cinema. Vertov's exhilarating and often hilarious exploration of the relations between cinema, actuality and history opened up all the issues Godard, the avant-gardes, and political film-makers have been wrestling with ever since. The film cannot easily be slotted into any single tradition, because it poses all the questions about the status of representation which dominant cinema represses. A truly radical and liberating work." - Peter Watts, Time Out Selected by Sergei Loznitsa, Amy Taubin, Adriano Aprà, Alexander Horwath, Esteve Riambau.

评语：RANKING 21: RASHOMON "A riveting psychological thriller that investigates the nature of truth and the meaning of justice, Rashomon is widely considered one of the greatest films ever made. Four people give different accounts of a man’s murder and the rape of his wife, which director Akira Kurosawa presents with striking imagery and an ingenious use of flashbacks. This eloquent masterwork and international sensation revolutionized film language and introduced Japanese cinema—and a commanding new star by the name of Toshiro Mifune—to the Western world." - The Criterion Collection Selected by Lisandro Alonso, Lav Diaz, Krzysztof Zanussi, Andrei Ujica, Adoor Gopalakrishnan.

评语：RANKING 22: THE 400 BLOWS "Francois Truffaut's The 400 Blows is one of the most intensely touching stories ever made about a young adolescent. Inspired by Truffaut's own early life, it shows a resourceful boy growing up in Paris and apparently dashing headlong into a life of crime… The later films have their own merits, and Stolen Kisses is one of Truffaut's best, but The 400 Blows, with all its simplicity and feeling, is in a class by itself. It was Truffaut's first feature, and one of the founding films of the French New Wave. We sense that it was drawn directly out of Truffaut's heart." - Roger Ebert, Chicago Sun-Times Selected by Nobuhiro Suwa, Richard Linklater, Sukhdev Sandhu, Adoor Gopalakrishnan, Leonardo García Tsao.

评语：RANKING 23: PSYCHO "Where would we be without Psycho? Fifty years on and Hitch’s delicious cod-Freudian nightmare about a platinum-blonde embezzler (Leigh) who neglected to consult a guide before selecting her motel still has much to answer for. It blazed a bloody trail for the much-loved slasher cycle, but it also assured us that a B-movie could be A-grade in quality and innovation. It dared to suggest that your star didn’t need to surface from an ordeal smelling of roses (or, indeed, at all). It combined a knife, a scream, a melon, some chocolate sauce, Bernard Herrmann’s greatest score and more than 70 edits to push the envelope of screen violence." - David Jenkins, Time Out Selected by Luca Guadagnino, Pupi Avati, Joe Dante, Alex Ross Perry, Glenn Kenny.

评语：RANKING 24: THE GODFATHER PART Ⅱ "Coppola's superior sequel to his own very fine Mafia epic extends the original film's timeframe both backwards (to Vito Corleone's arrival and struggles to get by in New York at the start of the 20th century) and forwards (to his son Michael's ruthless protection of his own power as capo during a post-war period of expanded influence into Vegas, Cuba and elsewhere)… The performances, Gordon Willis' memorably gloomy camerawork, the stately pace and the sheer scale of the story's sweep render everything engrossing and so, well, plausible that our ideas of organised crime in America will forever be marked by this movie." - Geoff Andrew, Time Out Selected by Lone Scherfig, Paul Greengrass, Richard Curtis, Ann Hui, David Denby.

评语：RANKING 25: RAGING BULL "This is the high-water mark of the Scorsese/De Niro partnership. De Niro plays the fanatically aggressive middleweight boxer, paranoid, driven and unhappy, who alienates everyone around him as he descends into self-loathing and loneliness. Joe Pesci and Cathy Moriarty are superb as his brother and wife. Its editor, Thelma Schoonmaker, established the movie as a classic example of her art, and the monochrome cinematography is superb. Unmissable." - Peter Bradshaw, The Guardian Selected by Gareth Evans, Pupi Avati, Andrew Dominik, Andrew Kotting, Gavin Smith.