It’s fair to say that Sean Price Williams, director of last year’s film “The sweet Orient“and director of photography on everything from the Safdies”Good time» to Kristen Stewart’s Boygenius music videos, has an eclectic and appreciative eye for great films. He’s perfected it through his job, of course, but also by compiling a massive list of movies to watch. What began as a list of recommendations, constantly evolving over the years and distributed to Williams’ friends and colleagues, is now a full-fledged book by Métrographe Editions.
To butcher a quote from Ernst Lubitsch, there are a thousand “1000 Movies to Watch” type books, but now there is only one.
What’s interesting about this pocket-sized guide is that, unlike many movie recommendation books, Williams isn’t interested in leading the reader through flowery explanations of why someone might or should like a particular movie. Titles are presented, along with year of release and director, in simple list form, with ample space in the margins for notes, checkmarks, or whatever sticker system an individual reader might wish to implement . It’s an impeccable guide that begs you not to continue like this.
Knowing that the first print run of “1000 Films” is already sold out (don’t worry, Metrograph prints more), we thought we should highlight at least some of Williams’ choices. And really, the only way that seems right to do that is to follow Williams’ own advice to readers as closely as an Internet entertainment publication can: “Get your blood on it.” Whatever it is, just engage physically. Because otherwise you just have tabs open on your computer,” Williams said.
So, below is a list of 13 arbitrarily chosen films before 1970. They represent directors that Williams returns to again and again, they include artistic ancestors of the Dragon’s Horde incredible films from the 70s, 80s and 90s that make up a healthy plurality of Williams’ list, they are particularly interesting for the way they push what is possible with cinematic imagery, and also ? These are precisely the ones that this writer really likes. This article contains as much information on each of them as the corresponding page of “1000 films”. We hope this will preserve Williams’ and the book’s appreciation for the reference manuals and movie video store catalogs that served as portals to discovery beneath a minimalist exterior.
The additional limitation I have imposed on myself is to not mention any movies that appear in some of the best places to have tabs open for movie recommendations: Ebert’s great films list; or films which are, at the time of writing, on the unofficial Letterboxd site Official Top 250 by rating. Some of these titles have Criterion releases – the entities that keep films alive physical medium are, after all, few in number – but many of them are not. However, they are all visible either way. So now you have no more excuses! Go watch great films that are secret favorites of filmmakers and movie buffs.
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“The Docks of New York” – Josef von Sternberg (1928)
Josef von Sternberg loves shooting through nets and screens and putting all sorts of things in front of the lens, but you can’t argue with the results! Salvation and damnation in beautiful black and white. I don’t even need Dietrich for this one.
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“Love me tonight” – Ruben Mamoulian, 1932
I could talk about it for hours (and the “How would Lubitsch do itpodcast does, FYI), but “Love Me Tonight” sets the template for great modern musical numbers as well as how music becomes a co-conspirator in cinematic storytelling, in general. The kind of recommendation that tells you Sean Price Williams knows what’s going on.
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“The Wild Boys of the Road” – William Wellman, 1933
Lots of love from William Wellman in “1000 Movies,” and there should be. Seems like he should have been brought up in the Hawks/Ford/Capra conversations but he wasn’t cool enough for Cahiers du Cinéma. Wellman’s “The Ox-Bow Incident” tends to be recommended because it’s dark and beautiful and rules, but “Wild Boys of the Road” is slightly magnificent and it reigns. A film with a real get up and go!
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“Fury” – Fritz Lang, 1936
The ultimate film for those who love how the world of cinema can become darker, for those who love the expressive shadows and tension of Fritz Lang – and also the ultimate film for those who love not take care of dogs. Whoever is warned is warned.
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“Saboteur” – Alfred Hitchcock, 1942
Some IndieWire staffers believe Hitchcock reached his peak with “Saboteur.” I have no illusions, but it’s fascinating to see the DNA of the great Hitchcock films of the 50s already present here in 1942, and with Priscilla Lane!
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“A study in choreography for the camera” – Maya Deren, 1945
It’s impossible to praise the non-feature entries in “1000 Movies” enough, but this short from Maya Deren is full of otherworldly images that seem to vibrate at a kind of hypersonic frequency. Movies can be anything, over and over again.
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“Canyon Passage” — Jacques Tourner, 1946
Jacques Tourneur in color! It almost seems pointless with his mastery of framing and editing, but what a treat. This is also how you set up dens of sin.
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“They Live at Night” – Nicholas Ray, 1949
Nicholas Ray is another director for whom it is difficult to choose an entry in “1000 Movies” to single out. Choosing “The Live By Night” because people are more likely to stumble upon “In A Lonely Place,” “Bigger Than Life,” “The Lusty Men,” even “The Savage Innocents” on their own. Breathtaking night photography and driving scenes and, like all of Ray’s films, a pressure-cooker pace that immobilizes his protagonists.
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“Wave of crime” — André de Toth, 1953
André De Toth is known for “House of Wax,” which is fine, but this tidy little film noir has everything you want (and everything you don’t). We love ironic Doris Day heist scenes, we love cops who can’t put two and two together, we love all the inventive night photography, and we hate phone books.
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“The big T” – Budd Boetticher, 1957
Undefeated Budd Boetticher, the GOAT. And Randolph Scott is here, as he is in all his westerns, excellent at bringing the energy of a drunken uncle to whatever situation he finds himself in. A shootout definitely worth preparing for.
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“The Shootout” – Monte Hellman, 1967
OK, last western. And in all honesty, “The Shooting” is like the last western. It annihilates the West as a landscape as it passes. Which seems perfect for a baby Jack Nicholson, but for poor Warren Oates!
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“The Firemen’s Ball” – Miloš Forman, 1967
I won’t tell you anything about this film. It’s weird and you’ll get bored and then you will not be The final sequence of the “Fireman’s Ball”… is the stuff of dreams and nightmares.
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“Model store” – Jacques Demy, 1969
Did you like “Barbie”? You will like “Model Store”. Jacques Demy, the king of color, this time in Los Angeles! It’s like chocolate and peanut butter.