The Dark Passenger

Filed under: orson welles writing 
Filed under: orson welles typewriter 
Filed under: top ten classifiche woody allen cinema Stanley Kubrick Federico Fellini François Truffaut Luis Bunuel orson welles Vittorio De Sica jean renoir akira kurosawa ingmar bergman 
oldfilmsflicker:

Woody Allen’s Top Ten

oldfilmsflicker:

Woody Allen’s Top Ten

(Fonte: oldfilmsflicker)

Filed under: classifiche sight & sound critica cinema citizen kane alfred hitchcock vertigo orson welles cineblog 
Citizen Kane cede a Vertigo lo scettro di miglior film di sempre, dopo sessant’anni di assoluta supremazia.
nella Top 50 dei migliori film di sempre indetto da Sight & Sound
Top 50 della critica
1. La donna che visse due volte (Hitchcock, 1958) 2. Quarto Potere (Welles, 1941) 3. Viaggio a Tokyo (Ozu, 1953) 4. La regola del gioco (Renoir, 1939) 5. Aurora (Murnau, 1927) 6. 2001: Odissea nello spazio (Kubrick, 1968) 7. Sentieri Selvaggi (Ford, 1956) 8. L’uomo con la macchina da presa (Vertov, 1929) 9. La passione di Giovanna d’Arco (Dreyer, 1927) 10. 8 ½ (Fellini, 1963) 11. La corazzata Potëmkin (Ejzenstejn, 1925) 12. L’Atalante (Vigo, 1934) 13. Fino all’ultimo respiro (Godard, 1960) 14. Apocalypse Now (Coppola, 1979) 15. Tarda primavera (Ozu, 1949) 16. Au hasard Balthazar (Bresson, 1966) 17. I sette samurai (Kurosawa, 1954) 17. Persona (Bergman, 1966) 19. Lo specchio (Tarkovsky, 1974) 19. Cantando sotto la pioggia (Donen & Kelly, 1951) 21. L’avventura (Antonioni, 1960) 21. Il Disprezzo (Godard, 1963) 21. Il Padrino (Coppola, 1972) 24. Ordet (Dreyer, 1955) 24. In the Mood for Love (Wong, 2000) 26. Rashomon (Kurosawa, 1950) 26. Andrei Rublev (Tarkovsky, 1966) 28. Mulholland Drive (Lynch, 2001) 29. Stalker (Tarkovsky, 1979) 29. Shoah (Lanzmann, 1985) 31. Il Padrino - Parte II (Coppola, 1974) 31. Taxi Driver (Scorsese, 1976) 33. Ladri di biciclette (De Sica, 1948) 34. Il generale - Come vinsi la guerra (Keaton & Bruckman, 1926) 35. Metropolis (Lang, 1927) 35. Psycho (Hitchcock, 1960) 35. Jeanne Dielman, 23 quai du Commerce 1080 Bruxelles (Akerman, 1975) 35. Sátántangó (Tarr, 1994) 39. I 400 colpi (Truffaut, 1959) 39. La dolce vita (Fellini, 1960) 41. Viaggio in Italia (Rossellini, 1954) 42. Il lamento sul sentiero (Satyajit Ray, 1955) 42. A qualcuno piace caldo (Wilder, 1959) 42. Gertrud (Dreyer, 1964) 42. Il bandito delle 11 (Godard, 1965) 42. Play Time (Tati, 1967) 42. Close-Up (Kiarostami, 1990) 48. La battaglia di Algeri (Pontecorvo, 1966) 48. Histoire(s) du cinéma (Godard, 1998) 50. Luci della città (Chaplin, 1931) 50. I racconti della luna pallida d’agosto (Mizoguchi, 1953) 50. La Jetée (Marker, 1962)
Top 10 dei registi
1. Viaggio a Tokyo (Ozu, 1953) 2. 2001: Odissea nello spazio (Kubrick, 1968) 2. Quarto Potere (Welles, 1941) 4. 8 ½ (Fellini, 1963) 5. Taxi Driver (Scorsese, 1980) 6. Apocalypse Now (Coppola, 1979) 7. Il Padrino (Coppola, 1972) 7. La donna che visse due volte (Hitchcock, 1958) 9. Lo specchio (Tarkovsky, 1974) 10. Ladri di biciclette (De Sica, 1948)

Citizen Kane cede a Vertigo lo scettro di miglior film di sempre, dopo sessant’anni di assoluta supremazia.

nella Top 50 dei migliori film di sempre indetto da Sight & Sound

Top 50 della critica

1. La donna che visse due volte (Hitchcock, 1958)
2. Quarto Potere (Welles, 1941)
3. Viaggio a Tokyo (Ozu, 1953)
4. La regola del gioco (Renoir, 1939)
5. Aurora (Murnau, 1927)
6. 2001: Odissea nello spazio (Kubrick, 1968)
7. Sentieri Selvaggi (Ford, 1956)
8. L’uomo con la macchina da presa (Vertov, 1929)
9. La passione di Giovanna d’Arco (Dreyer, 1927)
10. 8 ½ (Fellini, 1963)
11. La corazzata Potëmkin (Ejzenstejn, 1925)
12. L’Atalante (Vigo, 1934)
13. Fino all’ultimo respiro (Godard, 1960)
14. Apocalypse Now (Coppola, 1979)
15. Tarda primavera (Ozu, 1949)
16. Au hasard Balthazar (Bresson, 1966)
17. I sette samurai (Kurosawa, 1954)
17. Persona (Bergman, 1966)
19. Lo specchio (Tarkovsky, 1974)
19. Cantando sotto la pioggia (Donen & Kelly, 1951)
21. L’avventura (Antonioni, 1960)
21. Il Disprezzo (Godard, 1963)
21. Il Padrino (Coppola, 1972)
24. Ordet (Dreyer, 1955)
24. In the Mood for Love (Wong, 2000)
26. Rashomon (Kurosawa, 1950)
26. Andrei Rublev (Tarkovsky, 1966)
28. Mulholland Drive (Lynch, 2001)
29. Stalker (Tarkovsky, 1979)
29. Shoah (Lanzmann, 1985)
31. Il Padrino - Parte II (Coppola, 1974)
31. Taxi Driver (Scorsese, 1976)
33. Ladri di biciclette (De Sica, 1948)
34. Il generale - Come vinsi la guerra (Keaton & Bruckman, 1926)
35. Metropolis (Lang, 1927)
35. Psycho (Hitchcock, 1960)
35. Jeanne Dielman, 23 quai du Commerce 1080 Bruxelles (Akerman, 1975)
35. Sátántangó (Tarr, 1994)
39. I 400 colpi (Truffaut, 1959)
39. La dolce vita (Fellini, 1960)
41. Viaggio in Italia (Rossellini, 1954)
42. Il lamento sul sentiero (Satyajit Ray, 1955)
42. A qualcuno piace caldo (Wilder, 1959)
42. Gertrud (Dreyer, 1964)
42. Il bandito delle 11 (Godard, 1965)
42. Play Time (Tati, 1967)
42. Close-Up (Kiarostami, 1990)
48. La battaglia di Algeri (Pontecorvo, 1966)
48. Histoire(s) du cinéma (Godard, 1998)
50. Luci della città (Chaplin, 1931)
50. I racconti della luna pallida d’agosto (Mizoguchi, 1953)
50. La Jetée (Marker, 1962)

Top 10 dei registi

1. Viaggio a Tokyo (Ozu, 1953)
2. 2001: Odissea nello spazio (Kubrick, 1968)
2. Quarto Potere (Welles, 1941)
4. 8 ½ (Fellini, 1963)
5. Taxi Driver (Scorsese, 1980)
6. Apocalypse Now (Coppola, 1979)
7. Il Padrino (Coppola, 1972)
7. La donna che visse due volte (Hitchcock, 1958)
9. Lo specchio (Tarkovsky, 1974)
10. Ladri di biciclette (De Sica, 1948)

Filed under: lol quotes orson welles gif ingrid bergman AFI's tribute AFI 

jewahl:

Ingrid Bergman at the AFI’s tribute to Orson Welles.

(via oldfilmsflicker)

Filed under: orson welles quotes interview interviste jeanne moreau 
nazi-julieandrews:

To me, Orson is so much like a destitute king. A ‘destitute’ king, not because he was thrown away from the kingdom, but because on this earth, the way the world is, there is no kingdom good enough for Orson Welles. 
-Jeanne Moreau

nazi-julieandrews:

To me, Orson is so much like a destitute king. A ‘destitute’ king, not because he was thrown away from the kingdom, but because on this earth, the way the world is, there is no kingdom good enough for Orson Welles.

-Jeanne Moreau

(via oldfilmsflicker)

Filed under: orson welles rita hayworth andré bazin The Lady from Shanghai 

As Jacques Doniol-Valcroze has rightly observed, the average American moviegoer couldn’t forgive Welles for killing off Rita. Even worse, he let her die like a bitch on the floor of a hellish chamber while he walked out indifferently, eager to have things over and done with, without even obeying the elementary rule that the heroine should be paid the courtesy of dying in the arms of the rugged sailor. For some years, the misogyny of the American cinema has become a commonplace of intellectual criticism. Rita Hayworth was undoubtedly one of its first victims, and remains, through Welles’ genius, its most glorious martyr. - André Bazin, “Orson Welles: A Critical View”

As Jacques Doniol-Valcroze has rightly observed, the average American moviegoer couldn’t forgive Welles for killing off Rita. Even worse, he let her die like a bitch on the floor of a hellish chamber while he walked out indifferently, eager to have things over and done with, without even obeying the elementary rule that the heroine should be paid the courtesy of dying in the arms of the rugged sailor. For some years, the misogyny of the American cinema has become a commonplace of intellectual criticism. Rita Hayworth was undoubtedly one of its first victims, and remains, through Welles’ genius, its most glorious martyr. - André Bazin, “Orson Welles: A Critical View”

(Fonte: vintage-beautiful, via oldfilmsflicker)

Filed under: orson welles Michael O’Neill 
oldfilmsflicker:


Orson Welles, by Michael O’Neill, 1985 
“This is one of the last photographs of Orson before he died. He loved my camera – a gigantic Deardorff – and decided he had to direct me and tell me where to put the light. So even in his last days, he was performing his directorial role perfectly, and ­bossing me around. Which was precious.”

(via Celebrity portraits | Art and design | The Guardian)

oldfilmsflicker:

Orson Welles, by Michael O’Neill, 1985 


“This is one of the last photographs of Orson before he died. He loved my camera – a gigantic Deardorff – and decided he had to direct me and tell me where to put the light. So even in his last days, he was performing his directorial role perfectly, and ­bossing me around. Which was precious.”

(via Celebrity portraits | Art and design | The Guardian)

(via oldfilmsflicker)

Filed under: The lady from Shanghai orson welles rita hayworth finale 
oldfilmsflicker:

The Lady From Shanghai

oldfilmsflicker:

The Lady From Shanghai

(Fonte: oldfilmsflicker)

Filed under: The Lady from Shanghai orson welles rita hayworth mirror 
fistintoface:

Rita Hayworth in Orson Welles’s The Lady From Shanghai 

fistintoface:

Rita Hayworth in Orson Welles’s The Lady From Shanghai 

(via eye-contact)

Filed under: interview intervista orson welles The lady from Shanghai rita hayworth 
oldhollywood:

Rita Hayworth & Orson Welles in publicity still for The Lady From Shanghai (1947, dir. Orson Welles)
 
Q. What was the Hollywood reaction generally to [The Lady From Shanghai]?
Welles: Friends avoided me. Whenever it was mentioned, people would clear their throats and change the subject very quickly out of consideration for my feelings. I only found out that it was considered a good picture when I got to Europe. The first nice thing I ever heard about it from an American was from Truman Capote. One night in Sicily, he quoted whole pages of dialogue word for word.
Q. I guess that’s called being ahead of your time.
Welles: It’s called being in trouble.
-excerpted from This Is Orson Welles

oldhollywood:

Rita Hayworth & Orson Welles in publicity still for The Lady From Shanghai (1947, dir. Orson Welles)

Q. What was the Hollywood reaction generally to [The Lady From Shanghai]?

Welles: Friends avoided me. Whenever it was mentioned, people would clear their throats and change the subject very quickly out of consideration for my feelings. I only found out that it was considered a good picture when I got to Europe. The first nice thing I ever heard about it from an American was from Truman Capote. One night in Sicily, he quoted whole pages of dialogue word for word.

Q. I guess that’s called being ahead of your time.

Welles: It’s called being in trouble.

-excerpted from This Is Orson Welles

(via oldfilmsflicker)

Filed under: Man in the shadow Jack Arnold orson welles 
eye-contact:

Man in the Shadow

eye-contact:

Man in the Shadow

Filed under: The third man Carol Reed orson welles Joseph Cotten 
moviesinframes:

The Third Man, 1949 (dir. Carol Reed)By 20buckspin

moviesinframes:

The Third Man, 1949 (dir. Carol Reed)
By 20buckspin

Filed under: Touch of evil orson welles janet leigh charlton heston 
moviesinframes:

Touch of evil, 1958 (dir. Orson Welles)
[note this is a re-frame you can find the first one here]

moviesinframes:

Touch of evil, 1958 (dir. Orson Welles)

[note this is a re-frame you can find the first one here]

Filed under: Touch of evil orson welles charlton heston Marlene Dietrich janet leigh 
moviesinframes:

Touch of Evil, 1958 (dir. Orson Welles)
[more Touch of Evil here and here]

moviesinframes:

Touch of Evil, 1958 (dir. Orson Welles)

[more Touch of Evil here and here]