Kubrick is a unique filmmaker that it touched almost all the sorts without losing its marked personality. It is difficult to trace his influences beyond those referring to the plot or the platitudes of the genre he addressed. What cinema did Kubrick like? The filmmaker was always little given to talk about others and to admit their influences. However, it was in 1963 when he gave, to a magazine called Cinema (opened in 1962 and which ceased its publications in 1976), his only top 10. Although he will still have a lot of cinema to see until his death in 1999, we all know that being 35 years old by then the filmmaker would have already seen his main influences. There is nothing that affects and influences more than the favorite movies of youth. Among them there is an unavoidable classic but also other surprises.
1 The useless (Federico Fellini, 1953)
Even if It is not one of the best known films of the Italian master, there are many voices that claim it as one of the great films in the history of cinema. Fellini takes us to a small coastal town full of humble and hardworking people where they stand out five young people who, unlike the rest of their neighbors, are determined not to do anything useful in life. Neorealism is infused with irony and humor in one of the first great works of the Rimini master, Oscar nominee for Best Screenplay and winner of the Silver Lion in Venice.
2 Wild strawberries (Ingmar Bergman, 1957)
One of the capital titles of Ingmar Bergman’s filmography, stars the great silent filmmaker Victor Sjöström, Bibi Anderson and Ingrid Thulin. Through nightmarish dreams and childhood memories, the Nordic filmmaker thrills reflecting on old age and life. He won the Golden Bear in Berlin and the Golden Globe for Best Foreign Film, in addition to being nominated for Best Screenplay at the Oscars. But we already know that the Swede cared little about the awards.
3 Citizen Kane (Orson Welles, 1941)
Little can already be said about the irruption of Orson Welles in the cinema. For more than half a century, the story of Charles Foster Kane and his ‘Rosebaud’ has been considered the best film ever.
4 The Treasure of Sierra Madre (John Huston, 1948)
Sweaty, dirty and violent tale about the madness and greed caused by gold. John huston directs an exceptional trio of actors formed by Humphrey Bogart, Tim Holt and Walter Huston. The latter was the father of the director and both won the Oscar, John twice with script and direction.
5 City Lights (Charles Chaplin, 1931)
I’ll admit that This is my favorite movie, so better listen to the most thoughtful Kubrick’s own words on the cinema of Charles Chaplin:
“If something is really happening on screen it is not important how it is filmed. Chaplin has a simple cinematic style, almost like that of ‘I Love Lucy’. But you are always hypnotized by what is happening, and you do not realize the style essentially no He usually used cheap sets, routine lighting, etc, but he made great movies. Your movies will probably last longer than anyone else’s“.
6 Henry V (Laurence Olivier, 1944)
Even today there is a heated debate about who best brought Shakespeare’s plays to the big screen. Some are supporters of the imagination and visual deformation of Welles and others of the theatrical perfection of Olivier. Here, Oscar winner for ‘Hamlet’ He is also accompanied by a beautiful technicolor that he was given, at the time, the honorary Oscar.
7 The night (Michelangelo Antonioni, 1961)
One of Antonioni’s best films, which envelops a bourgeois marriage in crisis. He’s Marcello mastroianni, she Jeanne moreau and around the corners of the mansion he also prowls Monica vitti, as a brunette. Hypnotic film of existentialist anguish and intellectual aura that does not stop being a great portrait about passions and fear of loneliness.
8 Detective by force (Edward F. Cline, 1940)
Without a doubt this is the most surprising film in Kubrick’s choice. It makes us see that, a filmmaker whose almost robotic toughness has always been ugly, also liked good and simple comedies. Apparently, the director of ‘A Clockwork Orange’ was a fan of WC Fields, who here writes and stars in this crazy story where a drunken scoundrel will end up in charge of the protection of several banks, despite his numerous attempts to boycott them.
9 Roxie Hart (William A. Wellman, 1942)
We also had somewhat lost track of this unorthodox musical where a Ginger rogers stranger learns to take advantage of his time in jail, thanks to his lawyer and the tabloid press, while on trial for murder.
10 Hell’s Angels (Howard Hughes, 1930)
Not to be confused with Roger Corman’s motorcycle movie starring Peter Fonda in 1966. ‘At’ Y ‘No news at the front’ they were the winners of the first editions of the Oscars. We understand, therefore, that it was the moment when the love stories mixed with the war episodes of the First World War. In this movie of the millionaire adventurer Howard hughes two young men enlist as pilots to impress and conquer the same young woman, played by Jean harlow. As in Wellman’s Oscar-winning film, the most impressive things about the film are aerial battle scenes.
11 And from 1963?
Director He never gave any top in an interview or talked about his favorite movies again beyond slight comments. However, after his death, it was his daughter Katharina who shared an unnumbered list of movies that she knew her father enjoyed. It was in 1999 so we already find several more recent ones. Beyond her favorites cited in 1963, Katharina assured her father admired ‘Rigorously guarded trains’ (1966, Jirí Menzel), ‘An American werewolf in London’ (John Landis, 1981), ‘On fire, firefighters!’ (Milos Forman, 1967), Metropolis (Fritz Lang, 1927), the Spanish ‘The spirit of the hive’ (Victor Erice, 1973), ‘Whites don’t know how to put it in’ (Ron Shelton, 1992), ‘Beauty and the Beast’ (Jean Cocteau, 1946), ‘The Godfather’ (Francis Ford Coppola, 1972), ‘The Texas Mantanza’ (Tobe Hooper, 1974), ‘Dog afternoon’ (Sidney Lumet, 1975), ‘Some one flies over the cuco’s nidus’ (Milos Forman, 1975), ‘Abigail’s Party’ (Mike Leigh, 1977) and ‘The silence of the lambs’ (Jonathan Demme, 1991).
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