Name: 史上最美的十大電影 (Top 10 Most Beautiful Movies of All Time)
Uploaded: 2021-01-14T06:58:32.000Z
Duration: 10 min 42 s
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關係子句

>> Speaker 1: Somewhere where the lights meets the lens, where the frame flatters

the location, and the camera moves just right, an incredible image is born.

These are the top ten most beautiful movies.

Starting us off at number ten, it's Russian Ark.

>> Speaker 3: [FOREIGN] >> Speaker 1: The 96 minute,

single, uncut steady cam shot through the Russian Hermitage Museum.

Sure it might sound like a gimmick at first, but the footage speaks for itself.

A jaw-dropping location, and brilliantly costumed characters fill the screen.

Lit with remarkable mood, and variation, by cinematographer Tilman Buttner.

All coming together in an unbroken series of marvelously composed portraits.

Of course, we considered a ton of other gorgeous films for

this spot because if we're talking Russia, we can't not mention Andrei Tarkovsky,

especially his eerie mixed film stock beauty from Stalker.

And if we look around a little further in Europe,

we love Kieslowski's Three Colors trilogy, Ingmar Bergman's, well, everything, and

But they can't quite outdo The Russian Ark, which is why it kicks off our list.

Now, we can't fill up a whole list of gorgeous movies without a throwback or

two to the OG of cinema, black and white.

So for our next pick, we're looking at some of cinema's modern directors,

who decided to throw out the colors, and get back to their roots with gray-scale.

And for that, we can't think of a better film then Manhattan.

Woody Allen's 1979 love letter to New York City.

>> Speaker 4: Chapter one He adored New York City.

No, make it he romanticized it, all out of proportion, yeah.

>> Speaker 1: And that's not to say there weren't other films that just missed our

list, it was hard not to give a spot to Raging Bull, or Schindler's List.

But this black and white take on New York is timeless, thanks to cinematographer

Gordon Willis, who decided to pair ultra-widescreen with black and

white at Alan's suggestion, because that's how he remembered New York as a kid.

Woody actually begged for it not to be released.

Apparently, this was his least favorite film he'd ever made.

But to our eye it's decadent, timeless, and full to the brim with stark imagery.

Of course when it comes to beautiful black and white, we can't discount the classics,

the works of master cinematographers at home in their medium.

We've already mentioned Bergman's, but there's The Night of the Hunter, and

in Metropolis, Rules of the Game, Eight and a Half, especially The Third Man.

But even The Third Man doesn't quite live up to Orson Welles's other masterpiece,

>> Speaker 5: Here's a man that could have been President, who was as loved and

hated, and as talked about as any man in our time.

But when it comes to die, he's got something on his mind called Rosebud.

>> Speaker 1: Citizen Kane is basically an entire film education

The multiple levels of staging, and deep focused techniques, seemed revolutionary.

But the craziest part, is that this was Orson Welles's first film ever,

He learned everything he knew from watching classics, and essentially just

borrowed every technique that grabbed his eye, from every film he saw.

But the result was a tapestry woven of the best of cinema from around the world.

Free from the limitations of experience, and

Next up, at number seven, we're turning our eyes to space.

The masters of cinema have always tended to do something extra special,

when it comes to their depiction of heavenly bodies.

And while Chivo gave us a breathtaking look at Earth in Gravity,

and Alwin Küchler captured the beauty of the sun, in Sunshine,

there's nothing in the universe quite like 2001: A Space Odyssey.

>> Speaker 6: Open the pod bay doors Hal.

>> Speaker 7: I'm sorry Dave, I'm afraid I can't do that.

>> Speaker 1: Now some of you might immediately think of the admittedly

Star Gate sequence, when we talk about 2001's visuals.

But there's hardly a single frame that isn't intricately designed,

immaculately composed, and stunningly lit.

With a tendency towards central framing, and striking symmetrical compositions,

Stanley Kubrick and Geoffrey Unsworth, are at their visual best,

whether composing celestial ballets, or staging space walks.

However, if we are talking about Kubrick,

we have to throw in a brief honorable mention for Barry Lyndon.

Every single frame is a renascence painting.

>> Speaker 1: Of course, singling out directors when it comes to

gorgeous imagery, is a bit like singling out jockeys at the Kentucky Derby.

Sure, they're important, but they're not the ones running the race.

So, if we're talking cinematographers, we think Vittorio Storaro, is one to know.

This guy's rap sheet could make up this whole list.

He shot Apocalypse Now, Last Tango in Paris, The Last Emperor, and

>> Speaker 8: [FOREIGN] >> Speaker 1: Directed by

Bernardo Bertolucci, The Conformist conjures up a stunning palette of fascism,

from the hard illumination that bars the characters behind beams of light.

The compositions that highlight Marcelo's tragic inability to conform.

It's artfully conceived, meticulously crafted,

and brutally beautiful, and definitely worth checking out.

Next up, we wanna honor the extraordinary imagery of imagination.

And we love looking at Big Fish, and What Dreams May Come, for painting us a picture

of a mythical story, and telling us the story of a living painting respectively.

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史上最美的十大電影 (Top 10 Most Beautiful Movies of All Time)

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