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  • >> 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.

  • >> Speaker 2: Of all time.

  • >> [MUSIC]

  • >> Speaker 1: Let's get right in to it.

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

  • >> [SOUND]

  • [MUSIC]

  • >> 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

  • definitely Jean-Pierre Jeunet's Amelie.

  • 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.

  • He idolized it all out of proportion.

  • 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.

  • Which is why it made our list.

  • 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.

  • And for that, we had a lot of choices.

  • 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,

  • and our number eight pick, Citizen Kane.

  • >> 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

  • in a two hour package.

  • 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,

  • as a director.

  • He had no idea what he was doing.

  • 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

  • one of the most beautiful films to boot.

  • 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 Alwinchler 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.

  • >> [MUSIC]

  • >> 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

  • impressive, hypnotic neon,

  • 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.

  • Just look at it.

  • Every single frame is a renascence painting.

  • >> [MUSIC]

  • >> 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

  • our number six, The Conformist.

  • >> [MUSIC]

  • >> 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.

  • But for our pick, number five can be none other than Tarsem Singh's, The Fall.

  • >> Speaker 9: I will search the four corners of this Earth,

  • find Governor Odious, and joyously kill him.

  • >> Speaker 1: Half 1930's hospital, half little girl's imagination,

  • plus a totally random, but still really pretty slow-motion black and white title

  • sequence, The Fall is basically the best ever film making excuse, to just show off.

  • Shot over four years, in the most awe inspiring parts of 28 countries.

  • Cinematographer Colin Watkinson, filled the screen with so

  • many gorgeous tableauxs, that there are literally half second throwaway shots,

  • that are more beautiful than the entire oeuvres of lesser DP's

  • >> [MUSIC]

  • >> Speaker 1: Now, we've spent plenty of this list looking at the handsome

  • cinematography of Americans, and Europeans, but we've yet

  • to turn our lens to the Asiatic Region.

  • We've circled back to it, time and again, for fight scenes, wardrobes, and

  • now cinematography.

  • And if I were a betting voice over man,

  • I'd bet it was one of the writer's favorite films.

  • But for our number four, it's hard to deny the visual virtuoso of Hero.

  • >> Speaker 10: [FOREIGN] >> Speaker 1: Sure,

  • we could have picked Kurosawa's Ren,

  • or Wong Kar-wai's, In the Mood for Love, or Mishima: A Life in Four Chapters.

  • And we definitely could have gone with Yimou Zhang's other works,

  • like House of Flying Daggers, or Curse of the Golden Flower, which is the only

  • film that didn't make the cut for being too visually stimulating.

  • But there's nothing as poetic in it's simplicity, and

  • steadfast in it's commitment to a visual style, as Hero.

  • By Christopher Doyle, the film tells one story from three perspectives, an homage

  • to with each perspective a different color, and what did the colors mean?

  • Well they were mostly pretty arbitrary.

  • Red was Jang's number one pick.

  • Blue and white to match the lake and desert, and black to match the temple.

  • By the time they got to the final flashback,

  • green was just about the only color left.

  • It might not be deep, but it sure was pretty.

  • For our number three, we wanna honor some of the larger than life,

  • mid century epics, that brought impressive vistas to the wide screen.

  • And that could have been the stunning saturation of technicolor classics,

  • like Ben-Hur, the Searchers or the Wizard of Oz.

  • Hell, if you got an extra moment for technicolor,

  • check out radical colors of Suspiria.

  • One of the last films to be processed in it.

  • However, our number three, goes to an absolute masterpiece of film making.

  • Shot instead on super panavision 70, a superlative cinematic look at the desert,

  • in timeless pinnacle of film art, Lawrence of Arabia.

  • >> [MUSIC]

  • [SOUND] >> Speaker 1: Directed by David Lean, and

  • shot by Freddie Young, the imagery here is absolutely breathtaking.

  • The wide screen format, perfectly captures the vast expanse of the empty desert.

  • Freddie's colors provide and almost visceral heat, and the 70

  • millimeter format provides a fittingly larger than life palette for our hero.

  • Most famously, Freddie Young, tasked with capturing a mirage on film,

  • acquired a whopping 430 millimeter lens, and

  • sent the actor far into the distance to capture this iconic shot.

  • Now, if there's a director known for the lyrical beauty of his work,

  • it has to be Terrence Malek.

  • And if we're ranking top five Malek movies based on aesthetics,

  • prettiest to even prettierest, our eyes say New World, Vin Badlands,

  • Days of Heaven, Thin Red Line, and our number two pick, The Tree of Life.

  • >> [MUSIC]

  • >> Speaker 11: The man's taught us there are two ways through life.

  • The way of nature.

  • >> [MUSIC]

  • >> Speaker 11: And the way of grace.

  • >> Speaker 1: Shot by Emmanuel Lubezki,

  • the set of Tree of Life was controlled chaos.

  • They only ever shot in natural light,

  • would ditch a scene in the middle when they were distracted by fireflies,

  • and focused more on finding emotions than covering scenes.

  • They had the same rooms built in three different houses,

  • facing different directions, so that they could pick their favorite light.

  • And then there's the supernova.

  • Instead of turning a computer, Malek hired Douglas Trumble,

  • the master mind behind 2001 Stargate, to experiment with dye, and paint, and milk,

  • and chemicals, and fluorescent ink, and all other sorts of witch craft,

  • in order to create the magnificently surreal images seen on screen.

  • For our number two, made light on it's narrative in favor of stirring imagery.

  • Our number one does away with it completely.

  • A visual tone poem.

  • No words, no dialogue, no plot.

  • Our most beautiful pick is called Samsara.

  • Like its prequels Baraka, and Chronos, and their spiritual

  • ancestors from the Qatsi trilogy, Samsara is perhaps the purest of cinema.

  • It is beyond language.

  • It says it's piece by virtue of emotional, thematic, and aesthetic association.

  • But it's also completely gorgeous.

  • Shot on 70 millimeter film, in almost 100 locations in 25 countries over five years,

  • the images are majestic, overwhelming, unbelievable.

  • There isn't a single frame you couldn't hang on your wall, and

  • marvel at for years.

  • It's a moving museum, a guided meditation, and a visual revelation.

  • Which is why it's our pick for most beautiful film of all time.

  • >> [MUSIC]

  • >> Speaker 1: But we [BLEEP] love movies.

  • We can never just stop at ten.

  • And, if you've noticed our top ten lists look more like thinly veiled top 50's, and

  • we're terrible at making up our minds, then you're onto us.

  • And we would've gotten away with it, if it wasn't for you meddling kids, and

  • your nosy dog too.

  • So, as a special treat, and because there are so many beautiful movies,

  • and it pain us to leave some out, here's a mini montage of extra gorgeous movies for

  • you enjoyment, and our clear consciences.

  • So what do you think?

  • Did we leave out one of your favorite pretty films?

  • Do you disagree with one of our picks?

  • Do you have any ideas for some more top tens?

  • Let us know in the comments below, and be sure to subscribe for

  • more Cinefix movie lists.

  • >> [MUSIC]

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

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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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    Caurora 發佈於 2021 年 01 月 14 日
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