Along the way you read the news and meet some robots, and everything seems about as likely as sci-fi ever does. It is a very believable future. This is about as intelligent as adventure games get. It has Legend's text parser which fills up a third of the screen with a list of words to choose to perform actions, while another third is for the description of the current scene and the last third is a graphic picture. In , HandsFree made a free fan remake in the more visual style of the later Legend games.
In this installation, you only have two imps to control instead of three. Someone has kidnapped the prince and it's up to you and two hilarious sidekicks, Winkle and Fingus, to rescue him.
- Una donna libera (Paperback) (Italian Edition)!
- Lesson Plans The Power and the Glory.
Winkle is a reckless jokester, while Fingus is careful and has a gift for solving puzzles. Luckily, they're blessed with extraordinary vitality. In other words, they never die. That'll sure come in handy when you're up against Wily Wizard's traps, maniacal monsters, and twisted and perplexing puzzles. Heimdall's job is to protect the entrance to Asgard, the home of the gods, from all evil, including the terrible Ragnarok, when all the evil forces come together to try and destroy the gods and ultimately everything. You, as the newly mortalized Heimdall, must visit each of these worlds to collect the god's weapons.
Each world has around 15 islands and each island has countless rooms. When you start your mission you are given three sub-games to complete: axe throwing, pig catching, and the long boat fight. How well you complete these games determines Heimdall's stats strength, agility etc as well as how many people he can choose from to make up his party.
If you don't do well then you won't get the full 30 characters to choose from and some of the better ones will not be available to you. Once you've done this it's time to wander around the isometric landscape solving puzzles and killing baddies until you eventually find one of the god's missing weapons.
This German-only game is the last of three text adventures created by the Weltenschmiede team, the other two being Das Stundenglas and Die Kathedrale. Travel from the age of dinosaurs to the distant future and bring back six crystal shards to battle the sinister god Kal. Otherwise a conventional text adventure in its design and functionality, Hexuma is aiming for the versatility record: the game knows six different ways to enter a command.
You can simply type it in. You can click on objects in the graphic window to trigger the most probable action. You can piece your sentence together in an icon menu. You can consult a list of pre-fabricated commands tailored to the situation. You can click on any word in the text screen to copy it in the command bar. And, strangest of all, you can enter your command letter by letter with the mouse on a display of a keyboard.
Talk about German diligence. There are a few puzzle dead-ends, so you might consider saving frequently. Peter Banning is an ordinary suburban dad with two kids - or so everyone thinks. Captain Hook gains revenge on Banning by stealing his two children, so Peter must return to Neverland, return to eternal childhood, and get them back.
It's a point and click adventure, and the pirate setting ensures that it recalls the Monkey Island games. These include looking at an object, picking it up, talking to people, using objects to solve problems often in combination with others , and giving objects to others. The game features the existing engine in previous Hugo games along with some new features.
These include a turbo button, and a "hints" feature. In this game Hugo and his girlfriend Penelope crash in a jungle somewhere in Africa, she is seriously hurt. As Hugo you venture through the jungle, confront a witch doctor and try to find the "pool of life". The Hugo series went on to become a 3d first person shooter, Nitemare 3d see 3D Shooter Legends entry. The plot is as strange as any other Coktel release: you are El Dorado, mere mortal who is destined to find the hidden Inca treasure and fulfill an ancient prophecy of re-establishing the Inca empire - in space.
The spirit of Huayna Capac, the last grand Inca, will guide you through the journey to space and time and beyond. In contrast to most other Coktel games, Inca offers several modes of gameplay. You will spend most of your time piloting the Incan spacecraft called "Tumi" both through space and time to discover the planets. This is done from a first-person perspective like most flight sims, and you will need good reflexes to be able to navigate through asteroid fields and survive some very frustrating combat sequences.
Adventure game fans will likely be frustrated by the difficulty of these sequences, while action fans will find them too simplistic and repetitive. Where Inca really shines, though, is in Coktel's hallmark: the traditional adventure game. In adventure screens, the game will shift to a first-person perspective where you interact with people and objects, and try to find solutions to puzzles by using items in your inventory.
The plot also goes through several neat twists and turns, and the ending is well worth the trouble. Filmed characters are decent, although voice-acting is below average. The great archaeologist and adventurer has to solve a grand mystery once again, aided by his trusty whip, his sharp wit, and his courage. A man who calls himself Mr. Smith is interested in a certain ancient statue. When the unsuspecting Indy hands it over to the client, he finds out that Mr.
Smith is in fact a colonel in the Nazi army. Why was he so interested in that statue? A girl who had once worked together with Indy, the pretty red-haired and a bit troublesome Sophia, tells him the whole thing must have a connection with the legendary lost continent Atlantis. Gathering clues from all over the world, Indy and Sophia embark on their greatest journey.
The gameplay utilizes LucasArts' famous SCUMM system, with action verbs the player chooses from a menu; the objects that can be interacted with are highlighted. The game contains many puzzles of various kinds mostly inventory-based and dialogues with multiple choices. There are also a couple of hand-to-hand fights against the Nazis. The middle part of the game can be played in three "modes": co-operation Indy and Sophia , adventure Indy alone , and action Indy alone, with less puzzles and more action.
In each mode there are different locations to visit, different puzzles to solve, and different characters to meet. One of the best adventure games ever made and highly recommended for everyone. Mabella is a famous singer who mainly indulging in erotic dances. These dances cause many a man to lose their heads. Her husband who goes through life as a clown is not happy and decides to abduct her. Unfortunately for him, this goes out of hand before he ends up in jail. Superintendent Apple decides to put the best man on the case - Inspector Banana. This is where the story begins.
He risks his life to arrest him without fear against the drug dealer Dirk. The nice thing is that some game elements draw a parallel to today's reality. So we too suffer from drug dealers, beggars and troublemakers. Inspector Banana addresses these issues in such a way that he inspired many to follow his example. Banana takes up against the entire Ferrari gang led by Mancini, the ruler of the underworld. Because of his strength and perseverance, Banana will overcome and become glorious. Screenshots Dutch Full Demo 1. Brain sadly doesn't live up to its predecessor, mostly because the wonderful variety of educational puzzles in the original is reduced to a boring lot of language puzzles e.
Overall, the game will be fun only to those who like grammatical challenges, and not as original as its predecessor. Alexander washes up onshore alone with nothing but the clothes on his back and some ship wreckage. He soon learns that Cassima is being held prisoner in her castle by Abdul Alhazred, the evil Vizier of the Green Isles who has murdered the King and Queen and plans to force Cassima to marry him so that he can rule himself. Alexander must expose the Vizier's plot, stop the wedding, and free Cassima. Alexander also discovers that the islands of the kingdom are on the verge of war.
Precious artifacts from each island have been stolen, and the different leaders all blame each other. This is widely recognized as the high point of the King's Quest series for its in-depth plot, landmark 3D graphic introduction movie, and professional voice acting. Hollywood actor Robby Benson provides the voice for Prince Alexander, the game's protagonist.
A CD-ROM version of the game was also released in , include more character voices, a slightly different opening movie, more detailed artwork and animation, both DOS and Windows versions, and the Girl in the Tower theme song. Law is an ambitious design that is ultimately flawed due to logic inconsistencies and limited interaction.
As an associate working for a large L. Each time you defend a client successfully in court, you are given a new assignment and a chance at being promoted. The game ends when you climb to the highest rank in the firm and elicit congratulations from the founding partners. The game is divided into several cases, starting with "The Wrathful Race," in which you must prove your client's innocence in a car crash. You have a limited time to prepare each case before being ushered into court, and every action takes time in the game so you must carefully decide what to do.
The problem is, sometimes that is not very logical. You can use the library to research past cases, in hopes of finding legal techniques and information that pertain to your own case. You also can ask various senior partners in the firm for advice, which are generally very valuable and tell you exactly what to do next. These take time, however, so you must use this "hint" function sparingly. When you feel you are prepared to go to trial, you can go to court any time you want.
The courtroom sequence is much better than pre-trial, since there are several actions you can take, and the final judgement can vary depending on how good your arguments or pre-trial preparation is. You can, for example, raise objections to the opposing counsel's questions, move for a mistrial, or even request continuance from the judge if you feel you need more preparation this is hardly granted. Although your questions to the witnesses and their responses are "canned," it is still fun to watch their reaction and effects on the opposing lawyers. It follows the story of a time traveller who wanders through the space-time continuum in search for his original temporal dimension.
In this video game adaptation produced by the Italian publisher of the comic, the Eternaut appears in a future Rome that is being overrun by aliens. He must travel back in time to investigate the origin of the invasion and stop it. The game essentially plays like an action adventure. The player controls the Eternaut across two-dimensional screens and interacts with people, objects and exits, occasionally having to fight aliens or robots using his bare hands or a laser gun.
A combination of mouse and keyboard control allows the player to move, jump, crouch, attack, interact with the environment or use items in the inventory. It has annoying little robots in the catacombs, and you have to collect nuts of different colors. You have to eventually reach areas where you have to pull a lever to procede. The player wakes up in a strange room alone, near a dungeon. The girl whom the player saved in the first chapter of the saga is nowhere to be found, and the player soon discovers that she is going to be sacrificed to some ancient volcano deity.
You must stop this and sail away with the girl. The game uses the same engine from Part I. The atmosphere is a bit different and more various in comparison to Part I, but it maintains the same horror-type feel. Totaal [top] This text adventure was included for free with a Dutch computer magazine. People who played through the game before the first of February , had a chance to win some prizes. I'm not sure if anyone did win something eventually. Our hero is called Geurt, a farmerboy from West-Friesland a part in the north of Holland.
His brother and sister went to Amsterdam a few weeks ago and nobody has heard from them since. Do they have a job, do they have money, are they still alive, do they want to go back home, are they well fed, is there cable TV? All questions that Geurt wants answered. One day, Geurt takes a decision: "Off to the big city! He kisses his mother, takes his suitcase and drives off on his motorcycle. How should this end? Geurt never ventured outside the village before and has yet to be confronted with theft, beggars, trams and bars.
It's your job to help Geurt find his brother and sister. In the beginning, you can choose to play as either Zeke, Lydia, or Barth the alien who crash-landed on earth. Despite this illusion of longevity, each path you take can be finished in a few hours - there are few items to use, and you don't even need to use everything you can take.
Playing Lydia is exactly the same as playing Zeke's game, except that you screw males instead of females, and Barth's path is even shorter. Because the game uses a one-click-does-all scheme, you can finish the game merely by clicking madly everywhere on the screen it's not easy separating items that can be picked up from the rest. Overall, the game is a big disappointment and a disgrace to the Infocom name. Juvenile dialogues, insipid puzzles, and out-of-place "mature" content. Designed with visual appeal as well as storyline, this classic spawned two sequels and gained quite a following.
In this game you play the role of Brandon, grandson of Kallak - a wizard of the realm of Kyrandia. Malcolm, a psychotic jester imprisoned in the past by Kallak, has broken free and wishes to take over the land as well as lay down his revenge on Kallak whomo he then turns into stone leaving him with only his eyes, so that he can see and cry for Kyrandia's ruin. This is where Brandon steps in; returning home shortly afterwards only to find that his grandfather has been turned into stone, Brandon is being told by a messenger from the Realm of the Land that he has been chosen to embark on a journey that will rid this realm of Malcolm and his evil.
This is a 3rd person, point and click game with a friendly interface and inventory which includes an Amulet to hold the spells you acquire, and the CD version has music and voice both Brandon's complaints and Malcolm's wisecracks are delightful. The charming story is set in a beautifully rendered world of enchanted forests and pools and caverns, and the mood is consistently upbeat. All the graphics are lustrously illustrated in VGA resolution.
Over rendered scenes are overlaid with animations. It's an inferior game compared to the first. It uses now a point-and-click interface that changes depending on where the cursor is e. Puzzles are few and far between, and you'll be forced to watched contrite sophomoric dialogues one after another that tries very hard to be funny. Fortunately, the game is even shorter than its predecessor, meaning you won't have to tolerate it for long. Screenshots Full Demo 3. Sherlock Holmes, the world's most famous private investigator, and his faithful companion Dr.
Watson, are called to the scene of a gruesome crime: a young actress has been murdered in an alley behind her theatre. Not surprisingly, Scotland Yard's Inspector Lestrade is clueless. Was it the work of the Ripper? Sherlock Holmes is not so sure - the circumstantial evidence indicates a much more intricate crime. The game is a classical crime story with two distinguished, sympathetic protagonists. In the role of Sherlock Holmes, you travel through London in the search for clues.
Interesting locations are gradually added to a city map. Your most important source of information are dialogues with suspects, witnesses and other people — and with Dr. Watson, who will readily comment on the situation. When talking to persons, you may chose one of several lines that seems most appropriate. Watson notes down all conversations in his journal, where you can access them if needed. Pleasingly true to the novels, Holmes will solve many puzzles through sharp observations and thorough searches of every location thus discovering clues and deducing connections as well as clever interrogations.
The handling of the game by means of verbs is simple and accurate. The game's introduction, cut-scenes and ending feature digitized speech. All the old Victorian London backdrops, including 50 authentic locations, are drawn in full color VGA graphics. There is some background music and sound effects are present in a lot of situations but not everywhere. Spoken text dialogues are present in the intro and some of the cut scenes. The 3DO version features digitized voices, sound tracks, and animations not found in the original version. Screenshots Full Demo 7.
It was the first game developed by Revolution Software and was the debut for their own in-house developed Virtual Theatre game engine which Revolution's later games, Beneath a Steel Sky and the Broken Sword series, would utilise. You are a young man named Diermot, who was living a quiet pastoral life in a peaceful kingdom until the King conscripted you to serve in his army. It seems that he recently received news of a revolt in the hamlet of Turnvale, orchestrated by a young and beautiful apprentice sorceress named Selena. Much to his surprise and yours!
The king and all of his men were killed. Except you. You fell off of your horse and were knocked unconscious. You awaken in a dungeon in Turnvale, the prisoner of the cruel Temptress Selena with an unfriendly Skorl guard just outside the door. Your sidekick, Ratpouch practically steals the show with his observations and wisecracks. Plus you can tell him to do almost anything complex commands , and he will do it. And the tongue-in-cheek humor of the other 'locals' is just as good, particularly from one or two of the regulars who hang out at the pub.
In August , the game was released as freeware. Lothar has died under unclear circumstances and Mandrake examines some tracks. He comes to a seemingly deserted mansion and discovers the body of a man with a bag. Possibly a thief who tried to break in. Behind it all we glimpse the shadow of Mandrake's archenemy, the Cobra. He has a small problem, though. The problem is that his guitar has been stolen! Your objective is to help Mel find his guitar. You must wander around town in search of his precious guitar, and you must find it tonight because his big showcase for the record executives is the next morning.
As you move about town, you will find a variety of objects which will help you in your quest. You will also meet some interesting characters in the various establishments throughout the small town. Some will help; others will ignore you. You must deal with all these people, however, since someone must know who stole your guitar. You play the role of Nick Steere, you and your family have gathered for the will reading of your great uncle Randolph Steere. After the will has been read a friend of Randolph tells of a newer will hidden somewhere in the house. Naturally, wanting the truth to be exposed, you set off to find the new will, and also find out if Randolph's death was really an accident notice the game's title.
The twist in this game is that the house is full of ghosts who will aid you as well as scare you.
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The graphics have a comic book style, no animation, just pictures with voices that reminded me very much of reading a comic book. The problem is that the graphic artist was a bit lazy, so after a while you'll easily recognize the recurring pictures of the characters who seem to be just pasted on the background.
Playing the game is very simple. You have a certain amount of "time" to search the rooms and gather clues, after the time is up or you think you heard and saw enough , you choose the person or place that has the will. Gameplay is almost non-existent, you merely click on the room you want to search and a non interactive sequence is triggered in which you discover the clues in that specific room in that time.
Going to different rooms at different times yields different results naturally, however you never deduct anything from those clues. For example, in one occasion I saw a character enter a secret door, naturally by going to the room the character was just in you will open the door too and reveal what is behind it. However, it isn't necessary to view the other character open the door, if you choose that specific room in that specific time in the game you will ALWAYS get the same sequence of opening the secret door.
In the end, poor graphics and boring gameplay which consists of clicking on rooms and viewing a long sequence , ruin what could have been a very good idea. It deserves mention as one of the first CD-ROM only games ever made but it's a shame it wasn't more interactive. Dynabyte [top] This is a little known prequel to Big Red Adventure, a cartoon adventure by Italian developer Dynabyte.
Like in its followup, you take the role of three different heroes though, opposite to Goblins series, one at time. They are Doug, the smart safe cracker; Dino, the strong, but dumb, boxer; and Donna, the sexy club dancer. The gameplay takes place in Tokyo. While all three characters explore almost the same areas, each of the heroes has its own story to follow and puzzles to solve. You can choose which character would you like to play first, and which lastly. When you have finished all three sub-plots, you'll get a final with all three characters acting altogether.
The game features cartoonish, comics-style graphics, unique icon-based interface and non-linear plot. It is also full of Italian humor, and the game is played more like a comedy, rather then crime-based adventure unlike The Clue! The interface recalls Activision's later Return To Zork, with pop-up icons that change depending on items and situation. Overall, it's a fun above-average game with logical puzzles. Its director was Ed Wood considered the worst director of all time. In the game, the producer of the film has noticed that it's been stolen by Bela Lugosi's double.
Though he remained faceless, he intends to bring glory to the cult classic using more footage of himself As the studio's Private Eye, your job is to find the 6 reels and screen the film, frame-by-frame, to ensure that the warped actor did not cut Bela from the flick although just about any editing will make it better. There's over 70 locations to explore. Using the interface, you can combine up to three actions at a time from a list of available verbs, so there is flexibility and lots of things to try.
The remake features VGA graphics most of the locations and character graphics were completely re-done , and a new, icon-based interface instead of the text input in the original. You select dialogue choices from a dialogue menu, instead of typing conversation topics by yourself. Combat engine and some dialogues were also re-made. It uses video-captured clay-animation action, all new digitized color art, and a full, rich stereo soundtrack.
Shortly after your arrival, you learn about the conflict between the liontaurs and the neighbor Simbani village, populated by the leopardmen. It is now time for our hero to become a skillful diplomat and to prevent an upcoming war between the two nations. The gameplay system of "Wages of War" is the same as in the two previous games. The game plays like an adventure, with puzzles to solve and characters to talk to, with the additional of RPG elements: combat action-based and character development.
You can play as either a fighter, a thief, a mage, or a paladin, and raise your skills directly after battles or by performing various actions. Graphics and interface underwent a major change. This is the first color Quest for Glory game, and the first one to utilize the new, icon-based interface.
Screenshots Full Demo v1. It was developed using the Microprose Adventure Development system, and made use of colour graphics. Rex Nebular, a character who resembles Han Solo of StarWars, is the space smuggler pilot of a specially altered cargo ship called the Slippery Pig, which was modeled after the Millenium Falcon. Rex is mostly a down-on-his-luck pilot who will do almost anything for money where galactic deliveries are concerned. Rex gets a job from Colonel Stone, a wealthy Elvis Impersonator, to retrieve a valuable vase from Terra Androgena, a planet populated only by xenophobic women.
Apparently, Terra Androgena's biology proficient women killed all of the technology proficient men in the Gender Wars, and promptly used a cloaking device to cause the planet to disappear. In order to reproduce without men, the women invented the extremely distasteful Gender Bender, a machine which turns women into men and vice versa. Rex discovers Terra Androgena, and his ship is immediately disabled by a planetary defense craft. The Slippery Pig crashes beneath the sea and Rex must find the vase on a planet of hostile women.
Rex also finds the need to use the gender bender to change into a woman in order to avoid detection by the women who populate the planet and obtain essential artifacts. Based on Larry Niven's Hugo and Nebula award-winning novel, Ringworld eschews the book's plot and instead cast you as Quinn, a human "problem solver" who has to deliver an infodisk for Louis Wu, hero of the novel.
The premise is intriguing enough: the infodisk said you were to deliver a warning. Unfortunately for you, it never mentioned an insane Patriarch, Kzinti assassins or Puppeteer genocide. A tangled web of intrigue brings you to form an unlikely team with Seeker, a vengeful Kzin, and Miranda, a kidnapped woman engineer. The Kzinti are on the warpath, the Puppeteers claim innocence, and the vast, mysterious Ringworld holds the answer.
Despite this promising start, it degenerates into a poor click-and-wait kind of game: puzzles are few and far between, and you will sit and watch Quinn solve most interesting obstacles on his own, without your involvement. Worse still, most puzzles, whenever they appear, range from boring to downright pointless. After watching the heroes haplessly look for his own belongings one too many times, you'll wonder why he's worthy of Louis Wu's mission. The n on-interactive sequences can last minutes or more, and although they are generally well-scripted, they will make you wonder whether you're watching a poor Ringworld movie instead of playing a game.
Die-hard Niven fans or adventure game beginners who want a game they can easily complete in one sitting may still enjoy it. Anyone interested in a good game based on Niven's novel should play the much-better sequel Return to Ringworld instead. The same video technology keeps offering a true interactive environment: actually letting you "feel" the traffic in the streets of the old London.
The same structure brings a familiar look, inviting you to channel all your attention to the task of solving mysteries: your intelligence, skills and patience are required to find clues by listening to people, observing details, or even reading the London Times - but don't let yourself be misguided by a wrong hint. In this volume there's the same number of cases: 3.
But, each situation is completely different: "The Two Lions" involves the murder of circus lions, "The Pilfered Paintings" are ones just bought by The National Gallery, and "The Murdered Munitions Magnate" where hints reveal different possible motives You're resting in a hotel near a mysterious loch in scottland. You go swimming in the lake and dive through a waterfall - on the other side of it, you're finding yourself in a strange fantasy-like world.
The game is a mixture of a graphical and text adventure. All actions can be performed by typing or by clicking on the icons. Soul Crystal is one of the better German-made text adventures, with a fun and interesting story, a fairly good parser, and a mouse-driven interface. The plot sounds as if it were inspired by Lewis Carroll's Alice in Wonderland. The game is very nicely presented with excellent music and small graphics. Probably one of the last commercial games of its kind. Read about WWII rockets, eclipses, how humans might live in space colonies, and more.
Kennedy challenge America to go to the moon, computer simulations, and other videos. By clicking on objects on the screen, you can zoom to other topics on space. Space Adventure even covers some science fiction, too! The whole thing is like a really big encyclopedia covering, space, our solar system, space probes, aliens, and other stuff that a budding astronomer could want to know.
This game came with Packard Bell computers in the early to mid 90's. The game is somewhat difficult, though not frustrating, and there are multiple solutions to many puzzles, some of which are optional i. A clever plot twist and surprise ending will delight fans of the series and provides excellent closure. The game starts with you awakening in a River Bed. You have to explore your surroundings to find six objects, "scattered across ages and landscapes", to transport them "to progressively future time zones where they can right the troubled times.
Non-native English speakers could have a hard time to solve this game. The parser of T-Zero is quite unusual, powerful but tricky. Still, it sometimes is quite touchy and requests you to type the exact phrase it wants. The game also contains a hint system. The year is , and the setting is Rockefellow Tower a building floating on the South Pacific Ocean.
There is a plot to sabotage the project which you must stop. You've got to work in order to make money for food and the rent of your suite while staying healthy through sleeping and eating enough. The common way to earn money is playing mostly action-oriented mini-games or doing smaller quest or rather tasks , which also are part of the plot of the game. Let's grab you by the plethora of unique features in this thrilling adventure: the atmosphere of an interactive film; you experience this adventure from the first-person perspective.
It's seen in a wide strip, which frames a consistently sustained large field of view, a variety of scanned airbrush graphics, maximum color variety and the situation-related music and sound effects of an "interactive movie" impression. In addition, a super soft scrolling, realistic graphics and many, many animations support this impression. In this game, everything is in it, but just the linguistic diversity of the dialogues and your question and possible answers result in a seemingly infinite amount of game Chronicles.
The dependencies resulting from simulated, more or less friendly relations of the game characters to each other, increase the realistic impression of a genuine interactivity. Should you still not get further, there is also in-game help. As a child, you were never taught of your family's dark secret - a whole history of 'evil twins' doing Satan's work on earth, and 'good twins' attempting to put this right. Your uncle informs you of this shortly before his death, and after travelling to his castle you find that you must travel through time to correct these wrongdoings.
Through a range of murals at your uncle's house, various past scenes must be entered, with more becoming available as you complete them. In each you must find and kill your demented relative in time. The game's controls are point and click, with the interface allowing you to examine and collect objects, select a weapon, and attack potential foes by striking at a particular part of their body. Lee [top] Weird Island is a graphic adventure which uses an original 'point and click' interface, eradicating the need for typing of complex sentences.
It features graphic illustrations of every location from a first person perspective. This allows you to take part in the game as yourself not some computer character. Warfield, Biblical and Theological Studies [[[by]]] B. Anderson see work. Jones see work. SimoneA combined Virgin River? SimoneA combined Uus lootus. Fleisher see work. Bawa Muhaiyaddeen see work. Beaulieu see work. Daniels, Twelve-Gauge Guardian [[[by]]] B. Daniels see work. SimoneA combined Geliebte Diebin.
Keesmaat see work. Handels-Seeleute im Krieg - Birken, Plague [[[by]]] Gary Birken see work. Birken, Embolus [[[by]]] Gary Birken see work. Goren see work. Goren, Goren's Hoyle encyclopedia of games; with official rules and pointers on play, including the latest laws of contract br [[[by]]] Charles H. BogAl combined Charles H. Goren, Bridge quiz book [[[by]]] Charles Henry Goren see work. Goren, Bridge is my game; lessons of a lifetime [[[by]]] Charles H. Goren, Bridge is my game. Lessons of a lifetime [[[by]]] Charles Henry Goren see work.
Denison, The History of Easter [[[by]]] J. Denison see work. Ogygia combined Undulater : oppdragelse og trivsel [[[by]]] Philip Marsden, Undulater : Oppdragelse og trivsel [[[by]]] Philip Marsden see work. Sommers see work. Collectorator combined Alone across the top of the world [[[by]]] Jack O'Brien, Alone across the top of the world [[[by]]] David Irwin see work.
BogAl combined The law that never was vol,1 vol. Red Beckman see work. Beckman Benson, The law that never was vol,1 vol. BogAl combined The law that never was the fraud of the 16th Amendment and personal income tax. I , The law that never was vol,1 vol. I see work. Collectorator combined marty the broken hearted artichoke [[[by]]] josephine baskin minow, Marty the Broken Hearted Artichoke [[[by]]] Josephine Baskin Minow see work.
Fling see work. Kays see work. Collectorator combined Ain't Life an Artichoke? Collectorator combined Vegetables : artichokes to zucchini [[[by]]] Joe J. Stewart see work. Chronicles, 3 [[[by]]] Ian J. Smethurst, E. Smethurst see work. Tarts and hundreds more!
Meringue Phyllo Tarts and hundreds more! Ruppenthal see work. JMK combined The identity of France. Fleagle DMin [[[by]]] Arnold R. Fleagle DMin;Donald A. Fleagle DMin see work. Paul Stevens [[[by]]] R. Paul Stevens see work. Phelps Brown see work. Croselan combined The divine origin of the craft of the herbalist by Sir E. Wallis Budge. With thirteen illustrations [[[by]]] E. Wallis Budge see work. Meyer, The Herbalist [[[by]]] Joseph E. Meyer see work. With thirteen illustrations. Wallis, The divine origin of the craft of the herbalist by Sir E. Collectorator combined Japanese culture: its development and characteristics.
Robert J. Smith, Japanese culture: its development and characteristics [[[by]]] Robert John Smith see work. Meyer, The Herbalist. Medicinal Plants Spices, Teas, Plant Colors Croselan combined She wou'd, and she wou'd not, or the kind imposter. A comedy. As it is acted at the Theatre-Royal in Drury-Lane. By Her Majesties servants. Written by Mr. Cibber [[[by]]] Colley Cibber, She wou'd, and she wou'd not, or the kind imposter. Cibber [[[by]]] Colley Cibber see work. Volume 2 : People and production [[[by]]] Fernand Braudel see work. Una storia politica e sociale [[[by]]] Elise K.
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Ziegler see work. Webb see work. Webb, Four minute talks for superintendents [[[by]]] K. Harold Wood, Church unity without uniformity : a study of seventeenth-century English church movements and of Richard Baxter's proposals for a comprehensive church [[[by]]] A. Harold Wood see work. Hinckley see work. Woodard see work. Gauthier see work. Tomlinson see work. Tomlinson, The pennant [[[by]]] Everett Titsworth Tomlinson see work. Wyburn Fitch see work. Frankfurter Vorlesungen. Generalversammlung d. Vereinten Nationen am Dezember Mit 30 Radierungen von Christoph Meckel. Avron combined Ghostcoming!
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Gilderoy himself is a composite of a few people 1 know, but he also harks back to the days of the garden-shed sound eccentric. How did making your second feature compare? The emotional and financial toll it took was too much. If 1 think about comparing the shoots only, they are worlds apart. Eventually 1 got the idea that all these crew members are not on set to break my balls, but to make my life easier!
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Every ten years, from onwards, this magazine has conducted a worldwide poll of critics in order to decide which films are currently regarded as the greatest ever made. Famously, Citizen Kane won the next five polls, up to and including the last one in If they had been able to see it, it might even have won then. Given the dominance of electronic media, what was immediate- ly apparent was that we would have to abandon the somewhat elitist exclusivity with which contributors to the poll had been chosen in the past and reach out to a much wider international group of commentators.
To that end we approached more than critics, programmers, academics, distributors, writers and oth- er cinephiles, and received in time for the deadline precisely top-ten lists that between them mention a total of different films. And one important rule change compared to was that The Godfather and The Godfa- ther Part II would no longer be accepted as a single choice, since they were made as two separate films. You might choose the ten films you feel are most important to film history, or the ten that represent the aesthetic pin- nacles of achievement, or indeed the ten films that have had the biggest impact on your own view of cinema.
Databases were constructed to allow us to mine as much rich information as possible from the lists. We had hopes that some 21st-century films might break into top-flight contention; this has not been the case. We hope you enjoy this initial rummage, but perhaps the real fun will come when every list and com- ment is available online from 1 5 August. The full interactive versions will be posted online on 1 5 August at bfi.
But in the last decade, even more than before. Clearly, no single film is the greatest ever made. But if there were one, for me Xane would now be the strongest contender, bar none. Would it make a more pertinent list? Hard to say; 1 just wanted to list more, dammit. Its only justification is that these titles are some of the films that have counted the most in my relation to cinema and the development of my theoretical work.
The order is aleatory. So, this time maybe not the ten best films ever, but films 1 can and do see over and over again with the same, or increasing pleasure. So, five unhappy or unfulfilled romances, three tales of evil and two Nordic introspections. What does that say about me? The top one combines all these elements.
As 1 grow older, my readings of them may change slightly, but my love for them has never changed. And what about Lang especially after seeing the magnificent restoration of Metropolis and Renoir? And Bergman and Antonioni, both dying at the same moment: how could any self-respecting list of the ten greatest omit these?
Also, the first half of my list is composed of films in which imagination today much underprivileged plays a central role. The second half is more related to a realistic approach, however arbitrary the distinction may seem. People rather than style. Lonely, resilient people. Even Jack Lemmon in The Apartmentis lonely. Taken together, my first five choices could teach much of what there is to know about film style, but look at the last three: black-and- white heartbreakers. A Moment of Innocence is very funny. Anderson Touch of Evil Welles The Wizard of Oz Fleming These are not the ten greatest films, but rather ten that made me look at cinema, the world and my life differently.
That makes this list somewhat nostalgic. Here are some reasons why I came up with this list today: Balthazar wearing a crown of flowers and dying among the sheep. The camera moving across the pale faces and shadows in the opening of Flowers ofShanghai-the first of 39 shots in the film. Lonely, resilient people Mark Cousins at traditional film dailies rather than so-called digital dailies.
And then, of course, the color space of motion picture film is completely different than digital color space. It is this trait that for me elevates cinema to the category of an art. The neon of their titles flashed brightest among the hundreds of others vying for my attention. The two Tarkovsky films.
Mirror and Stalker, have a primal power and profundity that is unmatched by any of the others. But it was too much like a stunt. Besides, the thought of starting with a blank page and a list of all the films ever made fills me with despair. So I decided there must be one new film. Like many of the films on my list, they were directed by the artist who wrote then.
This, then, is what this list can be at best: a reminder of a history that runs a serious risk of being entirely forgotten soon. Even as I submit this list electronically , my jacket pockets are stuffed with scraps of hotel notepaper with dozens of other possible titles scribbled on them, not least Andrei Rublev, A Brighter Summer Day, The Killing of a Chinese Bookie, Lost, Lost, lost and Syndromes and a Century. What do these and the other titles above have in common? Louis Minnelli Father Panchali S. All available from: amazon. But lists are good anyway: they have effects, and hopefully positive effects, though in unpredictable ways.
This is why we should keep making them. This film has become the key to understand Chinese society. Then I put the list away. A few days later I took it out, changed a few things, and put it away again. The only representative mle I accepted was not to list more than one title by director. The choice was finally on the most indispensable films to live with every day - the ones that better tell to me what is cinema. Having to select only ten movies was harder than I imagined. However, aside from a somewhat melodramatic touch. These selections are highly personal, and include films that spoke to me because they either broke rules and expanded possibilities within cinema, or continue to move and stimulate me after every re-screening.
The order is chronological. Crimes and Misdemeanors and Histoire s du cinema. Wilder The Third Man Reed All these films are from the period , which I find particularly brilliant all over the world. To benchmark Joan in was a brilliant move. It was and remains an unassailable giant of early cinema, a transcendental film comprising tears, fire and madness that relies on extreme close-ups of the human face. Renee Falconetti was 35 when she played the role of Joan a teenager when condemned to death in 1 43 1.
Drey- er brutally extracted a desperate, brilliant performance from the actress, forcing her to kneel on stone to show the pain on her face. He insisted that they shot in silence. Over the years, Joan has often been a difficult film to see. To hear any one of these scores performed live with the film on the big screen is an unfor- gettable experience.
Perhaps this is my knee- jerk reaction against the current mania for machine-gun editing. Nostalgia shows the fate and hope of an artist in a dreamlike style. Obviously struggling! Loosen up and lose yourself like in the playground. So 1 tried to loosen up, but still with regrets 1 had to miss out La Regie dujeu. Still, making this list was a great ride, recalling all those emotions. They drift with the clouds.
The top three, however, have been unchanged for years. These scenes made me love cinema - in all its magic, discomfort and capacity to see beyond the image. The other films blew my mind at some point, probably for the same reasons. But 1 cannot exactly say why; that is why 1 keep returning to them. It happens rather intuitively. Oh well. Thirty movies would be easier, a piece of cake.
But ten? Lincoln Ford Zero de conduite Vigo Zodiac Fincher Maybe because 1 am not the list- making type, or maybe because greatness is a criterion with a thousand meanings, making this list was a real heartbreak. Films that are like the oldest friends, intimate references, different comers of the heart and mind, and the secret connections between them Whether 1 decided to be rational or sentimental, there were many possible alternatives. Ray Tomorrow it could be ten other films.
It comes down to favourites rather than best, and an attempt to avoid fashion and prejudice. They are merely ten of my very favourite movies, which I admire as much as any other but which, even choosing only one film per director, do not fully represent what 1 find most important or what moves me most in the cinema. If they are all very old the most recent are already 54 years old , it is because 1 have chosen only foolproof movies, which 1 have watched many times over the course of at least 50 years, excluding those that 1 have seen only a couple of times or only quite recently.
That leaves out recent discoveries or possibly passing fancies. And the immediate trouble with a list of ten movies across a century is that you begin to see how posterity springs a leak. Ranked only no. A compound of views of Moscow, Odessa and Kiev, Man with a Movie Camera is structured less along the geograph- ic lines of most city symphonies of its era than along the basics of how a complex society organises itself across a day. Lord was branded a reactionary in the s, but since then, under more nuanced examina- tion by the likes of Tag Gallagher, he has been revealed as a far more politically complex and ambivalent figure.
At the heart of The Searchers is a complicated, unvar- nished character portrait, one of the greatest ever: John Wayne as Ethan Edwards - brutal, driven, curdled, racist. Take the haunting studio shot of two men on horses in the snow- bound trees, like a gorgeous Richard Prince avant la lettre. Doors are a common-or-garden metaphor in cinema, but here the opening of the door at the beginning - and that slow track through it - ushers us into such strange vis- tas; Monument Valley here is virtually a sci-fi landscape.
And never was a door more eloquently, heartbreakingly and definitively closed than it is in the final shot. What gives this the edge over so many other brilliant westerns is its sense of a plenitude of meanings - of being utterly in- exhaustible. Just like the spirit of Ethan Edwards, still out there, still searching for a place of rest and peace, a home. How reassuring it would be to see this magnificent list and not feel that the movies - cinema!
No one seriously believes that. Do they? Are women directors just starting to stand the test of time? So, no films by such pantheon cineastes as Keaton, Ford, Welles or Renoir. Why not? The films of my list are all felt like my year-long friends from afar. They once gave me a hard slap on the cheek. From the silent era to the 2 ist century, I have chosen some monsters I love. Their intense emotional resonance is often amplified by superb orchestral scores, more expressive than mere words.
A great film creates a world of its own. It can be seen again and again without ever losing its freshness and surprise. The only SSStoy tens I ever noticed in previous decades were the little self- portraits in list form, rather than the ones striving towards some grand canonical presentation - the half-forgotten polaroid in a drawer, rather than the commandment from on high. His vast knowledge of painting, theatre, architecture and philosophy enabled him to realise a perfect work of art that is complete at every level, both in terms of formal execution and thematics, yet it is a purely cinematic creation, in no way dependent on the pre-existing arts.
In The Testament of Dr Mabuse, we are confronted with an impressive mastery of the dramatic use of sound elements and an incredible feeling for action and suspense. Only Renoir has managed to express on film the most elevated notion of naturalism, examining this world from a perspective that is dark, cmel but objective, before going on to achieve the serenity of the work of his old age. With him, one has no qualms about using superlatives: La Regie dujeuis quite simply the greatest French film by the greatest of French directors.
The greatest of Japanese filmmakers, Mizoguchi in his films expresses perfectly the universality of an art that is however rooted in Japanese culture and history. Ugetsu monogatariis the apogee of film classicism. John Ford, beyond a doubt the greatest of American directors and one of the greatest in the world , produced a body of work of incredible scope and richness.
What the list reveals is an admiration for films which push an idea about cinema to its apparent limit, and do so with elegance and wit. It climbed to number six in , and has held that position in Six films recurred, but this time I plumped for instead of The Shining. After the theatrical reissue of the latter, it might edge ahead again.
In , 1 might elevate Barry Lyndon over both, or relegate Stanley Kubrick from the pantheon entirely. Clarke decided that humanity would come face to face with its alien origins. But, despite the date-stamp, still seems coolly plausible and resonant. And at the same time its wonders have only been enhanced by the recent trend for screening the film with a full symphony orchestra on hand to perform the classical soundtrack selections by Johann Strauss, Richard Strauss, Ligeti and Khachaturian.
Murnau left Germany for America in , did cinema foresee what was coming? Did it sense that change was around the comer - that now was the time to fill up on fantasy, delirium and spectacle before talking ac- tors wrenched the artform closer to reality? Many things make this film more than just a morality tale about temptation and lust, a fable about a young hus- band so crazy with desire for a city girl that he contem- plates drowning his wife, an elemental but sweet story of a husband and wife rediscovering their love for each other. Sunrise was an example - perhaps never again repeated on the same scale - of unfettered imagination and the clout of the studio system working together rather than at cross purposes.
Murnau had a new Fox studio to transform into moonlit marshes and dazzling gargantuan cityscapes.
So why, one wonders, did Sunrise only first appear in the top ten in ? And why has it now climbed from seventh position to fifth? But a vote for Sunriseis of course a vote for a lost world. Our age at that moment is crucial: 1 was imprinted with Vertov and Daisies at a moment when cinematic language was changing radically, and these films from the former Eastern Bloc were key to fusing artistic bravura with political reach. As I came of age as a film addict, a feminist and lesbian, attuned to the aesthetics of my age. Potter and Julien and Borden were equally crucial in demonstrating how thrillingly cinema could write the templates of identity.
For my generation, Latin America was the great battleground and the land of promise. There are three new additions. I have combined the strategic short-termism of films that are feeding current projects with memory landscapes from a curated past. Every entry here has a subterranean, disregarded double. But that would be another game. Ten is too few, a couple short of a set of disciples. And too many, shadows of the one, the great film yet to be made.
I may have nightmares for weeks. Wilder 8V2 Fellini Citizen Kane Welles With The Matrix, what seemed to be a fad has become a film-history landmark, both technologically and for so effectively tapping the Zeitgeist. Non-linear narratives had already been explored in film, but Lynch took the form to a different and unique level in Mulholland Dr. These are the films to which I return, the films that make my heart sing, that have transformed my perception of cinema and what it can be. Films that make me want to dance with the thrill of being alive and having cinema to prove it and the top three all have liberating solo dance sequences: Dorothy Malone, Leslie Cheung, Denis Lavant!
The original negative was destroyed in a bombing raid during the war, and for years the film could only be seen in butch- ered versions, until cans of outtakes were discovered in and the film was restored to close to its original form. Three years after its triumphant resurrection at the Venice Film Festival in , La Regie dujeu came third in the poll - a position it has hovered around ever since.
So why is it Tokyo Story that is acclaimed by most as his masterpiece? It may simply be that in Tokyo Story this most Japanese tofu- maker refined his art to the point of perfection, and crafted a truly universal film about family, time and loss. And a picture from the s or after still feels too young for canonical status. Or perhaps I should have named only Histoire s du cinema - no more idiosyncratic than this list, and far more generous.
To me, the greatest directors are Tati, Ozu and Eisenstein. For Tati and Eisenstein, the best films are clear to me. For Ozu, there could be any of at least half a dozen films plausibly chosen for this list, but Late Spring happens to be my favourite. There are other directors who should be represented here, most notably Bresson, Mizoguchi and Godard.
Their work is so consistent, however, that 1 simply cannot choose a single masterpiece by any of them. The last four decades of film history have surely seen the release of at least one worthy film, but the vast expansion of production in smaller countries and the international exhibition of such films in festivals have rendered it more difficult than ever for critics to agree upon a single candidate. It remains easier to vote for the established classics.
My choice of a film that deserves to be watched and rewatched decades from now, as we currently watch such films as La Regie dujeu, is Through the Olive Trees or Under the Olive Trees, to give a more accurate translation than the usual. With Hidden Haneke took both the thriller genre and the role of a filmmaker in the narrative to a whole new level and made this racially engaged chiller as unsettling as it could get.
When it comes to secret desires, quiet longings, little obsessions and unrequited love, no one does them better than Wong Kar-Wai, the Hong Kong master of genre-bending melodramas. From Miyazaki, one of the few science- fiction films to deal with ecological systems and the environment - arguably the greatest animated film ever made.
From Ghatak, a neorealist masterwork - one of the most heartrending depictions ever of female oppression. Rap Nazarin Buhuel 1 was approached by two different letters, with different deadlines, and 1 have proceeded accordingly. Which means that 1 have hereby two lists, entirely different, and corresponding to my schizophrenia about the roles that were the cause of the two letters. This list presents fantasy as lived experience, some of it extremely funny. The Varda is there, too.
All of them propose a cross between reality and artifice, between genre and style, between tradition and experimentation, between classicism and modernity Each of them has meant an opening of borders and boundaries of cinema, and has asked about what film is. This is what 1 really enjoy - no compromises with high quality or good taste. Kane is no longer the immovable object of cinema appreciation. Let us instead, for fun, imagine Orson Welles receiving the news. Then, after a moment, with half a smile, his voice would soften to a purr, his eyes beaming amusement.
And which pompous, baubled hippopotamus in a wig bows now in my stead? Hitchcock is it? Packs and sects of great ones that ebb and flow by the moon. And as for Ambersons Long live Welles. Still, even ardent Wellesians should feel gratified at the modest revolution - if only for the proof that film canons and the versions of history they legitimate are not completely fossilised.
There may be no larger significance in the bare fact that a couple of films made in California 17 years apart have traded numerical rankings on a whimsical- ly impressionistic list. Yet the human urge to interpret chance phenomena will not be denied, and Vertigo is a crafty, duplicitous machine for spinning meaning. At the very least, its championship bout with Kane affords a pretext to reflect on two different myths of cinema. I doubt whether my personal recollection of either film is unique. When I first saw Kane at a revival in the mid- S, I enjoyed the typical sensation of being knocked out.
No other movie before or since has quite so astound- ed me with its sheer muscular virtuosity - a bombastic compendium of every known trick that epitomises the thrilling exhibitionist possibilities of the medium. In short, Kane fulfils the idea of total cinema. As such, it re- mains a permanent touchstone for all young filmmak- ers who seek to flaunt their wares, aiming wide instead of deep. Reciprocally, I have grown into Vertigo.
My initial response on the occasion of a 1 9 84 rerelease together with four other Hitchcock classics was mild disappointment. Suffice to say that I too was dismally behind the beat. I still thought of Hitchcock as a crackerjack marksman who in Vertigo had overshot the target. My epiphany occurred 20 years later when I was obliged to teach the film on an undergraduate course. Perhaps the most emphatic conversions are the fruit of subliminal waiting.
All I know is that everything I had judged wrong about Vertigo suddenly, alchemically seemed right. The gilded dross was transformed into pure cinema. Hitchcock regularly brandished the phrase. The pleasure principle of Hollywood cinema succumbs to the death instinct. Editing, camera movement, sound design owe little to the prior arts; even mise en scene, with its roots in stagecraft, becomes sui generis through the infinite mutability of screen space.
The challenges of sovereignty are terrifying, however, and most filmmakers cravenly fall back on the inherited armature of theatre: well-told stories, plausible characters, good performances. For all that, he was far from being an accursed renegade like Welles.
His genius rested on unconditional faith in the studio system and its mission of delivering smartly packaged escapism to a broad audience. But if Hitchcock religiously ticks the boxes of classical Hollywood style, he also bends them to his autocratic will. Rear Window lifts ordinary point-of-view shots to a new level of cold ruthlessness, thereby exposing the seedy voyeuristic illusion at the heart of cinematic pleasure. Vertigo, which concerns the effort to model a real woman into an ideal, is nowadays commonly diagnosed as another reflexive text: the ultimate demystification of stardom and its origins in male fantasy.
Such rational readings hold water, but leave me dissatisfied. Early reviewers who savaged the idiocy of the plot were in their way more prescient. Let me spare any existing Vertigonovices the details. Basically, we are asked to swallow that, in order for a murder to appear a suicide, criminal mastermind Gavin Elster Tom Helmore can rely on the acrophobia of traumatised ex-cop Scottie Ferguson James Stewart kicking in at the precise moment needed. Identifying a structural flaw, Hitchcock even reportedly got cold feet and wanted to remove the sequence at the last minute, but was talked out of recalling prints for re-editing by Paramount.
The problem was bigger than he imagined. For in Vertigo, the tightly knit fabric of classical narrative starts to unravel. Who knows why this was happening, but television is the usual suspect. Confronted by its pipsqueak rival, s Hollywood answered with spectacle - laying on panoramic colour extravaganzas for which traditional story was an increasingly slender alibi. The CGTled blockbusters of our own era constitute the endgame in this disintegrative process, their loosely episodic form resembling beads on a string more than the intricate lockstep of cause and effect.
Though Hitchcock cheerfully slept with the enemy when required. Vertigo is one of the plush exercises whereby a panicky industry hoped to recoup its dwindling figures. But here, the cinema of attractions yields an intense, surrealist poetry. As Scottie goes driving, driving around San Francisco in pursuit of his chimerical love interest Madeleine Novak , the action resolves into elaborate set pieces: the visit to the flower shop, the churchyard, the art museum, the McKittrick Hotel, the Golden Gate Bridge, the sequoia forest.
That such an institution has evolved is not surprising, for the movie holds a singular power to contaminate viewers with its own quality of dreamy obsession. Yet the alternation between long, dialogue-free passages and scenes of talky exposition creates a strange, sluggish rhythm that waxes ever more ceremonial and trancelike. Classical narrative pushes relentlessly forward. The goal-oriented, mystery-solving hero that Stewart essayed in previous Hitchcock films now loses confidence, drifting in perpetual circles. His fear of heights is nominally cured through extremity; but if he starts by hanging over one abyss, he finishes by staring into another.
So it is that the pleasure principle of Hollywood cinema succumbs to the death instinct. Never has a work of ostensible light entertainment been this dark. Filmmaker and theorist Jean Epstein had his own word for pure cinema: photogenie. When Judy, having reluctantly agreed to pin up her bleached hair in exact conformity with the lost object Madeleine, advances through the green neon haze of her shabby hotel room, both Scottie and we catch an unspeakable glimpse of the sublime. So what does it mean? But it does mean that Hitchcock, who only entered the top ten in two years after his death , has risen steadily in esteem over the course of 30 years, with Vertigo climbing from seventh place, to fourth in 1 99 2, second in and now first, to make him the Old Master.
Welles, uniquely, had two films The Magnificent Ambersons as well as Kane in the list in and , but now AmbersonshdiS slipped to 8ist place in the top So does 2 - the first poll to be conducted since the internet became almost certainly the main channel of communication about films - mark a revolution in taste, such as happened in 1 96 2? But does it tell us anything really important?
Bela Tarr has also made a strong showing, with Sdtdntangdr doaking 35 above the once-canonic The Blows, La dolce vita and Journey to Italy. In this respect, the poll sees Ozuback to no. But the appearance at no. Certainly, one problem felt by most participants in the poll is simply the ever-expanding number of films. Unlike the guardians of taste in other fields such as literature and art, film connoisseurs have tended not to pigeonhole themselves as specialists in a particular period or region, and so are faced with ever more invidious choices in listing just ten titles.
Film, albeit in its predominantly digital forms, is still a global culture, with more exchange across cultural barriers than anything other than pop music and detective fiction. At the very least, the list should be enough to start some entertaining arguments The best film of the igSos was a hour documentary. In the iggos, it was a six-and-a-half-hour film from Hungary And yet the triumph of Tokyo Story along with the presence of Bicycle Thieves at no. The appearance of such boldly defiant, bravura tech- nical accomplishments as , Apocalypse Now, Citi- zen Kane and The Godfather might be expected, for each stands as magnificent proof that boundless ambition need not equal folly.
The legendary stories of their pro- duction are a reminder to anyone picking up a camera that after the blood, sweat and tears of creation - a pro- cess best captured, of course, by Fellini in - there just might come a triumph. The reasons for my choices are firstly emotional, as the most profound encounters 1 have had with cinema have been in that arena.
This list should not be viewed as reductive; each film is a gateway. But 1 feel good with this list. Only the first three films are placed in order of preference. The others are a mixture without preference. My absolute favourite is Bicycle Thieves, the most humanistic and political film in history. Yiridiana is the most intelligent and Hiroshima mon amouris the most poetic.
These movies make us wiser. In that sense, 1 always have Faustin my mind as 1 face a movie, make a movie, and talk about a movie. When 1 saw The Story of the Last Ghrysanthemums for the first time, 1 wondered if it was OK for a person over 40 years old to cry that much in front of people! My list reflects films that The best films or the most important films? Number 1 1 would be Nashville Robert Altman. Where are the Asian films? Experimental cinema? Tmffaut, Godard, Eustache, Rohmer, some of my favourite directors ever Well, 1 click and send it, as meaningless as it may be.
Father Panchali taught me that film was not just about politics, but politics could be more effective without politics, so to speak - by talking realistically and simply about human nature and human society. It has a documentary feel to it, which makes it convincing and strong. Among the films 1 saw recently. Melancholia marked me the most. To me, it talks about the nature of melancholia in a very indirect way, so that the story becomes completely something else, almost to the point of breaking away from the original starting-point.
It simply becomes pure cinema. The grim comedy of city lives turned to poetry. Grandly ambitious, funny and heartbreaking. Black Narcissus is sinister and erotic. A pioneering triumph of atmosphere and sound. Spiritually grubby - and proud of it. Au revoir les enfants is a personal film of exquisite pain.
The loss of innocence theme transcends to a requiem for the 20th century. Youthful performances of complete and simple honesty. Cinema aspiring to great art, political import - and delivered with unabashed showmanship. Raging Bull is a masterpiece in every element of execution. Revolutionary in its influence on performance, cinematography and sound. Funny and tragic in its immense visceral impact. Tootsie is a superb comedy of deceptive simplicity. It at once parodies, satirises and glorifies art, acting, cinema, TV and modernity at large.
It mixes places and time within single sequences to create an uncanny sense of dislocation, but its brilliance is its leanness - not a single moment of excess. In Jeanne Dielmantension is built up over more than three hours through the unbearable monotony and domestic repetition in the daily life of the main character.
Festen is the only film I ever went to see again immediately. It was radical in what it proposed with the new medium of digital - how it could change cinema and take it in new directions. Close-Lfpwas my first experience of Iranian cinema, and I loved it: the layers of documentary and intervention as well as the insight into Iranian life and the Islamic court system. The scene in the park in Blowup is one of the best evocations of the creative impulse in cinema. David Hemmings grabs his camera on a whim and enters the park.
Within this ecstatic narrative emptiness - and of course, because of it - he finds something: in this case, the plot. It has allowed us to understand, and appreciate, cinema so much the better. Full of iconic moments of pure cinema, pulp horror, camy noir, perverse melodrama - Freaks is still unclassifiable after many decades.
Still sick, twisted, perverse and profoundly human. Shadow oftheDoubtis one of the perfect Hitchcocks - the very first true American Gothic he made, and an eerie portrait of the world of the past being transformed by the touch of evil. An exquisite engraving of human perversity.