There is no doubt that the content of 1001 MOVIES... is a result of tremendous effort of fantastic group (the total of nearly 80 people) of cinema specialists, passionates and professionals. Hail to their effort. But I can't help but notice that except two or three people, they all seem to be based in the U.S., U.K. and a few more in Australia. Representing a completely different neck of woods myself I find the selection somewhat biased. There also seem to be among them a high percentage of academics, journalists, authors. Seriously serious people. The short bio notes don't give much insight but I feel (and it is a highly personal opinion) that they could do with a few more geeks. People who would be a little bit more popular culture orientated. There are many reasons why some films could be worth watching, and for me, just for the sake of being renown classics, is not necessarily one of them. There may even be a certain dose of snobbism in it (La Nouvelle Vague anyone?) which I don't find any need for. And so, the bottom line is, that I (sometimes greatly) disagree with some of the choices. What made me think that the shamefully unfair (according to me, myself and I) omissions should be pointed out.
Below you can find a list of films that didn't make it to the book and which I believe should have. The list will grow slowly with time as I progress through the list and then suddenly remember some films that happen not to be included in the 1001 MOVIES... Come back every so often and see if you agree with my preference. And also, feel free to comment!
THE COLEMAN'S LIST:
Terry Gilliam; USA; 1995; Sci-Fi
It may not be Gilliam's most important film but it's cultural impact and cult following should be acknowledged. I've seen 12 Monkeys graffitis in a few European cities after the film's release, sending chills down my spine. Absolutely tremendous performances from Willis and Pitt (was that not actually his BEST performance ever?).
Emir Kusturica; USA/France; 1993; Magic realism
There is only one Kusturica's film on the list - UNDERGROUND. I can understand that 1001 might be a little bit too tight for TIME OF THE GYPSIES, or WHEN FATHER WAS AWAY ON BUSINESS but ARIZONA DREAM? Appalling.
Jan Svěrák; Czech Republic/U.K./France; 1996; Drama
So there you go. An Oscar, Golden Globe, Tokyo Grand Prix and BAFTA nomination are not enough to put this absolutely beautiful story onto the list. Warm, witty, incredibly emotional beats hands-down tens if not hundreds of pseudo-intellectual, pretentious beyond belief self-admiring pieces of dung beetle's salad present on the list. Why? No, honestly... why? And when we're at it, check also out the DARK BLUE WORLD to see where PEARL HARBOR should have learned how to be a GOOD war love drama. Everything from Svěrák is worth recommending, although hardly anything is available in English.
Jim Henson; Jim Henson/Frank Oz; U.K/USA; 1986/1982; Fantasy
There is not a single film from Jim Henson in that wretched book. Not one. Within 1001 (supposedly) most important films in the history of Cinema there is no place for Jim Henson. Forget all the Muppet films, forget THE LABYRINTH, forget THE DARK CRYSTAL. For the puppet animation genius the doors to critics' heaven remain tightly shut. I'm not greedy, I'd be absolutely content with either of these titles to be included on the list, they're equally fantastic, although I probably find THE DARK CRYSTAL more interesting as the world created is far more original, it's more of a grown up fantasy than that of Jarred's and his goblins'. Still, no recognition whatsoever for a brilliant animator, writer and director is simply appalling. Any particular reason for that scorn, Dear Critics?
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