033. Les 400 Coups / The 400 Blows (France - 1959)

Another great film about family dissolution. The myth of school as a redeeming institution in the life of every man and woman doesn't sound convincing enough to the ears of Antoine Doinel. Truffaut creates a compelling tale of parents-child conflicts over the difficulties in raising a problematic son. Antoine is never successful at school, and his rebelling character strengthens itself with time, leading him to a life of thievery and lies, until his parents cannot stand it any longer, and finally send the lad to a correctional centre for youngsters. The problem is: are these parents - like many in real life - aware of their mistakes and negligence in raising their kid? They never seek any sensible dialogue, they never reconcile with the difficulties and try to face it realistically. To me, that was the point that stood out in Les 400 Coups.

Director: François Truffaut.

Score
Cinematography: 8.0

Acting: 8.5
Editing: 8.5
Sound: 7.5
Text: 7.5
Concept: 8.0
Premise Execution: 8.5

Average Score: 8.0

029. Touch of Evil (United States - 1958)

One of the last of its kind (the film noir kind, I mean), Touch of Evil can surprise in many aspects. It may be the innovative cameras (who in the world hasn't talked about the film without mentioning the nearly 4-minute-long shot at the very beginning?) and sound effects, or the illustrious cast of fine actors/actresses for top-drawer performances. There is something in this Orson Welles' pearl that tickles everybody's fancy, and drags them close to the screen to keep them there all the way till the solving of the crime and Hank's decadence. It may be the 1950s charm, or the nostalgic accents, or the feeling of intricate plot. It got me. At last.

Director: Orson Welles.

Score
Cinematography: 9.5
Acting: 9.0
Editing: 9.0
Sound: 8.5
Text: 8.5
Concept: 8.0
Premise execution: 9.0

Average Score: 8.7

021. Flying Padre (United States - 1951)

Kubrick's second short-film was a bit more liturgic and mournful; yet one can already see the striking features of a filmic visionary. He directs and writes for the production. Bird's-eye shots of gorgeous landscapes that impress when considering the simplicity of such a short film, and the clean voice-over narration, so pleasant to the ears as it carries that typical tone of 50s cinema with it. Not to mention the smart sound mixing. It's a story of two ritualistic days in the life of a priest in New Mexico, yet portraying a certain impartial - and merely documental - perspective on religion. It was a portrait of a man's duties, religious or otherwise.

It is interesting to note how Kubrick, being so talented, started with such unpretentious projects for films. Both this and Day of the Fight show the rudimentary Stanley in action, already showcasing his talents as a filmmaker and as a writer. Well-organised plotline and polished text. Too bad it was too short and simple to gather much of his talent.

Director: Stanley Kubrick

Score
Cinematography: 8.5
Acting: 5.0
Editing: 8.0
Sound: 7.0
Text: 7.0

Average Score: 7.1

020. Day of the Fight (United States - 1951)

The first of many Kubrick's films to come on this list. And this is, in fact, his first film. It impressed me in terms of cinematography - the framing was close to perfection -, cuts and the pace of the narration. A documentary-like short film depicting the moments before a fight of a boxer (Walter Cartier, as himself) who has to go through physical constraints to have a good performance not only in his bout, but also in the weighing before it. Nice portrayal of the hard boxing life several fighters had to endure back in the first and early second half of the 20th century.

Director: Stanley Kubrick.

Score
Cinematography: 9.0

Acting: 6.0
Editing: 8.5
Sound: 7.0
Text: 8.0

Average Score: 7.7