So You Want to Be an East Asian Film Buff Canon Essay First 25 out of 100

[masterofoneinchpunch]

This is something I have worked on now and then for quite a while.  Something just to have to recommend to people new to East Asian cinema.  I am doing a top 100 list.  I have most of it done, but I wanted to share a bit at a time (almost done editing the 26 through 50).  I'm sure this will be either annoying, controversial or you have seen everything.  But I've enjoyed learning more by writing this out (and it forces me to look for other films to see).

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Looking over many cinematic lists or canon one will notice the lack of many important Asian films (besides the Kurosawa, Mizoguchi or Ozu picks) that are either eschewed or possibly unknown to the creator.  Too often the same directors and films are picked again and again, and it is important to see these movies and you certainly will see them in this list, but there are many genres, influences, directors and actors to know about that in my opinion do not get enough fanfare.

One question I am asked now and then is: what films should I start with if I am just getting into Asian movies?  This led me to the inception of an idea: what films would I recommend to a person to start his journey to be an “Asian Film Buff?”

This film list is a primer with a higher emphasis on popularity, key genres, artists and directors rather than a complete emphasis on sagacious art (though that factor will be considered too.)  This is not a "best of" compilation; this is a list that will serve as a basis for your continuing Asian cinematic acumen.  I constructed this so it could serve as a foundation for further exploration and so you can be haughty in your daily Asian film talk hence the mention of important Asian auteurs and an importance on genre groundbreakers. 

As with all lists there will be omissions as well as differences in cinematic taste. To help solve some of these issues I added a "For Further Study" addition for each film and I will, of course, mention lists, awards and use my own biased opinion on why they should be where they are.  I am going to omit Indian cinema (because of my lack of knowledge in this area) and concentrate on Japan, China, Hong Kong, South Korea, Taiwan and Southeast Asian countries.  I hope that you will find these listings useful and informative.  Since this is a popular primer, some of these selections will be very predictable (especially the top ten) while outstanding work by important directors such as Tsai Ming-liang, Hou Hsiao-hsien, Hiroshi Shimizu will have a lower ranking or might be omitted.

The top 100 and the For Further Study films I have seen.  By popular convention I have Japanese names with the surname last, but with Chinese and Korean names I use the surname first.  I try to use the most popular name known and with Chinese sometimes it will be Mandarin and sometimes it will be Cantonese. I add in an English name when appropriate. 

1) Seven Samurai (1954, Japan, Akira Kurosawa): This is a cornerstone of cinematic studies and is often the first film of Akira Kurosawa’s (and often one of the first “foreign” aka non-English) that many students see.  A film that was popular when released and is still one of the mainstays of samurai (or jidai geki) movies.  Seven Samurai is a cinematic tour-de-force of direction, action, acting and plot.  It was the most expensive Japanese film of its time.  It has been referenced countless times; it is on countless best-of lists, it is along with Ikiru one of the director’s own favorites, it was remade into a popular western The Magnificent Seven and Japanese film scholar Donald Richie writes that “it is perhaps the best Japanese film ever made.” Because of these reasons and more it is one of the most important films of all-time making it an almost easy choice to be the top pick for this list.

For Further Study:

Record of a Living Being (1955, Japan, Akira Kurosawa): This would be Kurosawa’s next film after Seven Samurai which would deal with of atomic extinction – an issue very resonant with Kurosawa’s and Japan’s psyche.

Seven Warriors (1989, Terry Tong, Hong Kong): A good example of how not to do a sequel, but the amount of Hong Kong stars (Sammo Hung, no IMDB is wrong and he did not co-direct this) and future stars (Tony Leung Chui-wai: nice to see in Shang-Chi (2021)) is awesome.

2) Tokyo Story (1953, Japan, Yasujiro Ozu): While I love almost every Ozu film I have seen and could easily recommend his whole output in the 1950s and 1960s (and you might want to get David Bordwell’s book Ozu and the Poetics of Cinema (1988)) this is the movie directed by him that has obtained the most accolades over the years and is often the first Ozu film many people see (it was mine).  It has two important Ozu regulars in Chishû Ryû (check out how old he really is at the time of filming) and Setsuko Hara.  It is a paced, sagacious and brilliant movie on parent and grandparent relationships.  Ozu was influenced by Make Way for Tomorrow (1937) a brilliant and sad film from Leo McCarey who is more know for his comedies (for me one of the saddest endings ever).  Your cinematic acumen will be enriched, though I hope you will be enriched in other ways as well.  But isn't life disappointing?

For Further Study:

Good Morning (1959, Japan, Yasujiro Ozu): an early example of flatulence in an art film. A reworking of I Was Born, But... (1932) from Ozu.  Both brilliant movies dealing with two sons and their rebellion (but the later one deals with a television).

Early Summer (1951, Japan, Yasujiro Ozu): Another collaboration with Chishû Ryû and Setsuko Hara who goes against her families wishes for an arranged match.

3) Rashomon (1950, Japan, Akira Kurosawa): One of the first Japanese films to have tremendous success in the west paving the way for many others.  This movie was reluctantly sent to the Venice Film Festival where it won first prize to the befuddlement of many Japanese critics.  It would later win the Academy Award for Best Foreign Film as well.  For many years this was arguably the most well known of Japanese films worldwide.  Based on a short story “In a Grove” by Akutagawa Ryūnosuke set in the Heian period (794-1184). With its byzantine plot and its use of multiple view points this is a masterpiece that Donald Richie wrote “the worth of Rashomon was partially obscured by its own success.”  This would be remade in the US as The Outrage (I do like this film) and several others and its influence is vast including Zhang Yimou’s Hero.  This is the consummate film about the unreliable narrator.  Of note that this is the last film Kurosawa writes about in his autobiography “Something like an Autobiography.”  Get it if you do not own it.

For Further Study:

The Idiot (1951, Japan, Akira Kurosawa): He made this right after Rashomon and got the complete oppostite reaction.  While I like this film based on the Fyodor Dostoevsky novel, the studio Daiei took away its for for him to do another film for them.

At the Gate of the Ghost (2011, Thailand, M.L. Pundhevanop Dhewakul): Thai remake of Rashomon that is beautiful, but also shows the difficulty of remaking such a well known movie.

4) Ugetsu (1953, Japan, Kenji Mizoguchi): When I hear complaints about today’s cinematography I always think about one of the greatest filmmakers Mizoguchi and how it is hard, unfairly, compare to the beautiful and sumptuous movement in this film and how the 1950s is my favorite decade of Japanese cinema.  But aside from that Ugetsu Monogatari is a heartbreaking tale wonderfully written spectral 16th century jidaigeki.  It takes two Akinari Ueda stories “The House in the Thicket” and “A Serpent’s Lust” which are both available to read with English translations in the Criterion digipak release.  Machiko Kyô is stunning as Lady Wakasa.  Mizoguchi is sometimes overlooked (also unrightfully so), but with more of his films available there is a richness of cinema for many to be discovered. 

For Further Study:

Street of Shame (1956, Japan, Kenji Mizoguchi): Mizoguchi’s last film is a great character filled movie about a Tokyo brothel. 

Kenji Mizoguchi: The Life of a Film Director (1975, Japan, Kaneto Shindô): One of the great aspects of collecting Criterion movies is getting extras like this 150 minute documentary on Mizoguchi.  An enthralling watch with many interviews.

5) Yojimbo (1961, Japan, Akira Kurosawa): This is one of my all-time favorite films regardless of country or director.  This is often the first Japanese film I lend to see how interested someone is in “samurai” films.  It also is one of the most influential chambara (swordplay) films that were even remade by Sergio Leone as A Fistful of Dollars (1964) and later Last Man Standing (1996) with Bruce Willis.  Toshiro Mifune as the bodyguard, is again excellent as Sanjuro (though he really is a man with no name) a ronin who works two criminal factions against each other.  The cinematography from Kazuo Miyagawa (Ugetsu; check out his filmography and see how many films of his are mentioned on this list) is superlative and Tatsuya Nakadai as Unosuke is another cool role from the underrated actor.  Check out my long-winded essay on the film to learn more.

For Further Study:

Sanjuro (1962, Japan, Akira Kurosawa): The somewhat sequel to Yojimbo in another adventure.  Quite a fun film and some fans even people I know prefer this film.

Zatoichi Meets Yojimbo (1970, Japan, Kihachi Okamoto): What happens when the curmudgeon Yojimbo meets Japan’s most famous blind masseuse?

6) Police Story (1985, Hong Kong, Jackie Chan): This is my favorite action film of all-time and currently my top Hong Kong movie.  This, as well as Jackie Chan, has influenced such directors and actors as Quentin Tarantino, Michael Bay, Sylvester Stallone, Brett Ratner and Panna Rittikrai.  None (except Panna, though his films lack in other areas) can quite compare to the ruggedness and the actual danger the stuntmen faced in this film. The destruction of the shanty town, which was redone in Bad Boys 2, is an awesome spectacle.  Stuntman were hurt, some quite severly.  But it is the last fight scene nicknamed “glass story” that is the highlight of this film.  If you have a friend who is only familiar with Jackie’s American output, this is the perfect gift.  This is always the first Jackie Chan film I lend and/or recommend.  Please check out my verbose essay on the movie. 

For Further Study:

Police Story Part II (1988, Hong Kong, Jackie Chan): The vastly underrated sequel is not written as much about, but it is almost as good as the first.

Police Story Part III: Supercop (1992: Stanley Tong Gwai-lai): All three of these are must watches for fans of action.  Quentin Tarantino put this is in his top 20 films since Reservoir Dogs.

7) Enter the Dragon (1973, Hong Kong/USA, Robert Clouse): Having Bruce Lee on this list is a no-brainer.  At some point you should see all of his martial art films.  While I would not consider this Bruce’s best film it is certainly one whose impact was felt largest in the States and helped push his persona into James Dean territory and like Dean he died too young and did do to many films as an adult (people often forget about Lee’s Cantonese films as a kid though).  How many martial art tournament films were influenced from this (besides Mortal Kombat, the first one at least, and Balls of Fury)?  I would not consider Clouse a good director, but he defers to Bruce when necessary so he can showcase his immense skills and panache.  Look early for Sammo Hung and if look hard enough you can see Bruce taking out Jackie Chan.  Now only if Bruce lived to see the success of this and finish off his Game of Death project.

For Further Study:

Bruce Lee: A Warrior’s Journey (2000, US, John Little/Bruce Lee): Watch this if you want to see many more scenes that Bruce Lee directed that were not in the farcical Game of Death. Also it is a good documentary.

The Kid (1950: Feng Feng): Not only do you get to see Bruce Lee as a very young rapscallion, but you get to see a good example of early realist Cantonese drama (wenyi).

8) Oldboy (2003, South Korea, Park Chan-wook): Most likely a film you have already seen and if you have not you need to.  The second film in the “Vengeance Trilogy” from Chan-wook, but you can watch them in any order as they are thematically related.  I love the plot here: the protagonist (played by Choi Min-sik) is kidnapped and imprisoned for 15 years in a hotel-like prison. But why?  This is what keeps you in suspense for the rest of the film.  The “hammer fight scene” is legendary (watch here) and was an influence for Hammer Girl in The Raid 2 (watch here).  This film has one of those ending where you do not want anyone to spoil it for you (yes, it was spoiled for me).  So avoid knowing the ending like that Laker’s game you have taped at home (and do not let anyone spoil the ending of The Sixth Sense).  Remade by Spike Lee which I have not seen yet (not sure when or if I will see it).

For Further Study:

Sympathy for Mr. Vengeance (2002, South Korea, Park Chan-wook): The first film in the “Vengeance Trilogy.”  This was a very depressing film for me.  It is well done, but I was depressed for a few days.  Hope you enjoy it.

Lady Vengeance (2005, South Korea, Park Chan-wook): The third film in the “Vengeance Trilogy.”  I do not feel this as as strong as the previous two, but it is worth watching.  Sometimes harsh, sometimes depressing, but fits in the thematic trilogy.

9) A Touch of Zen (1969, Taiwan, King Hu): Considered one of the most important wuxia films by such critics as Stephen Teo. This film took three years to complete, went way over budget and was a box office failure.  However, a few years later in 1975 its release at Cannes, nominated for Palme d'Or and won the Technical Grand Prize, helped pave way for it’s eventually foray into Asian cannon fodder.  You can see its influence forever more especially with films like Crouching Tiger, Hidden Dragon.  When Bey Logan was with Dragon Dynasty he wrote about trying to secure the rights for this but stated that there was a miasma of issues involved that ultimately prevented them from releasing this.  This is a prime candidate for a Criterion release and guess what Criterion released it.  But even viewing a poor copy of this movie shows a superlative effort.  But seriously get the Criterion release. A wonderful film that should be on everyone’s watch list alongside my other pick Come Drink With Me.

For Further Study:

The Fate of Lee Khan (1973, Taiwan, King Hu): Angela Mao in a King Hu film.  Oh yes please.  Definitely more of a traditional martial arts movie compared to his more artistic endeavors.  But like Come Drink with Me centered in an inn (like so many MA movies).

Dragon Inn (1967, Taiwan, King Hu): Thank goodness this came on Criterion.  Such a fun “Inn” film.  A must watch wuxia.

10) Crouching Tiger, Hidden Dragon (2000, Taiwan/Hong Kong, Ang Lee):  When compiling this list two of the main factors I have used in consideration for films is critical canon and box office.  By these two factors it is no wonder that this film would be on this list.  It is one of the rare “foreign” pictures nominated for the main category of the Academy Award’s Best Picture (which is now first won by Parasite, which of course will be on this list) and it would win Best Foreign Language Film.  It is on and has been on the congregate list They Shoot Pictures Don’t They 1000 fofr several years.  It is on the All-Time worldwide box office list.  And it is currently the most successful non-English speaking film for the US box office. I could list more.  But the reasons why you should watch this movie is that is a superlative wuxia film with beautiful cinematography from Peter Pau Tak-hai, awesome action direction from Yuen Wo-ping (a name I hope you have memorized) and a sagacious story. 

For Further Study:

Eat Drink Man Woman (1994, Taiwan, Ang Lee): remade as Tortilla Soup (2001) and not surprisingly makes me think of Stephen Chow’s The God of Cookery which came out two years after.

In the Line of Duty IV (1989, Hong Kong, Yuen Wo-ping): who cares if you have not seen the previous three (actually you should watch them), but this action film is so fun.

11) Ikiru (1952, Japan, Akira Kurosawa): Kurosawa is the most represented director on this list.  While he is among my favorite directors, worldwide he is also one of the most known.  His works are a staple of film courses and lists. This is always high (aka low number) in the TSPDT 1000 lists and all the other films ahead of it are already ranked higher on my list.  But lists do not tell the whole story.  Ikiru is a brilliantly emotional tale of a bureaucrat named Kanji Watanabe played by Takashi Shimura, in one of his many brilliant performances during his career, who is faced with his own mortality when he finds out that he is dying from cancer.  With many wasted years in the past he finally finds a purpose in life (I will allow you to find out that purpose if you have not seen this).  I have felt moved every time I have seen this and if you have not seen this I hope I have talked you into watching this.

For Further Study:

Scandal (1950, Japan, Akira Kurosawa): Donald Richie’s states that this contains Takashi Shimura’s second best performance and I tend to agree.

The Quiet Duel (1949, Japan, Akira Kurasawa): this time Takashi Shimua as a doctor along with Toshio Mifune as a doctor.  What are you waiting for?

12)  In The Mood For Love (2000, Hong Kong, Wong Kar-wai): I find it interesting that this tends to be his critically favorite film here in the States, but in Hong Kong, Days of Being Wild tends to be the choice.  Chances are if you are discussing a Hong Kong auteur with western critics most likely it is going to be about Wong Kar-wai (then you can feel haughty by name dropping Ann Hui).  Maggie Cheung and Tony Leung Chiu-wai (there are two important Tony Leungs in Hong Kong cinema, so it is important to add their full name) performances are superlative in this tale of people falling in love while their spouses are having an affair.  But it is the triumvirate of Christopher Doyle (even though in this film he shares the Cinematographer credit), William Chang (Art Director) and Wong that often get mentioned when the brilliance of this film is discussed.  Regardless, the Criterion release is a “must purchase” and this is a “must-view” film.

For Further Study:

2046 (2004, Hong Kong, Wong Kar-wai): The film’s title refers to the year before that Hong Kong will no longer be a SAR (handed over to China).  2046 is also the number of the apartment for Chow Mo-wan in In the Mood for Love. This is a third film in an informal thematic triology.

Tokyo Raiders (2000, Hong Kong, Jingle Ma): Tony starred in this the same year as In The Mood For Love.  Guess which one was immensely more popular in Hong Kong.  I find it interesting for its use of Cantonese, English and Japanese throughout the film.  It is a good example of a Hong Kong pop film.

13) The Killer (1989, Hong Kong, John Woo): While this is not as influential as A Better Tomorrow in Hong Kong and Southeast Asia, you can thank this film and Woo’s style for forever changing the Hollywood landscape of cinematic pistol cinematography when it made a splash at both Sundance and Cannes film festivals.  It would be many viewers’ first John Woo film.  I personally cannot count the amount of action scenes that imitate (whether it is directly or secondary) his work and especially this film.  His influences of Chang Cheh, Akira Kurosawa, Jean-Pierre Melville, Michael Mann and Sam Peckinpah can be seen in this “heroic bloodshed” male melodrama, but what is more important, especially for this list, is this movie’s direct influences on Robert Rodriquez, Quentin Tarantino, Johnnie To and many more.  I personally feel this is an artistic triumph and another great collaboration with Chow Yun-fat as the titular character.

For Further Study:

Face/Off (1997, US, John Woo): While Woo’s American films are generally held in less esteem for good reason Woo was still able to direct several very good thrillers.  This is my favorite of those.

All About Ah Long (1989, Hong Kong, Johnnie To): Chow Yun-fat is a versatile actor and has acted in many different genres.  This film by Johnnie To is one of his best dramas.

14) Gojira (1954, Japan, Ishirô Honda): Not only one of most known of Japanese films, one of the most influential, one of the first kaiju (strange beast), one of the most copied, one of the most parodied, but also one of the most underrated as well.  It is also an effective zeitgeist for 1950s Japan representing an allegory of nuclear bombs.  Sometimes when inferior sequels are made it hurts the reputation of the original.  It is a little of that as well as an even more seen bastardized version (though still a cool bastardized version) of the movie Godzilla, King of the Monsters! (1956) with Raymond Burr (I will admit I do like the film) appeared not too long afterwards. And who has not heard of Godzilla?  He even has a star on the Hollywood Walk of Fame. But if you have not seen the original, do so. Buy the Criterion or at least get the slightly older Sony/Classic Media R1 which can be found cheap.  You might be surprised by how good the film actually is.

For Further Study:

Mothra (1961, Japan, Ishirô Honda): The first in a long line of Mothra (Mosura) Toho films.  Quite fun and another example of Honda’s direction in this genre.

The War of the Gargantuas (1966, Japan, Ishirô Honda): Honda is the best of the kaiju directors and this is one of his most underrated.  It is full of interesting and insane moments including some awesome monster vs. monster scenes.

15) My Neighbor Totoro (1988, Japan, Hayao Miyazaki): Trying to pick a favorite Miyazaki is like trying to choose your favorite kid (unless one is a complete brat).  But since this list is not one of favorites I get to choose the one that has had the most cultural and critical impact.  Anime has been a worldwide phenomenon for years and there is so much out there covering every imaginable genre.  You can get two anime fans together and they can literally have not seen what the other has seen.  Much of the work has been criminally underrated or ignored by critics until Miyazaki.  His work has strongly influenced John Lasseter of Pixar and countless other filmmakers.  The cute and cuddly Totoro creature (and I even own it as plush) can be seen in diverse animations such as Toy Story 3 and an episode of South Park.  When you look at critics’ lists (TSPDT, Roger Ebert) and populist lists (IMDB) the film that gets written about the most is this movie.  This imaginative movie is brilliant and deserves the accolades it receives.

For Further Study:

Kiki’s Delivery Service (1989, Japan, Hayao Miyazaki): I love the cat Jiji so much I have plush and even a piggy bank of it.  I love all of Miyazki’s films and well this one is such fun.

When Marnie Was There (2014, Japan, Hiromasa Yonebayshi): heck just watch all of Studio Ghibli’s films. Then recommend them.  This tale of ailing Anna and her friend is  moving.

16) Parasite (2019, South Korea, Bong Joon-ho): Since this won an Academy Award for Best Picture, the first non-English film to win that award and is on a plethora of critic and popular lists (like IMDB Top 250) makes this a must watch for this essay.  You need to see this or else someone, somewhere will annoy you by stating that you need to see this.  There is no getting around that.  Now I do not like it is as much as Memories of Murder, but it has such an intriguing set-up that I felt let down by the denouement.  It starts with a family (once again Song Kang-ho as the patriarch) that slowly attaches each member to a job for an upper class family making themselves indespensible in either a symbiotic or parasistic relationship.  This is a continuation of social themes (though some contrarians I felt have overstated this) in Bong’s work.  When they are not as promiment, they are sublime.   

For Further Study:

Snowpiercer (2013,  South Korea, Bong Joon-ho): Chris Evans and Song Kang-ho directed by Bong in this apocalyptic thriller mostly on a train.  I found this awesome!

Mother (2009,  South Korea, Bong Joon-ho): Would you do what she does for her son?  To find out, you have to watch this movie.  One of Bong’s best.

17) Raise the Red Lantern (1991, China/Hong Kong, Zhang Yimou): The actor director combination of Gong Li and Zhang Yimou, one of the premier Fifth-Generation filmmakers from the Mainland, is one of my favorite pairings.  This is the second film in a row directed by Zhang with Gong Li that was nominated for the Academy’s Best Foreign Film (Ju Dou was the first) and his most famous non-wuxia film.  This is a stunningly beautiful film and Gong Li’s performance is outstanding as the fourth-wife in a highly restrictive aristocratic household in the 1920s.  The household is a parable for both male and female and female and female dynamics as well as another not-so-subtle dig at politics that resulted in the film being banned in China for a period of time.  In fact many of the Fifth-Generation filmmakers took extraordinary chances including censorship and possible jail with the cinema they produced resulting in one of China’s most fertile period of film and art such as this.

For Further Study:

The Story of Qiu Ju (1992, China, Zhang Yimou): Another wonderful pairing of Gong Li and Zhang Yimou in another attack on bureaucracy and stubbornness.

Not One Less (1999, China, Zhang Yimou): Brilliant movie on the cultural divide between city and country people.  I love monomania with characters.

18) Sansho the Bailiff (1954, Japan, Kenji Mizoguchi): Do not pay too much attention to the order on my canon.  I want you to see all of them.  Some are chosen from populist criteria and some like Sansho the Bailiff are chosen because of critical criteria.  But the main reason you should watch this is because Mizoguchi’s eighty-first (or close to this number) film is another brilliant achievement from one of the finest filmmakers in the world.  The visual composition and smooth and serene cinematography with a heart-breaking story moulds an eleventh-century jidai geki tale that is celebrated in cinephile circles but unfortunately not as widely known as his Ugetsu and many of Akira Kurosawa’s films.  This is an incredibly moving, doleful and tearful experience on inhumanity and the transient nature of life.  Also it will make you appreciate that you did not live during that time.

For Further Study:

The Story of the Last Chrysanthemum (1939, Japan, Kenji Mizoguchi): So many great Mizoguchi movies.  I love this story of an artist, his shadow under his father and his love for the only person who would tell him the truth about his acting.  Easy to make a case for this to be in this 100 list.

Osaka Elegy (1936, Japan, Kenji Mizoguchi): Fallen women.  This is the film where Mizoguchi said he finally found his true direction.  Get the Criterion Eclipse set of Mizoguchi.  All of these movies deserve individual Criterion releases.

19) Spirited Away (2001, Japan, Hayao Miyazaki): One of the rare films where both critical and popular acclaim are quite high ranging from being on the IMDB250 to TSPDT1000.  It was the highest grossing film in Japan until Demon Slayer (2020) took it over.  I can only see its worth in the eyes of critics rising over time.  It is a no-brainer for this type of list and another great film from Miyazakai and Studio Ghibli.  Now personally it is one of my favorite films and it is also one of those movies I love to lend or recommend taking exception when someone dislikes it or states disparaging remarks towards Hayao.  I figure many of you have already seen this, but if you have not look at the complexity of the mostly hand drawn animation as well as the characters and the attention to detail and if you have it might be time to rewatch it. You do not have to be a ten-year old Japanese girl to appreciate this movie.  This has been one of my favorite movies to give as a gift. 

For Further Study:

Lupin the Third: The Castle of Cagliostro (1979, Japan, Hayao Miyazaki): Underrated first full-length feature of Miyazaki of a very popular anime series.  Fun.

Castle in the Sky (1986, Japan, Hayao Miyzaki): Now we have the first Studio Ghibli film which had opened the previous year.  It is quite a good film as well.

20) Farewell my Concubine (1993, China/Hong Kong, Chen Kaige): To help understand why martial arts films of the 1970s and 1980s had such high quality athletes it helps to know about Peking Opera.  Jackie Chan (who could have had a role in this film), Sammo Hung, Yuen Biao and many more grew up under the tutelage of a master who had permission to beat, starve, torture if they did not behave while being taught the art of Peking Opera, they did not necessarily learn how to read.  No film tells the tortures they would endure, the relationships with their adopted brothers and sisters or the relationship with their sifu better then this film. Leslie Cheung, who killed himself in 2003, in one of his best performances as Cheng Dieyi whose unrequited love for his “brother” Duan Ziaolou, who loves Juxian (Gong Li), is matched by his love of the theatre.  All of this takes place during several tumultuous decades in China including The Great Leap Forward and The Cultural Revolution.  This won the Cannes Palme d'Or and then was banned in China.

For Further Study:

Peking Opera Blues (1986, Hong Kong, Tsui Hark): Fun Tsui Hark film which Quentin Tarantino has been an ardent supporter of.

Balzac and the Little Chinese Seamstress (2002, China, Sijie Dai):  Wonderful film dealing with The Cultural Revolution and the “reeduction” of two city folk in a mountain mining village.

21) Chungking Express (1994, Hong Kong, Wong Kar-wai): This is such a charming quirky comedy that many consider this their favorite Wong directed movie.  Not bad for a film that was done quickly at around three months, (Wong is known for his protracted approach to filming) and as a break from finishing the post-production of Ashes of Time.  The movie marks an epoch for Hong Kong film: it marks the end of Brigitte Lin’s appearances in movies, the second film in Hong Kong for Takeshi Kaneshiro, and the first main role for singer Faye Wong who is absolutely darling.  The cinematography’s style ((Christopher Doyle, Andrew Lau Wai-Keung)) has been copied and influential to many directors including Quentin Tarantino who was influential in getting this released in America.  You may never look at expiration dates the same way again or if something mysteriously changes in your house.

For Further Study:

Fallen Angels (1995, Hong Kong, Wong Kar-wai): This was supposed to be the third story for Chungking Express, but it became its own film.  Takeshi Kaneshiro is awesome as the mute.

Ashes of Time (1994, Hong Kong, Wong Kar-wai): There are two different released versions of this film.  This is one of the most critically divisive films in Wong’s oeuvre.

22) Grave of the Fireflies (1988, Japan, Isao Takahata): While it is an animation under the Studio Ghibli label this is not a kid’s film, not even close.  It is a stark, realistic and incredibly depressing film about two homeless youths toward the end of World War II based on an autobiographical novel by Akiyuki Nosaka.  The director Takahata also lived through the bombing.  It is probably not the best idea to watch this with Sansho the Bailiff back to back.  But the movie is an emotional experience and has had success with critics and the public.  I was surprised to see more votes for this film on IMDB than most of the others on this list, but I am not surprised by the overall high ratings and reviews for this.  You can even get a Sakuma Drop Grave candy here (I have one).  This has to be one of the stranger promotional items.

For Further Study:

My Neighbors the Yamadas (1999, Japan, Isao Takahata): Another Studio Ghibli.  Contrast Grave of the Fireflies with this very different animation in both drawing style and content.

Only Yesterday (1991, Japan, Isao Takahata): A very good movie that Disney refused to release on DVD (when they had the rights) because of a reference to menstruation (and the fact that they were not permitted to alter it).  Takahata’s next film after Grave of the Fireflies.

23) Infernal Affairs (2002, Hong Kong, Andrew Lau Wai-Keung, Alan Mak Siu-Fai): The remake of this film, The Departed, won the 2006 Best Picture for the Academy Awards.  I have read many arguments on which picture is better and often the opinion seems to be predicated on which film was seen first.  But both films should be seen and appreciated.  You can easily see what inspired Martin Scorsese to film a remake of this triad film with its moral ambiguity, seedy police and criminal characters, plenty of tense situations, and complex male relationships.  The acting cast with Andy Lau, Tony Leung, Anthony Wong and Eric Tsang is outstanding as the two moles and the two bosses.  The film helped prove that Hong Kong was still alive and well in the film business several years after the handover – something hardcore fans never really doubted at the time.

For Further Study:

Infernal Affairs II (2003, Hong Kong, Andrew Lau Wai-Keung, Alan Mak Siu-Fai): This is such an excellent film.  One of the best prequels ever.  Francis Ng’s performance is unforgettable.

Infernal Affairs III (2003, Hong Kong, Andrew Lau Wai-Keung, Alan Mak Siu-Fai): In many ways the trilogy reminds me of The Godfather trilogy.  The third entry is by far the weaker entry in the series, but is still a good film that should be watched to finish off the series. 

24) Woman in the Dunes (1964, Japan, Hiroshi Teshigahara): This had won the Kinema Junpo Best Picture award in Japan and the film made quite a stir when it was released in Europe and America as well.  Teshigahara was the first Japanese director to be nominated for the Academy’s Best Director award with this film.  Awards will not guarantee a film a long critic-approved life nor can it guarantee a spot in this list, but being a sublime modern parable of Sisyphean strife and Stockholm Syndrome, brilliantly filmed, intelligently written and the most famous of Teshigahara’s oeuvre will – especially with the collaboration of Kobo Abe (writer) and Toru Takemitsu (music).  This movie is a fascinating and worthwhile experience that I hope it transcends its appreciation with art-house viewers and increases its viewership as well as its critical praise. 

For Further Study:

Pitfall (1962, Japan, Hiroshi Teshigahara): Hiroshi’s debut available in a “must have” Criterion DVD set release “Three Films By Hiroshi Teshigahara.”

The Face of Another (1966, Japan, Hiroshi Teshigahara): Also available in the set “Three Films By Hiroshi Teshigahara.” Some reviewers I respect consider this the best Teshigahara film; regardless it is a great movie.

25) Fist of Fury (1972, Hong Kong, Lo Wei): US release name: The Chinese Connection.  For a film that does not have a whole lot of accolades or a humongous amount of popularity now you might wonder why I have chosen this unless you know that the main star is Bruce Lee.  While he was successful in his first adult screen role in The Big Boss (aka Fists of Fury; the names do get confusing), it was this film whose influence is almost immeasurable.  While it was not necessarily the first in many categories it was many times the catalyst of change.  It helped move hand based fighting films over weapon based in Hong Kong.  It was popular in both Europe and the United States while breaking box office records in Hong Kong.  It has been remade, had a sequel and had TV shows based on it. Without this film you might not have Bruceploitation flicks, Bruce Lee on t-shirts, Jackie Chan (who starred in the sequel, but also did stuntwork in this film) and who knows what else.

For Further Study:

The Big Boss (1971, Hong Kong, Lo Wei) US release name: Fists of Fury.  Bruce Lee’s first adult movie role (probably better to write “movie as an adult.”.  Maybe not as much Bruce in the film as you would like, but I still think you need to see it.

Tower of Death (1981, Hong Kong, Ng See-yuen): aka Game of Death II.  Uses footage of Bruce Lee, uses a double of Bruce Lee, but is one of the best Bruceploitation films I have seen.

Edited December 15, 2021 by masterofoneinchpunch

[DrNgor]

On 12/1/2021 at 9:27 PM, masterofoneinchpunch said:

1) Seven Samurai (1954, Japan, Akira Kurosawa): This is a cornerstone of cinematic studies and is often the first film of Akira Kurosawa’s (and often one of the first “foreign” aka non-English) that many students see. 

For a long time, this was the #1 film at the IMDB. Now, it's at #20. It's probably the fault of those damn Millenials.

On 12/1/2021 at 9:27 PM, masterofoneinchpunch said:

3) Rashomon (1950, Japan, Akira Kurosawa): One of the first Japanese films to have tremendous success in the west paving the way for many others.

When I saw Ran with my Academic Pentathlon team, we had a choice between Ran; The Seven Samurai; and this one. We ended up going this Ran, probably because it was in color. Typical bad preteen logic. I still need to watch this.

On 12/1/2021 at 9:27 PM, masterofoneinchpunch said:

6) Police Story (1985, Hong Kong, Jackie Chan): This is my favorite action film of all-time and currently my top Hong Kong movie. 

I once showed this to my brother and while he thought the fight scenes were fine, he didn't enjoy the film on the whole. He didn't care for the pacing. But yeah, it's an extremely important action movie. And even jaded cinegoers can't help but wince with Chan sliding down the light pole.

On 12/1/2021 at 9:27 PM, masterofoneinchpunch said:

7) Enter the Dragon (1973, Hong Kong/USA, Robert Clouse): Having Bruce Lee on this list is a no-brainer.  At some point you should see all of his martial art films.

My first Bruce Lee movie. I think I caught this in the early 7th grade on Channel KCMU-31. Came in at the part where they were gambling on the ship over the mantises. I eventually got it on VHS so I could have all of Bruce's movies in my collection.

On 12/1/2021 at 9:27 PM, masterofoneinchpunch said:

14) Gojira (1954, Japan, Ishirô Honda): Not only one of most known of Japanese films, one of the most influential, one of the first kaiju (strange beast), one of the most copied, one of the most parodied, but also one of the most underrated as well.  It is also an effective zeitgeist for 1950s Japan representing an allegory of nuclear bombs.

I got a grey-market copy of his in 1999 or so. It was indeed a special movie. My dad was always a fan of KOTM, which he had seen in the theater. He would occasionally ask me to fish it from the collection to watch with him. I now have two copies of this on DVD--the Classic Media version and a Brazilian release.

 

On 12/1/2021 at 9:27 PM, masterofoneinchpunch said:

21) Chungking Express (1994, Hong Kong, Wong Kar-wai): This is such a charming quirky comedy that many consider this their favorite Wong directed movie.

I've only seen Ashes of Time and The Grandmaster among WKW's movies. I guess that makes me a middling HK cinephile.

On 12/1/2021 at 9:27 PM, masterofoneinchpunch said:

19) Spirited Away (2001, Japan, Hayao Miyazaki): One of the rare films where both critical and popular acclaim are quite high ranging from being on the IMDB250 to TSPDT1000.  It was the highest grossing film in Japan until Demon Slayer (2020) took it over. 

It is indeed a very beautiful film. And why has Miyazaki won more Oscars? Oh, then you read an interview with a Academy voter in which she said she voted for Frozen over The Wind Rises because her granddaughter liked Frozen a lot.

 

On 12/1/2021 at 9:27 PM, masterofoneinchpunch said:

15) My Neighbor Totoro (1988, Japan, Hayao Miyazaki): Trying to pick a favorite Miyazaki is like trying to choose your favorite kid (unless one is a complete brat).

Yes, a very fluffy movie. I think I prefer Kiki's Delivery Service and Laputa, Castle in the Sky.

 

On 12/1/2021 at 9:27 PM, masterofoneinchpunch said:

13) The Killer (1989, Hong Kong, John Woo): While this is not as influential as A Better Tomorrow in Hong Kong and Southeast Asia, you can thank this film and Woo’s style for forever changing the Hollywood landscape of cinematic pistol cinematography when it made a splash at both Sundance and Cannes film festivals. 

I once showed this to a friend. After the first few shoot-outs, he turned to me and asked, "Does this film have a plot." He was alost in tears by the end. Powerful film.

[masterofoneinchpunch]

On 7/20/2022 at 7:19 AM, DrNgor said:

For a long time, this was the #1 film at the IMDB. Now, it's at #20. It's probably the fault of those damn Millenials.

The amount of movie issues we can blame on millennials hee hee. 

The influence of Rashomon is crazy on how large it was.  It was one of the first big Japanese films to play in the States as well.  I think Ran is a better film than Rashomon, just not as influential.  I was going to say why, but there is one small fault that annoys me a bit with the film (both movies I have seen several times).

I have lent Police Story to countless people. I  have got many on board, but there has always been a few naysayers.  One comment I remember: "He's not Bruce."

At this point I'm not even sure what first Bruce Lee film I watched.  I watched a lot during the 1980s and often bits and pieces.  But I did get the VHSs and saw them that way as well (then I got the DVDs).

Definitely see more Wong Kar-wai.  Chungking Express I like quite a lot.

On 7/20/2022 at 7:19 AM, DrNgor said:

h, then you read an interview with a Academy voter in which she said she voted for Frozen over The Wind Rises because her granddaughter liked Frozen a lot.

Yeah that is bad.  Frozen is nowhere near as good as The Wind Rises.  Also, that is not the reason you should vote for a film.

On 7/20/2022 at 7:19 AM, DrNgor said:

I once showed this to a friend. After the first few shoot-outs, he turned to me and asked, "Does this film have a plot." He was alost in tears by the end. Powerful film.

The Killer is really a film I should do a full length review of.  I've enjoyed it with more viewings as well.

 

On 7/20/2022 at 7:19 AM, DrNgor said:

Yes, a very fluffy movie. I think I prefer Kiki's Delivery Service and Laputa, Castle in the Sky.

Kiki's Delivery Service is so fun.  That is more important though with its influence.  I know a lot of fans of it too (well fans of both).

Here's my Jiji which I keep in my office:

[DrNgor]

1 hour ago, masterofoneinchpunch said:

I  have got many on board, but there has always been a few naysayers.  One comment I remember: "He's not Bruce."

That was definitely my brother. Compared everything to Bruce.

1 hour ago, masterofoneinchpunch said:

The Killer is really a film I should do a full length review of.  I've enjoyed it with more viewings as well.

I have it on DVD, but haven't gotten around to watching it yet. Hope to do so soon.

1 hour ago, masterofoneinchpunch said:

Definitely see more Wong Kar-wai.  Chungking Express I like quite a lot.

His movies are all available here. It's just a matter of getting my butt in gear to watch them.