Robert Wise's BLOOD ON THE MOON (RKO, 1947) with Robert Mitchum.
Joseph Kane's RIDE THE MAN DOWN (Republic 1952) with Rod Cameron.
CAT GIRL (1957) with Barbara Shelley.
Richard Fleischer's CRACK IN THE MIRROR (1960) with Orson Welles.
Roger Vadim's BLOOD AND ROSES (1960).
John Gilling's SHADOW OF THE CAT (Hammer 1961) with Barbara Shelley.
Ingmar Bergman's ALL THESE WOMEN (1964) his first experiment with color.
Robert Bresson's A GENTLE WOMAN (1969) with Dominique Sanda.
Paul Wendkos' THE BROTHERHOOD OF THE BELL (1970) with Glen Ford.
Ingmar Bergman's THE TOUCH (1970) with Bibi Andersson.
Orson Welles' THE OTHER SIDE OF THE WIND (1971) starring John Huston and Peter Bogdanovich. Bogdanovich has control of this one. He completed it years ago. So what's holding it up?
Costa Gavras' acclaimed THE CONFESSION (1971) with Yves Montand, made headlines in the USA and is still a very current political thriller.
Costa Gavras's acclaimed STATE OF SIEGE (1972) with Yves Montand, more relevant than ever before, took the USA by storm in 1973 and is now completely forgotten.
Mike Nichols THE FORTUNE (1975) with Stockard Channing, Beatty and Nicholson.
THE NIGHT THAT PANICKED AMERICA (1975) recreating Orson Welles' War of the World broadcast with Paul Shenar and Eileen Brennan.
Alan Rudolph's REMEMBER MY NAME (1977) with Geraldine Chaplin and music by Alberta Hunter.
Fred Zinneman's FIVE DAYS ONE SUMMER (1981) with Sean Connery's best performance on film.
William D. Wittliff's THE RED HEADED STRANGER (1981) with Willie Nelson.
Robert M. Young's THE BALLAD OF GREGORIO CORTEZ (1982) with
Leonard Schrader's NAKED TANGO (1991) with Mathilda May in her best role.
Foreign editions with no English options don't count.
Joseph Kane's RIDE THE MAN DOWN (Republic 1952) with Rod Cameron.
CAT GIRL (1957) with Barbara Shelley.
Richard Fleischer's CRACK IN THE MIRROR (1960) with Orson Welles.
Roger Vadim's BLOOD AND ROSES (1960).
John Gilling's SHADOW OF THE CAT (Hammer 1961) with Barbara Shelley.
Ingmar Bergman's ALL THESE WOMEN (1964) his first experiment with color.
Robert Bresson's A GENTLE WOMAN (1969) with Dominique Sanda.
Paul Wendkos' THE BROTHERHOOD OF THE BELL (1970) with Glen Ford.
Ingmar Bergman's THE TOUCH (1970) with Bibi Andersson.
Orson Welles' THE OTHER SIDE OF THE WIND (1971) starring John Huston and Peter Bogdanovich. Bogdanovich has control of this one. He completed it years ago. So what's holding it up?
Costa Gavras' acclaimed THE CONFESSION (1971) with Yves Montand, made headlines in the USA and is still a very current political thriller.
Costa Gavras's acclaimed STATE OF SIEGE (1972) with Yves Montand, more relevant than ever before, took the USA by storm in 1973 and is now completely forgotten.
Mike Nichols THE FORTUNE (1975) with Stockard Channing, Beatty and Nicholson.
THE NIGHT THAT PANICKED AMERICA (1975) recreating Orson Welles' War of the World broadcast with Paul Shenar and Eileen Brennan.
Alan Rudolph's REMEMBER MY NAME (1977) with Geraldine Chaplin and music by Alberta Hunter.
Fred Zinneman's FIVE DAYS ONE SUMMER (1981) with Sean Connery's best performance on film.
William D. Wittliff's THE RED HEADED STRANGER (1981) with Willie Nelson.
Robert M. Young's THE BALLAD OF GREGORIO CORTEZ (1982) with
Leonard Schrader's NAKED TANGO (1991) with Mathilda May in her best role.
Foreign editions with no English options don't count.
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