The 60 Best-Looking Films Ever
Lights. Camera. Who cares about action? Just admire the view.
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60. 摯愛無盡 A Single Man (2009)
Released today on Blu-ray and DVD、Tom Ford's A Single Man is a reminder that cinema can sometimes be、like Derek Zoolander、"really、really、ridiculously good looking."
Effortlessly translating the infinite good taste which revitalised Gucci and Yves San Laurent onto the big screen、Ford delivers an elegantly tailored and art directed vision of the 1960s to rival Mad Men.
Colin Firth's churning、repressed emotions ensure that the film is more than a fashion shoot、but it's the look of the thing that will grab you first...and、as the following 59 examples prove、it's not the only film to do so.
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59. 美夢成真 What Dreams May Come (1998)
Vincent Ward is the great 'maybe' of visionary cinema、after his abortive attempt to film Alien 3 stalled the promise of bonkers medieval odyssey The Navigator.
But at least there's What Dreams May Come - cloyingly sentimental and agonisingly paced、maybe、but a startling、seductive vision of the afterlife.
Eduardo Serra provided the ravishing landscapes、imaginatively bolstered (for once) by groundbreaking visual effects. Judging by The Lovely Bones、it's still influential.
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58. 唐人街 Chinatown (1974)
The peak of Hollywood's early 70s' fad with pre-war style (The Sting、The Great Gatsby)、Roman Polanki's classic subverts the surface to locate its bleak、noirish core in well-dressed、sun-dappled L.A.
Cinematographer John A. Alonzo hides the truth in blazing light、but the chief architects of the film's gorgeous facade are brother- and sister-in-law Richard and Anthea Sylbert、alchemising the production and costume design into a seamless fantasy of elegant evil.
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57. 黑獄亡魂 The Third Man (1949)
Hollywood money、British craft、European style: The Third Man pilfers from the best to achieve its more-noir-than-noir darkness.
Carol Reed hits the cobbled alleys of war-ravaged (but still stunning) Vienna with ace cameraman Robert Krasker in tow、but dims the lights and sets his tripod at crazy angles to visualise the moral corruption of Orson Welles' Harry Lime.
Has any screen villain had such a stylish entrance and exit、emerging from the shadows only to slip away in the sewers?
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56. 破碎的擁抱 Broken Embraces (2009)
Pedro Almodovar has been honing his colourful、camp aesthetic for three decades、and there's probably nobody who films women、clothes and interiors with such delirious abandon.
His latest、Broken Embraces、pushes his trademarks to their limits、as Almodovar revisits past glories (notably Women on the Verge of a Nervous Breakdown) with renewed - and heightened - style.
That's partly down to putting genius cinematographer Rodrigo Prieto (Amores Perros、Brokeback Mountain) behind the camera、and partly due to having the divine Penelope Cruz in front of it.
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55. 日出 Sunrise (1927)
Silent cinema、for obvious reasons、had to work harder on its image-making than anybody since.
Hollywood was quick to recognise that German F.W. Murnau、director of Nosferatu、was the best in the biz and gave him carte-blanche to craft away.
The result is Sunrise、the definite silent art film、its simple story of lovers betrayed and reunited transformed into poetry by Murnau's stylised sets and exquisite lighting patterns.
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54. 迷魂記 Vertigo (1958)
In his 1950s peak、Alfred Hitchcock enjoyed a uniformly high standard of aesthetics、thanks to the vivid cinematography of Robert Burks and the finest designers Hollywood can offer - who could forget Grace Kelly sashaying into Jimmy Stewart's life in Edith Head's elegant couture?
But Vertigo is deeper、richer, more ravishing、thanks to its vibrant VistaVision colour palette、swooning camera movement、and Kim Novak's model ice maiden. Best of all、it captures San Francisco as a dreamy、shimmering hotbed of stylish insanity.
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53. 費城故事 The Philadelphia Story (1940)
Some films splash out on lavish imagery and state-of-the-art technology to achieve their good looks; others rely on natural grace and style.
George Cukor's comedy of manners is an exercise in elegance、lent a silvery shimmer by DoP Joseph Ruttenberg and aspirational heft by fabled art director Cedric Gibbons. And let's not forget、gowns by Adrian.
And that's before we get to the cast: Cary Grant、Katharine Hepburn、James Stewart. They really don't make 'em like this anymore.
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52. 假面 Persona (1966)
Not that you'd know it from his films、but some guys have all the luck. Ingmar Bergman was already one hell of a visualist...and then he started employing Sven Nykvist as his lighting master.
Persona is so art-house it hurts、as Nykvist's up close and personal camerawork captures every pained nuance of gorgeous-but-gloomy Scandinavian gals、Bibi Andersson and Liv Ullmann. And all framed against the equally bleak beauty of Swedish island Faro's austere beaches.
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51. 法櫃奇兵 Raiders Of The Lost Ark (1981)
Steven Spielberg deals in such big、punchy images that pure aesthetic style sometimes passes him by.
With an honourable mention to Catch Me If You Can、Raiders remains his best-looking film、an effortlessly classy piece of old-school derring do defined by Indy's weather-beaten but still enviable leather jacket and fedora、and the dazzling Lean-esque visions of the Egyptian desert.
Hats off to costume designer Deborah Nadoolman and veteran cinematographer Douglas Slocombe.
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50. 第凡內早餐 Breakfast At Tiffany's (1961)
Blake Edwards' rom-com is still one of the most influential movies in terms of style、and that's largely down to Audrey Hepburn.
Dressed by Givenchy and indulging her silky、feline grace、Hepburn's languid performance oozes class and made generations aspire to Holly Golighty's life of leisure.
Presumably、Hollywood's efforts to disguise what Golightly does for a living were more successful than anybody had anticipated.
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49. 大吉嶺有限公司 The Darjeeling Limited (2007)
Wes Anderson's critics often accuse him of being more obsessed with his quirkily retro、fastidiously detailed production design than with seamless storytelling - like that's a bad thing.
Maker of probably the most consistently good-looking movies in America、it still took a trip to India (via Paris、in ace prologue Hotel Chevalier) to raise his game.
Visually、it's an eye-catching blend of indie whimsy and Bollywood panache、showing off the controlled perfection of Anderson regular Robert D. Yeoman's artfully posed compositions.
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48. 終極天將 The Adventures Of Baron Munchausen (1988)
Critics' stock response to a Terry Gilliam film: story's all over the place、but it looks amazing.
That's not always true、but Baron Munchausen plays that gap for all it's worth. This was Gilliam's one shot at cashing in on a generous budget、and he knows it、focusing almost entirely on its fairytale chic.
With Fellini's cameraman and production designer (Giuseppe Rotunno and Dante Ferretti) orchestrating bonkers visions of Brueghel-esque citadels under cannonfire attack and Robin Williams as the King of the Moon、here's an model exercise in saying、'to hell with it' and making pure cinema.
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47. 狂人皮耶洛 Pierrot Le Fou (1966)
For a director as fast and confrontational as Jean-Luc Godard in the 1960s、he didn't half have a good eye.
Alongside the Breathless sweep of his monochrome New Wave classics、Godard and regular cameraman Raoul Coutard produced eye-popping colour masterpieces、too.
Inspired by pop-art、Pierrot Le Fou is insurrectionary and irreverent、splashing colours about with abandon. Asked by one critic about the amount of blood in the film、Godard wrly replied、"It's not blood、it's red."
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46. 控制 Control (2007)
Some of the most distinctive Britfilm directors of recent years have arrived in filmmaking via the worlds of art and photography (Lynne Ramsay、Sam Taylor-Wood、Steve McQueen).
Arguably the pick of the bunch for image-making is rock photographer turned music promo helmer Anton Corbijn、who went back to his roots to film the story of old friend Ian Curtis.
Unsurprisingly、the concert footage looks like Corbijn's old gig shoots come to life、but the overall look - kitchen-sink realism with punk'd up attitude - makes even the most humdrum of settings sing with Joy Division's bleak grandeur.
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45. 剪刀手愛德華 Edward Scissorhands (1990)
Like Terry Gilliam、Tim Burton's taste for the grotesque often counts against good looks in his movies.
Edward Scissorhands stands out for being precisely about this juxtaposition、as Johnny Depp (cast against pretty boy looks for the first time) plays the soulful weirdo bringing beauty to the gaudy bad taste of suburbia.
Stefan Czapsky's wintry lighting is sublime、but what really catches the eye is Colleen Attwood's expertly delineated costume design、not least Edward's kohl-eyed emo kid.
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44. 愛情不用翻譯 Lost In Translation (2003)
Its solipsistic story of the idle rich behaving as tactless tourists in Japan might divide audiences、but one thing's for sure - Sofia Coppola can frame a shot as beautifully as Daddy.
The film's woozy、fashion mag style - elegant hotel bars、Tokyo neon and Scarlett Johansen's arse - is the perfect showcase for cinematographer Lance Acord、a photography student who first worked with legendary fashionista Bruce Weber.
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43. 巴黎野玫瑰 Betty Blue (1986)
Ah、Beatrice Dalle. Not the only reason Betty Blue makes this list、but always worth repeating.
John-Jacques Beineix's film is the high watermark of the 1980s' ultra-stylish Cinema Du Look、in which story (a typically French affair of madness and copious shagging) comes second to the visuals.
If Jean-Francois Robin's artfully composed shots and Carlos Conti's tres chic production production look like an advert for Gallic grace、it's probably deliberate.
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42. 將軍號 The General (1926)
More than any other film on this list、you'll struggle to see this at its best for the simple fact that - like most of Buster Keaton's 1920 classics - the negative is in terrible nick.
It's testament to Keaton's masterful grasp of filmmaking that、even compromised、The General is clearly a work of outstanding beauty、as Keaton's crew hit Oregon's forests (standing in for the Deep South) to capture never-bettered stuntwork.
With immaculate attention to Civil War period detail in costumes、weapons and - especially - vehicles、it looks convincingly old... If anything、the poor prints enhance the time capsule effect.
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41. 艾蜜莉的異想世界 Amelie (2001)
Jean-Pierre Jeunet regrouped after the debacle of Alien: Resurrection to reconfirm his credentials as France's leading visionary.
OK、so Amelie offers an eerily whitewashed version of multicultural Paris、the sweetness can be overwhelming and it is single-handedly responsible for Pushing Daisies.
On the plus side、Bruno Delbonnel's eye-popping visuals come on like the candy factory just got ramraided and、as dressed by costumiers Madeline Fontaine and Emma Lebail、Audrey Tautou is an enchantingly elfin style icon.
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[2010美國雜誌TOTAL FILM 1~20] 6月7日選出史上60部最好看的電影 The 60 Best-Looking Films Ever
[2010美國雜誌TOTAL FILM 21~40] 6月7日選出史上60部最好看的電影 The 60 Best-Looking Films Ever
[2010美國雜誌TOTAL FILM 41~60] 6月7日選出史上60部最好看的電影 The 60 Best-Looking Films Ever
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