Adoor Gopalakrishnan

Rat-Trap; Man of the Story

India

Voted in the directors’ poll

Voted for

400 Blows, The

1959

François Truffaut

Andrei Rublev

1966

Andrei Tarkovsky

Boy, The

1969

Oshima Nagisa

Pather Panchali

1955

Satyajit Ray

Pickpocket

1959

Robert Bresson

Puppetmaster, The

1993

Hsiao-hsien Hou

Rashomon

1950

Akira Kurosawa

Round-Up, The

1966

Miklos Jancso

strada, La

1954

Federico Fellini

Tokyo Story

1953

Ozu Yasujirô

Comments

The lyrical realism of Pather Panchali encapsulated life lived in a village in India with great artistry and humanity, as never before. It was the first time a complete artist took up cinema as his profession. Indian cinema can be seen in two parts – one before Pather Panchali and the other post Pather Panchali.

La strada is a great saga of love and bondage, very raw and real, almost brutal in its portrayal. The images are so strong that they refuse to dim with the passage of time.

The 400 Blows is a highly sensitive recreation of Truffaut’s own difficult childhood, unsympathetic parents, oppressive teachers and petty crime – a remarkable first feature, mirroring one’s own life and times so effectively.

Subtle and sensitive, Tokyo Story lets the viewer experience the tensions and demands that modern life makes on people – here family members.

Passage of time has not erased even an iota of freshness and novelty of Rashomon.

Boy is at once a very personal tale and a universally relevant one – of contemporary life lived anywhere in the world of deprived people.

Pickpocket tells the story of a compulsive thief; because of the way he executes the theft, the audience is slowly conditioned to think that what he does as a thorough professional is not a crime after all.

The Puppetmaster marked the arrival of a master filmmaker well entrenched in the medium of cinema and a maverick at that.

Formally awe-inspiring, The Round-Up is a marvellous piece of storytelling executed in a masterly manner. The style has no parallel.

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