Muriels Hall of Fame, Class of 2014: Wrap-Up

As always, thank you to everyone who participated. Here's the list of this year's voters:

Danny Baldwin
Josh Bell
Andrew Bemis
Christianne Benedict
Danny Bowes
Kevin Cecil
Paul Clark
Dennis Cozzalio
Philip Dyess-Nugent
Jim Emerson
James Frazier
Kenji Fujishima
Jaime Grijalba
Glenn Heath Jr.
Sam Juliano
Adam Lemke
Michael Lieberman
Craig Lindsey
Matt Lynch
Sam Mac
Jeff McMahon
Matt Noller
Melissa Starker
Andreas Stoehr
Scott von Doviak
Bryan Whitefield
Patrick Williamson
Bryce Wilson
George Wu

And in case you were wondering, here's how the voting shook out:
9 votes
Sherlock, Jr. ('24 Keaton)

8 votes
The Lady Eve ('41 Sturges)
The Night of the Hunter ('55 Laughton)
The Seven Samurai ('54 Kurosawa)
Tokyo Story ('53 Ozu)

7 votes
The 400 Blows ('59 Truffaut)
Un Chien Andalou ('29 Bunuel)
Double Indemnity ('44 Wilder)

6 votes
Breathless ('60 Godard)
Bride of Frankenstein ('35 Whale)
Duck Amuck ('53 Jones)
Rio Bravo ('59 Hawks)
The Searchers ('56 Ford)
Singin' in the Rain ('52 Donen/Kelly)

5 votes
La Dolce Vita ('60 Fellini)
The Exterminating Angel ('62 Bunuel)
The General ('27 Keaton/Bruckman)
Hiroshima Mon Amour ('59 Resnais)
His Girl Friday ('40 Hawks)
Last Year at Marienbad ('62 Resnais)
Meshes of the Afternoon ('43 Deren/Hammid)
Touch of Evil ('58 Welles)
Trouble in Paradise ('32 Lubitsch)

4 votes
The Apartment ('60 Wilder)
City Lights ('31 Chaplin)
Duck Soup ('33 McCarey)
The Maltese Falcon ('41 Huston)
Metropolis ('27 Lang)
Nosferatu ('22 Murnau)
Only Angels Have Wings ('39 Hawks)
Rashomon ('50 Kurosawa)
The Red Shoes ('48 Powell/Pressburger)
Sunset Boulevard ('50 Wilder)
Window Water Baby Moving ('59 Brakhage)

3 votes
All About Eve ('50 Mankiewicz)
L'Atalante ('34 Vigo)
L'Avventura ('60 Antonioni)
Cleo from 5 to 7 ('62 Varda)
The Earrings of Madame De... ('53 Ophuls)
Freaks ('32 Browning)
Ikiru ('51 Kurosawa)
Imitation of Life ('59 Sirk)
Invasion of the Body Snatchers ('56 Siegel)
It's a Wonderful Life ('46 Capra)
Jules and Jim ('61 Truffaut)
The Magnificent Ambersons ('42 Welles)
Notorious ('46 Hitchcock)
Paths of Glory ('57 Kubrick)
A Star Is Born ('54 Cukor)
The Treasure of the Sierra Madre ('48 Huston)
Ugetsu ('53 Mizoguchi)
Unfaithfully Yours ('48 Sturges)
Wild Strawberries ('57 Bergman)
Zero for Conduct ('33 Vigo)

2 votes
The Crowd ('27 Vidor)
The Diary of a Country Priest ('50 Bresson)
Gentlemen Prefer Blondes ('53 Hawks)
In a Lonely Place ('50 N. Ray)
Late Spring ('49 Ozu)
M. Hulot's Holiday ('53 Tati)
Monsieur Verdoux ('47 Chaplin)
Orpheus ('49 Cocteau)
Out of the Past ('47 Tourneur)
Pather Panchali ('55 S. Ray)
Senso ('54 Visconti)
Stagecoach ('39 Ford)
The Steel Helmet ('51 Fuller)
The Story of the Late Chrysanthemums ('39 Mizoguchi)
Umberto D. ('52 De Sica)

1 vote
Fantasia ('40 Various)
Make Way For Tomorrow ('37 McCarey)
Menilmontant ('26 Kirsanoff)
Peeping Tom ('60 Powell)

See you next year!

Muriels Hall of Fame, Class of 2014: Sherlock, Jr. (1924, Buster Keaton)

"As you watch Keaton fool around with the moving image, both behind and in front of the camera, you realize that Sherlock, Jr. is one of the earliest examples of a filmmaker going meta and fully recognizing the joyful, limitless transcendence that comes from watching movies." ~ Craig Lindsey

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Muriels Hall of Fame, Class of 2014: Un Chien Andalou (1929, Luis Buñuel)

"Second by second, frame by frame, it’s hard to imagine a movie more perfect than Un Chien Andalou, the 16-minute 1928 Surrealist collaboration between Luis Buñuel and Salvador Dali. Not because it’s technically flawless (though the visual effects are pretty effective) or because it’s impeccably plotted. It’s not. But as one image flows into the next, the movie’s inexorable dream logic pulls you in. It’s an eye-opener in every sense." ~ Jim Emerson

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Muriels Hall of Fame, Class of 2014: The Lady Eve (1941, Preston Sturges)

“For a movie made in a cinematic era in which a bed was no place for two members of the opposite sex to be seen together, The Lady Eve teems with barely bridled eroticism. On its own, the scene in which Jean first seduces Charles - her hands running through his hair, her gorgeous Edith Head ensemble slipping to reveal a bit of thigh - holds more of a charge than all the romcoms of Julia Roberts, Kate Hudson and Katherine Heigl put together." ~ Melissa Starker

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Muriels Hall of Fame, Class of 2014: Double Indemnity (1944, Billy Wilder)

"Billy Wilder and his collaborators squeezed all the elements that tend to define noir into one deadly package, just as that genre was beginning to solidify. Yet I'd go one further than identifying Double Indemnity as a prime exemplar of noir style. I'd call it the single steamiest collision of eros and thanatos ever put to film. No other movie has made sex and death into such natural (and appealing) bedmates." ~ Andreas Stoehr

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Muriels Hall of Fame, Class of 2014: Tokyo Story (1953, Yasujiro Ozu)

"In its own absorbing, beautifully modulated way, Ozu's film acknowledges the horrors of the past and how they've been woven into the fabric of everyday life, somehow, miraculously, giving equal weight to both quiet despair and to hope, as well as for mourning on a grand and a very personal scale. In Tokyo Story, there's as much emotional impact in a lowering of a glance, or in the raising a cup of sake in the comfort of close, familiar quarters, as in the rampage of a radioactive sea monster." ~ Dennis Cozzalio

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Muriels Hall of Fame, Class of 2014: The Seven Samurai (1954, Akira Kurosawa)

"It is an adventure film AND a character study AND epic AND intimate AND an essay on how to live a moral life in a way that makes the segregation of our current cinematic landscape look petty indeed. Like all great cinema, The Seven Samurai makes the boundaries between genre and art cinema melt away and look utterly arbitrary." ~ Bryce Wilson

Click here for the full essay