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And the loser is – Citizen Kane. After 50 years at the top of the Sight & Sound poll, Orson Welles’s debut film has been convincingly ousted by Alfred Hitchcock’s 45th feature Vertigo – and by a whopping 34 votes, compared with the mere five that separated them a decade ago. So what does it mean? Given that Kane actually clocked over three times as many votes this year as it did last time, it hasn’t exactly been snubbed by the vastly larger number of voters taking part in this new poll, which has spread its net far wider than any of its six predecessors.
But it does mean that Hitchcock, who only entered the top ten in 1982 (two years after his death), has risen steadily in esteem over the course of 30 years, with Vertigo climbing from seventh place, to fourth in 1992, second in 2002 and now first, to make him the Old Master. Welles, uniquely, had two films (The Magnificent Ambersons as well as Kane) in the list in 1972 and 1982, but now Ambersons has slipped to 81st place in the top 100.
So does 2012 – the first poll to be conducted since the internet became almost certainly the main channel of communication about films – mark a revolution in taste, such as happened in 1962? Back then a brand-new film, Antonioni’s L’avventura, vaulted into second place. If there was going to be an equivalent today, it might have been Malick’s The Tree of Life, which only polled one vote less than the last title in the top 100. In fact the highest film from the new century is Wong Kar-Wai’s In the Mood for Love, just 12 years old, now sharing joint 24th slot with Dreyer’s venerable Ordet… - Ian Christie
A startling commonality emerges if you look over the following films in short succession that's revelatory of the entire horror genre: These works aren't about the fear of dying, but the fear of dying alone, a subtlety that cuts to the bone of our fear of death anyway—of a life unlived. There's an explicit current of self-loathing running through this amazing collection of films. What are Norman Bates and Jack Torrance besides eerily all-too-human monsters? Failures. Success also ultimately eludes Leatherface, as well as the socially stunted lost souls of Kiyoshi Kurosawa's Pulse. What is the imposing creature of Nosferatu? He makes for quite the presence, but his hungers ultimately lead him to oblivion.
So many films, particularly American, tell us that we can be whatever we want to be, and that people who don't achieve their desired self-actualization are freaks. The horror film says: Wait Jack, it ain't that easy. This genre resents platitude (you can count the happy endings among these films on one hand), but the good horror film usually isn't cynical, as it insists on the humanity that's inextinguishable even by severe atrocity. Which is to say there's hope, and catharsis, offered by the horror film. It tells us bruised romantics that we're all in this together, thus offering evidence that we may not be as alone as we may think. Chuck Bowen