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A viewable and downloadable version of the list, complete with tracking columns for which films have been reviewed by the 1,001 Movies You Must See Before You Die Blog Club, and which films are available via Netflix, can be found here: http:///2012/05/1001-movies-you-must-see-before-you-

Short clip from Daisies. they slash and burn their way through square society, cutting up phallic symbols and the film stock itself with scissors, it’s hard to ...

The American film industry’s various problems and the nation’s general postwar disillusionment generated several new film types in the late 1940s. Although the studios continued to produce traditional genre films, such as westerns and musicals, their financial difficulties encouraged them to make realistic small-scale dramas rather than fantastic lavish epics. Instead of depending on spectacle and special effects to create excitement, the new lower-budget films tried to develop thought-provoking or perverse stories reflecting the psychological and social problems besetting returning war veterans and others adapting to postwar life. Some of the American cinema’s grimmest and most naturalistic films were produced during this period, including those of the so-called social consciousness cycle, which attempted to deal realistically with such endemic problems as racism ( Elia Kazan ’s Gentleman’s Agreement , 1947; Alfred Werker’s Lost Boundaries , 1949), alcoholism (Stuart Heisler’s Smash-Up , 1947), and mental illness (Anatole Litvak’s The Snake Pit , 1948); the semidocumentary melodrama, which reconstructed true criminal cases and was often shot on location (Kazan’s Boomerang , 1947; Henry Hathaway’s Kiss of Death , 1947); and the film noir , whose dark, fatalistic interpretations of contemporary American reality are unique in the industry’s history (Tay Garnett’s The Postman Always Rings Twice , 1946; Orson Welles’s The Lady from Shanghai , 1947; Jacques Tourneur’s Out of the Past , 1947; Abraham Polonsky’s Force of Evil , 1948).


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