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Any critic, however, who claims to know exactly which are the 100 best films ever made is either very
brave or very foolish. Whatever some may claim, criticism is a subjective art, and even if it weren’t
the flowers in cinema’s garden are so various that there’s no such thing as one standard by which to
judge them. My series in the Guardian, of which I was film critic for some 30 years, was indeed
called ’The 100 Best’. But that was journalistic licence. My purpose was different It was to select 100
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12/8/2018 Top 100 Movies – Derek Malcolm
films, seen over those thirty years, either as brand new offerings or as revivals, which I could not
contemplate never seeing again. A better if more cliched title might under the circumstances have
been ‘Desert Island Movies’.
I did not choose the films as a group before writing about them, but gradually forged my list week by
week. Clint Eastwood once told me that Don Seigel, one of his favourite film-makers, used to direct
his films by osmosis. Well, that the way I selected my 100. I only had one rule, which was to select
the directors I admired most and then decide which of their films was most appropriate. Each film-
maker could only have one film — otherwise my favourite directors might well have landed up with
four or five. It wasn’t just their most famous films, but either their most typical or their most surprising.
I’m aware this binds me rather tightly to the old-fashioned auteur theory. But though I believe that film
is a co-operative art, and that often films are made good by their actors, cinematographers,
producers and, perhaps most of all, their editors, each of the films I have selected depends first and
foremost on its director.
Of course, every time I look at my list I have regrets. Why did I leave out this in favour of that? But
that’s inevitable, and my apologies to the British film-makers in particular whom I have failed to put
in. All I would claim is that, taken together, the films I have selected will give readers a reasonable
idea of what the cinema can do. Not only that, but an idea too of the huge number of countries that
have produced marvellous films. The multiplexes of this country may feed us a diet of what I call
McDonald’s culture. But world cinema is capable of so much more than that. I’ll be happy if, in
between cursing me for what I’ve left out, readers of this have their appetites whetted for more
ambitious work and their curiosity stimulated about some of the directors I have chosen who are by
no means as well known as they deserve. I believe the general run of filmgoers is rather more
intelligent that the distributors and exhibitors fancy. That they often want to know more but can’t find
out, or at least don’t know where to start. I hope a few of them start here, and keep going.
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