The National Association of Record Manufacturers and the Rock and Roll Hall of Fame released their list of the top 200 albums of all time. Although I feel some are well-placed, it seems like there are some glaring omissions and some definite misplacements. Personally, I think Astral Weeks is a much better album than Moondance. It seems like some of these are safe picks. Many would say that Revolver is the Beatles best album. I won’t argue with that. But Sgt. Pepper was the first album that I really listened to, so I have a soft spot for it. Although Thriller has become a bit of a cliched choice, I can’t argue with it. Anyone who was around during the time of this album knows the influence it had over the entire world. Come Away With Me by Norah Jones is number 27? Really? Are you sure about that? That is the first jazz oriented album on the list. It was ahead of Kind of Blue and A Love Supreme and Time Out. Don’t get me wrong, I dig Norah Jones, but 27? No. I also question the placement of Eminem ahead of the Beastie Boys, Public Enemy and Dr. Dre. Overall, it makes me question the ages of the people who compiled this list.

Top 200 albums of all time

1 BEATLES SGT. PEPPER’S LONELY HEARTS CLUB BAND 1967 Rock
2 PINK FLOYD DARK SIDE OF THE MOON 1973 Rock
3 MICHAEL JACKSON THRILLER 1982 Pop
4 LED ZEPPELIN LED ZEPPELIN IV 1971 Rock
5 U2 THE JOSHUA TREE 1987 Rock
6 ROLLING STONES EXILE ON MAIN STREET 1972 Rock
7 CAROLE KING TAPESTRY 1971 Adult Contemporary
8 BOB DYLAN HIGHWAY 61 REVISITED 1965 Rock
9 BEACH BOYS PET SOUNDS 1966 Rock
10 NIRVANA NEVERMIND 1991 Rock
11 PEARL JAM TEN 1991 Rock
12 BEATLES ABBEY ROAD 1969 Rock
13 SANTANA SUPERNATURAL 1999 Rock
14 METALLICA METALLICA 1991 Rock
15 BRUCE SPRINGSTEEN BORN TO RUN 1975 Rock
16 PRINCE PURPLE RAIN 1984 Pop
17 AC/DC BACK IN BLACK 1980 Rock
18 ROLLING STONES LET IT BLEED 1969 Rock
19 DOORS THE DOORS 1967 Rock
20 GRATEFUL DEAD AMERICAN BEAUTY 1970 Rock
21 SHANIA TWAIN COME ON OVER 1997 Country
22 WHO WHO’S NEXT 1971 Rock
23 STEVIE WONDER SONGS IN THE KEY OF LIFE 1976 R&B
24 FLEETWOOD MAC RUMOURS 1977 Pop
25 PINK FLOYD THE WALL 1979 Rock
26 ALANIS MORISSETTE JAGGED LITTLE PILL 1995 Pop
27 NORAH JONES COME AWAY WITH ME 2002 Pop
28 EMINEM THE MARSHALL MATHERS LP 2000 Rap
29 OUTKAST SPEAKERBOXX-LOVE BELOW 2003 R&B
30 DR. DRE THE CHRONIC 1992 Rap
31 BEASTIE BOYS LICENSED TO ILL 1986 Rap
32 GUNS N’ ROSES APPETITE FOR DESTRUCTION 1987 Rock
33 DIXIE CHICKS WIDE OPEN SPACES 1998 Country
34 MILES DAVIS KIND OF BLUE 1959 Jazz
35 EAGLES HOTEL CALIFORNIA 1976 Rock
36 DEF LEPPARD HYSTERIA 1987 Rock
37 SOUNDTRACK: GREASE 1978 Soundtrack
38 MARVIN GAYE WHAT’S GOING ON 1971 R&B
39 BEATLES THE WHITE ALBUM 1968 Rock
40 SOUNDTRACK: SATURDAY NIGHT FEVER 1977 Soundtrack
41 JIMI HENDRIX ARE YOU EXPERIENCED? 1967 Rock
42 BEATLES REVOLVER 1966 Rock
43 BOSTON BOSTON 1976 Rock
44 BON JOVI SLIPPERY WHEN WET 1986 Rock
45 U2 ACHTUNG BABY 1991 Rock
46 WHITNEY HOUSTON WHITNEY HOUSTON 1985 R&B
47 LED ZEPPELIN LED ZEPPELIN II 1969 Rock
48 DAVE MATTHEWS BAND CRASH 1996 Rock
49 ROLLING STONES STICKY FINGERS 1971 Rock
50 GREEN DAY DOOKIE 1994 Rock
51 LED ZEPPELIN HOUSES OF THE HOLY 1973 Rock
52 JONI MITCHELL BLUE 1971 Rock
53 ELVIS PRESLEY ELVIS PRESLEY AT SUN 2004 Rock
54 AEROSMITH TOYS IN THE ATTIC 1975 Rock
55 LAURYN HILL THE MISEDUCATION OF LAURYN HILL 1998 R&B
56 BRUCE SPRINGSTEEN BORN IN THE U.S.A. 1984 Rock
57 50 CENT GET RICH OR DIE TRYIN’ 2003 Rap
58 AC/DC HIGHWAY TO HELL 1979 Rock
59 NOTORIOUS B.I.G. LIFE AFTER DEATH 1997 Rap
60 VAN HALEN VAN HALEN 1978 Rock
61 GREEN DAY AMERICAN IDIOT 2004 Rock
62 BLACK SABBATH PARANOID 1971 Rock
63 EMINEM THE EMINEM SHOW 2002 Rap
64 JEWEL PIECES OF YOU 1995 Pop
65 COLDPLAY A RUSH OF BLOOD TO THE HEAD 2002 Pop
66 MEAT LOAF BAT OUT OF HELL 1977 Rock
67 USHER CONFESSIONS 2004 R&B
68 KID ROCK DEVIL WITHOUT A CAUSE 1998 Rock
69 GEORGE HARRISON ALL THINGS MUST PASS 1970 Pop
70 BILLY JOEL THE STRANGER 1977 Pop
71 EAGLES HELL FREEZES OVER 1994 Rock
72 VAN MORRISON MOONDANCE 1970 Rock
73 R.E.M. AUTOMATIC FOR THE PEOPLE 1992 Pop
74 PHIL COLLINS NO JACKET REQUIRED 1985 Pop
75 METALLICA MASTER OF PUPPETS 1986 Rock
76 FAITH HILL BREATHE 1999 Country
77 JOHNNY CASH AT FOLSOM PRISON 1968 Country
78 JOHN COLTRANE A LOVE SUPREME 1964 Jazz
79 PINK FLOYD WISH YOU WERE HERE 1975 Rock
80 MICHAEL JACKSON OFF THE WALL 1979 Pop
81 MARVIN GAYE LET’S GET IT ON 1973 R&B
82 BOB SEGER NIGHT MOVES 1976 Rock
83 PAUL SIMON GRACELAND 1986 Pop
84 LINKIN PARK HYBRID THEORY 2000 Rock
85 PRINCE 1999 1983 Pop
86 DEF LEPPARD PYROMANIA 1983 Rock
87 JANET JACKSON CONTROL 1986 R&B
88 RED HOT CHILI PEPPERS BLOOD SUGAR SEX MAGIK 1991 Rock
89 DIRE STRAITS BROTHERS IN ARMS 1985 Rock
90 TUPAC ALL EYEZ ON ME 1996 Rap
91 MATCHBOX TWENTY YOURSELF OR SOMEONE LIKE YOU 1996 Pop
92 RED HOT CHILI PEPPERS CALIFORNICATION 1999 Rock
93 LED ZEPPELIN PHYSICAL GRAFFITI 1975 Rock
94 NELLY COUNTRY GRAMMAR 2000 Rap
95 CREED HUMAN CLAY 1999 Rock
96 CLASH LONDON CALLING 1979 Rock
97 CELINE DION FALLING INTO YOU 1996 Adult Contemporary
98 NEIL YOUNG HARVEST 1972 Rock
99 SOUNDTRACK: DIRTY DANCING 1987 Soundtrack
100 DIXIE CHICKS HOME 2002 Country
101 TOM PETTY FULL MOON FEVER 1989 Rock
102 VAN HALEN 1984 1984 Rock
103 SOUNDTRACK: TITANIC 1997 Soundtrack
104 CROSBY STILLS & NASH DÉJÀ VU 1970 Rock
105 TLC CRAZYSEXYCOOL 1999 R&B
106 BECK ODELAY 1994 Rock
107 KENNY G BREATHLESS 1992 Adult Contemporary
108 NWA STRAIGHT OUTTA COMPTON 1989 Rap
109 SEX PISTOLS NEVER MIND THE BOLLOCKS 1977 Rock
110 BEATLES RUBBER SOUL 1965 Rock
111 RADIOHEAD O.K. COMPUTER 1993 Rock
112 SIMON & GARFUNKEL BRIDGE OVER TROUBLED WATER 1970 Pop
113 DIXIE CHICKS FLY 1999 Country
114 METALLICA AND JUSTICE FOR ALL 1988 Rock
115 MICHAEL JACKSON DANGEROUS 1992 Pop
116 MARIAH CAREY DAYDREAM 1995 Pop
117 SOUNDTRACK: TOP GUN 1986 Soundtrack
118 ELTON JOHN GOODBYE YELLOW BRICK ROAD 1973 Pop
119 POLICE SYNCHRONICITY 1983 Rock
120 NO DOUBT TRAGIC KINGDOM 1995 Pop
121 ROLLING STONES BEGGARS BANQUET 1968 Rock
122 R KELLY R 1998 R&B
123 TOOL LATERALUS 2001 Rock
124 OASIS WHAT’S THE STORY MORNING GLORY 1995 Rock
125 BOB MARLEY EXODUS 1977 Reggae
126 JOURNEY ESCAPE 1981 Rock
127 CHRISTINA AGUILERA CHRISTINA AGUILERA 1999 Pop
128 JAY-Z BLUEPRINT 2001 Rap
129 ALICIA KEYS DIARY OF ALICIA KEYS 2003 R&B
130 SOUNDTRACK: O BROTHER, WHERE ART THOU? 2000 Soundtrack
131 CARS THE CARS 1978 Pop
132 ENYA DAY WITHOUT RAIN 2000 Adult Contemporary
133 NATALIE COLE UNFORGETTABLE: WITH LOVE 1991 R&B
134 SOUNDTRACK: FOOTLOOSE 1984 Soundtrack
135 LIONEL RICHIE CAN’T SLOW DOWN 1983 Pop
136 SARAH MCLACHLAN SURFACING 1997 Adult Contemporar
137 BONNIE RAITT NICK OF TIME 1989 Rock
138 METALLICA RIDE THE LIGHTNING 1984 Rock
139 SHERYL CROW TUESDAY NIGHT MUSIC CLUB 1993 Pop
140 FRANK SINATRA IN THE WEE SMALL HOURS 1954 Standards
141 EARTH WIND & FIRE GRATITUDE 1975 R&B
142 ZZ TOP ELIMINATOR 1983 Rock
143 WILLIE NELSON RED HEADED STRANGER 1975 Country
144 JOHN LENNON IMAGINE 1971 Rock
145 TONI BRAXTON TONI BRAXTON 1993 R&B
146 ETTA JAMES AT LAST 1961 Blues
147 ELVIS PRESLEY ELVIS PRESLEY 1956 Rock
148 CAT STEVENS TEA FOR THE TILLERMAN 1970 Pop
149 SMASHING PUMPKINS MELLON COLLIE & THE INFINITE SADNESS 1995 Rock
150 DAVE BRUBECK TIME OUT 1959 Jazz
151 JANET JACKSON JANET 1993 R&B
152 QUEEN A NIGHT AT THE OPERA 1975 Rock
153 OZZY OSBOURNE BLIZZARD OF OZZ 1980 Rock
154 WILL SMITH BIG WILLIE STYLE 1997 Rap
155 PRINCE SIGN O’ THE TIMES 1987 Pop
156 PUBLIC ENEMY IT TAKES A NATION OF MILLIONS TO HOLD US BACK 1988 Rap
157 BOB DYLAN BLOOD ON THE TRACKS 1975 Rock
158 GEORGE MICHAEL FAITH 1987 Pop
159 BOYZ II MEN COOLEYHIGHHARMONY 1993 R&B
160 DESTINY’S CHILD WRITING’S ON THE WALL 1999 R&B
161 JAY-Z THE BLACK ALBUM 2003 Rap
162 AVRIL LAVIGNE LET GO 2002 Pop
163 FUGEES THE SCORE 1996 R&B
164 MADONNA LIKE A VIRGIN 1984 Pop
165 LED ZEPPELIN LED ZEPPELIN 1969 Rock
166 STEVIE RAY VAUGHAN TEXAS FLOOD 1983 R&B
167 STONE TEMPLE PILOTS CORE 1992 Rock
168 ORIGINAL CAST: PHANTOM OF THE OPERA 1988 Cast Album
169 JETHRO TULL AQUALUNG 1971 Rock
170 TUPAC ME AGAINST THE WORLD 1995 Rap
171 DAVID BOWIE THE RISE AND FALL OF ZIGGY STARDUST 1972 Rock
172 SHAKIRA LAUNDRY SERVICE 1998 Pop
173 SOUNDTRACK: FORREST GUMP 1994 Soundtrack
174 AL GREEN CALL ME 1973 R&B
175 CURTIS MAYFIELD SUPERFLY 1972 R&B
176 LIVE THROWING COPPER 1994 Rock
177 GEORGE BENSON BREEZIN’ 1976 Jazz
178 WHITE STRIPES WHITE BLOOD CELLS 2001 Rock
179 LYNYRD SKYNYRD PRONOUNCED LEH-NERD SKIN-ERD 1973 Rock
180 SADE DIAMOND LIFE 1984 Adult Contemporary
181 FLEETWOOD MAC FLEETWOOD MAC 1975 Pop
182 PAUL MCCARTNEY & WINGS BAND ON THE RUN 1973 Rock
183 BEYONCÉ DANGEROUSLY IN LOVE 2003 R&B
184 ANITA BAKER RAPTURE 1986 R&B
185 NAS ILLMATIC 1994 Rap
186 BARBRA STREISAND A STAR IS BORN 1976 Soundtrack
187 EARTH WIND & FIRE THAT’S THE WAY OF THE WORLD 1975 R&B
188 ANITA BAKER RHYTHM OF LOVE 1994 R&B
189 JAY-Z IN MY LIFETIME VOL. 1 1997 Rap
190 LL COOL J MAMA SAID KNOCK YOU OUT 1990 Rap
191 STEELY DAN AJA 1977 Rock
192 WILLIE NELSON STARDUST 1978 Country
193 ARETHA FRANKLIN SPARKLE 1976 R&B
194 ANDREA BOCELLI ANDREA 2004 Classical
195 BOB DYLAN BRINGING IT ALL BACK HOME 1965 Rock
196 LUTHER VANDROSS NEVER TOO MUCH 1981 R&B
197 U2 ALL THAT YOU CAN’T LEAVE BEHIND 200 Rock
198 RUSH 2112 1976 Rock
199 OUTKAST AQUEMINI 1998 R&B
200 GRAND FUNK RAILROAD WE’RE AN AMERICAN BAND 1973 Rock

There is a good reason why people should not laud mediocrity. When mediocrity is applauded and thus encouraged, greatness becomes unrecognizable. The definition of greatness becomes diluted and suddenly, those who should be setting the standards are shunned and seen not as pioneers but as nuisances. Thelonious Monk refused to conform to the way most people think the piano should be played, and as a result, his records did not sell. Lester Young was pulled aside and forced to listen to Coleman Hawkins records. “This is how you are supposed to play,” he was told. The tenor should be a deep and penetrating, masculine sound, not light and feminine. Lester refused to listen. Van Gogh did not paint like his fellow classmates and was told, “You’re doing it wrong.” Yet, he continued to paint that way. Out of the three men just mentioned, only one was truly recognized as a genius during his lifetime and was able to benefit from the appreciation of his art. That was Monk. The appreciation for Young and especially Van Gogh came later, after they had departed from this world.

My point in bringing up Monk and Young and Van Gogh is that none of these men conformed to the way the world viewed art. They did not allow people to tell them how to create. Perhaps they suffered for this, but in the long run they were able to achieve immortality through their aesthetic ideals. In my opinion, Madeleine Peyroux was one of those few individuals who could change the world with her art. She had the uniqueness of a Young or Monk. She had a voice undiluted. But it seems the voices of the world, those ignorant voices that think they know what art is are guiding Ms. Peyroux. And unfortunately, they are guiding her in the wrong direction.

Last night, I went to see Madeleine Peyroux in concert at the Tennessee Performing Arts Center here in Nashville. I was quite eager to see the show. It has been six plus years since I have seen Ms. Peyroux live and so much has happened in that little bit of time.

I have relayed many times the story of my first seeing and hearing Madeleine Peyroux. Late on a Thursday night I wandered into a small blues bar called the Blues Hideaway here in Nashville. Now defunct, the darkened, moody bar provided the perfect atmosphere for cold beer and great, melancholy music. Upon entering the bar, I heard a voice so unadulterated and soulful, I knew I was in for something I had never experienced before. Standing beneath a pale blue light was a young woman with her hair tied in a bow, wearing what looked like a dress that may have been purchased at the local thrift store. With guitar in hand, Madeleine stood alone on that tiny stage and sung with slow, weary passion, “The Very Thought of You”. The bar was nearly empty, but she didn’t seem to mind. Her mind was on the music. She sounded like Lady Day, but her own personality came through as well. I was instantly taken with her and continued to come see her at that little blues bar until she did one of her now infamous disappearing acts and never returned.

Last night, Ms. Peyroux strode onto stage with a confident swagger that belied the almost overly humble gait she carried only a few years ago. Her hair was no longer dark or tied behind her head. Instead it looked blond and flowed swimmingly down her back. She looked like she had put on a few pounds. She was not fat by any means, but obviously success had given her her fill. Her clothes, although still not diva-like, were now the clothes of a chanteuse, not the wears of the busker that sang on the streets of Paris for change and for the pure love of the music. To put it succinctly, she looked good. She smiled and seemed happy. Perhaps I should have underlined the word seemed.

Madeleine came out with her guitar, but this time she was not alone. Along with her, she brought four men - a bassist, a pianist/organist/some other instrument I can not recall, a drummer and an electric guitarist. That’s what record companies can do for you. They set you up with accomplished musicians who can buoy you and make you sound better than you actually do. All of Ms. Peyroux’s side men were wonderful musicians and their solos were all commendable — not great — but commendable. One could not fault their playing behind Peyroux’s vocals. And Madeleine’s own playing was nice. She has always been a nice guitarist, and I love to watch her fingers delicately strum the strings of her weathered instrument. Musically, everything was in the right place. Then, Ms. Peyroux did what everyone waited for. She did what she is most famous for. She did what we paid $35 a piece to hear. She sang.

Madeleine has often been compared to Billie Holiday, and like Holiday, the strength in her performance is not in the power of her voice. Peyroux’s range is not that great, but neither was Holiday’s. Madeleine’s strength is in her interpretation of songs. Technically, Sarah Vaughan could out sing most of her female vocalist contemporaries. Her range was much better than Billie Holiday’s. She could go deep and guttural like a blues singer then allow her voice to rise to operatic levels. But you see, her voice never contained to agony drenched soulfulness of Holiday’s singing. Madeleine has the same gift. The problem is, I do not believe that the people promoting her gifts know her strengths or weaknesses.

First, let’s look at song selection. Madeleine, to me, will always be a jazz singer. That doesn’t mean that she should always sing jazz oriented songs. But she shouldn’t be stretched so far that she is singing songs that are obviously not complimentary of her talent. Fred Neil’s “Everybody’s Talkin’” is a great song. You can’t think of Midnight Cowboy without hearing this song in your head. But, I’m sorry, it wasn’t meant for Madeleine to sing. It sounds all wrong. It sounds forced. In fact, nearly all of the songs sounded forced, as if she were struggling to get the words out. “You’re Going To Make Me Lonesome When You Go” is one of my favorite songs that Madeleine has covered. It is a Bob Dylan tune and while I couldn’t ever imagine Ms. Peyroux doing a Dylan tune, she covered it masterfully on her “Careless Love” album. When the opening bars of the tune were played last night, I actually sat up in my chair, hoping that the lackadaisical tone of the night would suddenly improve and I would now hear the voice I was so accustomed to hearing. However, Peyroux was not up to the task. She struggled to get her voice over the instruments around her. She fell so far behind the tune that sometimes she was still singing the verse while the musicians had already moved on to the chorus. There were even moments when I cringed and wrenched my hands as a part of me begged her to finish and move on. It wasn’t pity that I felt at those moments. And I emphasize the word those because there were many moments like that and a lot of hand wringing on my part. I felt bewilderment. The voice was obviously still there. There were brief moments, particularly during a French song, that Peyroux proved that her voice was just as heavenly as it has always been. But those moments were far and few between. The majority of her performance consisted of her struggling to find a key, of definite pitchiness, of Peyroux rushing and slowing down in attempts to get back within the tempo of the tune. It was near agony for me, watching the show. But I don’t blame Madeleine.

Note to record company: There is a phrase oft times used but seldom heeded. If it ain’t broke, don’t fix it. Perhaps you are trying to overcompensate for mediocre vocals by saturating Madeleine’s voice with electric guitar and amplification. Problem is, you’re killing her. You are making her strain and fight to stay above the fray of instruments. She is a balladeer just like Billie Holiday was a balladeer. Even on faster tempo songs, Billie was singing like a balladeer. She doesn’t belt out tunes, at least not in the sense that a Etta James could. Nor does Peyroux belt out a tune. She caresses and embraces it, and she should be embraced by the music around her. Also, decide what kind of singer you want her to be. Is she a jazz singer? In my opinion, yes. Or is she a pop singer? From listening to her last night and from hearing her latest album, she is not a pop singer. She should not be singing pop/easy listening tunes. There is a story that states years ago, Madeleine was given a song that she turned down because it was too poppy. That song was “Don’t Know Why”. Norah Jones took the song and rode it all the way to stardom and many accolades. Though Peyroux turned down a goldmine, I respected her for standing her ground. She was a jazz singer. She was an interpreter of songs. Even with songs written by people who are not traditionally associated with jazz, Peyroux brought a jazzy feel to them. Now she is stretched to the breaking point by singing Fred Neil and Joni Mitchell. Who is there to pull on the reigns? How far must she stretch, both artistically and vocally before something snaps?

Is Madeleine Peyroux still my favorite jazz vocalist of today? Yes. Did I enjoy her show last night? Well, I told my girlfriend I was ready to go even though Ms. Peyroux waltzed back onto stage amid shouts of Encore! Perhaps that will give you an idea of how I felt about the show. They lauded mediocrity last night, and Ms. Peyroux either bought into it, or either she has been blinded by her record company and by those who half-heartedly partake of her music while sipping on their lattes at the local Starbucks, or maybe she does know that her performances are lackluster, but she is so hamstrung, she can not do anything about it. Who knows?

It is my hope that fame has not completely blinded her. I hope that the confidence she showed last night was actually a veil for her insecurity. I hope that she knows there is a better singer, a better performer in there somewhere. And I hope that with the fame, the riches and the tepid taste of fair-weather fans, that better performer is not lost to us forever.

If some day you find me weary
Filled with gloom, depressed and dreary
Lay the blame upon that dame
Melancholy Madeleine

It was nearly two months ago that my journey through 30 classic Janus films began and I must admit that now that I have watched the final film, I am slowly becoming depressed. There was nothing better than working all day knowing that when my day was done, I had a great (or even mediocre) movie to look forward to. And now that those days are done, I find myself wondering, “What now?” I no longer feel like I can settle for the “jump in my car, head home and plop on the couch” sort of evenings. Not any more. With each film, whether I loved it or found it completely laborious to sit through, I learned something. I learned about myself. I learned about the world around me and I learned how beautiful other languages could be.

Did you know that in French the words “goodbye” and “farewell” do not mean the same thing? I think I have taken it for granted the fact that those two words could have two completely different meanings. I have used them interchangeably, always thinking that farewell was only a more formal way of saying goodbye. But in French, farewell is Adieu and goodbye is Au Revoir. Au Revoir means, until we meet again. Adieu means never more. The meanings of these words are all the more poignant when connected with certain situations, especially those situations that involve love. A man’s reaction to “Au Revoir” is one of nonchalance. A woman says “Au Revoir” and she is saying that love still exists, love is retreating but will soon return. Adieu means that love is gone or perhaps leaving forever. Either way, a man never wants to hear the word Adieu when it is spoken by the one he adores.

Perhaps it seems that I have made too much of language. But it all seemed so incredibly beautiful to me. I will never say farewell again unless I mean it. And it is not only French that makes proper use of these two words. Auf Wiedersehen (goodbye) and Abschied (farewell) in German. Arrivederci and Addio in Italian. I heard Japanese, Chinese, Polish. Some people do not like to read subtitles when watching a movie, and if this is the case, they would have hated this film festival as I can only recall two films that were in English. But I loved to hear so many beautiful languages and what woman doesn’t seem more beautiful when she is speaking in Japanese or Italian? What man doesn’t seem more sophisticated? Perhaps God did punish man by making us all speak in different tongues, but I can think of much worse punishment.

Like the song says, “The song has ended, but the melody lingers on.” The films are over. The last reel has played and I can hear the rhythmic tick-tick of the film as it slowly clatters to a stop. But the images I will never forget. The entire festival was $112 out of my pocket, and I can say right now that I would have paid double that. It was worth it.

Below I have listed the films I saw in the order of how much I enjoyed them. I’m sure many would argue with my choices, but to each his own. Polanski’s film comes in at number one because it surprised me. A simple boat trip turned into something much more masculine, sensual, enthralling. I loved it! Children of Paradise, the three-plus hour epic of unrequited love, misdirected passion and one woman’s enviable ability to sway the hearts of men is also at the top of my list. I wondered going in if I could trudge my way through such a long film, but when it ended I felt more rejuvenated walking out than when I entered. The writing in this film is so superb, it made want to store every line in my memory as I knew that there would be situations in my life where such ornate phrases would seem so appropriate. I must also say that the Rolling Stones film Gimme Shelter was also one of the most exhilarating and frightening things I have watched in a while. What it takes to be a rock star, I don’t know. But whatever it is, I don’t have it. But I must say that I walked away from that picture with a certain degree of awe for the Stones that I didn’t have before (Tina Turner as well. Man, that woman was so alluring. Oh, what I would have done to catch her act back in the 60’s) Not all of the films knocked me out, however. Spirit of the Beehive was a tedious bore in my opinion. I wish I could see the beauty that so many others saw, but it escaped me. Black Orpheus has one of the most beautiful actresses I have ever seen (Marpessa Dawn), but the film itself is a bit cacophonous and overdone to me. Visually, it was stunning — the people, the entire tapestry of the Carnaval in Rio. But the plot and dialogue left me pining for more.

Allow me to be subjective and don’t thrash me too much for having an opinion that may differ drastically from yours. Whether I enjoyed the films or not, I loved the opportunity of seeing them.

Here is a list of the films in the order of my preference:

KNIFE IN THE WATER
CHILDREN OF PARADISE
SANSHO THE BAILIFF
GIMME SHELTER
LA STRADA
THE EARRINGS OF MADAME DE…
THE SEVEN SAMURAI
THE RULES OF THE GAME
ANTOINE ET COLETTE
THE LADY VANISHES
THE HIDDEN FORTRESS
JULES AND JIM
WALKABOUT
DEATH OF A CYCLIST
FIRES ON THE PLAIN
THE SEVENTH SEAL
WILD STRAWBERRIES
BEAUTY AND THE BEAST
CLEO FROM 5 TO 7
ZERO DE CONDUITE
BLACK ORPHEUS
VIRIDIANA
THE 400 BLOWS
HIGH AND LOW
KWAIDAN
MONIKA
WR: MYSTERIES OF THE ORGANISM
SPIRIT OF THE BEEHIVE
THE CRANES ARE FLYING
DAY OF WRATH