ohtani's jacket

This is a mano-a-mano bout, which is an entirely different beast from a hair match. You can't expect them to go all out because they're never going to give away the third fall to a hair match in a mano-a-mano bout. Mano-a-manos are a tease for a future stip match or in this case a singles match without having to wager anything. They're always narrow in scope and usually involve blood and little else.

It wasn't a match that lucha fans held in reverence until Kevin Cook uploaded it back in the day. I'm not sure how long it had been available for, but it was only about 7 or 8 years ago that people started watching it, so unless wrestlers watched it on YouTube I'm guessing no.

Here's my list: 100. Naked Lunch, David Cronenberg 99. The Woman of the Port, Arturo Ripstein 98. Live Flesh, Pedro Almodovar 97. Hard Boiled, John Woo 96. Toto the Hero, Jaco van Dormael 95. Ladybird Ladybird, Ken Loach 94. A Self-Made Hero, Jacques Audiard 93. Gabbeh, Mohsen Makhmalbaf 92. Fast, Cheap & Out of Control, Errol Morris 91. Welcome to the Dollhouse, Todd Solondz 90. Muriel's Wedding, P.J. Hogan 89. Bullets Over Broadway, Woody Allen 88. The Madness of King George, Nicholas Hytner 87. Children of Heaven, Majid Majidi. 86. Happy Together, Wong Kar-Wai 85. Abraham's Valley, Manoel de Oliveira 84. Topsy Turvey, Mike Leigh 83. The Wind Will Carry Us, Abbas Kiarostami 82. Toy Story 2, Ash Brannon, John Lasseter, Lee Unkrich 81. The Match Factory Girl, Aki Kaurismaki 80. A Summer's Tale, Eric Rohmer 79. Sweet Hereafter, Atom Egoyan 78. Eternity and a Day, Theo Angelopoulos 77. After Life, Hirokazu Koreeda 76. Lost Highway, David Lynch 75. Ashes of Time, Wong Kar-Wai 74. Princess Mononoke, Hayao Miyazaki 73. The Double Life of Veronique, Krzysztof Kieslowski 72. L.A. Confidential, Curtis Hansen 71. The Castle, Rob Stitch 70. Election, Alexander Payne 69. The Big Lebowski, Joel Coen 68. Lone Star, John Sayles 67. Mother and Son, Aleksandr Sokurov 66. Three Colours: Blue, Krzysztof Kieslowski 65. Naked, Mike Leigh 64. My Name is Joe, Ken Loach 63. A Brighter Summer Day, Edward yang 62. The Puppetmaster, Hou Hsiao-Hsien　 61. Exotica, Atom Egoyan 60. Ju Dou, Zhang Yimou 59. Taste of Cherry, Abbas Kiarostami 58. Ratcatcher, Lynne Ramsay 57. The Grifters, Stephen Frears 56. Groundhog Day, Harold Ramis 55. La Belle Noiseuse, Jacques Rivette 54. Farewell My Concubine, Chen Kaige 53. Toy Story, John Lasseter 52. Boogie Nights, Paul Thomas Anderson 51. The Player, Robert Altman 50. Pulp Fiction, Quentin Tarantino 49. Goodfellas, Martin Scorcese 48. Europa Europa, Agnieszka Holland 47. Fargo, Joel Coen 46. Glengarry Glen Ross, James Foley 45. One False Move, Carl Franklin 44. To Live, Zhang Yimou 43. Sonatine, Takeshi Kitano 42. Chungking Express, Wong Kar-Wai 41. Actress, Stanley Kwan 40. Ulysses' Gaze, Theo Angelopoulos 39. The Day a Pig Fell Into the Well, Sang-soo Hong 38. Lessons of Darkness, Werner Herzog 37. Life is Sweet, Mike Leigh 36. The Crying Game, Neil Jordan 35. Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr., Errol Morris 34. Brother's Keeper, Joe Berlinger and Bruce Sinofsky 33. Manhattan Murder Mystery, Woody Allen 32. Hoop Dreams, Steve James 31. Colour of Paradise, Majid Majidi 30. The Thin Red Line, Terrence Malick 29. Raise the Red Lantern, Zhang Yimou 28. Shawshank Redemption, Frank Darabont 27. The Blue Kite, Zhuangzhuang Tian 26. Burnt by the Sun, Nikita Mikhalkov 25. Through the Olive Trees, Abbas Kiarostami 24. The River, Tsai Ming-liang 23. Before Sunrise, Richard Linklater 22. Three Colours: Red, Krzysztof Kieslowski 21. Secrets and Lies, Mike Leigh 20. Wedding Banquet, Ang Lee 19. Close-Up, Abbas Kiarostami 18. A Heart in Winter, Claude Sautet 17. My Own Private Idaho, Gus Van Sant 16. Cyrano de Bergerac, Jean-Paul Rappeneau 15. La Haine, Mathieu Kassovitz 14. Beau Travail, Claire Denis 13. Crumb, Terry Zwigoff 12. Boyz N the Hood, John Singleton 11. Nelly & Monsieur Arnaud, Claude Sautet 10. Shall We Dance? Masayuki Suo 9. Paris is Burning, Jennie Livingston 8. Wild at Heart, David Lynch 7. The Eel, Shohei Imamura 6. Hana-bi, Takeshi Kitano 5. Autumn Tale, Eric Rohmer 4. Eat Drink Man Woman, Ang Lee 3. All About My Mother, Pedro Almodovar 2. Mabarosi, Hirokazu Koreeda 1. Underground, Emir Kusturica

Edit: Wrong place.

I watched Shawshank Redemption for the first time for this poll and I'd say it's the best film in the top 20.

Cheers, I'll definitely check those out. I've seen Gun Crazy and The Big Combo and the poster for Terror in a Texas Town looks awesome.

Did you catch the All Blacks/Springboks test from Ellis Park? One of the greatest games of the modern era. You can find it on youtube.

SHADOWS (John Cassavetes) -- this was so different from what Hollywood were producing at the time that even it's low budget, occasional technical flaws, uneven acting and faulty improvised story give it an edge and rawness that make it a captivating watch. It's not Cassavetes' best film, but in the context of the decade it's like watching an early Brando performance when all you've been used to is the studio system star factory. Recommended. WEDDINGS AND BABIES (Morris Engel) -- this is the third installment in Engel's trilogy of films. He's a guy who doesn't get enough credit for his pioneering work in independent cinema. History lazily refers to Cassavettes as the first independent filmmaker, but filmmakers like Engel began making independent films after the war and there was already an independent film culture in New York City by the time Cassavettes made Shadows. This was a charming, autobiographical account of a struggling photographer in New York City who is extremely reluctant to marry his girlfriend. It's a bit different from Engel's first two films where the central actors were kids, but highly enjoyable. Also the first film to use a hand-held 35 millimeter camera with simultaneous sound recording, so Engel has more freedom with his camera and direction. BEAT THE DEVIL (John Huston) -- John Huston/Bogie money loser that's adopted an almost cult like status these days as though it's another Treasure of the Sierra Madre. It ain't, but it's a Bogie film, the script is reasonably witty and it's not that long. If you've got time to kill it's in the public domain and easy to find. BIGGER THAN LIFE (Nicholas Ray) -- What could be more 1950s than James Mason playing a school teacher who becomes addicted to cortisone? What could be more Nicholas Ray than that? This has the best Hollywood ending ever when: CARRY ON NURSE (Gerald Thomas) -- legendary British film series that's all about the Brit sense of humour really. I'm kind glad that I finally got to see one, but I preferred The Belles of St Trinian's more. This was fun though and good for some chuckles. The final set piece where the patients get drunk and try to perform an operation is amusing.

I feel bad for OJ sometimes. The lot of us are stumbling about in seas that he's been sailing in for years. Don't feel too bad. I hadn't seen this match until the set dropped and checked luchawiki to see who was champion.

Chicana was the champion going in.

Since there's even bigger funk fans than me on this board, does anyone recognise the song Caswell Martin comes to the ring to in this match from Germany?

Some of this World Pro footage makes for neat extras:

Gran Cochise, Villano III y Rayo De Jalisco Jr. vs. Fishman, Mocho Cota y Tony Bennetto (11/30/84) was another match where I was seriously questioning the date as both the Cota/Cochise hair matches are listed as being from '83.

So much of it was left on the cutting room floor that it's hard to tell how good it was, but if you were expecting an epic bloodbath then you'll be disappointed as from the clips it looks like a workrate trios.

BABY DOLL (Elia Kazan) -- not Tennessee Williams' best play and not Elia Kazan's best film. Eli Wallach steals the show with an almost Joe Pesci like performance as the Sicilian cotton farmer looking to get revenge on Karl Malden by seducing his teenage bride. Malden is pretty good as well, though after watching him play so many bit parts in the 50s it was kind of surreal to see him thrust into a lead role. It was literally like watching the saloon owner from a 50s western take centre stage all of a sudden. LOLA MONTES (Max Ophuls) -- if we did stock picks on these sort of things, Ophuls stock would be going down for me. This was another case of style over substance and the funny thing is it didn't even look that good. I wasn't overly impressed by his use of colour and the set pieces in his earlier films were far better. Won't factor on my ballot. EARLY SUMMER (Yasujiro Ozu) -- when I first watched this I thought it was one of Ozu's less interesting films having only just hit the high points of Late Spring and Tokyo Story, but this time it really hit home with me. I'm not sure I've ever liked Hara Setsuko more than I did here and he ending choked me up in the usual Ozu fashion. Wonderful film and surprising modern in terms of it's views on women and marriage. THE BROWNING VERSION (Anthony Asquith) -- brilliant film starring Michael Redgrave as a classics teacher at an English public school who comes to the slow realisation that he's failed as both a husband and teacher. Painfully emotional at times, the film also delivers a savage critique of the public school system and is deftly handled by Asquith who manages to transform it into more than just a filmed stage play. Redgrave is outstanding. The whole production is really. Exploring British film in the 50s would be a project unto itself, but there was a lot of high quality cinema being rolled out. THE QUATERMASS XPERIMENT (Val Guest) -- really fun British sci-fi film that stands toe-to-toe with the best American stuff from the decade. The acting is crap, but the cinematography is beautiful. For comic book fans, it reminded me somewhat of Alan Moore's Miracleman without the dark 80s twists. A group of astronauts return from space with two dead and the other catatonic and a mystery unfolds over what was responsible. There's a great scene where they're looking at camera footage from the shuttle that's shot so beautifully. Great fun. TIGER BAY (J. Lee Thompson) -- little Hayley Mills plays a tomboy who witnesses a murder then becomes friends with the killer in this interesting twist on the suspense thriller. Mills really was one of the best child actors of all-time and lights up the screen every time she has a big scene, and there's enough twists and turns in the plot to keep it interesting even though you know that the moral code of the 1950s will win out in the end, but the music... there's 50s films where the string sections swell with melodramatic fury and then there's this film. Boy do I never wanna hear strings again. DEATH OF A CYCLIST (Juan Antonio Bardem) -- This is hailed as a social realist film, but it's surprising how much of it was like a cross between an Alfred Hitchcock murder mystery and a film noir romance. Really beautiful photography and some of the best jump cuts I can remember seeing, and Lucia Bose was drop dead gorgeous. The ending you could see a mile off, but there was plenty to see and do on the journey there. The only thing holding it back was that it wasn't particularly original even if the different threads were weaved together well. As a Franco critique, there's been plenty better, but I enjoyed this all the same.

Those Mascara Sagrada botches on disc 7 are horrendous. I've never felt so bad for a base in all my viewing years.

Y'know, for about 15 seconds I wondered if you were ripping on Herb Kunze.

I don't know about that but it's definitely his brother.

Graham is right. Looks like Alfredo's match list is wrong.

There are some spelling errors in the match lists too. The Brazos often get called del oro for example.

I WANT TO LIVE! (Robert Wise) -- setting aside the fact that as a factual true story it's all bullshit, this is a quality bit of noir with a commanding performance from Susan Hayward and some solid directing from one of Hollywood's most reliable hands in the 1950s. I actually thought it would be a bit campier, but nope. A STAR IS BORN (George Cukor) -- personally I found the use of stills and outtakes a bit jarring even if they were necessary to piece back together the plot, and some of that stuff should have been cut in the scripting not on the editing floor. Still, what's left is a tour de force from Garland. The film seems to epitomise her. You've got the drugs, the weight issues, the illnesses real and imagined, all the warts there on the screen to go with the immense talent and idiosyncratic singing style. It was quite mesmerising at times. Mason plays second banana, but he's not a bad second banana. I usually hate Cukor films, but this time I didn't really notice I was watching one. This will be a contender for my ballot because of Garland. THE PROWLER (Joseph Losey) -- takes a while to get going, but when it does it's as compelling a noir as any other from the decade and a nice twist on Double Indemnity. A really decent attempt at fleshing out the psychology behind the crime too. I fucking love Van Heflin. DEATH OF A SALESMAN (Laslo Benedek) -- filmed stage play, bladdy blah blah... I kind of thought Fredric March's performance in this was a bit dated or maybe it was just the way Benedek handled the hallucinations/flashback scenes. The climax was good, especially the confrontation between father and son, but otherwise this was very stagey.

It was pretty cruel since Team New Zealand had the Cup won a week ago with a 1500m lead but couldn't complete the race in the 40 min time limit due to low winds. There were a couple of other races called off where TNZ were in the lead and then postponements of races that gave Oracle time to spend millions of dollars to make their boat go faster. Mind you, if TNZ had won, Oracle would have probably dragged the whole thing through court.

I'm frankly amazed this made the cut. Who's my partner in good taste? Moi. Regarding Paris is Burning, I watched as many documentaries as I could from this decade with any rep. I basically like a documentary that teaches me something and Paris is Burning was about a sub-culture I would have otherwise had no clue about whatsoever. I found it intensely interesting.

I'm watching this at the moment and the still photographs weren't part of the original film. Warner Brothers execs made over 40 minutes of cuts to the original version because they were afraid the running time would limit the number of daily showings. In 1983 the film was "reconstructed" with surviving audio and the still photos. It's kind of annoying but there's some obvious plot holes in the Warner edit. Some of the audio must have been missing as well as you never see her screen test. She's on her way to the test and the next thing you know she's signed a contract.

All right, back into the fray... NO WAY OUT (Joseph L. Mankiewicz) -- one of the first films to deal with racial discrimination directly. Comes on strong with its message, but doesn't pull any punches when it comes to bigotry or violence. Notable for giving Sidney Poitier his first starring role. I thought Richard Widmark misfired a bit in his role as the bigot, but I've seen his performance praised elsewhere. Will caution that it's not really the noir it's made to be despite some swank photography. More of a social message, 50s melodrama. Probably more interesting as a pioneering film than a timeless classic. THE HARDER THEY FALL (Mark Robson) -- Bogie's last film before he died and not a bad one to go out on. Boxing melodramas suit the film noir style to a tee and this one uses the Primo Camera scandal to expose the sordid underbelly of prizefighting. Bogie plays an out of work sportswriter hired by a bent promoter, Rod Steiger, to put over an Argentinian lump whose fights Steiger is fixing to create a draw card. Wrestling fans ought to identify with that immediately and Camera himself went into wrestling as I'm sure a few of you are aware. The contrast between Bogie and Steiger's acting styles is intensely fascinating whenever they're on screen together. ATTACK (Robert Aldrich) -- I can't remember if I wrote about this on the old board, but a Robert Aldrich war film with Lee Marvin and Jack Palace? Totally B grade and doesn't really click, but fuck it if Palace doesn't have some cheesy monologues and he takes on a tank all by himself. Check out the trailer: MURDER BY CONTRACT (Irving Lerner) -- existential hitman noir that's like French New Wave before the French New Wave. This was really fucking cool. Awesome soundtrack, awesome low budget, quirky noir. You must check this out. MISTER ROBERTS (John Ford and Mervyn LeRoy) -- this is kind of disappointing given the cast of Henry Fonda, James Cagney, William Powell and Jack Lemmon, but once you get over that it's a decent enough story of life on a US Navy cargo ship during the waning days of the war. As a comedy-drama it didn't really hit all the buttons for me and how much you enjoy it depends on how much you like a really Henry Fonda, Henry Fonda performance, but It was pretty harmless and the ending was effective if not completely Hollywood-ish. DEVDAS (Bimal Roy) -- continuing my journey through classic Bollywood. This was long. It took me a couple of weeks to finish it, to be honest, as I watched it in chunks. Probably the most interesting thing about 50s Bollywood is how unimportant the songs are compared to what Bollywood would become. This was more like classic Hollywood drama with a real focus on literary adaptions. The story here didn't really move me much, but the photography was gorgeous. ASHES AND DIAMONDS (Andrzej Wajda) -- I watched this a long time ago when I was first introduced to foreign films through Bergman and Kurosawa and so on. Decided it needed a rewatch since I was wondering if it was top 10. I was kind of torn on this. It's interesting and exquisitely shot given the space it uses to tell its story, but without really understanding how the Polish people felt at the end of the war a lot of the prevailing sentiments were lost on me and the main relationship was Hiroshima Mon Amour in its distance and aloofness from the audience. But I still really liked it. That's a good thing, I guess.