Comparing the Best Albums to the Best Films -- Corresponding Works of Art [IN PROGRESS]

Tags: 
  1. 9.5/10
  2. Symphony No. 15 in A Major - Dmitri Shostakovich (1971) = Citizen Kane - Welles (1941)

  3. ADDITIONAL CANDIDATES: Mirror - Tarkovsky (1974)

  4. In the Aeroplane Over The Sea - Neutral Milk Hotel (1998) = Metropolis - Lang (1927)

  5. ADDITIONAL CANDIDATES: (1) City of Lost Children - Jeunet (1995); (2) The Ballad of Narayama - Imamura (1983); (3) Twelve Monkeys - Gilliam (1995); (4) Delicatessen - Jeunet (1991); (5) Hush...Hush Sweet Charlotte - Aldrich (1965); (6) Brand Upon The Brain! - Maddin (2006)

  6. Trout Mask Replica - Captain Beefheart & His Magic Band (1969) = Underground - Kusturica (1995)

  7. ADDITIONAL CANDIDATES: (1) The Wild Bunch - Peckinpah (1969); (2) The Kingdom - Von Trier (1994); (3) Birth of a Nation - Griffith (1915)

  8. Escalator Over The Hill - Carla Bley (1971) = Brazil - Gilliam (1985) [The Final Cut, 142 minutes]

  9. ADDITIONAL CANDIDATES: (1) Metropolis - Lang (1927); (2) Nashville - Altman (1975); (3) The Kingdom - Von Trier (1994)

  10. Rock Bottom - Robert Wyatt (1974) = Nostalghia - Tarkovsky (1983)

  11. ADDITIONAL CANDIDATES: (1) Sunrise - Murnau (1927); (2) Mirror - Tarkovsky (1974); (3) The Sacrifice - Tarkovsky (1986); (4) Ikiru - Kurosawa (1952); (5) Hiroshima, Mon Amour - Resnais (1959); (6) Synecdoche, New York - Kaufman (2008); (7) Belly of an Architect - Greenaway (1987)

  12. Faust - Faust (1971) = Lost Highway - Lynch (1997)

  13. ADDITIONAL CANDIDATES: (1) Touch of Evil - Welles (1958) [Restored Welles' Cut, 108 minutes]; (2) Citizen Kane - Welles (1941); (3) Inland Empire - Lynch (2006); (4) Brazil - Gilliam (1985) [The Final Cut, 142 minutes]; (5) Persona - Bergman (1966); (6) Weekend - Godard (1967) (7) Mirror - Tarkovsky (1974); (8) Un Chien Andalou - Bunuel (1929); (9) The Trial - Welles (1962); (10) Eraserhead - Lynch (1977); (11) 2001: A Space Odyssey - Kubrick (1968)


  14. 9/10
  15. The Velvet Underground & Nico - The Velvet Underground (1967)

  16. CANDIDATES: (1) Touch of Evil - Welles (1958) [Restored Welles' Cut, 108 minutes]; (2) Lost Highway - Lynch (1997); (3) Taxi Driver - Scorsese (1976); (4) Bring Me the Head of Alfredo Garcia - Peckinpah (1974); (5) Greed - Von Stroheim (1924) [Studio Cut, 140 minutes]; (6) Belle de Jour - Bunuel (1967); (7) Blue Velvet - Lynch (1986); (8) The Trial - Welles (1962); (9) A Clockwork Orange - Kubrick (1971); (10) Pulp Fiction - Tarantino (1994); (11) The Blue Angel - Von Sternberg (1930); (12) Mean Streets - Scorsese (1973); (13) Apocalypse Now - Coppola (1979) [Original Theatrical Release, 153 minutes]; (14) The Wild Bunch - Peckinpah (1969) [Director's Cut, 145 minutes];

  17. The Doors - The Doors (1967) = Touch of Evil - Welles (1958) [Restored Welles' Cut, 108 minutes]

  18. ADDITIONAL CANDIDATES: (1) The Wild Bunch - Peckinpah (1969) [Director's Cut, 145 minutes]; (2) North by Northwest - Hitchcock (1959); (3) Chinatown - Polanski (1974); (4) Scarface - Hawks (1932); (5) Vertigo - Hitchcock (1958); (6) LA Confidential - Hansen (1997)

  19. Twin Infinitives - Royal Trux (1990) = The Kingdom - Von Trier (1994)

  20. ADDITIONAL CANDIDATES: (1) Underground - Kusturica (1995); (2) Birth of a Nation - Griffith (1915); (3) Inland Empire - Lynch (2006); (4) Lost Highway - Lynch (1997); (5) The Wild Bunch - Peckinpah (1969) [Director's Cut, 145 minutes]; (6) Intolerance - Griffith (1916);

  21. Parable of Arable Land - Red Crayola (1967)

  22. CANDIDATES: (1) The Man With A Movie Camera - Vertov (1928); (2) Battleship Potemkin - Eisenstein (1925); (3) Underground - Kusturica (1995); (4) Metropolis - Lang (1927); (5) Weekend - Godard (1967) (6) The Wild Bunch - Peckinpah (1969); (7) Convoy - Peckinpah (1978)

  23. Highway 61 Revisited - Bob Dylan (1965) = Nashville - Altman (1975)

  24. ADDITIONAL CANDIDATES: The Deer Hunter - Cimino (1978)

  25. Exile On Main Street - Rolling Stones (1972) = The Wild Bunch - Peckinpah (1969)

  26. ADDITIONAL CANDIDATES: (1) Birth of a Nation - Griffith (1915); (2) Underground - Kusturica (1995); (3) Convoy - Peckinpah (1978); (4) Intolerance - Griffith (1916); (5) The Deer Hunter - Cimino (1978);

  27. Starsailor - Tim Buckley (1970) = Mirror - Tarkovsky (1974)

  28. ADDITIONAL CANDIDATES: (1) Sunrise - Murnau (1927); (2) Persona - Bergman (1966); (3) Hiroshima, Mon Amour - Resnais (1959)

  29. The Modern Dance - Pere Ubu (1978)

  30. CANDIDATES: (1) Modern Times - Chaplin (1936); (2) The Crowd - Vidor (1928); (3) City of Lost Children - Jeunet (1995); (4) Brazil - Gilliam (1985); (5) Twelve Monkeys - Gilliam (1995); (6) Battleship Potemkin - Eisenstein (1925); (7) Metropolis - Lang (1927); (8) The Road Warrior - Miller (1981); (9) Dr. Strangelove - Kubrick (1964); (10) The Terminator - Cameron (1984); (11) Mad Max - Miller (1980); (12) Weekend - Godard (1967); (13) The Man With A Movie Camera - Vertov (1929); (14) Mr Arkadin - Welles (1955); (15) Underground - Kusturica (1995) (16) To Be or Not To Be - Lubitsch; (17) A Zed & Two Noughts - Greenaway (1985); (18) The Cook, the Thief, His Wife & Her Lover - Greenaway (1989)

  31. Improvisie - Paul Bley (1971) = Persona - Bergman (1966)

  32. ADDITIONAL CANDIDATES: (1) Hour of the Wolf - Bergman (1967); (2) Hiroshima, Mon Amour - Resnais (1959); (3) Last Year at Marienbad - Resnais (1961); (4) Othello - Welles (1952); (5) Chinatown - Polanski (1974); (6) Mirror - Tarkovsky (1974); (7) Repulsion - Polanski (1965); (8) Rosemary's Baby - Polanski (1968); (9) Nostalghia - Tarkovsky (1983); (10) Under the Skin - Glazer (2014)

  33. Lorca - Tim Buckley (1970)

  34. CANDIDATES: (1) Persona - Bergman (1966); (2) Othello - Welles (1952); (3) Vertigo - Hitchcock (1958); (4) Hiroshima, Mon Amour - Resnais (1959); (5) Hour of the Wolf - Bergman (1967); (6) Last Year at Marienbad - Resnais (1961); (7) Chinatown - Polanski (1974); (8) Eternity and a Day - Angelopoulos (1998); (9) Cries & Whispers - Bergman (1972); (10) The Godfather, Part II - Coppola (1974)

  35. Dolmen Music - Meredith Monk (1981) = Possession - Zulawski (1981)

  36. ADDITIONAL CANDIDATES: (1) Rosemary's Baby - Polanski (1968); (2) Cries and Whispers - Bergman (1972); (3) Persona - Bergman (1966); (4) Hour of the Wolf - Bergman (1967); (5) Under the Skin - Glazer (2014); (6) Inland Empire - Lynch (2006); (7) Repulsion - Polanski (1965); (8) Belle de Jour - Bunuel (1967); (9) The Birds - Hitchcock (1963)

  37. Desertshore - Nico (1970) = The Passion of Joan of Arc - Dreyer (1928)

  38. ADDITIONAL CANDIDATES: (1) The Seventh Seal - Bergman (1956); (2) Nosferatu - Murnau (1922); (3) Eraserhead - Lynch (1977); (4) The Cabinet of Dr. Caligari - Weine (1920); (5) Belle de Jour - Bunuel (1967); (6) Persona - Bergman (1966); (7) Cries & Whispers - Bergman (1972); (8) Blade Runner - Scott (1982); (9) Rosemary's Baby - Polanski (1968); (10) Landscape in the Mist - Angelopoulos (1988); (11) The Phantom Carriage - Sjostrom (1920); (12) Under the Skin - Glazer (2014); (13) Hour of the Wolf - Bergman (1967);

  39. Astral Weeks - Van Morrison (1968) = Ikiru - Kurosawa (1952)

  40. ADDITIONAL CANDIDATES: (1) Days of Heaven - Malick (1978); (2) Eternity and a Day - Angelopoulos (1998); (3) The Last Laugh - Murnau (1924); (4) Hiroshima, Mon Amour - Resnais (1959); (5) Othello - Welles (1952)

  41. Y - The Pop Group (1979)

  42. CANDIDATES: (1) Raging Bull - Scorsese (1980); (2) The Cook, the Thief, His Wife & Her Lover - Greenaway (1989); (3) Battleship Potemkin - Eisenstein (1925); (4) Mr. Arkadin - Welles (1955); (5) Shock Corridor - Fuller (1963); (6) Underground - Kusturica (1995); (7) Leon: The Professional - Besson (1994); (8) Point Blank - Boorman (1967); (9) Scarface - Hawks (1932); (10) The Wild Bunch - Peckinpah (1969); (11) Weekend - Godard (1968); (12) Mean Streets - Scorsese (1973); (13) Reservoir Dogs - Tarantino (1992); (14) Dr. Akagi - Imamura (1998); (15) Hush...Hush Sweet Charlotte - Aldrich (1965); (16) Face/Off - Woo (1997); (17) Wild at Heart - Lynch (1990); (18) The Killer - Woo (1989); (19) A Zed & Two Noughts - Greenaway (1985); (20) M - Lang (1931); (21) The General - Keaton (1926); (22) Road Warrior - Miller (1981); (23) Mad Max - Miller (1980); (24) The Man With A Movie Camera - Vertov (1929); (25) A Clockwork Orange - Kubrick (1971); (26) The Terminator - Cameron (1984); (27) Twelve Monkeys - Gilliam (1995); (28) The Great Dictator - Chaplin (1941); (29) After Hours - Scorsese (1985); (30) Platoon - Stone (1986); (31) Black Cat White Cat - Kusturica (1998); (32) The Manchurian Candidate - Frankenheimer (1962); (33) Come & See - Klimov (1986); (34) Convoy - Peckinpah (1978); (35) Natural Born Killers - Stone (1994); (36) LA Confidential - Hansen (1997); (37) Goodfellas - Scorsese (1990); (38) Prefab People - Tarr (1982)

  43. Lullaby Land - Vampire Rodents (1993)

  44. CANDIDATES: (1) Star Wars - Lucas (1977); (2) Faust - Murnau (1926); (3) Wild at Heart - Lynch (1990); (4) Brazil - Gilliam (1985); (5) The Kingdom - Von Trier (1994); (6) Underground - Kusturica (1995); (7) Weekend - Godard (1968); (8) Face/Off - Woo (1997); (9) Twelve Monkeys - Gilliam (1995); (10) Lost Highway - Lynch (1997); (11) Hard-Boiled - Woo (1992); (12) Convoy - Peckinpah (1978); (13) Birth of a Nation - Griffith (1915); (14) Mad Max - Miller (1980); (15) Road Warrior - Miller (1981); (16) Pulp Fiction - Tarantino (1994);

  45. Slow, Deep & Hard - Type O Negative (1991) = Hush...Hush Sweet Charlotte - Aldrich (1965)

  46. ADDITIONAL CANDIDATES: (1) Natural Born Killers - Stone (1994); (2) The Kingdom - Von Trier (1994); (3) Mad Max - Miller (1980); (4) The Killer - Woo (1989); (5) Convoy - Peckinpah (1978); (6) Shock Corridor - Fuller (1963); (7) Birth of a Nation - Griffith (1915); (8) Faust - Murnau (1926);

  47. Daydream Nation - Sonic Youth (1988)

  48. CANDIDATES: Convoy - Peckinpah (1978)

  49. From Her To Eternity - Nick Cave (1984)

  50. CANDIDATES: (1) Whatever Happened To Baby Jane? - Aldrich (1962); (2) Hush...Hush Sweet Charlotte - Aldrich (1965); (3) The Cook, the Thief, His Wife & Her Lover - Greenaway (1989); (4) Wild at Heart - Lynch (1990); (5) Taxi Driver - Scorsese (1976); (6) Blue Velvet - Lynch (1986); (7) Bring Me The Head of Alfredo Garcia - Peckinpah (1974); (8) Greed - Von Stroheim; (9) A Clockwork Orange - Kubrick (1971); (10) The Wild Bunch - Peckinpah (1969); (11) Vertigo - Hitchcock (1958); (12) Emperor of the North - Aldrich (1973); (13) Natural Born Killers - Stone (1994); (14) Psycho - Hitchcock (1960); (15) Belle de Jour - Bunuel (1967); (16) Funny Games - Haneke (1997); (17) Raging Bull - Scorsese (1980);

  51. Sticky Fingers - Rolling Stones (1971) = Bring Me The Head of Alfredo Garcia - Peckinpah (1974)

  52. ADDITIONAL CANDIDATES: The Wild Bunch - Peckinpah (1969)

  53. Horses - Patti Smith (1975)

  54. CANDIDATES: (1) Marnie - Hitchcock (1964); (2) Belle de Jour - Bunuel (1967); (3) The Birds - Hitchcock (1963)

  55. Forever Changes - Love (1967) = Vertigo - Hitchcock (1958)

  56. CANDIDATES: (1) North by Northwest - Hitchcock (1959); (2) Chinatown - Polanski (1974); (3) The Manchurian Candidate - Frankenheimer (1962); (4) Touch of Evil - Welles (1958);

  57. Spirit of Eden - Talk Talk (1988) = The Sacrifice - Tarkovsky (1986)

  58. ADDITIONAL CANDIDATES: (1) Shame - Bergman (1968); (2) Stalker - Tarkovsky (1979); (3) Nostalghia - Tarkovsky (1983)

  59. Kick Out The Jams - MC5 (1969)

  60. CANDIDATES: Battleship Potemkin - Eisenstein (1925); The Man With A Movie Camera - Vertov (1928); Scarface - Hawks (1932); Prefab People - Tarr (1982); The Terminator - Cameron (1984); The Killer - Woo (1989); Face/Off - Woo (1997)

  61. The Ascension - Glenn Branca (1981)

  62. CANDIDATES: Battleship Potemkin - Eisenstein (1925); Dirty Harry - Seigel (1971); The Terminator - Cameron (1984); Aliens - Cameron (1986); The Killer - Woo (1989); King of New York - Ferrera (1990); Reservoir Dogs - Tarantino (1992)

  63. Irrlicht-Klaus Schulze (1972) = Blade Runner - Scott (1982) [The Final Cut]

  64. ADDITIONAL CANDIDATES: Nosferatu - Murnau (1922); 2001: A Space Odyssey - Kubrick (1968); Apocalypse Now - Coppola (1979); Alien - Cameron (1979); The Tree of Life - Malick (2011)

  65. Bitches Brew - Miles Davis (1969) = The Godfather - Coppola (1972)

  66. CANDIDATES: Nashville - Altman (1975)

  67. Blonde On Blonde-Bob Dylan (1966) = La Dolce Vita - Fellini (1961)

  68. ADDITIONAL CANDIDATES: Ikiru - Kurosawa (1952); 8 1/2 - Fellini (1963); The Godfather - Coppola (1972); The Godfather, Part 2 - Coppola (1974); Nashville - Altman (1975); Days of Heaven - Malick (1978); The Deer Hunter - Cimino (1978)

  69. Absolutely Free - Frank Zappa (1967)

  70. ADDITIONAL CANDIDATES: The Man With A Movie Camera - Vertov (1929); Dr Strangelove - Kubrick (1962); A Zed and Two Noughts - Greenaway; 8 1/2 - Fellini (1963); Weekend - Godard (1967); City of Lost Children - Jeunet (1995)

  71. Nail - Foetus (1985) = Natural Born Killers - Stone (1994)

  72. ADDITIONAL CANDIDATES: Battleship Potemkin - Eisenstein (1925); Hush...Hush Sweet Charlotte - Aldrich (1965); The Wild Bunch - Peckinpah (1969); Emperor of the North - Aldrich (1973); Convoy - Peckinpah (1978); The Road Warrior - Miller (1981); The Cook, the Thief, His Wife & Her Lover - Greenaway (1989); The Killer - Woo (1989)

  73. Suicide - Suicide (1977) = Taxi Driver - Scorsese (1976)

  74. ADDITIONAL CANDIDATES: The Cabinet of Dr. Caligari - Weine (1920); M - Lang (1931); Psycho - Hitchcock (1960); Peeping Tom (1960); Straw Dogs - Peckinpah (1971); Eraserhead - Lynch (1977); Dressed To Kill - De Palma (1980); Blue Velvet - Lynch (1986); Funny Games - Haneke (1997)

  75. Spiderland - Slint (1991) = Funny Games - Haneke (1997)

  76. ADDITIONAL CANDIDATES: The Cabinet of Dr. Caligari - Weine (1920); Nosferatu - Murnau (1922); M - Lang (1931); Dirty Harry - Siegel (1971); Taxi Driver - Scorsese (1976); Dressed To Kill - De Palma (1980); Blue Velvet - Lynch (1986); Pi - Aronofsky (1998); The Blair Witch Project - Myrick/Sánchez (1999)

  77. Zen Arcade - Husker Du (1984) = The Killer - Woo (1989)

  78. ADDITIONAL CANDIDATES: Battleship Potemkin - Eisenstein (1925); Convoy - Peckinpah (1978); Hard Boiled - Woo (1992); Natural Born Killers - Stone (1994)

  79. Mekanik Destruktiw Kommandoh - Magma (1973)

  80. CANDIDATES: Faust - Murnau (1926); L'Age D'Or - Bunuel (1930); Dr Strangelove - Kubrick (1962); A Zed & Two Noughts - Greenaway; City of Lost Children - Jeunet (1995); Twelve Monkeys - Gilliam (1995); Dogma - Smith (1999)

  81. Diamanda Galas - Diamanda Galas (1984) = The Cook, the Thief, His Wife & Her Lover - Greenaway (1989)

  82. ADDITIONAL CANDIDATES: Faust - Murnau (1926); Whatever Happened to Baby Jane? - Aldrich (1962); Repulsion - Polanski (1965); Hush...Hush Sweet Charlotte - Aldrich (1965); Belle de Jour - Bunuel (1967); Rosemary's Baby - Polanski (1968); Cries & Whispers - Bergman (1972); Eraserhead - Lynch (1977); Possession - Zulawski (1981); Prefab People - Tarr (1982); The Kingdom - Von Trier (1994); Lost Highway - Lynch (1997)

  83. Fontanelle - Babes In Toyland (1992)

  84. CANDIDATES: Hush...Hush Sweet Charlotte - Aldrich (1965); Belle de Jour - Bunuel (1967); A Clockwork Orange - Kubrick (1971); Raging Bull - Scorsese (1980); Possession - Zulawski (1981); Prefab People - Tarr (1982); The Cook, the Thief, His Wife & Her Lover - Greenaway (1989); Funny Games - Haneke (1997)

  85. Yeti - Amon Duul II (1970) = Raiders of the Lost Ark - Speilberg (1981)

  86. ADDITIONAL CANDIDATES: Birth of a Nation - Grifftih (1915); Intolerance - Griffith (1916); The Treasure of the Sierra Madre - Huston (1948); North by Northwest - Hitchcock (1959)

  87. Third - Soft Machine (1970) = Ran - Kurosawa (1985)

  88. ADDITIONAL CANDIDATES: Birth of a Nation - Grifftih (1915); Intolerance - Griffith (1916); M - Lang (1931); Seven Samurai - Kurosawa (1954); La Dolce Vita - Fellini (1960); Andrei Rublev - Tarkovsky (1966); Apocalypse Now - Coppola (1979); Underground - Kusturica (1995)

  89. Yerself Is Steam - Mercury Rev (1991)

  90. CANDIDATES: Sunrise - Murnau (1927); The Lady from Shanghai - Welles (1948); Apocalypse Now - Coppola (1979); Blue Velvet - Lynch (1986); Leon: The Professional - Besson (1994); Twelve Monkeys - Gilliam (1995); Lost Highway - Lynch (1997)

  91. White Light/White Heat - The Velvet Underground (1967)

  92. CANDIDATES: The Man With A Movie Camera - Vertov (1929); Scarface - (1932); Touch of Evil - Welles (1958); Mr. Arkadin - Welles (1955); Belle de Jour - Bunuel (1967); Dirty Harry - Siegel (1971); Mean Streets - Scorsese (1973); Bring Me The Head of Alfredo Garcia - Peckinpah (1974); Blue Velvet - Lynch (1986); Wild at Heart - Lynch (1990); Goodfellas - Scorsese (1990); Reservoir Dogs - Tarantino (1992); Pulp Fiction - Tarantino (1994); Shallow Grave - Boyle (1994); Funny Games - Haneke (1997); Lost Highway - Lynch (1997); Pi - Aronofsky (1998); Requiem for a Dream - Aronofsky (2000)

  93. Litanies of Satan - Diamanda Galas (1982)

  94. CANDIDATES: Faust - Murnau (1926); Whatever Happened to Baby Jane? - Aldrich (1962); The Birds - Hitchcock (1963); Hush...Hush Sweet Charlotte - Aldrich (1965); Belle de Jour - Bunuel (1967); Cries & Whispers - Bergman (1972); Eraserhead - Lynch (1977); Dressed to Kill - De Palma (1980); The Road Warrior - Miller (1981); Possession - Zulawski (1981); Prefab People - Tarr (1982); Natural Born Killers - Stone (1994); The Kingdom - Von Trier (1994); Lost Highway - Lynch (1997)

Author Comments: 

This is a list of albums that closely correspond to my favorite films. In general, I am only comparing rock albums to films, except on occasions when a jazz or classical work is the more accurate choice.

The general requirements are as follows:

1. The film should be virtually equal to the level of greatness as the album.
2. The film should express similar emotional content.
3. The film should express similar themes and employ a similar structure.
4. Less importantly, the film would be similarly inventive or important in historical context as its music counterpart.

Suggestions are definitely welcome. Also, feel free to make a case for a film that you think may correspond to one of the albums better than one I've already chosen.

I'm partway through Parable of Arable Land right now, and while I can see Underground as a solid choice, Kusturica's craft is a bit too obviously aestheticized. The only film that springs to mind as an analog, for me, is Takashi Miike's Visitor Q. Alienating, strange, craft sloppy on first glance yet done with enough panache to indicate it's done as an aesthetic choice, gains power through simplicity and repetition, extremity covering for quivering graceful heart. Primitive, scabrous, hard to swallow yet beautiful.

BTW, what the hell. Where has this album been all my life. Where.

Thanks for the recommendation. Feel free to bring more! Never seen Visitor Q so you've definitely intrigued me. As it is, I think Underground is a great fit, with the only other film that I've seen that would also work being Metropolis. The reason being is how crowded and raucous and nonsensical Underground constantly is. It clearly shares similar emotions as Parable. Not to mention the magic realism of Underground seems to be visually commensurate to what Parable would probably look like. Underground's kineticism from scene to scene and in it's choreography and visual style aren't too far off from a Jackson Pollack painting.

Don't see Visitor Q, take it from me, it isn't great. Sure, it's weird, but not that enjoyable.

But great list. Irrlicht fits 2001 like a glove.

I'll probably end up seeing it anyway. I always prefer to look for myself as I often find I don't agree too much with others on art.

Yes, Irrlicht and 2001 are a great match. The closest ones are probably:

Metropolis = Modern Dance
Persona = Lorca
2001 = Irrlicht
Rosemary's Baby = Geek the Girl
Stalker = Neu
The Wild Bunch = The Doors (though I choose Touch of Evil due to it matching The Doors overall greatness more closely)
Taxi Driver = Suicide (thematically perhaps the closest out of all, though Suicide is vastly superior in execution)

and another, unlisted one that is extremely close is...

Lost Highway = Good by Morphine (both of which may be on here in the near future)

The only thing that's coming to mind right now (and it's not perfect) is I Know Where I'm Going! (Powell, 1945) and Kate Bush's Hounds of Love. But IKWIG is a bit light and fluffy (but still great) compared to that album. Maybe IKWIG for side 1 and Black Narcissus (Powell, 1947) for side 2?

I dunno, I'm no good at this kind of thing. Maybe someone more knowledgeable about Powell/Pressburger and/or Bush could chime in.

Interesting... it's been at least 5 years since I heard Hounds of Love so the comparison is a bit difficult for me to make.

I always find a comparison between Escalator Over The Hill & Citizen Kane.

I don't disagree. Citizen Kane, due to it's unique structure (for film), tends to fit many of the greatest albums. I often think the closest to Kane (believe it or not) may be Faust.

The only reason I choose VU & Nico (not necessarily a permanent choice) in this case is due to the equality in importance, influence and greatness for their respective arts. Thematically, there's nary a thing that agrees between the two.

Another one for Desertshore is The Seventh Seal in my opinion, though I can see why you picked The Passion.

Yea, never thought of that. Tat's not a bad choice either. Hmmmm...

Nail (or Downward Spiral)/Taxi Driver
Well Oiled/Stalker
The Ascension/Raging Bull
Escalator Over the Hill/Fellini Satyricon
Uncle Meat/Man With a Movie Camera

Actually, you know what, strike the first entry. Suicide/Taxi Driver is an uncanny comparison.

Sorry, I didn't know you'd commented. My film lists need to be updated which I am getting back into now. Been away from the film world for awhile. Time to withdraw somewhat from music and expend some of that energy in movies...

Any ideas for Litanies of Satan?

How about any of the others on here (whether they're question marked or already have films listed). I've just started spending the portion of my free time I usually devote to music, on film instead, so...please discuss! Comment! Suggest!

I'd say Kingdom or Inland Empire

Great choices!

Thoroughly revised and updated from #17 on down

It's wholly revised now you idiot!

I think AfterHours has finally gone off the deep end...

haha ( :

that happened long ago...

Any recommendations?

Great list, very enjoyable reading.

Thanks! Any suggestions for this list (or any other lists for that matter)?

The Doors, Seventh Seal by Bergman?

Interesting choice. I think Touch of Evil is the closest, though it's just slightly more accurate for VU & Nico. In a sense, it could be assigned to both albums. Also, I project that North By Northwest will sooner or later be The Doors equivalent. It's very close in its emotional arc and pacing and it's relentless close calls with death and suspense also make it a thematic candidate. The only thing that is missing so far is that I consider it a 7.5 and not a 9/10. If I ever agree with Scaruffi on its level of greatness, then it will likely end up being the Doors equivalent.

Only 2 films away from completion...

Great list: i love this comparisons. Bob Dylan's Blonde on blonde maybe works better with some Peckinpah stuff like The wild Bunch or, even better, Pat Garret and Billy the Kid.

thanks, both are good comparisons

I am getting close. This latest run through my 9's, and many potential 9's has been very successful. I think I may complete this "project" soon.

I think the most applicable choice for Uncle Meat would be Brazil: both are wacky, eccentric, extravagant, darkly humorous, etc. You rate Brazil a bit higher than you rate Uncle Meat though...so maybe Zardoz would be most appropriate for Uncle Meat...though Zardoz is perhaps a bit too brutal, philosophical for a deserving film/album comparison. Also, Pere Ubu's The Modern Dance is a very fine choice for Brazil which conflicts Uncle Meat's placement as well.

I agree with you that Brazil works well for Uncle Meat as well, however as you've already guessed, the equality in placement is by far the main thing that counts in the comparisons, and Brazil is simply too incredible to be ignored from the top 10. It should be noted, as an aside, that it goes without saying that if the ranking is the same, it follows (or vice versa) that the themes and emotions of the two will also have similarities, and Brazil and Modern Dance are no exception to this "rule".

Re: Uncle Meat equivalent...

If Zardoz doesn't re-attain its position as the equivalent to Uncle Meat, the next (or first) best guess is Lady from Shanghai, which was in that position for a year or more up until a few months ago. They've exchanged it a few times over the last 2-3 years...

OK, Irrlicht would be a perfect soundtrack for 2001, but I don't get the rest of the list. It's a bit far-fetched.

They're not supposed to be "soundtracks". These are the films which are virtually equal to their album counterparts (rock and/or jazz) in overall emotional resonance, and as such, tend to share with them characteristics/themes/emotional arc, etc.

Cinema and music - they are different arts. Of course, there are common things, but really, this list has no sense. Or when you rerate a film or album, its equivalent also changes? There would be better a list of novel - film equivalents, I think.

Cinema and music are different arts (of course) but they follow the same foundations and I rate them the same. Fundamentally, they are each attempting to produce an effect (like all art). The degree of emotional resonance that effect inspires is how I rate them. Rock Bottom inspires virtually the same degree of awe from me that Nostalghia does, etc, etc.

I'm sure novels would work too, and I could put together such a list if I had the time to read that much.

This list "has no sense"? Really? You've probably seen most of the films, but are you speaking from experience with these albums? I think most of these are not only very evident but even obvious. I could explain any of my choices...

For instance, 2001: A Space Odyssey has virtually the exact same emotional arc, degree of emotion and type of emotion as Irrlicht. The main difference in comparison between a film and an album is overall running time. In this case, Irrlicht is approximately 51 min, 2001 is approximately 2 hrs and 16 minutes (prior to the end credits). The difference is in the ratio of time between the two: 2001 is 2.67 times longer than Irrlicht. Additionally, their emotional arcs are more or less reversed (plus some mild rearrangements, for instance, for the emotional equivalent of the middle track of Irrlicht one might take "the dawn of man" sequence + the part on the moon where the astronauts/scientists discover the monolith) but all in all, they are virtually the same: Track 1 for Irrlicht is approx 23 minutes. Its equivalent in 2001 occurs over the last hour of the film instead of the first. You will find that when "Irrlicht: Track 1" occurs in 2001 is when HAL starts showing his true colors and getting angry/homicidal and the astronauts start suspecting him and suspense builds. You will find this coincides, in ratio of time and in type and degree of emotional resonance, to the growing anger/suspense in the first 10 minutes of "Irrlicht: Track 1". You will also find the last 30 or so minutes of the film (Jupiter and the Infinite Beyond) coincide with the last 13 minutes of "Irrlicht: Track 1" and follow a similar ratio in time.

Anyway, I could break down any of my other choices in detail, but really, if you just watch them enough (sometimes several viewings are necessary), and listen to the albums enough (in general they are more "challenging" than the films and require several listens), the comparisons should become quite evident. You don't have to get too mathematical about it like I just did - the comparisons should become evident simply based on the equality in emotional resonance experienced.

Emotional content, structure etc. - I believe these similarities really exist, but my main problem is the same level of greatness. You have three 9.5/10 of both art, but isn't it by accident? Even the order is the same. The best film of all time has the same (similar) structure and emotional resonance like the best album, the second best also and etc. Very suspicious, that's a world-wide conspiracy? :) I just tend to be logical, so i think these equivalents aren't valid. It can't be valid, the chance is less than winning the lottery. :)

Lol :) It's all good, they may or may not ever be valid for you, but really, I invite you to listen to the albums and watch the films "religiously" and see if your viewpoint ever changes (if it doesn't that's totally okay). Regardless, I really do think the choices here are virtually equal to their rock counterparts. Some are slightly different: Rock Bottom would probably be a 9.4/10 while Nostalghia is 9.3/10, Pop Group's Y is a 9.0 while Von Stroheim's Greed is 8.9/10, etc. The key word here is: "virtually" the same, or "similar" in emotional content/themes, etc. None of them are exact of course...

The closest ones are probably: Persona and Improvisie (Unbelievably close. If one accounts for "ratio of running times" they follow eachother almost exactly. Lorca, its rock counterpart, is quite close as well); Natural Born Killers and Nail; 2001 and Irrlicht; Metropolis and Black Saint & the Sinner Lady (note: Trout Mask Replica is the "rock counterpart" more by default and mostly due to similar degree of emotional resonance, but along with Nashville and Twin Infinitives, is probably the only example where thematic, type of emotion, and structural similarities are insignificant otherwise); Aliens and Zen Arcade.

Highly comparable greatness happens from time to time, in sports, in art, etc, probably via inspiration from the past and because we all live in the same world and share influences. Kobe Bryant is a similar type of player Michael Jordan was, Brahms drew upon Beethoven for his symphonies and made ones of comparable greatness, etc.

Now, I definitely don't think Tarkovsky, with Nostalghia, was intentionally trying to replicate Rock Bottom's emotional consistency/resonance -- of course not -- unless he'd heard it (not necessarily impossible actually). Anyways, I highly doubt it. But I wouldn't be surprised at all to find out both he and Wyatt invested in each of their works a similar degree of genius, inspiration, and emotional conviction. I really think you'd find this if one were able to sit down and have a truly personal conversation with each of them about it. I also think this happened in painting with Klimt's Beethovenfries, in classical with perhaps Tristan und Isolde, with writing perhaps The Master and the Margarita, with jazz A Love Supreme... Worldwide conspiracy? I know you were more or less joking, but -- of course not. I mean, many of these were made decades apart and in some cases, centuries apart. If you really look at it, is it that outlandish to conceive that, amongst the millions and millions of works of art that have been made, a few ingenius artists could make individual works of art, each on a very similar plane of greatness to another? I think it's just geniuses being similarly inspired and investing a similar degree of emotional conviction. I also don't find it illogical that if one work has a very similar degree of emoitonal resonance that it would then follow that it would tend to share various characteristics (emotional, thematic, etc). You can probably recall a time when your parents, or perhaps 2 friends, each got similarly angry at you. You'll notice, regardless of different body types and persons, that they each had similar physical and emotional characteristics and there's a good chance each had a similar effect upon you. Were they exactly the same? No. But you could say there were very similar degrees of emotion invested and each had very similar levels of emotional resonance upon you.

You'll also notice that the above works of art I listed in relation to Nostalghia/Rock Bottom, share strong thematic, structural and emotional similarities...

There's probably more to say/respond to but I have to go for now...

I've heared most of the albums (except a few jazz ones). And, I've never thought that there are album @ film equivalents until I saw this list. So, I don't think you understand my point.

"I think it's just geniuses being similarly inspired and investing a similar degree of emotional conviction"

Of course, the albums and films in your top 10 are pure genius works. But you're talking similar themes & structure. How is it possible? The top 10 are all equivalents for each other, with regard to the order. So, Mirror's equivalent is definitely Hossiana Mantra, or it just happened by accident? Because both are the 9th in your greatest lists. (I mean greatest rock albums, without the jazz ones). And what could be a theme of an album? They're not concept albums, maybe you think of the lyrics? No, definitely not, because some of the albums are all instrumental. And, finally, albums have very different stucture. There's no ending like in the movies, no beginning, sometimes it's just song by song structure. Book and film, yes, they have much more similarities. They are equivalent arts, so you can make a list. And finally: "Talking about art is like dancing about architecture" :)

How is it possible? I suppose that out of the millions of films ever made there could be one that closely approximates a particular album. Artists strive for similar effects. I mean, isn't it possible to see that Michelangelo with The Sistine Chapel was going for a similar degree of overwhelming spiritual power as perhaps Beethoven with the 9th Symphony? Or, perhaps more obviously, the last "Ode to Joy" movement of the 9th? That doesn't mean it's exactly the same. But is it very close? I'd say so. Are there any other works of art in the history of man that achieve spiritual overwhelm on the same level? I don't know of any others. So one could say they are equivalents in that regard. That's just a simplistic sample to get the idea across.

I didn't decide it was this way before I made this list. I started noticing it more and more and then, gradually, out it came. As I went through hundreds of films, I occasionally found others. I may never find all of them. They may or may not exist. I watched the films and listened to the albums and this is what I found. If you agree, you agree. If you don't, you don't.

Pretty sure every rock album on my list is a concept album (lyrics hardly matter to me), but even if they're not, you're possibly reading too much into this. There are differences between the two, in all cases. Of course they're not exactly the same. The main point in all cases is that they're virtually the same in terms of overall emotional resonance. And so they're similar and tend to share various characteristics. There are exceptions: Nashville is virtually the same in overall emotional resonance to Twin Infinitives yet outside of epic length and its consistency and degree of impact, it share little in common (thematically, type of emotion...). Same with Trout Mask Replica and Metropolis. And I have yet to find equivalents to Not Available/Lady of the Mirrors, or Uncle Meat.

If you were to say "when I watched so and so play basketball he gave me virtually the exact same feeling as when I watched Michael Jordan!" it would very likely follow that the player you were talking about did similar things on the basketball court as Michael Jordan, and having done so must have invested a similar type and degree of emotion/effort/technique, etc. Mirror is virtually as emotionally resonant as Hosianna Mantra. There are several similarities between them: they each move at a very similar speed and flow, they're both virtually free form, very similar rhythm (or lack thereof, removing time/rigid structure from rock/film), very similar emotional arcs, similar aesthetics/type of emotion, similar themes and emotional resonance in that each are very spiritual and mystical and have several elements continuously coalescing into what could compositionally and emotionally be described or likened to a "natural or miraculous order" (as if following the hand of a God instructing the events/arrangement of things). Re: albums have very different structure/no ending or beginning... I honestly have no idea what you mean by this as I can't think of a single example on my list where this is true. Faust and Citizen Kane have VERY similar structure. Nostalghia and Rock Bottom have very similar emotional arcs/structure. Metropolis and Black Saint literally climax at almost the exact same points throughout their running times when "ratio of time" is taken into account. Very similar with North by Northwest and The Doors too. Almost exact with Natural Born Killers/Nail, or Persona/Improvisie. 2001 and Irrlicht. Its uncanny throughout the list. Don't get me wrong, it's never exact. But it's so close that the difference is a few minutes here or there, or instead of "here" it happens "there"...

My advice is to find a film you are certain that you really feel like you've fully experienced. And then listen to it's equivalent album and if or once you feel you've fully experienced that too, see if the degree of emotional resonance you got from each is very similar or virtually the same. To ease your way into the concept you could try the closest ones first, as listed in my previous post: Nail/NBK, Persona/Improvisie, 2001/Irrlicht, etc. And even if you disagree still, you just watched some amazing films and listened to some amazing albums, so no harm done! :)

"I suppose that out of the millions of films ever made there could be one that closely approximates a particular album"

OK. But you have much less selections. For example: You found Rock bottom as an equivalent of Nostalghia. Next you wanna find an equivalent for Metropolis. The opportunities: TMR or Faust, because theres's no more 9.5/10 albums left. Luckily, TMR an equivalent of Metropolis, Faust also an equivalent of Citizen Kane. It seems it's not a hard work for you to find an equivalent. Just search an album the exact! same level of greatness. Everything will be okay, the structure, theme blablabla. Deus ex machina. And, earlier, you choosed different equivalents (Metropolis = Modern Dance).

"Okay but you have much less selections". The vast majority of movies made are crap or mediocre. I don't need to watch a bunch of Jerry Bruckheimer-esque movies in my search for the equivalent to Rock Bottom. I shortened my search ("only" 3.5-4 years) by focusing on the greatest directors most likely to have possibly created such a work (if it did infact exist), and found Nostalghia by Tarkovsky. If the film didn't exist, there would be no equivalent to Rock Bottom (unless there's another one out there). Both Rock Bottom/Nostalghia are extremely rare works of art. I am unlikely to find any more 9.5s to fit the bill though they could exist.

As I've said many, many times, none of them are exact. You keep getting hung up on the exactness of it all when I never actually claimed that to begin with, and infact have stated repeatedly that they aren't exact (but similar, some more so than others), and have gone out of my way to describe and point out precise, even vivid, examples of similarities (each of them unacknowledged/ignored). At times I've chosen different equivalents because earlier I thought less (or more) of the film. A masterpiece is going to fall somewhere on the scale from 8.8-9.5, so it's bound to line up closely to one of the equivalents (unless I find one that is above all other works of art ever made, [above 9.6]). At one point, I thought Metropolis was as great as Modern Dance. I watched it again and thought it was quite a bit better, and the equal of Black Saint and the Sinner Lady. You could also go back 5+ years and find that I once thought Black Saint and the Sinner Lady was below Faust, Rock Bottom, A Love Supreme and Trout Mask Replica. And as I've also stated, TMR is NOT an equivalent of Metropolis except that it's near it's level of greatness - it doesn't really match up otherwise...same with Nashville/Twin Infinitives...

Not hard work? Are you kidding me? I've been searching for them for several years now, watching an average of 10+ films a week (500+ per year), after having listened to hundreds of albums and yet, despite all this, still have 2 left to find, and that's not even taking into consideration if more "equivalents" exist for classical/avant-garde albums outside of Dolmen Music and Rainbow in Curved Air. I didn't find Nostalghia until 3.5 years of relentless searching and film watching after I found Rock Bottom. I watched Citizen Kane 25-30+ times before it reached for me the level of Faust, a full 4 years after finding Faust. I watched Metropolis 7-ish times and upgraded it 4 years after I found Black Saint. North by Northwest took 20 times to become the equivalent of The Doors. Your claim that I just slide them in is uninformed about the history of this list and how long I've been working on it.

If you have any further arguments just re-read my posts. Everything that needs to be said, I've already covered. You're unlikely to agree if you've only watched most of the films once and/or not listened to the albums much. My advice from before remains the same.

Oh, poor modern dance :( lost its equivalent

Yea, the little guy had to go take a cold shower afterwards. So lonely now... :(

Traveling Players seems much more Fare Forward Voyagers' equivalent than Desertshore now (which is what I had it as before) while Landscape in the Mist is very much Desertshore's equivalent, whereas before I had it as Afternoon of a Georgia Faun.

This now leaves Wild Bunch (was equivalent to Fare Forward Voyagers) with no album equivalent (though each time I watch it, it seems to become increasingly possible that it's Trout Mask Replica [or VU and Nico?], so stay tuned), and Afternoon of a Georgia Faun with no film equivalent (though each time I watch Color of Paradise it becomes increasingly possible that it's the correct choice).

Note: the rankings "(1), (2), (3)" etc for the "candidates" section are in order of likelihood (subject to change).

After re-watching Eraserhead, I removed it from being a candidate for In the Aeroplane Over the Sea, Spiderland and VU & Nico, and lowered its ranking in its candidacy for Faust. However, it improved its candidacy for Suicide's debut, as possibly an even closer comparison than Taxi Driver. I'll probably have to watch Eraserhead and Taxi Dr again before making any changes.

Additionally, after re-watching Aronofsky's The Fountain, I removed it from candidacy for Rock Bottom.

After re-watching Bunuel's L' Age d'Or, I removed it from candidacy for In the Aeroplane Over the Sea, Faust, Modern Dance and Pop Group's Y.

I don't quite Sea Y you would do that.

(Sorry.)

Umm... yea... :)

It's a process of elimination. I don't expect all the candidates to stick as I blitz my way through re-watching the films. I simply put any candidate that had a decent chance to correspond closely. But as I re-watch them, the numbers that are truly close candidates will very likely dwindle to a select few or less. The ones with the most candidates tend to be the ones I am least certain about, but I am hoping to be more decisive with those by the time I've made my way back through the films.

After re-watching The Godfather, I removed it from candidacy as a corresponding film to Lorca.

In the Aeroplane Over The Sea = Metropolis is an interesting comparison that I'd never have thought up myself but seems appropriate somehow. I can see how Furioso in particular would be = Ghost + Untitled + Two Headed Boy Pt 2.

Yes, I need to watch Metropolis again, but -- off the top of my head -- I am pretty sure the film's themes and emotions align with the time frames (by percent of running time) of Aeroplane pretty closely all the way through. And there is pretty much no denying -- as you alluded to -- that the intensity of each is kept at a similar pitch... The beginning of the film as it is expressing his youth and his exploits in the gardens and grounds and when he meets Maria aligns well to track #1, then the explosive incident in the underground city and ensuing fall-out and his furious pleas to his father, perhaps aligning to track #2 ... Maria getting all evangelical and describing the mythological and biblical events/stories (and becoming two-faced/doubled) and the protagonist's friend dying, aligning to Two Headed Boy + the funereal instrumental track, the Dr chasing her and that whole suspenseful series of scenes aligning to the Holland track ... The protagonist sick in bed while Maria engaging in sexual exploits while all hell starts to break loose aligning to Oh Comely and, as you said, the Furioso ... on top of that, the film can be seen as an allegory to the Nazi party...

That was off the top of my head, and I haven't watched the film in a while to have the opportunity to really break it down, but I think you get the idea... Regardless, both have a similar degree of emotional significance and intensity and conviction... As a fun aside, for visual art, Aeroplane also aligns well with Bosch's Garden of Delights painting...

That's exactly what I was thinking of! It's really fun picking out all these things, no?

Yea it's kind of a fun little hobby I just sort of came upon by accident some years ago when I started noticing that some of the best films aligned pretty well to the best albums. It just gives me an additional point-of-interest while I build my lists :)

Another note re: Metropolis and Aeroplane that I forgot to mention in my haste ... both are "visually" similar in that they're depicting (visually or musically) "visionary retro-futures" where the scenes are fusions from several sources of inspiration between past/future, often simultaneously.

Actually, I think it can be useful in providing some insight into the works themselves as well :)

That's certainly an interesting point re: Metropolis and Aeroplane.

By the way, I was wondering: are you going to do a Best Films compared to Best Albums version? Meaning, you find a group of rock/jazz albums (maybe even classical music?) corresponding to a specific film rather than the other way around. That would be slightly more convenient because a group of albums is easier and less time-consuming to get through than a group of films.

Yes, absolutely, the more art one experiences/absorbs the more art one is then able to ... experience/absorb :) Which is another reason why I started it; so people can see/experience the correlations to help them think with/consider the works and their merits, etc...

I've thought about it before and might do a "reverse" list, or combine the two onto the same list.