The Bechdel Test is a popular and very simple test to judge movies on their level of representation. For a movie to pass: (1) it has to have at least two women in it, who (2) who talk to each other, about (3) something besides a man. 

If you ever want to check if a film passes the test, check here. For now, under the cut are the links to movies made before 1970 that do pass. (more masterposts)

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In Alfred Hitchcock’s movies always someone is watching…

A voyeurist supercut by Jorge Luengo Ruiz.

Films than appear:

The 39 Steps (1935)
Young and Innocent (1937)
The Lady Vanishes (1938)
Rebecca (1940)
Foreign Correspondent (1940)
Notorious (1946)
Strangers on a Train (1951)
Rear Window (1954)
To Catch a Thief (1955)
The Trouble with Harry (1955)
Vertigo (1958)
North by Northwest (1959)
Psycho (1960)
Marnie (1964)
Topaz (1969)
Frenzy (1972)
Family Plot (1976)


Let’s Talk About Movies:

WORLD FILMIn an age of internationalism, film has proved the most global of the arts.

In the last few decades, it has gradually become recognized that entertainment is not the preserve of Hollywood. Gangster movies, horror films, whodunits, Westerns, war epics, melodramas, musicals, and love stories are produced all over the globe. A glance at the long list of American remakes of “foreign” films will confirm that Hollywood has drawn inspiration from world cinema. Neither is it oneway traffic. There are film noirs of Jean-Pierre Melville that are based on the American model, and countless quotes in French New Wave films that come from Hollywood movies. Witness the popularity of Spaghetti Westerns and the influence of US movies on German directors Wim Wenders and Rainer Werner Fassbinder.

Over the past few decades we have grown used to seeing stars move with ease between English-speaking and foreign films like Burt Lancaster, Donald Sutherland, Nastassja Kinski, Isabella Rossellini, Gérard Depardieu, Charlotte Rampling, Antonio Banderas, Juliette Binoche, Penelope Cruz, Audrey Tatou, and Jackie Chan.

Directors, too, brought their expertise to Hollywood: Victor Sjöström (Sweden), Fritz Lang (Germany), Billy Wilder (Austria), Jean Renoir (France), Louis Malle, who made Atlantic City (1981) in US. In recent years, there has been even more cross fertilization: Peter Jackson (New Zealand), directed The Lord of the Rings trilogy; Alfonso Cuarón (Mexican), directed Harry Potter and the Prisoner of Azkaban (2004). The supreme example is the Taiwanese-born Ang Lee, who has made English (Sense and Sensibility, 1995), Asian (Crouching Tiger, Hidden Dragon, 2000), and American (Brokeback Mountain, 2005), Dutch director Paul Verhoeven who make major hits such as RoboCop (1987) and Basic Instinct (1991), and Fons Rademakers, who directed The Assault (1986), winner of the Best Foreign Film Oscar. The Belgian Dardenne Brothers, Jean-Pierre and Luc with The Promise (1996), Rosetta (1999), The Son (2002), and The Child (2005). In the Philippines, Lino Brocka broke new ground for his country’s cinema when his films Insiang (1976), Jaguar (1979), and Bona (1980) were acclaimed at the Cannes Film Festival.

In fact, it could be said that the centre of cinema has had a major shift from its traditional bases of the US and Europe to Asia and beyond.

What to watch: Three Colors trilogy (Poland, 1993-1994), The Lady Vanishes (England, 1938), City of God (Brazil, 2002), Russian Ark (Russia, 2002), Turtles Can Fly (Iran, 2004), La Haine (France, 1995), Run Lola Run (Germany, 1998), Persona (Sweden, 1966), In The Mood For Love (Hong Kong, 2002), Happy Feet (Australia, 2006), Pans Labyrinth (Mexico, 2006), Paradise Now (Palestine, 2005), Titanic (USA, 1997), Salaam Bombay! (India, 1988), Tsotsi (Africa, 2005), Rainbow Troops (Indonesia, 2008)

Behind the scenes of The Lady Vanishes (1938)

Everyone drank innumerable cups of tea on that set. And if I saw Hitch drink one cup, I surely saw him drink a thousand during the making of that film. But always when he had finished the tea he did the same thing–flip over one shoulder would go the cup, then smash over the other the saucer! I don’t know why he did it–certainly not out of temper or excitement. It made me jump the first time, then I got used to it. So presumably did the canteen.