The Year's Best Films

CHLOE IN THE AFTERNOON. The best of Eric Rohmer's Six Moral Tales, a blithe and biting comedy about marriage and temptation.

CRIES AND WHISPERS. An especially intense and private work by Ingmar Bergman, with some astonishing acting (to be reviewed next week).

DELIVERANCE. A dazzling visual tour de force by John Boorman about four Georgia businessmen struggling to survive a nightmarish voyage into the backwoods.

THE DISCREET CHARM OF THE BOURGEOISIE. Luis Bunuel's intricate and elegant dissection of middle-class amorality, shrewd and very funny.

FRENZY. Alfred Hitchcock approaches top form again with this droll little study in terror.

THE GODFATHER. Not only a phenomenon but a fine film, wonderfully directed by Francis Ford Coppola and flawlessly performed by the entire family.

GREASER'S PALACE. Perfervid madness by Robert Downey, an unlikely but hilarious combination of the old West and the New Testament.

THE GREAT NORTHFIELD, MINNESOTA RAID. An odd and original western made by Philip Kaufman, the most arresting new talent of the year.

THE HEARTBREAK KID. Poignant and pointed comedy by Elaine May.

THE KING OF MARVIN GARDENS. Bruce Dern and Jack Nicholson are superb in Bob Rafelson's tenaciously fascinating rendering of the dead end of the American dream.

MY UNCLE ANTOINE. Claude Jutra's lustrous chronicle of a boy's coming of age is the best since Truffaut's The 400 Blows.

THE SORROW AND THE PITY and A SENSE OF LOSS. Dealing respectively with the Resistance in France and contemporary Northern Ireland, these two films by Marcel Ophuls make up a uniquely personal and compassionate contribution to the cinema as essay.

WHY. Alberto Sordi's performance lends depth to Nanni Loy's savage comedy about a false arrest.

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