With the suggestions and admonishings of the HE commentariat, I’ve added seven films to my 1966 roster for a total of 22.

My hands-down choice for 1966’s three finest are Michelangelo Antonioni‘s Blow-Up, Robert Bresson‘s Au Hasard Balthazar and Richard Brooks‘ The Professionals.

My second group of 12 include Robert Wise‘s The Sand Pebbles, Bernard Girard‘s Dead Heat on a Merry Go-Round, Fred Zinnemann‘s A Man For All Seasons, John Frankenheimer‘s Grand Prix and Seconds, Jack Smight‘e Harper, Mike Nichols‘ Who’s Afraid of Virginia Woolf?, Arthur Penn‘s The Chase, Irvin Kershner‘e A Fine Madness, Charles Walters‘ Walk, Don’t Run, Claude Lelouch‘s A Man and a Woman and Billy Wilder‘s The Fortune Cookie.

The third group of seven include Gillo Pontecorvo‘s The Battle of Algiers, Sergio Leone‘s The Good, the Bad, and the Ugly (I didn’t post it yesterday because I’ve never liked Leone, but I have to at least recognize this film’s iconic status), Ingmar Bergman‘s Persona (I’m ashamed for having forgotten it), Jiri Menzel‘s Closely Watched Trains (intriguing Czech new-waver), Michael Anderson and Harold Pinter‘s The Quiller Memorandum, John Ford‘s 7 Women (saw it once back in the ’80s — a respectable ensemble film), Jean-Pierre Melville‘s Le deuxième souffle

I’ve never seen Milos Jancso‘s The Roundup. Howard Hawks‘ El Dorado didn’t open stateside until 6.7.67 so it doesn’t count. Jean-Luc Godard‘s Made in USA doesn’t count because it was blocked for over four decades over a rights issue and wasn’t released until 2009.