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*****First of all, allow me some time to patronize and congratulate myself for the timely resurrection of this blog. I can’t believe that it has been two and a half years since my last post – my fault entirely. For a time I thought that I had lost my passion for writing. I never considered myself a disciplined writer. Hence, it is only now that I’m playing catch-up!*****

(First of 4 Parts)

When any Filipino film buff is asked to do a rundown of the best Philippine movies of the second golden age and beyond (the second golden age is a term coined to refer to a rather sporadic exhibition of local films from 1974 onwards that are characterized by a strong sociopolitical message or those that exhibit innovative techniques when it comes to filmmaking), one would always recite the Cannes film noirs of Lino Brocka (Maynila, Insiang, Jaguar, among others), the cyclical films of Ishmael Bernal (Nunal sa Tubig, City After Dark, or Himala), or the intriguing allegorical works of Mike de Leon (Kisapmata, Batch ’81, Kakaba Kaba Ka Ba?). Perhaps the list would also have a sprinkling of films by Peque Gallaga, Eddie Romero, and Celso Ad Castillo.

The showstopping works of these filmmakers are great indeed. Truly, these films reflect an important milieu in our history as a nation, and they have withstood the test of time. There’s no question there.

However, a number of equally brilliant films have unjustly been off the radar of the average film buff. These films are not as celebrated by film critics and film lovers alike. They are often absent in the perennial “Top 10/20/50 lists of most notable films.” And if these films are ever included in such a list, they often occupy the tailend notches in the ranking.

They say that the Filipinos love to champion the underdogs. And true to form, this article aims to celebrate the most underrated Filipino films from the 1970’s up until the present time. Any such list is always subjective, obviously. But there is no denying that these films ought to be remembered and discussed as much as the other cinematic greats!

The films are listed in chronological order according to the movie’s year of production:

1. Pagdating Sa Dulo by Ishmael Bernal (1971) – This writer cannot believe that a leading website that consolidates an exhaustive list of Filipino film classics did not have this film in its Top 100! Absurd, indeed! Bernal’s debut film is one of those that tackle the art of filmmaking. This movie-within-a-movie focuses on the lives of a taxi dancer and her lover as they are catapulted to stardom – making a mess of their personal lives in the process. The film is unforgettable not only for the tour de force performance of Rita Gomez, Vic Vargas, and Eddie Garcia but also for the poetic screenplay and assured direction of Bernal, who was still a rookie on the director’s chair during this time. Brocka made a similar film a few years after called Stardoom, but it ultimately pales in comparison to the Bernal’s arthouse hit. Who would ever forget the final scene where the characters of Gomez and Vargas ascend the stairs of the moviehouse – their faces showing a bewildered, questioning then defeated look.

2. Sino’ng Kapiling, Sino’ng Kasiping by Eddie Romero (1977) – Romero’s intimate study on the psychology of marriage and infidelity boasts of strong performances especially from Daria Ramirez and Lito Legaspi. Excellent characterization lends utmost credibility to the film’s portrayal of couples who realize that their respective marriages have hit a dead end. The well-written script underscores every person’s need for a sense of purpose and affirmation. Sadly, the film’s excellent acting, well fleshed-out characters, and excellent screenplay were not complemented by the film’s rather dismal technical elements, especially the lousy camerawork.

3. Hubad na Bayani by Robert Ylagan (1977) – This film established Robert Arevalo (Ylagan is his real surname) as an equally good actor/director. To say that this is an important film would be a huge understatement. Set during the 1920’s, it depicts the miserable lives of peasant families who are terrorized by landlords, brainwashed by fanatical cults, and drawn to fight for a cause by rebel groups – depicting an emerging nation brewing with social ferment. The depiction of rural Philippines as a feudal and agricultural wasteland of oppression and injustice is truthful and carefully studied. The ensemble cast is excellent and the film’s scope still rings true up to this day. Behn Cervantes made a similar film the year before which he called Sakada. However, Cervantes celebrated work appears too theatrical, slow, and preachy for the contemporary viewer. Here is where the merits of Ylagan’s film lies. Though far from perfect technically, the film as a whole looks and feels more organic, in sharp contrast to Cervantes’ “street-activist” aesthetics.

4. Ang Tatay Kong Nanay by Lino Brocka (1978) – This is perhaps one of Dolphy’s finest films. The Philippines’ comedy king will forever be credited for originating the flamboyant gay in Philippine Cinema – long before Vic Sotto, Roderick Paulate, and Vice Ganda came into the picture. This dramedy stars Nino Muhlach, Philippine Cinema’s child wonder of the 70’s. Dolphy, on the other hand, plays foster father to Muhlach’s amusing and cutesy character. His love for his son and his desire to give his son a normal family life has led him to conceal his true sexual orientation from the inquisitive boy. When he is finally outed towards the end of the film, the concluding scenes will forever be remembered as one of the most poignant and touching finales in Philippine cinema – and in a Dolphy film at that! Dolphy’s pioneering depiction of gays as flamboyant and histrionic is balanced by the film’s quieter moments. Brocka here powerfully merges commercial appeal and artistic integrity. The end product is funny, grounded, affecting, and believable.

5. Ikaw At Ang Gabi by Danny Zialcita (1979) – Not until it was later found out that this film was carbon copied from the American miniseries Torn Between Two Lovers, this excellently crafted melodrama features commanding performances from Dindo Fernando and Chanda Romero. An adult tale of failed relationships and broken marriages, this film sort of foreshadows Jerrold Tarog’s innovative Sana Dati. Love in this film that was made towards the end of the 70’s is portrayed in a very unromatnicized manner. It is not in the sweeping saccharine declarations of affection. Rather, it is found in the little things – in acceptance, forgiveness, and the commitment to give it one more try. Sappy concepts it may seem but thankfully, the film does not dissolve in too much pathos. Technical elements are all outstanding (relative to Philippine melodramas that are often convoluted, manipulative, and overdetermined) – from the cinematography to editing to musical scoring.

Pagdating sa Dulo-71- photo- Vic Vargas-Rita Gomez- Eddie Garcia-sfimgresimagesIkaw at ang Gabi-79- Beth Bautista-DindoF-sf Sino'ng Kapiling Sino'ng Kasiping-77- photo-sf

Dog Profiles

Let me introduce you to the babies of our clan – our 2 pet shih tzus!

The lighter one is Maxx. He just turned three 2 months ago. He is playful and loving—only to his owners! Maxx can be a bit of a snob and is totally high maintenance. He doesn’t eat from any other plate or food container. He wants you to feed him from your hand. He also only cuddles at night, when he is very sleepy. Nevertheless, he is completely behaved. He just sits and lounges in the house all day and goes out only on weekends. His favorite spot is Eastwood City in Libis.

The darker one is actually Maxx’ son- Joaquin! Joaquin is one year and 5 months. He is a voracious and ultra-playful dog – also a true blue alpha dog! Unlike his dad, Joaquin creates a lot of clutter in the house, tends to ransack the garbage bin, and is so hard to toilet train. However, Joaquin is very loyal and loving. he loves to cuddle and kiss. He is very affectionate.

These dogs are opposites in terms of behavior and demeanor. Yet, they are father and son. And we love them both! They are the loves of our family. And they know know that we love them so well! 🙂

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Last Friday was my 30th birthday. There were a lot of firsts last Friday.
Since I only/already turned 30, it was my first birthday in the line of 3. Hehe.
It was also the first time that I was greeted by approximately 198 people thru Facebook, SMS, or in person. That’s a blessing 🙂
It was the first time that my mom was not around on my birthday as she’s already in heaven. It’s particularly strange and anti-climactic to be celebrating a special day without the presence of a loved one. Even my eldest sister verbalized that over family dinner last Friday. I realized it wasn’t just me. The entire family was feeling the void of my mother’s absence.
For the first time ever since I started celebrating birthdays (a Filipino tradition), last Friday was particularly striking because emotions were mixed and admittedly, I felt that there was a lot of ambiguity in the air. I felt happy and sad at the same time. There was hope and uncertainty as well. I felt that I was living life on the fast lane but at the same time needed some sort of recharge. I thank God for this facility in Antipolo City where I could just spend some quiet time, which I got to do the whole day yesterday.
The Lord gave me a very special message this morning. On my way to work just this morning, and while playing with the dogs, I was able to gaze at my mom’s flowers just opposite the living room window. My mom loved flowers and gardening while she was still alive. And when she entered eternity, I thought that it would also just be a matter of time before her plants started withering one by one, as neither my father nor any of my mom’s children were into gardening. We could only water the plants and there’d be many days when none of us would remember watering them.
But this morning, I noticed that the plants had again flowered-and that most of them were in full bloom. My mother would always deliberately make me notice that when she was still on Earth, and she’d be very proud and happy. How she loved her plants when they started to flower.
It is different now that the plants had started to flower again. Nevertheless, the Lord did not make me dwell anymore on my mom’s absence. See, this morning He gave me a very special message.
The Lord likened the flowers to me and to our family.
“My son, look at the flowers now. They are still very much alive and beautiful even though your mother’s no longer around to attend to them. No downpour is so heavy that it could easily wash away the flowers’ beauty. No sunlight is too strong to quench and steal the life away from these plants. Because I created them, I also cultivate them. Because I created them, I also nurture them and take care of them—because I love them.
“My son, you thought the flowers bloomed in the past only because your mom was busy taking care of them. You thought that the plants only managed to show signs of life because they depended on your mother’s care and nurturing. BUT the truth is, the plants only flowered because THEY DEPENDED ON ME. I am the One who gives them life. I am the One who makes them flower. Your mom was just an extension of the love, care, and nurturing that ultimately comes from ME.”
“And not anyone’s absence or presence can stop me from pouring out my love. Will it be too much if I let you start this week and your 30th year by reminding you of how much I love you?”
–Thank you, God Immanuel.

Hi Everyone!

The reason why I’m posting is to share a song I heard over the net just a week ago. I can’t get it out of my system because I was so blessed by the song. Maybe some of you would be interested to hear it as well. The song is from a contemporary gospel band called Tenth Avenue North. The title is Beyond Words. I like the song so much because it talks about the love of God for each one of us in profoundly human terms. From the time that I became a Christian when I was 14 years old and into my backsliding college days and into my turbulent early twenties, up until late 2006 when the Lord wretched me from a life of senselessness and self destruction, I still cannot comprehend until now the magnitude of His love for us. I remembered one preaching from a female pastor where she mentioned that God is a God of a thousand kisses.I couldn’t agree more. Going back to the song, it is just so amazing how the Lord, in His holiness and greatness, can pour out so much love for us. He is the God of all but is also a very personal God at the same time. He is not only a God when we are gathered together and singing songs of praise and worship, but He is also God when we struggle with everyday issues about work, family,and even relationships. He is Lord not only when we work for the ministry and His church, but He is also the Lord who is our Potter – molding our character into one that truly pleases Him.He is not only King of Kings and Lord of Lords. He is also Immanuel who deals with us when we fall astray. When I was listening to the song for the first few times, I really cold not help but cry. How can such a great God love me so stubbornly? What does He see in me that He loves me with a love that I can never repay- not even in my wildest dreams?

I can only be thankful. Let me share with you the lyrics and the link (Imeem) where you can listen to the song in full. God bless and everyone!

Beyond Words by Tenth Avenue North

Well if you only knew the pain that I’ve been through

Since when did it become all about you

As you can see right from the start I’ve said the truth

But if the truth means nothing to you then what am I supposed to do?

But I’ll still love you beyond what words can say

I’ll take your every suffering moment and bring a better day

And I’ll still love you more than what I hope to be

Let me wrap my arms around you Let me take your breath away

And every time I ask you assure you’re doing fine But your heart looks good by smiling, you couldnt fool mine

And by the end of the night your pillow seeps to dry

In a crowded room you’re singing

But on the inside, you sigh

But I’ll still love you beyond what words can say

I’ll take your every suffering moment and bring a better day

I’ll still love you more then what I hope to be

Let me wrap my arms around you

Let me take your breath away

In a ball a pair is dancing

In a forest there are trees

In a child there is a hope that keeps him in belief

With any star there is a sky

With any beach there is a sea

With any love song there’s a lover

but in your heart i hope its….(me)

And I’ll still love you beyond what words can say

I’ll take your every suffering moment and bring a better day

I’ll still love you more then what I hope to be

Let me wrap my arms around you

Let me wrap my arms around you

Let me wrap my arms around you

Let me take your breath away

Listen to the full song by clicking the link below: http://www.imeem.com/atcorporate/music/S1duVQ-K/10th_avenue_north_beyond_words/

Favorite Films From The 90’s

Hi everyone!

Apparently, it is my rundown of my favorite films of the 80’s that has garnered the most views in my blog. Thanks everyone for messaging and for commenting.

At some point, many are correct when they say that the 80’s (especially the first half) was indeed a landmark era for Philippine Cinema, both in quantity and quality. Ironically, the repression of the Marcos regime also ignited the blooming of a national cinema that discussed the pressing issues of the times. Veiled or outrightly exposed, the notable Filipino films of the 80’s truly depicted a turbulent era in Philippine history and reflected a much talked about social milieu for the movie audiences to see.

But soon enough, things started to nosedive.

The 1986 EDSA Revolution may have restored democratic rule in government but did very little in temrs of uplifting the social and economic conditions of many Filipinos. In the FIlipino film, the Aquino government accomplished ZERO when it comes to improving the quality and industrial conditions of a much-patronized artform. Hence, the golden age of the early 80’s would end sometime in 1986. It can be said that the unabated crass commercialism of Philippine Cinema and its stunted artistic growth would continue way into the decade that followed.

And that is the topic of this long overdue blog post.

The cinematic output of the 90’s would really pale in comparison to that of the preceding decade. For one, the 90’s saw the deaths of two very important pillars in Philippine Cinema—national artist Lino Brocka, who perished in a car accident in 1991, and fellow national artist Ishmael Bernal, who succumbed to a sudden heart attack in 1996. On the other hand, other luminous directors of the past decade such as Mike de Leon, Laurice Guillen, and Celso Ad Castillo, went on inactive status and only made films sporadically.

Another thing is the continued dominance of the Hollywood film when it comes to box office performance. We often see Filipino films unashamedly copying Hollywood plots, storylines, and for crying out loud—-even characters and whole titles for that matter! Producers also stuck woth tried and tested formula films that were sure to make money at the tills.

It is in this manner that most of the notable films appearing on this list have a few things in common. One, they are undoubtedly compromised works. Some films may ride on a popular genre (melodrama, action, love story, the youth film, sex film, etc.), while others capitalized on the so-called “star system” in order to recoup their capital. Few from the films on this list actually made money, but nevertheless, these films are fortunate because they were directed by gifted filmmakers who learned how to compromise between commercial appeal and artistic integrity. Save for the last film by Mike de Leon, none of the films from the 90’s that appear on this list is worthy to be called a “classic.” Nevertheless, they deserve mention because they are symbols of hope that a well made film could still be made amid a monolithic system of films made to dumb down the masses.

1. Andrea, Paano Ba Ang Maging Isang Ina by Gil Portes (1990)- This brave film was a box office nightmare. Nora Aunor essays another powerful performance as a mother who leaves her son to her bestfriend to become a political rebel. It is very interesting how the home, politics, motherhood, citizen, friendship, family, and the dichotomy of classes all come to play in this engaging and intriguing social melodrama. Aunor essays another powerful and affecting performance but actress Gina Alajar is also excellent. Gil Portes’ direction though is upstaged by the gravity of Ricky Lee’s script which is truly reasonant and relevant for the times.

2. May Minamahal by Jose Javier Reyes (1993)- Heavily attached to the romantic comedy formula, May Minamahal is gifted with topnotch scriptwriting from writer-director Jose Javier Reyes. A rehash of the rich boy poor girl format, the film rises above mediocrity thanks to convincing characterization, taut editing, and controlled acting. This film, which earned millions at the tills, shows how disciplined Jose Javier Reyes is as a director in the sense that he ner goes overboard. Aga Muhlach, Aiko Melendez, and Ronaldo Valdez turn in memorable performances.

3. Sana Maulit Muli by Olivia Lamasan (1995)- This is probably the forerunner of the OFW films that followed years after this intelligent melodrama came out (1995). The film tells the struggles of two Filipino young professionals in California, who also happen to be lovers, played excellently by Lea Salonga and Aga Muhlach. Everything seems to work in this commercial film. Intelligent scripting, assured direction, affecting performances especially of its lead actors, above average cinematography, astute editing and scoring, and competent sound. Olivia Lamasan is a good director in the sense that she uses the romantic movie foil to communicate relevant issues to her audience. Her 2004 film Milan, is another testament to her insightful storytelling.

4. Bakit May Kahapon Pa by Joel Lamangan (1996) – Another brave film done in a Brocka-ish manner, Bakit May Kahapon Pa is another story of a political rebel, a daughter of a peasant who goes to the city to seek revenge against a greedy and corrupt military man and his entire family. The images in this film seem to come out straight from the headlines —massacres, farmers losing lands, rural violence, corruption in the military, and the seeming apathy of the urban rich to the plight of the masses. Aunor gives a rather heavy handed but convincing performance.

5. Madrasta by Olivia Lamasan (1996) – This is the film that made Sharon Cuneta an actress. It is truly amazing how Cuneta discards the acting conventions and predictable roles that had prevented her growth to a truly competent actress. This controlled melodrama is the story of a woman who had to balance her roles as stepmom, wife, and career woman. A feminist film directed by a female director, the film made a killing at the box office, with the gamble paying off for Cuneta, who made this film outside her mother studio.

6. Bata, Bata, Paano Ka Ginawa by Chito RoÑo (1998) – Another feminist and melodramatic film, the film tells the story of Lea Bustamante, a social worker and a mother of two kids from two different men. This entertaining but important film examines the role of women in Philippine society. Hence, roles are questioned, prejudices are junked, and men are placed in the periphery. This film benefits from a keenly observant script by Lualhati Bautista, the excellent acting of its actors especially Vilam Santos, Carlo Aquino, and Serena Dalrymple, and the competent direction of Chito Rono.

7. Bayaning Third World by Mike de Leon (1999) – This film is perhaps the “Film of the Decade.” A deconstructionist and post modern film, the film received little patronage from the moviegoing public due to its “arty” structure and the very intellectual handling of the material. An investigation on the heroism of Jose Rizal, Bayaning Third World is the director’s answer to a centennial Rizal film that was full of factual errors and shallow historical research. Shot in black and white, the film boldy violates many conventions in filmmaking – temporal and spatial limitations, characters talking directly to the audience, film genres discarded altogether, and black and white photography at the close of the twentieth century. This film is probably the best film to come out of Philippine Cinema since Lino Brocka’s “Orapronobis.”

HI Everyone!

This post initializes my yearender posts for this year. In the next posts up until the beginning of January 2009, I will be posting my own yearend charts about music, movies, and some personal stuff as well that I want to share with you. This is my own way of looking back to the year that’s about to pass. In addition to this, movie reviews and other “top” lists would also be presented for you to enjoy. Merry Christmas!

1. January 1 to February 2 – NO ONE by ALICIA KEYS

2. February 3 to March 1 – LOW by FLORIDA feat. T PAIN

3. March 2, Ap2il 12 – WITH YOU by CHRIS BROWN

4. April 13 to May 10 – LOVE IN THIS CLUB by USHER feat. YOUNG JEEZY

5. May 11 to July 19 – LOLLIPOP by LIL WAYNE feat. STATIC MAJOR

6. July 20 to August 30 – TAKE A BOW by RIHANNA

7. August 31 to September 20 – FOREVER by CHRIS BROWN

8. September 21 to September 27 – CLOSER by NEYO

9. September 28 to November 22 – WHATEVER YOU LIKE by T.I.

10. November 23 to the present – LIVE YOUR LIFE by T.I. feat. RIHANNA

ROTONDA — MISERY OVERKILL

 

Life is a never ending cycle of misery.

 

            This rather pessimistic outlook, seems to be the unifying element of Ron Bryant’s third digifilm “Rotonda.” As some of you may already know, Rotonda is the Spanish term for circle. In layman’s term here in the Philippines, Rotonda refers to anything on a road that is circular or oval-shaped (the borders of Quezon City and Manila as well as Manila and Pasay City both have such a structure). The digifilm revolves around the lives of thieves, street thugs, whores, drug addicts, and crooked cops and the similarly tragic events that intertwine all of their lives.

 

            The principal character of the film is Abner, portrayed excellently by Mark Gil. Abner is a tabloid reporter who, in the first few images of the film, is seen walking aimlessly into the filthy and clogged streets of Manila. This rather aimless walking typifies Abner’s existence in the whole film, and come to think of it, the rest of the characters throughout this bleak and dark movie. Abner, half consciously entering a cheap nightclub, is drawn to Racquel – a professional whore who has pinned her hopes and dreams on her younger sister, whom she later finds out to be a victim of sexual molestation and pimping by Racquel’s own live in partner, the heartless and avengeful Dima, played by theater actor Mario Magallona. Dima, on the other hand, is planning to get back at his former kingpin who unsuccessfully tried to liquidate him in the past and is now a cripple, the character played by Celso Ad Castillo. Being a cripple, he is now under the care of an amateur drummer, Chito, played in the film by Jeffrey Quizon. Chito, on the other hand, while religiously performing his onligations to the now crippled godfather, is also a drug pusher and one of his regular suppliers is a rather wealthy colegiala who  in turn is under the not so welcome protection of a crooked cop, played by Emilio Garcia.

 

            If the storyline seems complicated, maybe because it really is. The director aims to show the abject hopelessness, desperation, and moral depravity of the characters in the dog-eat-world that is the city of Manila. In the end, some of them are killed, the others manage to escape, and yet others find some artificial form of redemption and thus continue to survive in the city’s dark, filthy streets. Yet, they find no release from their hapless conditions, and there would surely be a day when tragedy or the liberating pangs of death would get them. The title of the film reflects this vicious cycle of desperation and hopelessness, with one character who happens to play an idiot is seen curiously wearing a filthy dress of blue, red, and white, hence alluding to the reality that the lives of these miserable characters are directly connected to the national condition.

 

            The characters in the film are all real and realistic. Perhaps once could find an exact equivalent of each character in the film in any slum area within Metro Manila. However, while the actors perform their parts in an above average manner, the fact remains that the characterization is thin and even caricaturish for some. The character of Celso Ad Castillo is thread-thin in terms of characterization, and the part played by Emilio Garcia is forgettable, if not ridiculous. Nevertheless, Mark Gil is perfect as the desperate journalist. He fits his role to a tee that his every facial expression and acting nuances effectively communicates the deep emotional scars of this wounded man. Truly, he is one gifted, if not underrated thespian who happens to come from an illustrious family of highly respected actors. Jeffrey Quizon is in his usual competent self. This actor is admirable in the sense that he can turn a short role to a meaty and engaging performance. Personally, this author would even dare say that this Quizon is better than all the other Quizons who went before him – even his father!

 

            But perhaps the greatest revelation in this film is Merryl Soriano. When she entered the indie scene, it is already clear that she had the makings of a fine actress. In Rotonda, she sheds her black and white image as the prostitute who has been numbed by her troubled past but has retained an all too human heart.

 

            It could have been much better if the script has been fully realized to include a deeper characterization for all characters. Admittedly, this could slow down the pace of this tautly edited picture. Unfortunately, to some extent, the sacrificing of characterization over pacing spells a sort of missed chance for this film, turning it into a well disguised melodrama on urban poverty.

 

            While the cinematography is competent, the film is overscored at times. Initially, the sound may be irritating as the noise of the streets and the verbal jousts of the characters combine with diegetic music emanating from the radio or the television set. But towards the middle, you get the idea that the film seems noisiness parallels the chaotic lives and emotional clogs of the characters. The production design is rather impressive. The motel room where Abner and Racquel checks into underscores the feeling of imprisonment, paranoia, and desperation that both characters are facing. The mammoth house where Chito and the ex-kingpin live also resembles the disparate treatment of the two residents to one another as their disfunctionality and neediness also becomes the source of their alienation. The film could only hint at the true relationship of both characters.

 

            Ron Bryant’s direction in this indie film is a big improvement from the heavy handed Baryoke. And though his film may carry a very dark message, he drives his point to the fore and through the heart.

 

            All in all, Rotonda is ultimately a competent melodrama masquerading in the tough exteriors of the gangster film. And though the director of this independent film may frown at the thought of classifying his film, it can be said that the film doesn’t really communicate much in the end – or at least something that we are still unaware of.

The Top American Universities

2008 rankings as per Times Higher Education. The top 10 clearly shows no significant change in the past couple of years. Read on…

Top American Universities:

1.       Harvard University

2.       Yale University

3.       California Institute of Technology

4.       University of Chicago

5.       Massachusetts Institute of Technology

6.       Columbia University

7.       University of Pennsylvania

8.       Princeton University

9.       Duke University

10.   Johns Hopkins University

11.   Cornell University

12.   Stanford University

13.   University of Michigan

14.   Carnegie Mellon University

15.   Brown University

16.   University of California at Los Angeles

17.   Northwestern University

18.   University of California at Berkeley

19.   New York University

20.   Boston University

21.   Dartmouth University

22.   University of Wisconsin at Madison

23.   University of California at San Diego

24.   University of Washington

25.   Washington University at St. Louis

26.   Emory University

27.   University of Texas at Austin

28.   University of Illinois

29.   Rice University

30.   Georgia Institute of Technology

31.   University of Minnesota

32.   University of California at Davis

33.   Case Western Reserve University

34.   University of Virginia

35.   University of Pittsburgh

36.   University of California at Santa Barbara

37.   Purdue University

38.   Vanderbilt University

39.    University of North Carolina

40.   University of Southern California

41.   Pennsylvania State University

42.   Georgetown University

43.   University of Rochester

44.   Ohio State University

45.   University of Maryland

46.   Stony Brook University

47.   University of California at Irvine

48.   Texas A&M University

49.   University of Arizona

50.   Rutgers – The State University of New Jersey

As per Times Higher Education rankings of 2008, Latin American Universities have scored poorly in the last few years. Below are the 20 Latin American universities who made the Top 600 universities of the world.

 

Top Latin American Universities:

1.       Universidad Nacionale Autonoma de Mexico – Mexico

2.       University of Sao Paolo – Brazil

3.       Pontificia Universidad Catolica de Chile – Chile

4.       University of Campinas – Brazil

5.       Austral University – Argentina

6.       Universidad de Chile – Chile

7.       Instituto Tecnologico de Estudios Superiores de Monterrey – Mexico

8.       Federal University of Rio de Janeiro – Brazil

9.       Universidad ORT Uruguay – Uruguay

10.   University of Belgrano – Argentina

11.   Universidad de Los Andes – Colombia

12.   Universidade Estadual Paulista – Brazil

13.   Pontificia Universidad Catolica del Peru – Peru

14.   Pontificia Universidad Catolica do Rio de Janeiro – Brazil

15.   Universidad Torcuato di Tella – Argentina

16.   Adolfo Ibanez University – Chile

17.   Dom Cabral Foundation – Brazil

18.   Fundacao Getulio Vargas – Brazil

19.   Iberoamericana University – Mexico

20.   Universidad de Santiago de Chile – Chile

 

Hi everyone!

After listing down the top Asian Universities in my previous post, let me now share with you the top European universities. Obviously, one country dominates the list. Read on…

 

Top European Universities:

1.       University of Cambridge – United Kingdom

2.       University of Oxford – United Kingdom

3.       Imperial College London – United Kingdom

4.       University College London – United Kingdom

5.       King’s College London – United Kingdom

6.       University of Edinburgh – United Kingdom

7.       ETH Zurich – Switzerland

8.       Ecole Normale Superieure  Paris – France

9.       University of Machester – United Kingdom

10.   University of Bristol – United Kingdom

11.   Ecole Polytechnique – France

12.   University of Copenhagen – Denmark

13.   Trinity College Dublin – Ireland

14.   Ecole Polytechnique Federale de Lausanne – Switzerland

15.   University of Amsterdam – Netherlands

16.   Heidelberg Universitat – Germany

17.   Uppsala University – Sweden

18.   Leiden University – Netherlands

19.   London School of Economics and Political Science – United Kingdom

20.   Utrecht University – Netherlands

21.   University of Geneva – Switzerland

22.   University of Warwick – United Kingdom

23.   Katholieke Universiteit Leuven – Belgium

24.   University of Glasgow – United Kingdom

25.   University of Birmingham – United Kingdom

26.   University of Sheffield – United Kingdom

27.   DELFT University of Technology – Netherlands

28.   Technische Universitat Munchen – Germany

29.   University of Aarhus – Denmark

30.   University of York – United Kingdom

31.   University of St. Andrews – United Kingdom

32.   University of Nottingham – United Kingdom

33.   Lund University – Sweden

34.   University of Helsinki – Finland

35.   Ludwig Maximilians Universitat Munchen – Germany

36.   University of Southampton – United Kingdom

37.   University of Leeds – United Kingdom

38.   University of Zurich – Switzerland

39.   University College Dublin – Ireland

40.   Maastricht University – Netherlands

41.   University of Vienna – Austria

42.   Universite Catholique de Louvain – Belgium

43.   Durham University – United Kingdom

44.   Erasmus University Rotterdam – Netherlands

45.   Eindhoven University of Technology – Netherlands

46.   University of Sussex – United Kingdom

47.   University of Basel – Switzerland

48.   Cardiff University – United Kingdom

49.   Technical University of Denmark – Denmark

50.   University of Liverpool – United Kingdom