Rome: There have been many, many cinematic depictions of Rome; mostly collaborations between Hollywood and the Roman Tourist Board; almost all featuring the Trevi Fountain or car chases down the Spanish Steps. My personal favorite is Fellini's Roma, the master's impressionistic documentary about the Eternal city that often seems like a sequel to Amacord despite being made a year earlier. Brilliant music courtesy of Nino Rota.
Paris: Robert Bresson's Les Dames du Bois de Boulogne looks like it was filmed through an artful combination of ice and black lacquer. Based on Diderot's novel "Jacques le Fataliste," it's glacial and stylish and far better entertainment than most other Parisian films which are usually all garlicky and cheesed out.
London: Most British film directors eschew the capital in favor of gritty northern cities, not wanting anything as gauche as a shot of Tower Bridge or a double-decker bus in their po-faced epic of working class life. Not so Finisterre, produced by Brit pop group Saint Etienne, where the camera lingers on whatever London landmark, graffito, or high rise estate it chooses while superb oddball voice-over narration and pleasantly blippy electronic soundtrack dictate the mood. Only an hour long but an hour well spent. There's also something about the BBC shipping forecast going on in here somewhere - hence the movie's title - but I couldn't figure out what it was.
Berlin: Rossellini's Germany Year Zero could almost be an adaptation of the poem Ozymandias. Haunting and very sad, a companion piece to the same director's Rome: Open City.
New York: Again, there are many, many films using the Big Apple as a convenient backdrop for on screen shennigans, but I reckon John Schlesinger's Midnight Cowboy is the best one so far. Even if you remove the hustling element, the film is very evocative of a certain sordid, bohemian style of city subsistance and the expectations that are implicit in it. Maybe, one day, some producer with guts will make an adaption of a Dawn Powell novel. We can but hope.
Venice: Until the studios make a film worthy of the Venetian sections of Casanova's absorbing Story of my Life, I suppose we'll have to go with Nic Roeg's weird and unsettling Don't Look Now, even if does star Julie Christie at her most sexually unappealing.
Vienna: You thought I was going to choose Roeg's Bad Timing because The Third Man is too obvious? Wrong! I do like Bad Timing an awful lot, but The Third Man is pretty unbeatable movie-making. Kudos to Carol Reed, who also scores with ...
Belfast: ... Reed's Odd Man Out is a wonderfully noir-ish tale of art, science and forgiveness. James Mason at his most Masonesque and Robert Newton at his most Newtonesque, it's inspiring and weepy at the same time.
Geneva: Red was the only part of the Trois Couleurs trilogy that I liked. Blue was boring and White was wimpy. There, I've said it.
Barcelona: Oh any of Almodovar's I suppose. I'm getting a bit tired of films now.
Munich: ... give me a break!