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1. A Tree Grows in Brooklyn (1945) 10/10 (24)
2. Gentleman's Agreement (1947) 8/10 (20)
3. A Streetcar named Desire (1951) 10/10 - 24/25
4. Viva Zapata! (1952) 10/10 - 23/25
5. On the Waterfront (1954) 9/10 (23)
6. East of Eden (1955) 10/10 - 24/25
7. A Face in the Crowd (1956) 9/10 - 22/25
8. America, America (1963) 9/10 - 22/25
9. The Arrangement (1969) 9/10 (in bad need of another viewing as soon as possible)
10. The Visitors (1972) 9/10 - 23/25

I'll admit my rating of The Arrangement is high by most people's standards but the film was very imaginative to me. Kazan was certainly embracing the freer film language of the day and played with editing in a way that wasn't really noticeable in his early work.

I'm glad to hear that since it is exactly what I'm hoping for (though maybe not what I expected but the strong realism yet visual stylization in "America, America" already tought me about Kazans change of form in his later years). It (still) seems to be common thinking that Kazan was brilliant in directing actors but that he was cinematically dull and conventional - I'm amazed everytime I come across a quite like that since there is such a strong visual continuity in the films I've seen and the (partial) compositional complexity and cinematic quality (overall) of, lets say, "Viva Zapata!" or "East of Eden" can't be totally denied, can it?

This is what I wrote elsewhere about this topic:

I strongly dislike the overall consensus about Kazan being a "stagey" and "non-cinematic" director. I've only seen six of his films (STREETCAR, ZAPATA, WATERFRONT, EDEN, A FACE IN THE CROWD and AMERICA, AMERICA) but all of them are bound together by a very strong visual impact, complex compositions, just marvellous cinematography. And though he worked with different DOPs on those six films, they all got many things in common regarding the photography and the editing. My guess is that he always preferred b&w instinctively and worked out a more distinguished formal concept with it as he did in EAST OF EDEN (though his use of color also is remarkable). AMERICA, AMERICA and VIVA ZAPATA probably have some of the greatest moments of black-and-white photography I've seen so far.
The problem seems to be that his films are usually filled with performances that are so strong that one can easily forget about the technical aspects of which Kazan was, in my opinion, a true master.

Regarding "America, America", the self reflective basement does, in my opinion, both harm and good to the film - in a little comment I wrote about it (in German), I compared it to Emanuele Crialeses "Nuovomondo" (2006) and while that film isn't nearly as remarkable (it is rather weak, actually), it has similar faults, caused by different reasons, I guess. My feeling was that Kazan maybe treated this fairly personal, familiar material with a little too much respect and veneration - and therefore (just my impression) didn't manage to get much more than a very authentic "reconstruction" of his family's history out of it. That alone makes the film stunning and grand in its own right, but I simply missed the "narrative transcendence" or, to be more precise, the overall ambiguity which I loved so much about the other five films, most notably the wonderfully mysterious dramaturgy of "Viva Zapata!".

Hopefully, my birthday will bring me a little money so that I can purchase THE ARRANGEMENT.