THE HOUND OF THE BASKERVILLES (1939)

THE HOUND OF THE BASKERVILLES is a wonderful, light mystery film. It is full of atmosphere; Victorian England, fog, the moor, an old family estate with a terrible curse. It was so good, it spawned another thirteen films, none of which were as good as this initial outing.

KING KONG (1933)

KING KONG is great escapist entertainment. Though it looks crude to us today, I never cease to be impressed by the amount of detail that went into the production; especially the background designs used in the jungle sequences.

BRIEF ENCOUNTER (1945)

To modern audiences, BRIEF ENCOUNTER may seem a bit too understated. And that is exactly why it is so good. David Lean, yet again, gives us another masterpiece. Two people meet in the railway station, and fall in love; but both are already married. Rachmaninoff's Second Piano Concerto creates the mood for this film that defines the term 'bittersweet'.

AND THEN THERE WERE NONE (1945)

Rene Clair was a master filmmaker. Critic James Agee complained that Clair opted for the humourous angle. I think it was just right. A better Sunday afternoon film was never made. The cast includes Roland young, Barry Fitzgerald, Walter Huston, Dame Judith Anderson, and C. Aubrey Smith! If that isn't enough, let me say that Richard Haydn, who played Thomas Rogers is an absolute delight. The best Agatha Christie adaptation, bar none, IMO.

THE SCARLET PIMPERNEL (1934)

With Leslie Howard in the title role, Merle Oberon, Raymond Massey and Nigel Bruce ... all in fine form; THE SCARLET PIMPERNEL is a cut above most adventure tales.

"They seek him here, they seek him there.
Those Frenchies seek him everywhere.
Is he in heaven or is he in hell?
That demned elusive Pimpernel."

THRONE OF BLOOD (1957)

Akira Kurosawa's version of "Macbeth"; THRONE OF BLOOD is surely the best adaptation. I would place this film just behind RASHOMON (1950) in my pantheon of Kurosawa favourites. Toshiro Mifune gives his usual brilliant performance, but it is Isuzu Yamada who is the most memorable. The star of the show, however, is the mood ... which stays with you throughout the film, starting with our chilling encounter with the witch.

THE KILLERS (1946)

THE KILLERS contains my favourite noir visuals. Cinematographer Woody Bredell and director Robert Siodmak combine their talents to create, IMO, some of the most interesting scenes, and the lighting is impeccable. The story is loosely based on an Ernest Hemingway short story. When one finds out that John Huston was an uncredited screenwriter...; in light of the film's quality, we are not surprised.

UMBERTO D (1952)

Carlo Battisti stars as Umberto Domenico Ferrari, but don't say I didn't say so if, years later, it is Flike the dog you remember best. And don't say you weren't warned if you find this an emotionally devastating experience. That is the kind of thing director Vittorio de Sica excelled at. But don't expect an OLD YELLER sort of film; this one is for adults.

MARY POPPINS (1964)

IMO, the best of the "live action" Disney films, Robert Stevenson's MARY POPPINS has some great art direction, original songs, and Dick van Dyke and Julie Andrews in the leads. The result is pure movie magic. What other film is as supercalifragilistic?

THE TREASURE OF THE SIERRA MADRE (1948)

Most directors are lucky if they create one masterpiece, but no one told that to John Huston. John's father Walter gives one of his best performances (perhaps the best?), and Tim Holt shines as well. As in THE MALTESE FALCON, the key here is in the direction. John Huston knew how to tell a visual story. He used no special camera tricks or angles. A tour de force of minimalist style.

TO KILL A MOCKINGBIRD (1962)

There are probably few people in North America who have not read the novel and seen the film TO KILL A MOCKINGBIRD in high school. It is that good. A novel this well written is rare enough, but to have a film adaption of equal power is extremely uncommon. Harper Lee, gave Gregory Peck her late father's pocket watch as a momento. It is the same watch he wears in the film.

THE NIGHT OF THE HUNTER (1955)

THE NIGHT OF THE HUNTER was not appreciated at the time of its initial release. As a result, it remains Charles Laughton's only directorial effort, and a most unique film. It features Robert Mitchum, in a role he was born to play, and he gives perhaps the best performance of his career. The actors, however, take second place to the mood. This film 'feels' different. Laughton's tapestry is part German Expressionism, part American Gothic, and part Charles Laughton's soul.

LAWRENCE OF ARABIA (1962)

LAWRENCE OF ARABIA's opening sequence is one of my favourite introductory scenes in film. In the meeting at the well, David Lean brilliantly turns what would usually be a most pedestrian scene into a moment of unforgettable psychological suspense. He also captures the solitary, dangerous beauty of the desert. A fine film, though some have complained, an overlong one.

INVASION OF THE BODY SNATCHERS (1956)

One of the best films to ever come out of Hollywood, INVASION OF THE BODY SNATCHERS is all the more remarkable for being a B-picture. It was made at the beginning of the science fiction film boom, and set a very high standard.

CITIZEN KANE (1941)

Heralded by many critics as "the greatest film ever made"; today, that label probably hinders audience reaction by raising expectations to an unrealistic level. Much of the technical innovation that was introduced in CITIZEN KANE has become standard. Without the hype, it survives as a very good film, indeed.

THE BRIDGE ON THE RIVER KWAI (1957)

THE BRIDGE ON THE RIVER KWAI is just one of many jewels in David Lean's directing crown. I find it a joy to plug this, and his LAWRENCE OF ARABIA, in annually; while doing ... of all things, my taxes(!); my own epic struggle. : ) Lean had a gift for creating vibrant characters and settings, and he uses that faculty to full effect here.

OPEN CITY (1945)

The plot of Roberto Rossellini's OPEN CITY involves the final gasp of German occupation in Rome. It was filmed using the actual shell of the city as the setting. The tone is, therefore, realistic and gritty. The direction and editing are impeccable. A very powerful film.

SINGIN' IN THE RAIN (1952)

"America's Most Beloved Musical", SINGIN' IN THE RAIN is one of the most joyous romps ever captured on celluloid. The highlight for me is Donald O'Connor in "Make 'Em Laugh". O'Connor's athleticism, facial expressions, and comedic timing are perfect. They make me wonder why his talents were not utilized more than they were in Hollywood.

MODERN TIMES (1936)

Chaplin's MODERN TIMES is more than an anti-industrialism film. It is of course, also a fine comedy. Paulette Goddard was never filmed as beautifully. And the Tramp not only talks, but SINGS! (Okay, well it was a big deal in 1936). A film for anyone disgruntled with the workaday world, and needing a smile.

SLEEPING BEAUTY (1959)

This Disney film has my favourite 'look'. The person largely responsible for this was artist Eyvind Earle. He was SLEEPING BEAUTY's color stylist and chief background designer. Earle did most of the painting himself, which took much longer than the usual Disney production, due to the incredible detail.

THE APU TRILOGY (1956-1960)

PATHER PANCHALI, APARAJITO, THE WORLD OF APU (1956, 1958, 1960)

In his Apu trilogy, Satyajit Ray teaches us what we often forget; what it is to be human. He does this with a cinematic effortlessness, reminiscent of David Lean. Ray's camera follows Apu through his journey from boyhood to manhood. It is a simple life, but it is one filled with hardship and pathos. At the end, we feel that like Apu, we've grown as well.

THE THIRD MAN (1949)

Carol Reed's masterpiece is a noirish feast for the eyes, and if you enjoy the zither, a feast for the ears as well. The streets, buildings, and sewers of Vienna are exquisitely filmed. Once seen, who can forget Holly Martins or Harry Lime, the incessant zither, or Welles' erroneous cuckoo clock dialogue?

THE ADVENTURES OF ROBIN HOOD (1938)

Like many of the other movies on this list, ROBIN HOOD is well written, uses amazing sets, and features top-notch performances by a troupe of amazing actors. Technicolor has rarely been used as effectively. This film is a real tribute to its source material.

THE GENERAL (1927)

When I think of THE GENERAL, Buster Keaton's masterpiece, the word which comes to mind is 'graceful'. Obviously, Keaton was a most gracefully athletic man, as is evident from the physical stunts he performed. But he was also a most gracefully cerebral comedian and director. His unique comedic style is poised and understated. And his films have such an organic flow; despite the fact that his situations are really quite unbelievable, we forget that it is a fiction we are watching.

SNOW WHITE AND THE SEVEN DWARFS (1937)

Perhaps the fairest one of all. Walt Disney's first feature length animated film has the power of a Brothers Grimm tale, the comedy of vaudeville, unforgettable characters, and a soft visual style. A true animated masterpiece.

RASHOMON (1950)

The way I see it, RASHOMON is one of the best films made by director Akira Kurosawa. And that is saying a great deal in view of his filmography. What makes RASHOMON so effective? Other than the usual quality Kurosawa puts into his endeavours, it is his ability to make the audience think for themselves, to make them a virtual member of the jury. No one is spoon-fed an easy answer.

THE MALTESE FALCON (1941)

A film plot that, in other hands, was simply "B" grade material; it is really quite amazing what John Huston wrought from it. He smartly chose to stick closely to Dashiell Hammett's plot, made some inspired casting choices, and simply told an interesting story with economy and style. The result is a movie that dreams are made of.

FRANKENSTEIN (1931)

For me, FRANKENSTEIN is a triumph of art direction. The composition and lighting of the sets is perfect. The characterizations of Dr. Frankenstein, Fritz, and especially Boris Karloff''s 'Monster' are also top-notch. Add to this Jack Pierce's inspired make-up, and you have something uniquely special. True, it is an uneasy blend of German Expressionism and American melodrama, much marred by studio interference; yet, it remains an iconic film.

THE SEARCHERS (1956)

Many argue that THE SEARCHERS is the best western movie ever made. It is definitely one of John Ford's best films as well, which of course is saying a lot. It also gave John Wayne perhaps the best role of his long career. But the real star here is Monument Valley; a virtual feast of colour cinematography.

2001: A SPACE ODYSSEY (1968)

Not only Stanley Kubrick's masterpiece, but one of the greatest films of all-time. It's beauty, stark and cold, is what keeps you watching: that, and a brilliant choice to minimize sound. Kubrick gives you just enough data to follow along, but not enough to know what is really happening. So the abstractness of the film, like all great abstract poetry and plastic art, prompts you to invest a large portion of yourself in understanding the plot and it's meaning; essentially you construct them yourself. A cinematic tour de force.

TOP HAT (1935)

The fourth of nine musicals that Astaire and Rogers starred in is the most entertaining, in my opinion. In TOP HAT, everything clicks. But most importantly, the supporting cast shines because the screenwriting is sharper. As a result, Edward Everett Horton is able to give an outstanding performance, Eric Blore is hilarious as Bates, and Erik Rhodes' "Beddini" almost steals the show. Fred and Ginger all but define eloquence. Add to that Irving Berlin's peerless music, and you have one of the best musical comedies of all time.

THE WIZARD OF OZ (1939)

THE WIZARD OF OZ is pure cinema magic. What more can be said for such a potent combination of direction, set design, casting, music, and good old human inventiveness? It is so effective it looks effortless.

KWAIDAN (1964)

KWAIDAN is included here due to its visual style; an expressionistic combination of east and west. Director Masaki Kobayashi took great pains to make every frame perfect. Kobayashi was a painter before he took to directing. He uses his talents to full effect in this collection of four gothic tales.

SUNRISE (1927)

In my opinion, the most artistically successful pre-talkie, and one of the most beautiful films of all time. SUNRISE: A SONG OF TWO HUMANS opened my eyes to the potential of film as art. Some people I've introduced to the film confess to feeling "haunted" by it. A truly powerful cinematic experience; one that makes me sympathetic toward those filmmakers who lamented the coming of sound.

CASABLANCA (1942)

The quintessential Hollywood classic. CASABLANCA was a fortunate confluence of directing, casting and writing talent; combined with a certain amount of film cliché. The fact that they decided how the story was going to unfold as they filmed adds a rare, vibrant quality. A real winner, and recommended especially for viewing with your significant other.