My 100 Favorite Films: From 10 to 1

I began this endeavor last February and now, after counting down 90 of my favorite movies, I’ve arrived at the Top Ten. It’s been grand fun for me—I’ve enjoyed revisiting each of these films and have delighted in reading comments from others who hold them in esteem. Thanks for all the wonderful feedback. Click here to read the complete list from 100-1. And now, without further discourse, here is (as Miss Jean Brodie would say) the crème de la crème.

Bronson as the mysterious Harmonica.

10. Once Upon a Time in the West – "Epic" and "sprawling" are the words critics frequently used to describe this now-revered 1968 Spaghetti Western. Yet, despite its lengthy running time and visually massive backdrop, Once Upon a Time in the West focuses tightly on the relationships among four people over a relatively short period of time. These characters are: Frank (Henry Fonda), a ruthless gunfighter who aspires to be a powerful businessman; Cheyenne (Jason Robards), a rascally outlaw with killer instincts; Jill (Claudia Cardinale), a former prostitute in search of a more meaningful life; and a mysterious revenge-minded stranger whom Cheyenne calls Harmonica (Charles Bronson). It took multiple viewings over the span of several years for me to fully appreciate Sergio Leone’s masterpiece. In the end, I was won over by its fascinating characters, overarching theme, Ennio Morricone’s score, and some marvelous set pieces (especially the opening and climactic showdown between Frank and Harmonica).

Don't you love Doris's hat?

9. Lover Come Back – There aren’t many comedies in my 100 Favorite Movies and only two in the Top 10—there just aren’t that many films that tickle my funny bone. A major exception is this bright 1960s laugh fest with Rock Hudson and Doris Day as advertising rivals. To distract Doris, Rock comes up with a fake product called Vip. He even films commercials for the fake product—which are, unfortunately aired on TV. To avoid criminal charges on fraud, he hires a Nobel scientist to invent something that could be passed off as Vip. Meanwhile, Doris mistakes Rock for the Vip inventor and he plays along. It’s a classic “snowball comedy” played by a cast of pros, including Tony Randall and Edie Adama. But the main attraction here is the pairing of Doris and Rock in their best outing. This is the film that reminded me that Rock Hudson was an exceptional comedian, as evidenced by his expert timing in the delicious scene when he tries to seduce Doris.

Tippi as another Hitchcock blonde heroine.

8. Marnie – When I first saw Marnie as a teenager, it made no impression at all. I thought Tippi Hedren was miscast and Sean Connery dull. The plot--what there was of one--seemed thin and the characters lacked interest. Decades later, I watched it it again and, to my complete surprise, I loved it! Tippi Hedren's subtle detached performance made Marnie a vulnerable, intriguing character. The progressively complex relationship between Marnie and Sean Connery’s character generated suspense--in its own quiet way--worthy of Hitch’s best man-on-the-run films. I was captivated by Hitch's finest use of color (especially during the opening scenes). And finally, there was Bernard Herrmann's incredible score (which, for me, ranks second only to Vertigo among his Hitchcock soundtracks). I've often wondered how I missed all of this the first time around?

Bing and Danny singing "Sisters."

7. White Christmas – There was a time when I grumbled because White Christmas was shown every Yuletide season while Holiday Inn (1942) only made sporadic appearances. Most critics consider the latter film, in which the song “White Christmas” was introduced, to be the superior musical. It was only after my wife and I acquired both films on video that I recognized the virtues of White Christmas. It’s a near-perfect blend of music and comedy, with the cast and crew at, or near, the peak of their careers. The dance numbers are staged energetically, with the highlight being Danny and Vera-Ellen dancing outside a nightclub to the melodic “The Best Things Happen While You’re Dancing.” Crosby and Clooney generate a more subdued, but no less effective, chemistry. Their duet “Count Your Blessings” was the big hit song from the film. The most effective pairing in the film, though, is the one between Crosby and Kaye. They’re a sensational team, whether doing musical numbers or comedy (their version of “Sisters”, done originally as a joke on the set, is hysterically funny).

The quartet on their way to Oz.

6. The Wizard of Oz – When I was growing up, the annual network broadcast of The Wizard of Oz was a big event. I never failed to watch it. It’s so much a part of my movie-watching DNA that it’s hard to describe its appeal other than to say it’s one of the most perfect films ever made. The cast, the characters, the themes, the sets, the costumes, the music—does Oz fail to earn a top grade in any of those categories? But for me, the most amazing aspect of the film is this: Despite the thousands of pop culture products derived from the film over the last 70-plus years—which are more than enough to overwhelm even a dedicated fan—I never tire of watching The Wizard of Oz.

Danny and Basil in their delightful
duel (snap!).

5. The Court Jester – My favorite comedy is a spot-on, delightful spoof of swashbuckling films. In a rare role worthy of his talents, Danny Kaye gets to sing, dance, use funny voices, contort his expressive face, and excel at physical comedy (such as walking in magnetized armor). The supporting players are all at the top of their game, too. Basil Rathbone has a grand time parodying past roles such as Sir Guy of Gisbourne in The Adventures of Robin Hood. Angela Lansbury displays a deft comedic touch, while Cecil Parker steals his scenes as the bored king whose only interest appears to be “wenches.” The Court Jester also includes Danny’s most famous routine—the one that involves the pellet with the poison in the chalice from the palace, the vessel with the pestle has the brew that is true, and (finally) the flagon with the picture of a dragon (which is used for the brew that is true after the vessel with the pestle is broken). And did I mention that Danny and Basil Rathbone engage in the funniest sword duel in the history of cinema?

Gort melts a tank...how cool is that?

4. The Day the Earth Stood Still – If there were a Hall of Fame for Timeless Movies, then one of its founding members would be The Day the Earth Stood Still. I've probably watched it at least once every decade since I first saw it on NBC's Saturday Night at the Movies in the 1960s. When I was a youngster, the film's fantastic elements--and Gort, the coolest robot in the history of cinema--appealed to me. When I was a teen, its stern warning about the perils of nuclear war resonated with me. With each subsequent viewing, The Day the Earth Stood Still has revealed something new: presenting itself as a Biblical analogy, an editorial on the influence of media on public opinion, a portrait of fear of the unknown, etc. Its themes never fail to thrill me…making it much more exciting than any action-oriented sci fi film.

3. Anatomy of a Murder – Otto Preminger’s enthralling courtroom drama requires multiple viewings to be fully appreciated. When I first saw it, I focused on the riveting story, which treats the viewer much like the jury. We listen to testimonies, watch the lawyers try to manipulate our emotions, and struggle to make sense of the evidence. When I saw it a second time, I knew the case’s outcome and was able to concentrate on the splendid performances. James Stewart, Arthur O’Connell, and George C. Scott earned Oscar nominations, but the rest of the cast is also exceptionally strong. In subsequent viewings, I’ve come to appreciate the film’s well-preserved details, from the small town upper-Michigan atmosphere to Preminger’s brilliant direction (e.g., in one shot, as Scott cross-examines a witness in close-up, Stewart—the defending lawyer—is framed between them in the background).

Talk about doomed love...

2. Vertigo – This richly-layered masterpiece reveals its big twist when least expected--turning the film on its proverbial head. It causes love to blur with obsession and greed to give way to guilt and perhaps love. What we see at the bell tower is initially false, but ultimately true. I could go on and on…but, hey, whole books have been devoted to this film. I think it’s Hitch’s best job of writing (as usual uncredited) and directing…plus we get superb performances (especially from James Stewart), a marvelous San Francisco setting, an unforgettably disturbing score from Bernard Hermann, and nifty Saul Bass titles. Like all great films, I glean something new from it or appreciate another facet every time I watch it. My latest viewing reminded me just how brilliant James Stewart is in the lead. In a career filled with fine performances, I think Stewart does his finest work as a typical Stewart “nice guy” who evolves into a man obsessed with an illusion. Contrast Scotty’s (Stewart) playful banter early on with Midge with his climactic confrontation with Judy—his eyes ablaze with confusion, hate, and something akin to love. It’s a brilliant and chilling transition.

1. The Adventures of Robin Hood – For many readers, I’m sure it comes as no surprise that Robin Hood occupies the No. 1 spot on my list. For me, it shares many traits with The Wizard of Oz in that, from top to bottom, it’s a flawless film (well, except for one tiny continuity gap). The early Technicolor color is rich. Michael Curtiz, who took over the film from William Keighley, keeps the pacing tight. Errol and Olivia, one of the great screen couples, exude celluloid chemistry. Basil and Claude make for dastardly villains. And the supporting cast, from Alan Hale to Una O’Connor, is incredible. My favorite aspect, though, is that it’s the ultimate “let’s form a team” movie. As discussed in this blog before, I hold a special affection for movies in which one character recruits others to form a team to accomplish a goal (e.g., The Magnificent Seven, The Dirty Dozen). There’s nothing as satisfying as watch Errol assmble his Band of Merry Men. As for that one tiny flaw in Robin Hood, watch where the sword lands when Basil drops it on the staircase and note how it magically moves courtesy of a continuity gaff. Those are the kinds of things one notices when watching a favorite film a few dozen times!

My 100 Favorite Films: From 20 to 11

This month, the countdown enters the final turn (as they say in horse racing). It‘s been great revisiting these motion pictures—and even better hearing from others who include them among their favorites. Please keep in mind that these films are not what I'd consider the best 100 movies ever made. They are simply one classic fan's favorites. (An underlined title means there's a hyperlink to a full review at the Cafe.)

Gene Tierney and Rex Harrison.

20. The Ghost and Mrs. Muir – For over a decade, my wife and I watched this romantic fantasy every New Year’s Eve—I still can’t think of a better way to end one year and start a new one with a loved one. Gene Tierney stars as Lucy Muir, a young widow who moves into Gull Cottage with her young daughter and housekeeper. On her first night, she receives a visit by the ghost of Captain Daniel Gregg (Rex Harrison), the sea captain who owned the house. Despite their different backgrounds, Mrs. Muir and Captain Gregg evolve from dear friends to more—to the point that the Captain advises her to forget him and find love with a “real” man. I think this is Tierney’s finest performance, as evidenced by the look on her face when she learns the truth about “Uncle Neddy” (George Sanders). She and Harrison make an engaging couple, all the more remarkable because of the limitations placed on their characters’ love. The windswept cliffs photographed by Charles Lang and the haunting music score from Bernard Herrmann contribute mightily to the romantic ambiance.

19. The Bishop’s Wife – When I first saw this film on TV in the 1970s, it was not the annual holiday favorite that it is today. Its stature has grown exponentially since then and it’s typically listed among the best films of all three of its stars: Cary Grant, Loretta Young, and David Niven. I’ll omit the plot summary, since I figure most readers have seen it. Aside from its magical moments (e.g., the angel Dudley’s visit with the professor, the ice skating scene, etc.), what I admire most about The Bishop’s Wife is Grant’s performance. For once, despite his looks and charm, he doesn’t get the girl. Furthermore, Dudley becomes jealous and, in one scene, perhaps a little petty. In the hands of a less gifted actor, this often human-like angel could have posed a problem. But Grant provides all the required character shading and still keeps Dudley likable. That was one of his greatest gifts as a performer.

The brothers (well, six of them) seek brides.

18. Seven Brides for Seven Brothers – The Oregon Territory in 1850 provides the setting for this high-energy, colorful musical about a hard-working “mountain man” who comes to town for supplies—and a wife. He quickly settles on Millie (Jane Powell), a comely—but sassy—lass who chops wood, cooks, and milks cows. For Millie, it’s love at first sight and the chance to take care of her own home. Alas, the honeymoon gets off to a rocky start when Millie discovers that Adam has six brothers. “Y’all live around here?” she asks. “Not ’round. Here,” replies one of the brothers. The score by Johnny Mercer and Gene de Paul is a tuneful one. “Wonderful, Wonderful Day” and “When You’re in Love” are bright, pretty love songs. But Mercer’s best lyrics are reserved for “Lonesome Polecat,” a woeful lament sung by the lovesick brothers (a sample line: “A man can’t sleep when he sleeps with sheep”). Michael Kidd’s spectacular choreography provides a perfect complement to the music. Kidd insisted that all the dance numbers derive from what the brothers were doing. Most critics consider the barn-raising scene to be the film’s showstopper. But I favor the dance where the brothers try to outshine their rivals from the town and the aforementioned “Lonesome Polecat,” in which the brothers cut and saw wood in unison with the musical beats.

Love this closing shot!

17. The Hanging Tree – The best of the “adult Westerns” of the 1950s stars Gary Cooper as Doc Frail, a physician in a small gold mining community. The doc has a dark past—there are rumors about a cheating wife and a burning house and, well, he does wear his holster like a gunfighter. To his own surprise, the reclusive Frail winds up sharing his cabin with a young sluice robber and a woman severely injured during a stagecoach robbery. The Hanging Tree shares many similarities with the great Anthony Mann-James Stewart Westerns like Winchester ’73, The Far Country, and Bend of the River. The hero is a man with a questionable past who is given another chance at life. In the Mann-Stewart films, the heroes are often redeemed by communities (as in Far Country and Bend of the River). In The Hanging Tree, redemption comes in the form of a woman’s love and, to an extent, a boy’s respect for his father figure. Plus, The Hanging Tree also features my favorite Western movie ballad (sung by Marty Robbins) and one of the best closing shots of any movie.

Hayley Mills.

16. The Chalk Garden – My favorite Deborah Kerr film is this offbeat, poignant tale about secrets and the passing of judgment on people, often without charity. Ms. Kerr stars as a governess (again), hired by a dowager to care for the elderly lady’s out-of-control teenage granddaughter (Hayley Mills). The girl has a fondness for setting fires and delights in threatening to burn down the gloomy mansion set among the isolated cliffs. As the story progresses, its focus shifts from the young girl to the governess—a mystery woman who paces her room at night “like a caged animal,” has only new possessions, doesn't have a picture of a loved one in her room, and receives no letters or phone calls. This quiet film is content to rely on its carefully-crafted characters and wonderful performances (to include John Mills). They will ensure that The Chalk Garden lingers with you long after its secret is revealed.

Stewart Granger reveals his identity.

15. Scaramouche – Stewart Granger plays Andre Moreau, a carefree rascal who is more interested in the pretty actress Lenore (Eleanor Parker) than in the soon-to-begin French Revolution. That changes when Andre’s closest friend Phillipe (Richard Anderson), a revolutionary activist, meets his demise in a duel with the Marquis de Maynes (Mel Ferrer). Andre vows revenge, but knows he is no match for de Maynes, the most renowned swordsman in France. Now branded a revolutionary himself, Andre takes refuge in an acting troupe. He assumes the stage role of Scaramouche, a buffoon who wears a pink-cheeked mask. To his surprise, Lenore turns out to be the small troupe’s leading lady. Her anger with him over their hot-cold romance generates laughs on the stage and Scaramouche’s fame begins to grow—but Andre’s heart is still filled with vengeance. A dandy swashbuckler from the pen of Rafael Sabatini, Scaramouche benefits from an incredibly likable cast and high-end MGM production values. The colors are vivid, the costumes ornate, and the set design impeccable. You’ll swear that the thrilling climactic swordfight (the longest in film history at 5:35 minutes…and my personal favorite) was filmed in a real Parisian theatre draped in gold, red, and white.

14. Pollyanna – Although I saw Pollyanna several times as a kid, I never fully appreciated it until I watched it as an adult. The well-known story has a young orphaned girl—an optimist if there ever was one—coming to live with her wealthy, spinster aunt circa 1913. Pollyanna pretty much shakes up the whole town, bringing lonely people together and reminding everyone that there are unexpected joys to be found in the most unlikely places. It’s a charming, uplifting tale, surprisingly devoid of schmaltz. My favorite scene is a simple one: When the town’s fire-and-brimstone pastor (Karl Malden) fears that he’s losing touch with his congregation, Pollyanna (Hayley) suggests that he focus on the joys of the Bible. Mills is delightful and there are many standouts in the supporting cast, particularly Agnes Moorehead, Adolphe Menjou, and Malden. The Walt Disney team lovingly creates a slice of Americana with a storybook town of quaint houses, white picket fences, and home-made pies. If you haven’t seen it since you were young, I heartily recommend you check it out again.

An impressive creature of horror.

13. Night of the Demon (aka Curse of the Demon) – When a professor investigating a satanic cult dies suddenly, John Holden (Dana Andrews), an American psychologist, and Joanna Harrington (Peggy Cummins), the professor’s niece, start their own investigation. Their primary suspect is the cult’s leader Dr. Julian Karswell (Niall McGinnis), who allegedly has the power to summon demons. I’ve often thought that if Alfred Hitchcock had made a horror film, it would have turned out something like Night of the Demon. Indeed, a children’s birthday party (with Karswell in disturbing clown make-up) reminds me of Hitch’s later kids’ party scene in The Birds. Director Jacques Tourneur, a Val Lewton protégé, avoids showing the demon in the film’s most famous scenes. But, in one of the great horror controversies, the demon is shown up close a couple of times—it’s pretty darn creepy! Andrews makes a bland hero and the charming Cummins is underused, but McGinnis is brilliant and Tourneur expertly balances horror and dark humor.

Jeff spies on his neighbors.

12. Rear Window – James Stewart stars as photographer L.B. “Jeff ”Jefferies, whose broken leg has kept him immobile in his apartment for seven weeks. To combat the boredom, he has resorted to spying on his apartment neighbors (the apartment building forms a square with a courtyard in the middle). Jeff’s newly acquired pastime initially disgusts both Lisa (Grace Kelly), his high fashion girlfriend, and Stella (Thelma Ritter), his insurance company nurse. But Jeff’s casual interest in his neighbors’ lives takes a dramatic turn when he begins to suspect a traveling salesman of murdering his nagging, invalid wife. As with other Hitchcock films, there are multiple layers to Rear Window. Taken alone, there’s nothing interesting about the mystery of the missing salesman’s wife. In fact, some of the loose ends are never fully resolved by the end of the film—because they don’t matter. The movie is really about the relationship between Jeff and Lisa. Though she is rich, beautiful, and loves him (Stella describes her as “perfect”), Jeff refuses to commit to Lisa. He fears that doing so will cause him to sacrifice his exciting, globetrotting life as a magazine photographer. It is only when Lisa becomes his “legs” and joins in the investigation of the missing wife that Jeff realizes how bright and exciting she truly is. It’s part of the film’s offbeat humor, because, to the viewer, Grace Kelly makes Lisa looks stunning and sexually exciting from the moment she walks into Jeff’s apartment. I love (repeat love) the apartment courtyard setting.

Alastair Sim as
Inspector Cockrill.

11. Green for Danger – At a World War II “emergency” hospital, emotions are running high due to the constant air raids and a love triangle with two of the doctors (Trevor Howard and Leo Genn) vying for the affections of one of the nurses (Sally Gray). After another nurse announces that a patient’s accidental death was really murder, she is found dead. Scotland Yard is summoned and arrives in the form of one of the cinema’s most offbeat detectives, Inspector Cockrill (Alastair Sim). Screenwriters Sidney Gilliat and Frank Lauder, who worked with Hitch on The Lady Vanishes, make brilliant use of time and place. Random explosions from the German bombs create both tension and humor (in the masterful hands of Sim). Equally atmospheric are the isolated hospital’s shadow-filled rooms, the tight hallways, and the white operating theater. It’s a spooky place, especially in the eerie, brilliantly-lit scene where Sister Bates is killed. People sometimes die in hospitals due to natural causes—so what better place to stage a murder? But what separates Green for Danger from other mysteries is its seamless integration of subtle humor in the form of its detective. It’s a shame that Sim didn’t reprise Inspector Cockrill for a sequel, or better yet, a series.

Next month, this series finally comes to an end with a Top Ten featuring two Hitch pics, two musicals, one sci fi, a very long Western, and Orson Bean explaining about “irresistible impulse.”

My 100 Favorite Films: From 30 to 21

This month’s countdown list features my favorite Hammer horror film and my favorite Disney animated movie. As always, please keep in mind that these films are not what I'd consider the best 100 movies ever made. They are simply one classic fan's favorites. (An underlined title means there's a hyperlink to a full review at the Cafe.)

David Peel, who looks rather pleasant
here, with Yvonne Monlaur.

30. Brides of Dracula – How can Chris Lee be absent in Hammer Films’ best movie—a Dracula entry, no less? It seems downright peculiar, but, regardless, Brides of Dracula is an exciting, intelligent film with surprising depth, a showcase role for Peter Cushing, and a stylish vampire villain. Yvonne Monlaur plays Marianne, a young French woman on her way to a new teaching position in a boarding school. When a coachman abandons her along the way, she accepts an invitation by the elderly Baroness Meinster (the superb Martita Hunt) to spend the night in a nearby castle. She soon meets young, handsome Baron Meinster (David Peel). His mother keeps him in shackles and you can guess why—but Marianne doesn’t. Pretty soon, there’s an outbreak of vampirism at the boarding school and it’s Van Helsing to the rescue. His climatic confrontation with Meinster in a dilapidated windmill sets the stage for the most ingenious ending of all vampire films.

29. Beach Blanket Bingo – I ignored the Beach Party movies for most of my life…but finally realized what I was missing about 15 years ago. Maybe it’s the nostalgia factor, the portrait of an innocent age that never existed except on celluloid. Regardless, I now always enjoy an annual trip to the beach with Frankie, Annette, and the gang. The best of the series is easily Bingo. Donna Loren sings her best song. Frankie tries to make Annette jealous with Deborah Walley, while Annette tries to make Frankie jealous with John Ashley. Bonehead dates a pretty mermaid while Linda Evans’s Sugar Kane calls him Boney. Paul Lynde cracks jokes while South Dakota Slim just acts creepy. And, best of all, there’s Eric Von Zipper, who tells Sugar that he likes her—and when Eric Von Zipper likes someone, they stay liked!



Diane McBain as the "bad girl"
in Parrish.

28. Parrish – Delmer Daves wrote and directed three big screen soaps circa the early sixties, all starring Troy Donahue: A Summer Place, Parrish, and Susan Slade. These films have their detractors, but I don’t even feel obligated to defend them. The first two are exceedingly well made, with engrossing plots, plush scenery, and sumptuous Max Steiner music. Yes, Troy wasn’t a great actor—I get that, but he was a likable, good-looking chap. In Parrish, he and his mother (Claudette Colbert) move to Connecticut to work for tobacco farmer Dean Jagger. While Parrish (Troy) tries to figure out what to do with his life, he romances a sharecropper’s daughter (Connie Stevens), a rich bad girl (Diane McBain), and a richer good girl (Sharon Hugueny). He also has to cope with a villainous tobacco magnate (delightfully overplayed by Karl Malden), who has eyes for Parrish’s mother. It’s such fun that just writing about it puts me in the mood to watch it again.

27. The List of Adrian Messenger – John Huston’s 1963 mystery is best known for its gimmick: several famous stars make cameos in heavy make-up. While trying to spot the stars is undeniably fun, the gimmick disguises the fact that The List of Adrian Messenger is a highly-entertaining, crafty film that starts as a mystery and evolves into a suspenseful cat-and-mouse game. In the opening scenes, author Adrian Messenger provides a list of ten names to his friend Anthony Gethryn (George C. Scott), a former MI5 operative, and asks him to quietly find out if the ten people on the list are still alive. Gethryn agrees to undertake the assignment. A few days later, a bomb explodes aboard a plane carrying Adrian as a passenger. Based on a 1959 novel by mystery author and screenwriter Philip MacDonald, The List of Adrian Messenger borrows the killer’s motive from another famous detective novel (no spoilers here!). But the “why” is only part of the fun in The List of Adrian Messenger. It’s the “how” that differentiates it from other mysteries. Among his many skills, the murderer, played delightfully by Kirk Douglas, is also a master of disguises. That provides the opportunity for Douglas to don a number of incredible “looks” designed by make-up master Bud Westmore. Thus, the killer appears as a pointy-chinned priest, a short mousey man, a white-haired elderly villager, and others.

James Stewart learns a little detail
he wishes he hadn't learned.

26. The Flight of the Phoenix – Director Robert Aldrich bookends The Flight of the Phoenix with a wild airplane crash and an exhilarating climax. But it’s the drama in-between that makes the film so fascinating: the friction among the survivors; their audacious plan to reach civilization again; and a brilliant plot twist that comes out of nowhere. Despite the presence of stars James Stewart, Peter Finch, and supporting actor Oscar nominee Ian Bannen, the cast standouts are Hardy Kruger and Richard Attenborough. Kruger creates an unforgettable character as a quiet, bespeckled German who proposes an incredible plan to save the plane crash survivors—he's irritating, childish, determined, and innovative. It’s a well-rounded performance matched by Attenborough’s wonderfully understated turn. As the unassuming man who holds everyone together, Attenborough’s character soothes egos and forges unlikely alliances in the best interests of the group.

25. The Magnificent Seven – At the risk of offending Kurosawa fans, I’ll confide that I prefer this Western remake of The Seven Samurai to the original film. Don’t get me wrong—The Seven Samurai is an impressive cinematic achievement and certainly the more important of the two films. I just don’t find it as entertaining as John Sturges’s crisp, energetic Western. Yul Brynner stars as the down-on-his-luck gunfighter hired by a small, poor Mexican village to defend it from bandits. My favorite part of the film (no surprise to Café regulars) is when Yul recruits the rest of the reluctant heroes—played by the likes of Steve McQueen, Charles Bronson, Robert Vaughn, and James Coburn. Toss in Eli Wallach as the despicable outlaw and Horst Buchholz as a young whippersnapper and you’ve got one of the all-time great casts. As an added bonus, Elmer Bernstein provides an incredible music score, capped with the rousing title theme.

24. Enter the Dragon – In the early 1970s, Bruce Lee, frustrated with the lack of decent roles, decided to take the “Clint Eastwood path” to Hollywood stardom. He left the U.S. and returned to Hong Kong to make a couple of inexpensive martial arts films. Two worldwide smashes later, Hollywood came calling—offering the lead in a James Bond-style martial arts adventure. Warner Bros. hedged its bets by casting a well-known American actor (John Saxon) and an African American real-life karate champ (Jim Kelly). Still, Enter the Dragon was clearly tailored for Lee, who plays a martial artist hired to infiltrate a super villain’s island fortress by participating in a fight tournament. A near-perfect action film, Enter the Dragon never takes itself too seriously and showcases Lee’s natural charisma and humor. It’s interesting to ponder Lee’s career arc had he lived longer--would he have alternated polished films like this with his own more personal pictures (e.g., Way of the Dragon)?

The bell tower climax--yes, it was
filmed indoors.

23. Black Narcissus – Michael Powell and Emeric Pressberger’s masterpiece follows a group of nuns who are sent to a remote Himalayan village to establish a school and hospital. These new surroundings stir repressed emotions in several of the nuns, ultimately leading to tragedy. Powerful and understated, Black Narcissus is anchored by a brilliant performance by Deborah Kerr and a compelling one from Kathleen Byron (whose acting career petered out all too quickly). Technically, the film is an incredible achievement. Many of the outdoor scenes, to include the stunning tower climax, were filmed inside a studio using “glass shots” and miniatures designed by Alfred Junge. Jack Cardiff’s color cinematography is often touted as the best example of the Technicolor process. Both Junge and Cardiff earned well-deserved Oscars.

22. The Long, Hot Summer – This engrossing trip into William Faulkner's South stars Paul Newman as drifter Ben Quick, the son of a barn burner (which makes one instantly unpopular). Ben arrives in the small hamlet of Frenchman's Bend, Mississippi, where bigger-than-life Will Varner (Orson Welles) owns just about everything. Varner, who recently recovered from a heart attack, is obsessed with getting "some more Varners" in the way of grandchildren. His weak-willed son Jody (Tony Franciosa) isn't making much progress with his pretty, but somewhat flighty wife Eula (Lee Remick). So, Varner is determined that his smart, headstrong daughter Clara (Woodward) get married. And if it's not to her long time, would-be suitor Alan (Richard Anderson)...than it may as well be to that ambitious "big stud horse" Ben Quick. The near-perfect cast brings these colorful characters to life, to include Angela Lansbury as Varner's mistress. The lively exchanges between Newman and Welles are a joy to behold (Varner to Ben: "I've been watching you. I like your push, yes. I like your style. I like your brass. It ain't too dissimilar from the way I operate.") But the heart of the film is the sparkling chemistry between Newman and Woodward; they were married the same year the movie was released. My favorite scene is an exchange between them in a general store, which goes from playful to surprisingly enlightening.

Pongo and Perdy get married with
their owners (in background).

21. 101 Dalmatians – Easily my favorite Disney animated feature, it puzzles me that 101 Dalmatians is rarely mentioned among the Disney “classics” like Snow White and the Seven Dwarfs, Bambi, and Pinocchio. Set in London, the well-known plot traces the courtship and marriage of Dalmatians Pongo and Perdy (and their human “pets” Roger and Anita). It’s a happy home until Anita’s wealthy “friend” Cruella De Vil pays a visit and decides that Perdita’s puppies would make “such perfectly beautiful coats.” When Roger and Anita rebuff Cruella’s offer to buy the puppies, her bumbling goons Horace and Jasper kidnap the pups. It’s a well-paced, entertaining story rich with fully developed characters. Even the puppies get memorable personalities, with my favorite of the litter being the plump Rollie who spouts classic lines like: “I’m so hungry I could eat an elephant” and (a few minutes later) “I’m hungry, Mother…I really am.” Anyone who has loved a dog will appreciate the care with which the animators have captured canine traits. Pongo drags Roger mercilessly on walks, shakes off water vigorously when wet, and sticks his butt in the air when getting playful.

Next month, we reach the Top 20 as this countdown nears its conclusion. The next ten movies will include appearances by Gene Tierney (but not Laura), Cary Grant (in a non-Hitchcock role), an eccentric Scotland Yard inspector, and perhaps the longest sword fight on film.

My 100 Favorite Films: From 40 to 31

This month’s countdown list features a double dose of Sidney Poitier and two very different science fiction films. As always, please keep in mind that these films are not what I'd consider the best 100 movies ever made. They are simply one classic fan's favorites. (An underlined title means there's a hyperlink to a full review at the Cafe.)

40. Out of the Past- My favorite film noir has Robert Mitchum as a man who has put his shady past behind him and found love with a good woman in a small community where he operates a gas station. But, as is often the case in the movies, his past catches up with him when a former acquaintance passes through town. With its contrasts of bright lights and dark shadows, Out of the Past is a visual feast. It’s also a compelling tale of a man pulled back into the shadows of his past—no matter how hard he tries to escape them. Kirk Douglas nails the manipulating villain; too bad he didn’t play more bad guys. Yet, despite the presence of Mitchum and Douglas, the film belongs to Jane Greer, an underrated and under-utilized actress who created one of the genre’s best femme fatales.

39. The Andromeda Strain – This superior science fiction outing pits four dedicated scientists against a microscopic menace capable of destroying all life on Earth. Its critics have labeled it slow-moving and overlong, but I find it intellectually exciting. Its thrills come not from action sequences (though there’s a doozy at the climax), but from the time-sensitive need to determine: What is the Andromeda Strain? How can it be destroyed? Why did a 69-year-old man and a six-month-old baby survive when Andromeda wiped out a New Mexico town of 68 people? Part of the appeal for me is that The Andromeda Strain includes one of my favorite plot devices: the forming of a team in which each member is introduced to the audience.

38. Lilies of the Field – A quiet film that has grown in my affection, Lilies contains my favorite Sidney Poitier performance. His Homer Smith is a stubborn man who is delightfully at odds with himself… and with a savvy Mother Superior. A drifter, Homer stops at a small farm run by nuns in the Arizona desert. He agrees to do a small roof repair and winds up building a chapel. The gentle conflict between Homer and the Mother Superior (wonderfully played by Lilia Skala) forms the heart of the film. But I also love how Lilies captures the flavor of the community, encapsulated in my favorite scene in which some local workers gradually force their assistance on Homer as he builds “his” chapel.

37. In the Heat of the Night - This racially-charged mystery, 1968’s Oscar winner for Best Picture, has aged gracefully over the years. The secret to its success can be attributed to its many layers. Peel back the mystery plot and you have a potent examination of racial tension in the South in the 1960s. Peel that back and you have a rich character study of two lonely police detectives, from completely different backgrounds, who gradually earn each other’s respect. Sidney Poitier and Rod Steiger shine in the lead roles and Sidney delivers one of my all-time favorite lines of dialogue.

36. Executive Suite - The president of Tredway, the nation’s third-largest furniture manufacturer, dies unexpectedly in the opening scene. With no successor named, the company falls into the hands of five vice-presidents with equal authority. Since Wall Street viewed Tredway as a one-man company, the VPs realize the criticality of naming a a new president over the weekend—thus creating a high stakes battle for company control. The all-star cast (which includes Holden, March, and Stanwyck) is in fine form. However, it’s the film’s theme of quality vs. profit that always intrigued me. Indeed, I first saw this film in a college business course. It’s often compared to Rod Serling’s Patterns, another corporate drama made in the 1950s. It’s very good, with a killer ending, but Executive Suite is more entertaining.

35. To Kill a Mockingbird – For many fans, this film’s appeal lies with its literary origins and Gregory Peck’s powerhouse performance. While that’s also somewhat true for me, my favorite part of Mockingbird is its portrait of a time and a place through the eyes of a child. I don’t think any movie has done a better job of that (my runner-up is the French two-part film My Father’s Glory/My Mother’s Castle). Additionally, Mary Badham and Phillip Alford give incredibly naturalistic performancea as the children. Badham was equally good in This Property Is Condemned. Mockingbird is full of magical moments, with my favorite being Atticus’s formal introduction of Boo Radley.

34. Von Ryan’s Express - Released in 1965, just two years after The Great Escape, Von Ryan’s Express also tells the tale of a daring escape from a prisoner-of-war (POW) camp during World War II. While both films split their running times between scenes inside the camp and outside the fence (once the prisoners break out), the similarity ends there. A near-perfect blend of suspense, intense action sequences, and occasional humor, Von Ryan’s Express takes off when the prisoners hijack a German train. OK, I admit I’m a sucker for train movies—but this one is a gripping thriller with a flawed hero well-played by Frank Sinatra. I always thought Sinatra was an odd star, capable of excellent performances (here and in The Manchurian Candidate) and truly awful ones (The Detective).

33. Picnic – William Holden stars as a handsome drifter who wanders into a small town to see old chum Cliff Robertson…and inadvertently steals his girlfriend Kim Novak. Based on William Inge’s play, Picnic is about taking chances, whether it’s in the pursuit of passion (and perhaps love) or whether it’s two lonely middle-aged people willing to take a chance on each other. I know film buffs who may cringe when I say it, but Picnic is at heart a big screen soap opera—and that’s not a bad thing. My Mom loved this genre and when I watched these soaps with her as a kid, I called them “people stories”—apparently because characters talked a lot instead of engaging in swordfights, hunting vampires, etc.

32. The Leopard Man – Set in a small New Mexico town, this fascinating Val Lewton-produced suspense film concerns a black leopard that escapes during a foolish publicity stunt. When a young girl is found clawed to death, the leopard is blamed—but was it the killer? Leopard Man is justly famous for what Exorcist director William Friedkin once called "one of the greatest horror sequences ever filmed." However, it’s more than a one-trick pony. I’m surprised that film critics rarely note its complex, interweaving narrative structure in which the plot sometimes zigs and zags as the characters interact. I can’t think of many other films like it, except for La Ronde, in which the narrative device is much more obvious.

31. Quatermass and the Pit – Construction workers uncover the ancient skulls of “ape men” while working in a deserted underground subway station in the Hobbs End area of London. A scientist dates the ape men’s remains as five million years old, making them the earliest known ancestors of humans. His work comes to a sharp halt, though, when the excavations unearth a large metallic-like object in the rock. Is it a bomb? A spacecraft? And what does it have to do with stories of former Hobbs End residents claiming to have heard odd noises and experienced visions of “hideous dwarfs”? Writer Nigel Kneale hatched this incredibly inventive melding of science fiction and horror, the third film in the Quatermass series. Too many films are labeled “one of a kind,” but this little gem truly fits the definition.

Next month, I’ll count down the next ten, which include a gimmicky mystery, the greatest color film ever made, and a whole lotta dogs.

My 100 Favorite Films: From 50 to 41

This month, the second half of the countdown begins as we work our way to No. 1. As a reminder, these films are not what I'd consider the best 100 movies ever made (though some are). These films are simply one classic fan's favorites. (An underlined title means there's a hyperlink to a full review at the Cafe.)

Twins meet for the first time...at a summer camp.

50. The Parent Trap - Following the delightful Pollyanna, Hayley Mills and writer-director David Swift teamed up again for The Parent Trap, Disney’s best live-action comedy. The gimmick of having Hayley play twins was achieved through the then-innovative use of traveling mattes and split screens. It works amazingly well—and Hayley is great—but the film’s enduring appeal has nothing to do with its clever special effects. The Parent Trap retains its popularity because of its ability to function as a smart, romantic comedy (for adults) and an enjoyable children’s film (in which the teen protagonists outwit their elders). The film’s breezy nature and charm mask two major flaws in its premise. First, how could any parents be so cruel as to separate twin sisters—and never even tell them about one another? Secondly, it’s obvious that the parents are still very much in love, so why did they split up in the first place? Since any answers would be unsatisfactory, writer-director Swift wisely chooses to ignore them altogether!

Mail-order bride Eleanor Parker.

49. The Naked Jungle – It’s easy to remember this well-written character study for its lively climax involving billions of soldier ants (a local commissioner notes that the ant column is “twenty miles long and two wide, forty miles of agonizing death—you can't stop it”). However, when viewed in the context of the entire film, the ant attack constitutes a subplot which serves the purpose of bringing together two lonely people (Charlton Heston and Eleanor Parker) on a South American plantation. In that sense, The Naked Jungle is no more about ants than The Birds was about birds. In both films, an “attack by nature” is used to resolve a conflict between two characters.

48. The Last Man on Earth - This first adaptation of Richard Matheson’s terrifying 1954 novel I Am Legend—about a single human in a world inhabited by vampires—was made in Italy on a shoestring budget. Vincent Price is the only English-language actor in the cast. But, despite its financial limitations, it remains an impressive work filled with compelling images. The scenes of the vampires pounding nightly on Price’s door foreshadow similar images in the better-known Night of the Living Dead (1968). There are also some genuinely frightening sequences, such as the one where Price’s character falls asleep in a church, only to awake at sunset and struggle to reach the safety of his fortress home. For a movie that doesn’t even rate as a cult film in most reference books, it’s amazing how many of my movie buff friends remember it as fondly as I do.

Cushing made a fine Holmes.

47. The Hound of the Baskervilles (1959) Throughout the late 1960s and early 1970s, I tried in vain in see the Basil Rathbone version of The Hound of the Baskervilles (1939). Every time it was listed in the newspaper, I’d tune in eagerly—only to see Hammer Films’ 1959 version starring Peter Cushing. I later learned that copyright issues prevented the Rathbone film from airing for many years. When it finally popped up on TV (on The CBS Late Movie, of all places), I was somewhat disappointed. Though Basil was entertaining as always, his Hound was surprisingly inferior to the 1959 version. Indeed, the Hammer Hound has improved with age, like a fine wine or, more appropriately, a glass of sherry (the vicar in the film has a fondness for it). Cushing makes a superb Holmes, all nervous energy as if his brain can barely contain his superior intellect. His interpretation is every bit as good as Basil Rathbone’s more acclaimed one. Andre Morrell‘s Watson is one of the screen’s best--intelligent, affable, and observant, very much like the character in Conan Doyle’s works.

46. Cat on a Hot Tin Roof – The most popular criticism of films adapted from stage plays is that the director fails to “open them up”—to transform them from theatrical productions to motion pictures. That always amuses me, for if a film is well-directed and performed, I don’t care if it all takes place in one room (which 12 Angry Men basically does and it’s a favorite, too). Richard Brooks’ adaptation of Tennessee Williams’ hit stage play is a perfect convergence of great acting and a director comfortable with enhancing, but not overpowering strong source material. Burl Ives recreates his masterful Broadway portrait as Big Daddy and Elizabeth Taylor gives what I consider to be her best performance. Williams purists quibble that some of the play’s content is watered down, but the result is still a first-rate film about (as Big Daddy would say) mendacity.

Cary in Baby.

45. Bringing Up Baby/Holiday – Yes, I know I’m cheating again by listing two films in one slot. But, to my defense, these two films are essentially bookends with Cary Grant and Katherine Hepburn swapping roles in each. In Holiday, Cary Grant is the free spirit and Kate the more uptight of the two and in Bringing Up Baby, they switch roles with Cary as a conservative paleontologist and Kate as a wacky heiress. In both movies, the stars exhibit tremendous chemistry (surprisingly, I’m not nearly as fond of their pairing in Philadelphia Story). I’m not surprised that Bringing Up Baby is better-known than Holiday; the former film is loaded with inspired screwball situations. Still, Holiday is a very engaging film that’s funny and romantic but (in its own way) more serious and heartfelt.

44. Spartacus – Stanley Kubrick’s most atypical film is my favorite among his works. He masterfully interweaves strong character relationships with spectacle to create an action film that resonates on a deep emotional level. The justly famous “I am Spartacus” scene as well as the closing one between Jean Simmons and Kirk Douglas still carry a tremendous impact after repeated viewings. Interestingly, Kubrick said in a 1968 interview that Spartacus was the only one of his films he didn’t like. Certainly, he had less control over it, but I believe that working within the confines of a “Hollywood production” brought out the best in Kubrick and the result is an epic for the ages.

Mifune as a helpful samurai.

43. Sanjuro - This was my first foreign film, my first samurai film, and my first Kurosawa film. When I watched in it on PBS in the early 1970s, I’m not sure if I even knew who Akira Kurosawa was (but suspect I soon learned). I found Sanjuro charming, intriguing, and mesmerizing. Each time I watch it again, I’m reminded of that unique blend of qualities. Although I admire the more critically-acclaimed Kurosawa films such as The Seven Samurai and The Hidden Fortress, none of them has toppled Sanjuro as my favorite. Kurosawa’s direction is seamless, flowing effortlessly from kinetic (as in the swordfights) to poetic (camellia blossoms flowing down a creek). The final showdown between Toshiro Mifune’s character and another samurai (whom he respects) is stunning in its efficiency and shock value.

Stewart in The Far Country.

42. The Far Country - James Stewart and director Anthony Mann made five classic Westerns together between 1950 and 1955, starting with Winchester ’73. This is my fave of the bunch, although they’re all excellent. While Stewart plays a different character in each film, his protagonists are social misfits that share traits such as bitterness, shady pasts, and, when necessary, ruthlessness. As cowpoke Jeff Webster in The Far Country, his mottos are: “Nobody ever did anything for nothing” and “I take care of me.” The plot is secondary to Mann’s themes of civilization overtaking the frontier and the importance of community.

Tippi wishes cell phones had
been invented.

41. The Birds - This one functions on two levels for me. It is, of course, a masterfully directed thriller about unexplained bird attacks in a small California seaside community (I love the playground and gas station sequences). But it’s also a well-acted 1960s relationship drama about three women and their interactions with the bland, but likable, Mitch Brenner (Rod Taylor). Mitch’s mother (wonderfully played by Jessica Tandy) fears losing her son to another woman—not because of jealousy, but because she can’t stand the thought of being abandoned. Young socialite Melanie Daniels (Hedren) views Mitch as a stable love interest, something she needs as she strives to live a more meaningful life. And Annie Hayworth (Pleshette) is the spinster schoolteacher, willing to waste her life to be near Mitch after failing to pry him from his mother. These relationships are what the film is about—the birds are merely catalysts. That’s why the ending works for me; when the relationships are resolved, the bird attacks end.

Next month, I'll count another ten, including a Val Lewton classic, a Michael Crichton sci fi thriller, and two films each starring Sidney Poitier and William Holden.

My 100 Favorite Films: From 60 to 51

After five months, we reach the halfway point of my countdown of personal favorite films. If you're reading this series of posts for the first time, allow me to clarify that these are not what I'd consider the best 100 movies ever made (though some of them are). These films are simply one classic fan's faves. (An underlined title means there's a hyperlink to a full review at the Cafe.)

60. The Solid Gold Cadillac – Judy Holliday is sublime as Laura Partridge, a (very) minority stockholder in a major corporation who keeps questioning the company’s crooked board members during its public meetings. To keep her from badgering them, the board members hire Miss Partridge as their Director of Shareholder Relations—a “do nothing” job until she decides to make something of it. This delightful comedy teams Holliday with Paul Douglas, whose warmth is a perfect complement to her bubbly persona. Fans of Born Yesterday may disagree, but I think the underrated Solid Gold Cadillac is easily Holliday’s finest film.

59. O Lucky Man! – A lengthy tale of a young ambitious man seeking meaning in life, this Lindsay Anderson film is an acquired taste. I think it’s an underappreciated one-of-a-kind gem mixing sharp satire, impeccable performances, and an awesome score by Alan Price (who was a founding member of The Animals). Price’s songs, which serve as a Greek chorus, are so catchy that I scoured used record stores (I was a college student!) the day after I saw the film in search of its soundtrack (I found it). Malcolm McDowell reprises his role as Mick Travis from Anderson’s earlier If; the later Britannia Hospital is related, but not really a sequel. Helen Mirren and Ralph Richardson headline a great supporting cast, in which several performers play multiple roles.

Bond battles Oddjob.

58. Goldfinger – My favorite 007 film has everything going for it: a terrific villain, the first of the memorable henchmen, a strong heroine, clever gadgets, another fine John Barry score, and an ingenious plot. Plus, it boasts Sean Connery giving his best performance as Bond (it helps that 007 is emotionally invested this time around…after Goldfinger murders Jill Masterson). It also features my favorite line of dialogue in a Bond film. While strapped on a slab with a laser heading toward his private parts, 007 tells Goldfinger that he won’t talk. The villain’s famous retort: “I don’t want you to talk, Mr. Bond. I want you to die!”

Lee contemplates his next move.

57. Fist of Fury (aka The Chinese Connection) – Bruce Lee’s most traditional martial arts film recycles the vintage plot of two martial arts schools pitted against one another. In this case, the setting is Shanghai 1908 and the basis of the conflict is nationality—the bad Japanese school wants the good Chinese school closed. It’s a thin premise and, overall, the film can’t compare with the slicker Enter the Dragon. Still, it features my favorite Bruce Lee performance and the fight scenes are masterpieces of balletic violence.

56. The Fearless Vampire Killers (aka Dance of the Vampires) – I consider this cult classic a stylish parody of Hammer Films’ fangs-and-damsels formula. One’s affection for it will depend, in part, upon familiarity with the Hammer approach. All the expected ingredients are present: attractive women in low-cut attire, a Transylvanian setting, a Gothic castle, garlic hanging from the ceiling of a beer haus, a hint of eroticism, and a well-prepared vampire hunter. To this mix, Polanski adds a dash of the unexpected: a bumbling love struck assistant, a Jewish vampire, a gay vampire, and a darkly humorous ending. It’s also one of my favorite “snow movies.”

The other hand spells "hate."

55. The Night of the Hunter - Charles Laughton’s only directorial effort is a haunting, poetic film that explores themes ranging from the battle between good and evil to the propensity of Nature to protect the innocent. The film also provides Robert Mitchum with his finest role as Harry Powell, evil incarnate disguised as a preacher (what makes the character even more chilling is that Harry believes he has a special relationship with the Almighty). Laughton’s striking use of shadows and silhouettes recalls the Expressionistic German films of the 1920s (e.g., The Cabinet of Dr. Caligari). I suspect much of the credit for the brilliant lighting belongs to cinematographer Stanley Cortez, a skilled craftsman who labored in routine films except for this one and Orson Welles’ The Magnificent Ambersons.

Sandra Dee and Troy Donahue.

54. A Summer Place - Fans of Delmer Daves’ glossy New England soap opera are sharply divided between those who revere it as a classy, nostalgic sudser and those who regard it as camp. I hold the former view, for in spite of occasional plunges into overwrought drama, A Summer Place evokes genuine warmth with its tale of old love rekindled and young love flaming for the first time. Thematically, Daves’ films are always more complex than they first appear. In A Summer Place, forbidden love and innocent love are explored through a subtle form of voyeurism; everybody seems to be secretly watching everyone else. No review of a Summer Place would be complete without mentioning composer Max Steiner's haunting, lyrical musical score.

McDowell as H.G. Wells.

53. Time After Time - This ingenious concoction of science fiction, thriller, and romance comes from the fertile imagination of Nicholas Meyer (The Seven Per Cent Solution). David Warner plays Jack the Ripper, who uses H.G. Wells’ time machine to escape from London in 1893 to San Francisco in 1979—with Wells (Malcolm McDowell) in hot pursuit. Watching the two turn-of-the-century intellectuals in a contemporary setting is fascinating. Much of the film’s humor is derived from Wells’s attempts to fit in. He eats at a “Scottish restaurant” called McDonald’s. He boldly discusses his ideas on “free love” to bank employee Amy Robbins (a marvelous Mary Steenburgen), who is amused by his old-fashioned values. In contrast, Warner’s killer adapts to his new environment quickly and smoothly. In an eerie scene, he flips through several TV channels filled with violent images and informs Wells: “I belong here completely and utterly. I’m home. Ninety years ago, I was a freak. Now, I’m an amateur.”

52. Where Eagles Dare – Set in the white-capped mountains of Austria, Where Eagles Dare sends seven special forces soldiers to rescue a U.S. general being held captive by the Nazis. But this is no routine mission: the soldiers must break into an impregnable mountaintop castle, there appears to be a traitor among them, and their squad leader seems to trust no one—except the blonde agent hiding in the barn. Most of the plot takes place in the first ninety minutes, including some unexpected twists that reveal the true nature of the mission. The last hour consists of a series of explosive action sequences, the highlight being a fight atop a cable car leading from the mountain castle to the village below. Richard Burton and Clint Eastwood are the stars of this perfect popcorn movie—one of my favorite flicks to watch on snowy day.

51. To Sir With Love - In a role seemingly tailored for him, Sidney Poitier plays Mark Thackeray, a young engineer looking for a job. Unable to find one in his chosen profession, he accepts temporary employment as a teacher in an inner-city London school. It’s a bleak situation—the students are out of control, most of the teachers are burned out, and the school reflects the poverty of the surrounding neighborhood. Thackeray’s initial attempts to reach his students fail miserably, but he eventually makes a difference in their lives. Cynics criticize To Sir, With Love as simple-minded and obvious. Perhaps, it is, but the story is put across with such conviction and professionalism that it’s impossible to ignore its many charms. In particular, a subplot involving an attractive student (Judy Geeson) who develops a crush on Thackeray is handled impeccably. The film’s theme, sung by Lulu (who plays one of the students), became a huge pop hit. Director James Clavell must have recognized the song’s potential—it’s heard repeatedly throughout the picture.

Next month, I'll count another ten, including films featuring Vincent Price, Elizabeth Taylor, two Hayley Mills, Toshiro Mifune, and millions of nasty ants!