Monday, August 29, 2011

Links: Sullivan's Travels

Todd McCarthy valorizes Sullivan's Travels and writer-director Peston Sturges in his essay for the Criterion Collection:

"The sweetest, most generous-hearted satire of the Hollywood film industry the town has ever produced, Sullivan’s Travels was the fourth of the eight films Preston Sturges made during his astonishingly prolific streak between 1940 and 1944. Deserving of eternal veneration as the first screenwriter to decisively break through as a director, Sturges paved the way for the likes of John Huston, Billy Wilder, and Joseph L. Mankiewicz. Sturges’ reputation surpassed even those screen giants in the sense that he was, in every respect, the author of his films, working without a collaborator and always from his own original stories. Having already made his mark as a Broadway playwright, he was the first filmmaker to function like a playwright/theatrical impressario at a major studio, not only creating his own material but assembling his own troupe of players. More than anyone in that era of Hollywood, he fully deserved the authorial billing on the title card: “Sullivan’s Travels by Preston Sturges.”"

While Dan Harper at Senses of Cinema sees Sullivan's Travels as an all-out assault by Sturges on Frank Capra and his piously liberal films of the late 1930s:

"Preston Sturges pokes fun at virtually everything in Sullivan’s Travels – including (luckily) himself. While sparing neither the single-minded hucksters otherwise known as producers nor the successful director of comedies suddenly gripped with a social conscience, Sturges also attacks just the sort of movie Frank Capra was making at the time – Meet John Doe (1941). Capra himself had also been a successful director of comedies (It Happened One Night [1934], You Can’t Take It With You [1938]), before his seriousness got the better of him. When Capra tried to combine his social conscience with his comedic genius, the results were usually uneven. While Mr. Deeds Goes To Town (1936) was initially successful as a serio-comic look at Depression-era economics, Capra found himself increasingly at odds with the status quo. And his populism pushed both Mr. Smith Goes To Washington (1939) and Meet John Doe into perilous territory. Neither film had a suitable ending, as if Capra, having confronted Good and Evil so convincingly, couldn’t decide who should win."

I think he's seriously overrating You Can't Take it With You (which is surely as simplistic in its conception of Good and Evil as anything else he made) and underrating Mr. Smith (which is far more complex than is generally allowed) here, but his general point is solid.

Me, I just can't get over the fact that Veronica Lake wasn't even five feet tall.  At 4'11", I've met dogs that are bigger than her.  She had a pretty sad life too:

"When one-time lover Marlon Brando heard she was working as a barmaid, he promptly had his people deliver her a check for $1,000.  Too proud to cash it, Lake instead chose to have it framed as a memory of days gone by, and a not-so-subtle notice to others that she was once Hollywood’s reigning sex symbol."

Friday, August 26, 2011

Top 5 Top 5 Lists Related To, But Not Including, Sullivan's Travels


Top 5 Veronica Lake Movies:

1. I Married a Witch (René Clair, 1942)
2. This Gun for Hire (Frank Tuttle, 1942)
3. The Glass Key (Stuart Heisler, 1942)
4. Ramrod (André de Toth, 1947)
5. The Blue Dahlia (George Marshall, 1946)

Top 5 Joel McRea Movies:

1. Stars in My Crown (Jacques Tourneur, 1950)
2. The Palm Beach Story (Preston Sturges, 1942)
3. Ride the High Country (Sam Peckinpah, 1962)
4. The Most Dangerous Game (Irving Pichel & Ernest Schoedsack, 1932)
5. Barbary Coast (Howard Hawks, 1935)

Top 5 Films Shot by John F. Seitz:

1. Double Indemnity (Billy Wilder, 1944)
2. Sunset Blvd. (Billy Wilder, 1950)
3. The Big Clock (John Farrow, 1948)
4. This Gun for Hire (Frank Tuttle, 1942)
5. Five Graves to Cairo (Billy Widler, 1943)

Top 5 Films Wherein Movie-Watching is a Spiritual Experience:

1. Hannah and Her Sisters (Woody Allen, 1986)
2. The Purple Rose of Cairo (Woody Allen, 1985)
3. My Life to Live (Jean-Luc Godard, 1962)
4. The Spirit of the Beehive (Victor Erice, 1973)
5. Cinema Paradiso (Giuseppe Tornatore, 1988)

Top 5 Films of 1941:

1. Citizen Kane (Orson Welles)
2. The Lady Eve ( Preston Sturges)
3. The Strawberry Blonde (Raoul Walsh)
4. The Shanghai Gesture (Josef von Sternberg)
5. The Maltese Falcon (John Huston)

Thursday, August 25, 2011

Coming Attractions: Sullivan's Travels

Trailer provided by Video Detective

Wednesday, August 31st at 7 & 9 pm.

Giveaways: The Palm Beach Story DVD courtesy of Scarecrow Video and a Gift Certificate to Cinema Books, respectively.

Tuesday, August 23, 2011

Eric Rohmer: Comedies and Proverbs

After finishing his series of Six Moral Tales (of which this week's classic, My Night at Maud's is the third) with 1972's Love in the Afternoon, Eric Rohmer spent the rest of the 1970s working in television and making a pair of period films, The Marquise of O and Perceval le Gallois.  In 1981, he began a new series of six films he called Comedies and Proverbs, each starting with a famous saying ("It is impossible to think about nothing." "He who talks too much will hurt himself." and so on).  Like the Moral Tales, the films revolve around the twin poles of romantic relationships and vacation.  In each of the films one of the main characters is driven by an ideal (usually of a potential lover, but not always) and has that ideal frustrated.  Unlike the Moral Tales, most of the protagonists are women, and we get a much more balanced view of gender dynamics than in that earlier series.  Like every Rohmer movie, the films are dominated by conversation and are beautifully shot in a style that rarely calls attention to itself.  Every time I think about watching one of his movies, I kind of dread it (Do I really want to watch 90 minutes of French people talking?  Doesn't that sound like the most boring thing in the world?).  But every time I find myself entertained throughout, enraptured even.  I don't exactly know how he does it, his movies sneak in and surprise me every time.  In 14 films, I've never once been bored by Eric Rohmer.

The Aviator's Wife - A young man, a law student, sees an older man leaving his (the student's) older girlfriend's apartment early in the morning.  The man was her ex-boyfriend, and he had been there to end their relationship because he was re-committing to his wife.  The student confronts the girl, but she denies everything and gets annoyed.  Later in the day, the student spots the older man and decides to follow him (he's especially suspicious when he sees the man with a mysterious blonde woman).  In a park, he meets a younger girl who decides to help him in his caper.  The film comes alive when the younger girl, played by Anne-Laure Meury (who has a supporting role in My Boyfriend's Girlfriend), appears.  She's clearly much more interesting and a much better fit for the student than the older woman, but he doesn't notice.  The location for the middle section of the film, a man-made park in Paris, is used wonderfully, and Meury and the student's adventures creating plotlines for the behavior of the older man and the blonde woman harken back to the kinds of protagonists that reinvent Paris in cinematic and narrative terms, a New Wave trope familiar from the likes of Celine & Julie Go Boating and Band of Outsiders, among many others.  This is the only one of the Comedies and Proverbs wherein the main character is a man, and as a fairly deluded one, he serves as a nice transition between the aggressively masculine (though of course quite talky and usually deluded) heroes of the Moral Tales.

A Good Marriage - A young art history student (Béatrice Romand) breaks up with her painter boyfriend and moves back home to her small town (Le Mans) where she meets a cousin of her best friend and decides to marry him.  Unfortunately for her, the young man doesn't ever seem to have enough free time to fall in love with her as well.  The man is played by André Dussollier, familiar, though looking much much younger, from last year's releases Wild Grass and Micmacs, directed by Alain Resnais and Jean-Pierre Jeunet, respectively.  It's a film where quite literally nothing happens, all of the students schemes end in failure, but is nonetheless so full of beautiful little heart-breaking moments as to always be compelling (Romand putting her head on Dussolier's shoulder as they leave a restaurant in particular lasts maybe two seconds, but it is the kind of image that will stick in your mind forever).

Pauline at the Beach - The actress who played the best friend in The Good Marriage, Arielle Dombasle, here plays Marion, vacationing with her younger cousin Pauline (Amanda Langlet) on the coast.  There she meets her ex-boyfriend Pierre (Pascal Greggory, who was in Luc Besson's Joan of Arc movie The Messenger and the late Raúl Ruiz's Time Regained), who is still annoyingly in love with her, and the older, more dangerous Henri.  Marion hooks up with Henri, which makes Pierre jealous, so she tries to get Pauline to like Pierre, but Pauline prefers Sylvain, a boy her own age.  While Marion is out of town, Henri hooks up with a local salesgirl and uses Sylvain to cover for him when he's almost discovered by Marion and Pierre.  Eventually, the women choose to believe their own version of events and go off reasonably happy.  This is by far the most complex Rohmer film I've seen in terms of plot, with so many major characters and their intertwining relationships.  But it's also one of the most satisfying: the beachside village is lovely, once again Rohmer proves himself the master of the vacation film.  This is probably the most representative example of what the Comedies and Proverbs are all about.  Each character has their ideal of love, and most get a chance to declaim it at length.  But in the end, none of their ideals prove practical and they are left to recreate a narrative of reality the best way they can.  It has a typically elegant visual style (with dominant reds, whites and blues and inspiration from a Matisse painting), with typically lovely cinematography from frequent Rohmer collaborator Néstor Almendros.

Full Moon in Paris - The apotheosis of one of the mini-tropes running throughout Comedies and Proverbs: the horror of white people dancing.  Both A Good Marriage and Pauline at the Beach feature cringe-worthy looks at this peculiar and disgusting social phenomenon, but Full Moon in Paris takes it over the top.  Not only are we treated to at least three extended sequences of drunk French people boogieing, this film is steeped in the 1980s like no movie I've seen in a long, long time.  Pascale Ogier (daughter of Bulle Ogier, from Celine & Jule Go Boating) plays a young woman who lives in the suburbs with her boyfriend Tchéky Karyo (from Bad Boys, GoldenEye and the upcoming Dobermann II: Arm Wrestle).  She's convinces him that it'd be a good idea for her to keep an apartment in the city, where she can spend her Fridays partying with her friends (he prefers to stay home).  Karyo's place is all dull modernism, with Mondrians on the walls providing the only small hints of colors that aren't bluish grey, where Ogier's city apartment is a masterpiece of 80s kitsch, she even has fake Greek columns framing her bed.  Infidelity is, of course, inevitable.  Ogier suspects Karyo when she spies him in town, but decides it was nothing.  Later, she hooks up with a fellow she meets at a party who wears cotton gloves with the fingers cut-out, a neck warmer and "plays sax in a band".  Feeling guilty, she returns home and finds she had the story wrong all along.

The Green Ray - A pretty, well-meaning, but slightly annoying woman (Marie Rivière, who also played the lead woman in The Aviator's Wife) can't decide what to do on vacation. Seems the friend she was going to Greece with ditched her at the last minute. She spends some time in the country with another friend's family (freaking them out with her freaky vegetarianism) goes back to Paris and mopes, heads off to the mountains and immediately leaves, and ends up on the coast watching the sunset. It's less verbal than the Moral Tales, which all feature male protagonists who non-stop talk themselves into and out of infidelities. Instead, we get a female protagonist, one who occasionally communicates in conversations, but just as often overhears other conversations, or simply walks alone through the various environments she finds herself in. Nature is more vital here than any of the other Rohmer's I've seen, as it should be given its title, a peculiar and potentially life-changing atmospheric phenomenon. Rohmer is great at endings, and the one here is as beautiful and epiphanic as any in cinema.  This remains my favorite Rohmer film, just nudging past My Night at Maud's.

My Girlfriend's Boyfriend - A Cultural Affairs bureaucrat named Blanche meets a computer student named Lea (played by Sophie Renoir, who had a small role in The Good Marriage and is the grand niece of director Jean Renoir) for lunch and the two quickly become friends.  Blanche lives in a trendy suburban housing complex from which you can almost make out the Eiffel Tower on the horizon.  Lea is dating Fabien, though she doesn't really like him that much (he's too earnest for her).  Through Lea and Fabien, Blanche meets the handsome and charming Alexandre and instantly falls in lust with him.  Unfortunately, he makes her so nervous she can hardly say a word in his presence.  When Lea goes on vacation with another man (trying out a break up with Fabien), Blanche and Fabien hang out a lot playing water sports (windsurfing, mostly) and have what they agree is a one-night stand.  The ending isn't as uplifting as The Green Ray (it's less ambiguous) and its Shakespearean dynamics aren't exactly unexpected, but it's the happiest ending of any of the Comedies and Proverbs, a pleasant surprise after the downer that is the Moral Tales closer Love in the Afternoon.

After watching most of these over the last week, here's how I'd rank them:

1. The Green Ray
2. Pauline at the Beach
3. My Girlfriend's Boyfriend
4. The Aviator's Wife
5. Full Moon Over Paris
6. The Good Marriage

But really, they're all pretty great.

Monday, August 22, 2011

Top 5 Top 5 Lists Related To, But Not Including, My Night at Maud's

Top 5 Eric Rohmer Films:

1. The Green Ray (1986)
2. Pauline at the Beach (1983)
3. Claire's Knee (1970)
4. The Romance of Astrea and Celadon (2007)
5. My Girlfriend's Boyfriend (1987)

Top 5 Films Photographed by Néstor Almendros:

1. Days of Heaven (Terrence Malick, 1978)
2. Pauline at the Beach (Eric Rohmer, 1983)
3. Claire's Knee (Eric Rohmer, 1970)
4. The Wild Child (François Truffaut, 1970)
5. Sophie's Choice (Alan J. Pakula, 1982)

Top 5 Jean-Louis Trintignant Films I Haven't Seen Yet:

1. Those Who Love Me Can Take the Train (Patrice Chéreau, 1998)
2. . . And God Created Woman (Roger Vadim, 1956)
3. Les biches (Claude Chabrol, 1968)
4. The Great Silence (Sergio Corbucci, 1968)
5. Confidentially Yours (François Truffaut, 1983)

Top 5 French New Wave Films By Cahiers du cinema Directors:

1. Pierrot le fou (Jean-Luc Godard, 1965)
2. The Green Ray (Eric Rohmer, 1986)
3. A Woman is a Woman (Jean-Luc Godard, 1961)
4. Celine & Julie Go Boating (Jacques Rivette, 1974)
5. The 400 Blows (François Truffaut, 1959)

Top 5 Films of 1969:

1. A Touch of Zen (King Hu)
2. Age of Consent (Michael Powell)
3. Army of Shadows (Jean-Pierre Melville)
4. Butch Cassidy and the Sundance Kid (George Roy Hill)
5. The Sorrow and the Pity (Marcel Ophuls)

Friday, August 19, 2011

Self-Referential Links: My Night at Maud's

I've written about Eric Rohmer, the director of this week's classic My Night at Maud's a couple of times on the site.  The first was the day he died, in January of last year, when I celebrated his contribution to film history and the particular inspiration he and the rest of the French New Wave have had on us here at Metro Classics and resolved to go out and watch some of his films.  The second, posted three weeks later, was a roundup of the first six films I watched, the Six Moral Tales, my favorite of which is the film we're playing this week.

Over at my own website, the Rohmerathon has continued over the past year and a half as I slowly work my way through the rest of his films.  Over the next week, I'll be posting short reviews of the next series he did after the Moral Tales, Comedies and Proverbs  (The Aviator's Wife, A Good Marriage, Pauline at the Beach, Full Moon in Paris, The Green Ray and My Girlfriend's Boyfriend).  Today though, here's a quick look at two of his period films, 1976's The Marquise of O and his last film, 2007's The Romance of Astrea and Celadon:

The Marquise of O - Thanks to a couple of sales at, I find myself owning almost every Eric Rohmer film on DVD.  But I haven't gone on a Rohmer-watching rampage.  Not because I don't want to see them all, but rather because I want to savor them and parcel them out slowly over the rest of my life.  Watching them all in a few months would just feel wrong, given what the films are like: their decidedly unrushed pace, the value they place in a contemplative approach to life.  This was his first feature after finishing his series of Six Moral Tales with 1972's Love in the Afternoon (he appears to have been making a TV series in the interim) and it's a rare Rohmer film that's not part of a larger series.  Based on a German novel, it's about a young high-born widow in a war-torn country who appears to have become pregnant without knowing why.  It turns out Bruno Ganz took advantage of her while she was passed out after a battle.  Ganz is desperately trying to get her and her family to let him marry her, but they just think he's weird to be in so much of a hurry.  When her pregnancy becomes obvious, her family throws her out, despite her protestations of innocence.  Only Rohmer could get us to believe in the romanticism of it all and actually root for Ganz to get the girl and live happily ever after. 

The Romance of Astrea and Celadon - Eric Rohmer's death 11 months ago was a catalyst for me to finally watch some of his films, and I've loved every one of the eight I've seen so far.  This was his last movie, set in fifth century Gaul and about a community of Druidic shepherds slowly Christianizing.  Astrea loves Celadon, but his parents don't approve of her, so she has him flirt with another girl, then gets horribly jealous when he does.  She bans him from her presence and he jumps in the river.  He survives, meets some nymphs (one of whom also falls in love with him), lives in a hut for awhile, dresses as a woman and builds a shrine, which is explained to a group of pilgrims in terms surprisingly like the Catholicism of My Night at Maud's.  You wouldn't think that the Rohmerian tradition of lengthy conversations about morality and sexuality would translate well to fifth century Gaul, but it does.  It's the lightest, prettiest Rohmer I've seen.  It floats. 

Thursday, August 18, 2011

Coming Attractions: My Night at Maud's

Wednesday, 24 August at 7:00 & 9:10 P.M.

Giveaways: Anatomy of a Murder DVD courtesy of Scarecrow Video and a gift certificate for Cinema Books, respectively.

Tuesday, August 16, 2011

Links: Gilda

New York Times critic Bosley Crowther was utterly perplexed by Gilda on its premiere in March of 1946, not an unusual state for him.

"It is quite all right to make a character elusive and enigmatic in a film—that can be highly provocative—providing some terminal light is shed. But when one is conceived so vaguely and with such perplexing lack of motive point as is the dame played by Rita Hayworth in Gilda, the Music Hall's new film, one may be reasonably forgiven for wondering just what she's meant to prove, for questioning, indeed, the whole drama in which she is set. And that is what we frankly do.

Despite close and earnest attention to this nigh-onto-two-hour film, this reviewer was utterly baffled by what happened on the screen. To our average register of reasoning, it simply did not make sense. "

He was particularly dissatisfied with Rita Hayworth, whose charms somehow failed to interest him:

"Miss Hayworth, who plays in this picture her first straight dramatic role, gives little evidence of a talent that should be commended or encouraged. She wears many gowns of shimmering luster and tosses her tawny hair in glamourous style, but her manner of playing a worldly woman is distinctly five-and-dime. A couple of times she sings song numbers, with little distinction, be is said, and wiggles through a few dances that are nothing short of crude."

Writing a couple of weeks ago in The Observer, though, Phillip French sees what Crowther could not, the fantastical sexual subtexts that make Gilda so much fun:

"The movie revolves around the exotic Rita Hayworth and was produced by Virginia Van Upp, the most powerful woman at Columbia, who was charged by tough studio boss Harry Cohn with supervising the star's career. Hayworth is stranded in Buenos Aires at the end of the second world war, trapped between her sadistic, middle-aged husband, the Nazi-sympathiser Ballin Mundson (George Macready), and her ex-lover, the cruel, amoral American adventurer, Johnny Farrell (Glenn Ford). The men have a homoerotic love-hate relationship. After Johnny sees Ballin's phallic sword-cane the first time they meet, he says admiringly: 'You must lead a gay life.'"

The excellent film noir podcast series "Out of the Past", hosted by academics Shannon Clute and Richard Edwards, devoted its 40th episode to Gilda, focusing in particular on the visual style of the film and the work of celebrated cinematographer Rudolph Maté.

"From the flip of her fiery hair to the reprise of her incendiary song, she sizzles the celluloid and burns herself indelibly into our collective consciousness. In fact, her presence so scorches that we are apt to miss the technical artistry of this film. Rudolph Maté's superlative cinematography uses banal objects pedagogically, to teach us to read the images: the blinds in Mundson's office make us aware of the fact we're looking, then show us how and where to look; the elaborate staging and framing of staircases make us wonder whether each character's fate is ascending or descending. While the Triad of superb players (Hayworth, Ford, and Macready) fleshes out the elaborate story, it is Maté's camera that builds the suspense. In then end, the cinematography combines with lines of dialogue pronounced by philosopher Uncle Pio to give us the world through noir-colored glasses—a "worm's eye view" that lends Hollywood's biggest stars a distinct earthiness."

Finally, Rita Hayworth is pretty.  The Rita Hayworth: The Love Goddess site has the hundreds of pictures to prove it.

Friday, August 12, 2011

Top 5 Top 5 Lists Related To, But Not Including, Gilda

Top 5 Rita Hayworth Films:

1. Only Angels Have Wings (Howard Hawks, 1939)
2. The Lady from Shanghai (Orson Welles, 1947)
3. The Strawberry Blonde (Raoul Walsh, 1941)
4. You Were Never Lovelier (William A. Seiter, 1942)
5. Pal Joey (George Sidney, 1957)

Top 5 Glenn Ford Films:

1. The Big Heat (Fritz Lang, 1953)
2. Superman (Richard Donner, 1978)
3. The Blackboard Jungle (Richard Brooks, 1955)
4. The Courtship of Eddie's Father (Vincente Minnelli, 1963)
5. Plunder of the Sun (John Farrow, 1953)

Top 5 Charles Vidor Films I Haven't Seen Yet:

1. Cover Girl (1944)
2. Rhapsody (1954)
3. The Bridge (1929)
4. A Song to Remember (1945)
5. The Swan (1956)

Top 5 Non-South American Films Set in South America:

1. Only Angels Have Wings (Howard hawks, 1939)
2. Miami Vice (Michael Mann, 2005)
3. Fitzcarraldo (Werner Herzog, 1982)
4. Happy Together (Wong Kar-wai, 1997)
5. Starship Troopers (Paul Veerhoeven, 1997)

Top 5 Films of 1946:

1. The Big Sleep (Howard Hawks)
2. It's a Wonderful Life (Frank Capra)
3. A Matter of Life and Death (Powell & Pressburger)
4. Notorious (Alfred Hitchcock)
5. My Darling Clementine (John Ford)

Thursday, August 11, 2011

Tuesday, August 9, 2011

Monday, August 8, 2011

"Laura" of the Day

Dave Brubeck:

Links: Laura

Opening in New York at the Roxy in October, 1944, Thomas Pryor gave it a generally positive review in the Times.  The film's only real flaw, he found, was in the performance of Gene Tierney:

"Yes, you get the idea that this Laura must have been something truly wonderful. Now, at the risk of being unchivalrous, we venture to say that when the lady herself appears upon the scene via a flashback of events leading up to the tragedy, she is a disappointment. For Gene Tierney simply doesn't measure up to the word-portrait of her character. Pretty, indeed, but hardly the type of girl we had expected to meet. For Miss Tierney plays at being a brilliant and sophisticated advertising executive with the wild-eyed innocence of a college junior."

Sacrilege, I say!  Everyone knows that Gene Tierney is flawless.

Dave Kehr didn't take a position on Ms. Tierney in the Chicago Reader, instead content once again to brilliantly capsulize a classic film:

"It reveals a coldly objective temperament and a masterful narrative sense, which combine to turn this standard 40s melodrama into something as haunting as its famous theme. Less a crime film than a study in levels of obsession, Laura is one of those classic works that leave their subject matter behind and live on the strength of their seductive style."

One of the many websites dedicated to the glory that is Gene Tierney, has, along with a bio and the requisite photos, a link to an article hyping Tierney in Motion Picture magazine.  Headlined:


Skolsky (bylined as "Famous movie reporter") then writes:

"Gene Tierney. She's sex in any language.  On the screen, she's been Chinese, Polynesian, Eurasian, Arabian, Sicilian and just plain American. But regardless of the role she plays, she's always sexy. This international type actually was born in Brooklyn. The date is November 20, 1920. To further complicate her cosmopolitan attainments, she is married to a Russian, was partly educated in Switzerland and she speaks perfect French.

"Her full name is Gene Eliza Tierney and the initials spell "get." She has a driving ambition and generally gets what she wants."

I'm convinced.

Friday, August 5, 2011

"Laura" of the Day

Sidney Bichet:

Top 5 Top 5 Lists Related To, But Not Including, Laura

Top 5 Gene Tierney Movies:

1. The Shanghai Gesture (Josef von Sternberg, 1941)
2. Leave Her to Heaven (John Stahl, 1945)
3. The Ghost & Mrs. Muir (Joseph L. Mankiewicz, 1947)
4. Advise & Consent (Otto Preminger, 1962)
5. Heaven Can Wait (Ernst Lubitsch, 1943)

Top 5 Dana Andrews Movies:

1. The Best Years of Our Lives (William Wyler, 1946)
2. The Ox-Bow Incident (William Wellman, 1943)
3. Where the Sidewalk Ends (Otto Preminger, 1950)
4. Ball of Fire (Howard Hawks, 1941)
5. A Walk in the Sun (Lewis Milestone, 1945)

Top 5 Vincent Price Movies:

1. The Masque of the Red Death (Roger Corman, 1964)
2. Leave Her to Heaven (John Stahl, 1945)
3. His Kind of Woman (John Farrow, 1951)
4. The Ten Commandments (Cecil B. DeMille, 1956)
5. Edward Scissorhands (Tim Burton, 1990)

Top 5 Otto Preminger Movies:

1. Anatomy of a Murder (1959)
2. Advise & Consent (1962)
3. Bonjour tristesse (1958)
4. Bunny Lake is Missing (1965)
5. Where the Sidewalk Ends (1950)

Top 5 Films of 1944:

1. A Canterbury Tale (Powell & Pressburger)
2. Ivan the Terrible Part 1 (Sergei Eisenstein)
3. To Have and Have Not (Howard Hawks)
4. Double Indemnity (Billy Wilder)
5. Going My Way (Leo McCarey)