Best Movies by Farr

The Best Movies Afloat by Farr

This weekend marks the centennial of the Titanic disaster, an event that's been recreated in countless films, including the 1997 James Cameron epic that's back in theaters. (Personally I never much cared for the film in two dimensions; I doubt I'll like it more in three. And yes, I know I'm in the minority on this.)

Regardless, when you consider all the movies where boats of various sizes figure in the plot, you discover more riches than the Titanic could ever have carried.

In fact, for the purposes of this piece, I'm consciously omitting all military/war films, since they would comprise (at least) one article all on their own. I'm also avoiding pirate movies for the same reason.

That leaves ocean liner pictures, and films where smaller boats play a role. I've always appreciated how movies set on liners recreate a bygone era when travel could be calm and civilized. Other boat films may take us on-board a luxurious yacht, or show man pitted against the biggest and cruelest natural force on earth: the sea.

So -- the following dozen movies are decidedly a mixed bag, spanning sophisticated comedy, gritty drama, even documentary. Rest assured, though: every title remains sea worthy -- cinematically speaking, of course.

Man Of Aran (1934) -- Shot on Ireland's remote Aran Islands, this astonishing documentary depicts the primal struggle between humanity and the unpredictable, seemingly limitless water that surrounds us. Whether battling ferocious storms or hunting a gigantic basking shark, the residents of this desolate island undergo laborious, dangerous tasks each day with hardy determination, seemingly undaunted by the hardships they face. No movie better illustrates the tenuous, symbiotic relationship between brute nature and human endurance than Robert Flaherty's hauntingly gorgeous Man of Aran. Flaherty, director of the classic Nanook of the North and father of the documentary form, shot Aran, his first sound feature, over the course of two and a half years, casting heroic locals in key roles and training his camera on the rugged, magnificent environment in which they eke out their survival. Man of Aran is pure visual poetry, astounding and unforgettable.

A Night At The Opera (1935) -- Grand opera would never be the same once the Marx Brothers got though with it. Otis B. Driftwood (Groucho) is interested in arts patron Mrs. Claypool (Margaret Dumont), or more precisely, Mrs. Claypool's checkbook. Along with newfound confederates Fiorello (Chico) and Tomasso (Harpo), he's also interested in undermining the cruel, arrogant opera star Lasparri (Walter Woolf King), while advancing the romance and careers of young performers Rosa and Ricardo (Kitty Carlisle and Allan Jones). Through the force of comic anarchy, the Brothers accomplish precisely that. This, the first and best of the team's MGM releases, features more focus on plot, musical numbers and romance than their earlier, wonderfully pure Paramount outings, but the results are still first-rate, with a splashy MGM production and a well-balanced romantic subplot (featuring a lovely young Carlisle) complementing some of the team's zaniest antics, including that immortal stateroom scene, and the impromptu baseball game during the opera.

Dodsworth (1936) -- Sam Dodsworth (Walter Huston), a business tycoon, decides to retire and take an extended trip to Europe with wife Fran (Ruth Chatterton). Unfortunately, Sam's financial success has only increased Fran's latent vanity and social-climbing tendencies. No longer distracted by his work, Sam sees his wife's weaknesses for the first time, as she openly flirts and cavorts with a European aristocrat. Sam must confront the problem in his marriage, then find a way to regain some happiness for himself. Based on a novel by Sinclair Lewis, director William Wyler and screenwriter Sydney Howard have crafted an adult, perceptive romantic drama, beautifully played. They wisely minimize the soapiness inherent in the premise, leaving an honest and surprisingly moving film about love lost and re-discovered. The Oscar-nominated Huston is superb.

Captains Courageous (1937) -- Young Harvey Cheyne (Freddie Bartholomew) is the pampered son of a wealthy widower and tycoon (Melvyn Douglas) who has learned he can get whatever he wants if he whines, lies, and screams loud enough. On a posh cruise to Europe with his father, Harvey falls overboard and is rescued by a boat full of fishermen led by crusty skipper Disko (Lionel Barrymore) and including kindhearted, Portugese-born Manuel (Spencer Tracy). As Harvey's official rescuer, Manuel undertakes to teach the young Harvey about real life and the ways of humble men who work the seas. Based on a Rudyard Kipling story, this heartwarming adventure saga follows the transformation of a bratty pantywaist into a decent young man under the tutelage of Tracy's gentle fisherman. Bartholomew is a natural playing the self-centered child of privilege, and really clicks with Tracy, who won a Best Actor Oscar for his performance as the sensitive Manuel (though he hated putting on an Iberian accent). Absorbing for viewers of any age, Captains is a rousing tale whose bittersweet climax will not leave a dry eye on deck.

The Lady Eve (1941) -- Colonel Harrington and daughter Jean (Charles Coburn and Barbara Stanwyck) are skilled card sharks who intend to ply their lucrative trade on board a chic ocean liner. Also on board is Charles Pike (Henry Fonda), a shy, naive heir to a brewery fortune. He's the perfect mark, but Jean starts to fall for him. Once off the boat, Pike resumes his normal life, but his ordered world gets disrupted once more when he meets an English lady with a striking resemblance to Jean. Could it be? Preston Sturges' crazy genius jumps right off the screen in this movie. A highly successful screenwriter before adding directing to his resume, he had an off-the wall sensibility that was way ahead of his time, and more than anything he'd done up to this point, this release proved it. Sturges' brilliantly anarchic script is brought to life here by a first-rate cast: Stanwyck is at the peak of her appeal as a husky-voiced con lady with a surprisingly vulnerable heart, and Coburn is incongruously cuddly as her father. Fonda also makes for a surprisingly effective straight man. This is one "Lady" you should stand up for.

La Terra Trema (1948) -- Before director Luchino Visconti became known for lavish epics like The Leopard, he directed this neo-realist masterpiece, evoking the rugged life of Sicilian fishermen on an unpredictable, temperamental sea, and portraying the equally daunting challenges the men face on land, as they conspire to fight the fish wholesalers who make disproportionate profits from their catch, leaving them with a pittance to live on. Through Visconti's unsparing lens, we witness the daily repetition of backbreaking labor and the ongoing pain of injustice these fishermen face. All this is seen and felt amidst images of stark, breathtaking beauty. Featuring a brilliant use of non-actors, whose weathered faces each tell the same hard story, this fascinating, rewarding film has the impact of a documentary -- and the unmistakable feel of truth.

Key Largo (1948) -- On the brink of a huge storm, WWII vet Frank McCloud (Humphrey Bogart) visits a disheveled hotel in the titular island town to pay his respects to Nora (Lauren Bacall), the widow of a deceased war buddy. Run by Nora's father James (Lionel Barrymore), the hotel is playing host to some pretty seedy urban types, and Frank soon discovers why: infamous mobster Johnny Rocco (Edward G. Robinson) and his men have slinked back into the country and temporarily seized control of the establishment. Based on Maxwell Anderson's play, John Huston's Key Largo is a classic 1940s noir featuring taut direction and indelible performances from Bogart and Robinson as the menacing Rocco. In a cast that also boasts Bacall, Oscar-winner Claire Trevor as Rocco's drunken mistress, and Lionel Barrymore as the cantankerous hotelier, it's Rocco's sadistic, savage power that occupies center stage. Bogie is comfortably in star mode as the taciturn good guy who comes through in the clinch. Don't miss that ending on board a boat called the "Santana" (the name of Bogart's own yacht and production company).

The Lady From Shanghai (1948) -- When he's offered a job working on a Mexico-bound yacht by Arthur Bannister (Everett Sloane), a wealthy, handicapped lawyer whose wife he rescued from muggers, itinerant Irishman Michael O'Hara (Orson Welles) accepts. Resisting the advances of gorgeous Elsa (Rita Hayworth), the woman he saved, O'Hara finds himself sailing in even hotter water when he agrees to help Bannister's friend George Grisby (Glenn Anders) stage his own murder. This murky, intriguing noir puzzler from Welles features excellent performances, stark atmospherics, and a typically Wellesian visual flair culminating in the famous Hall of Mirrors sequence. Dark-humored and fatalistic, the film owes much of its tension to Welles' off-camera conflicts with Hayworth, his real-life wife at the time. Part of the fun is seeing a master wrestle with the mysteries of his own life, and this "Lady" has plenty to spare.

The African Queen (1951) -- Coarse-tongued, boozy steamer captain Charlie Allnut (Bogart), a supplier of trade goods to East African villages during WWI, offers to take prim, imperious Rose Sayer (Katharine Hepburn) back to civilization after her devoted brother, a British missionary, dies during a German attack. Charlie and Rose have an oil-and-water rapport, but over the ensuing days, as they face a gauntlet of perils on the arduous journey home, their mutual hostility softens and then turns much sweeter. Scripted by James Agee, John Huston's hugely entertaining African Queen pairs a grizzled Bogart with the lovably straitlaced and ever-haughty Hepburn for a bumpy ride down a treacherous river, where a German gunboat is lurking, along with leeches, rapids, and (surprise!) romance. According to Hepburn's memoir (and several books), it was a hell of a shoot for everyone concerned, but DP John Cardiff managed to render the humid environs of East Africa in majestic, eye-popping Technicolor. Sterling performances by Hepburn and Bogart (who nabbed the Oscar for his turn as the cantankerous river rat) are the best reason to revisit African Queen, though. Opposites attract!

A Night to Remember (1958) -- Told from the point of view of heroic second officer Herbert Lightoller (Kenneth More), this ultra-realistic film re-enacts the fatal maiden voyage of the world-famous Titanic, crown jewel of the industrial age. Supposedly "unsinkable," Titanic struck an iceberg on April 14, 1912, on its way to New York from England, and sank to the bottom of the ocean, taking more than 1,500 people with it. Here, we follow diverse groups of passengers and crewmen, including the ill-starred Captain Smith (Laurence Naismith) and American heiress Molly Brown (Tucker McGuire), many of whom never set foot on shore again. By far the best movie ever made about the Titanic tragedy, Baker's riveting, semi-documentary Night is based on the bestselling book by Walter Lord, and brings us closer to knowing what the journey must have been like than any version before or since. Unlike other studio takes on the story, Baker sticks to real-life details, crafting an intelligent, suspenseful re-enactment of the fateful night, while glimpsing many human stories behind the disaster. Featuring lavish costumes and exquisite production design, as well as a cast of more than 200 actors, Night is one high seas outing you'll remember for a long time.

Some Like It Hot (1959) -- Out-of-work musicians Joe (Tony Curtis) and Jerry (Jack Lemmon) nab a job performing in Illinois, only to witness the St. Valentine's Day Massacre after the gig. To escape the gangsters on their tail, the two disguise themselves as female musicians (Josephine and Daphne), and head to Florida with an all-girl orchestra. Both men fall for lead singer Sugar Kane (Marilyn Monroe), but their fake identities prevent them from acting on their desires -- at least at first. Long before Tootsie and Mrs. Doubtfire, Wilder gave us this comic, gender-bending masterpiece, which came at the very end of the conservative '50s, providing a preview of the more liberated decade to come. Here the director is in pure comedy mode, and pulls off a tricky premise brilliantly. Lemmon and Curtis make an ideal comic duo, Monroe sparkles as the object of their sisterly affections, and Joe E. Brown nearly steals the picture as a dotty millionaire besotted with Lemmon's Daphne. A howl, truly.

Ship Of Fools (1965) -- Set in 1933, a tragic turning point in Germany's history, Stanley Kramer's psychological drama trails a disparate group of passengers sailing from Vera Cruz right into the heart of fascism. The ship's a kind of purgatory, holding a washed-up baseball player (Lee Marvin), a faded beauty (Vivien Leigh, in her last film), two combative young lovers (George Segal and Elizabeth Ashley), and assorted other characters. Based on Katherine Anne Porter's novel, producer/director Stanley Kramer creates a fascinating, emotionally gripping film with a conscience. "Ship" stays afloat thanks to Abby Mann's sharp screenplay and a slew of memorable performances: Simone Signoret as a Spanish activist, Oskar Werner as the onboard doctor, and Oscar-nominated Michael Dunn, whose direct-address speeches are worthy of Sophocles. And then, there's the incomparable Lee Marvin, riveting as always.

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The Ten Greatest from Great Britain

Calling all Anglophiles: the Criterion Collection has a treat in store.

Their essential new DVD set, "David Lean Directs Noel Coward", brings together pristine transfers of four legendary film collaborations between famous English playwright/personality Noel Coward and a young film editor named David Lean.

Talk about a heaven-sent collaboration. At this critical juncture in British history (1942-1945), with the Second World War raging all around them, these two men sensed just what a struggling, uncertain public craved... specifically, films that:

Reminded them just what they were fighting for (1942's In Which We Serve),

Romanced the lives of ordinary British citizens (1944's This Happy Breed),

Provided much-needed fantasy and escapism (1945's Blithe Spirit), and

Revived the prospect of romantic love after six years of conflict and sacrifice (1945's Brief Encounter).

Coward and Lean were uniquely well-positioned to help each other at the time: Lean's cinematic skill allowed Coward to transfer his special gifts from the footlights to the cinema with deceptive ease, while Coward's creative sensibility gave a brilliant but uncertain young editor the confidence to emerge as a world-class director.

After screening these priceless entries -- all so quintessentially English -- I resolved to compile my own top ten, "desert island" list of British films across the decades -- those that evoke most powerfully the unique character of this proud, hearty people. (Note: it feels like no accident that the first three titles listed also come to us courtesy of our friends at Criterion.)

The Lady Vanishes (1938) -- When elderly Miss Froy (Dame May Whitty) disappears without a trace on a train en route to England, her acquaintance Iris (Margaret Lockwood) searches every cabin and corner -- without success. Stranger still, the other passengers deny this charming old lady ever existed. Despite their skepticism and her own increasing self-doubt, Iris pursues the truth with the aid of handsome musician Gilbert (Michael Redgrave), who's more attracted to Iris than to the mystery. Alfred Hitchcock's timeless early classic begins on a high comic note, then quickly transforms into a suspense film with political overtones. As in The 39 Steps, the priceless banter between the heroine and her unlikely ally elevates what is already a nifty nail-biter into something infinitely more special: a romantic mystery. The cast of eccentrics -- especially two English tourists played by Basil Radford and Naughton Wayne -- give this"Lady" extra punch, and Dame May Whitty is adorable as the elusive old lady who causes all the fuss.

The Life and Death Of Colonel Blimp (1943) -- The prodigious British filmmaking team of Michael Powell and Emeric Pressburger, dubbed "The Archers," released this, their first color feature, at the end of the costly Second World War. The film recalls the life of a career military officer, General Clive Wynne-Candy (Roger Livesey), whose postings and exploits mirror the fortunes of his country. Less war film than human drama, we flash back to Wynne-Candy's younger days, his relationships with three key women in his life (all played by Deborah Kerr), and a sorely tested friendship with a German officer (Anton Walbrook). The lengthy but immensely rewarding Blimp is a warm, fond salute to a colonial British Empire which would never exist again. Livesey is superb as the beloved central character who ages forty years over the course of the film, and Walbrook is equally astonishing as Wynne-Candy's German friend, whom he's forced to oppose in wartime. And young Deborah was never more luminous than in this early role. Once again, Criterion deserves credit for a gorgeous high-definition transfer of this masterpiece, which makes the old seem new again.

Great Expectations (1946) -- In British director David Lean's superb rendering of the Dickens classic, we follow the changing fortunes of Pip, an orphan who reaches young manhood (as John Mills), only to discover he has an anonymous benefactor intent on making him a real gentleman. With his new friend Herbert Pocket (Alec Guinness), Pip sets out to make his mark in bustling, 19th-century London. But just who is Pip's mysterious sponsor? Perhaps the finest Dickens adaptation ever, this rich, fascinating film about chance encounters and changing fortunes begins with a nerve-rattling sequence in a graveyard that's one of the finest moments in British film. Both Mills and Guinness are a trifle old for their roles, but their virtuosity fully compensates. Guinness, in his first significant screen appearance, is particularly striking as Pocket, giving us a tantalizing taste of things to come. This bona-fide classic more than lives up to "Expectations."

The Ladykillers(1955) -- Criminal mastermind Professor Marcus (Alec Guinness) and his motley crew of thieves are planning a daring bank robbery. To provide suitable cover, they masquerade as a group of amateur musicians and take lodgings at the home of kindly old Mrs. Wilberforce (Katie Johnson). The Professor assumes the aged landlady will remain unobstrusive and clueless to their machinations, but he sorely underestimates her. Man in the White Suit director Alexander Mackendrick and Guinness reunite in this peerless black comedy, which benefits from William Rose's ingenious story and the finest casting a comedy could hope for. Guinness' Marcus is the essence of smarmy charm (check out his false teeth, which create a slightly menacing quality). The gang itself is a truly inspired bunch of misfits, including Cecil Parker, Herbert Lom, and a portly Peter Sellers (the latter two would reunite years later for the Pink Panther series). But it's the diminutive Katie Johnson who very nearly steals the picture; her Mrs. Wilberforce projects a steely will cloaked in Victorian gentility. (Be warned: don't confuse this with the inferior Coen Brothers' remake starring Tom Hanks.)

>The Loneliness Of The Long Distance Runner (1962) -- Sentenced to a boys' reformatory for robbing a bakery, rebellious English punk Colin Smith (Tom Courtenay) soon attracts the interest of the school's governor (Michael Redgrave) for his athletic prowess. Hoping to groom Colin for a cross-country race against a public school, the governor endows him with special privileges. But is the embittered Colin willing to be house-trained? One of the best of Britain's Angry Young Man films, Tony Richardson's expressive drama hinges on the complex psychology of Colin, an uneducated but cunning youth still smarting from the recent death of his father. Richardson builds tension by cutting between the restrictions and tensions of reform-school life and Colin's recollection of events leading up to his arrest and detention. Courtenay (of Billy Liar fame) gives a haunting performance in the title role, and Redgrave is masterful playing a cold rehabilitator obsessed with winning a trophy. For a powerful expression of working-class disaffection, go the distance with this "Runner."

Women in Love (1971) -- In 1920s England, at a picnic in honor of their newly married friends, bosom buddies Gerald (Oliver Reed) and Rupert (Alan Bates) meet and fall in love with free-spirited artist Gudrun (Glenda Jackson) and her schoolteacher sister, Ursula (Jennie Linden), respectively. After a brief courtship, Gerald marries Gudrun and Rupert weds Ursula. But during a honeymoon vacation in the Swiss Alps, their relationships veer onto wildly divergent paths. This intelligent, passionate adaptation of the D.H. Lawrence novel by British director Ken Russell fuses romantic classicism with frank talk, as the frolicking foursome openly discuss their philosophies of love and desire, friendship and commitment. Reed and then-unknown actress Glenda Jackson are especially compelling as the couple whose marital life is corrupted by her frivolous affair with a bisexual painter in Switzerland. Russell has an eye for the striking and extravagant, like the nude fireside wrestling match between Gerald and Rupert, and such daring, unexpected episodes are part of the film's enduring appeal. What's not to "Love"?

Dance With a Stranger (1985) -- In Mike Newell's recounting of the crime that shook England, Ruth Ellis (Miranda Richardson) is a club hostess with the bad fortune to meet and fall for the wealthy, careless David Blakely (Rupert Everett), a young playboy whose attentions toward Ruth eventually turn sporadic. Ruth truly loves David, so his inconstancy wreaks havoc with her already delicate mental state. Ruth's loyal friend Desmond (Ian Holm) tries to steer her off this destructive course, but fails. This tortured romance is bound to end in tragedy. This beautifully rendered, superbly acted film recreates events leading up to one of England's most famous crimes of passion. Newell painstakingly revives the look and feel of 1950s London, using this sordid affair to examine the ingrained class differences that doomed the couple from the start. Richardson, Everett, and Holm are marvels to watch, and the film's shattering climax is worth waiting for. Catch this chilling romantic thriller.

My Left Foot (1989) -- Jim Sheridan's film unfolds the Incredible but true story of Irishman Christy Brown (Daniel Day-Lewis), afflicted with severe cerebral palsy who, through sheer will and persistence, finds an outlet as an artist and writer -- using just his left foot. Brenda Fricker plays Christie's biggest booster and helpmate, his mother. This immensely moving, inspirational tale is carried by a once-in-a-lifetime performance from Day-Lewis, undoubtedly one of the finest, most painstaking feats of acting ever captured on film. Fricker is also outstanding as Mrs. Brown, a woman strong enough to stand by Christy each torturous step of the way. Rarely were two acting Oscars so well earned. Also nominated for Best Picture, Director, and Screenplay, Foot is one of those special movies that merits a repeat viewing every few years. You should rediscover this treasure soon.

Howard's End (1992) -- James Ivory's meticulous adaptation of E.M. Forster's book depicts the subtle transitions in the British class system in the early 20th century. The film traces the evolving relationship between Henry Wilcox (Anthony Hopkins), a restrained and conservative industrialist, and Margaret Schlegel (Emma Thompson) -- a poor, yet plucky younger woman. Few filmmakers capture period detail like the team of Merchant-Ivory, and this may be their finest hour. Here, a brilliant Hopkins is the personification of upper-class British reserve, while Thompson is expressive and radiant in an Oscar-winning performance. Vanessa Redgrave portrays Hopkins' dying wife with poignancy, and a youthful Helena Bonham Carter is suitably fiery as Thompson's "modern" sister. Don't miss this literate, human drama of the first order.

Vera Drake (2004) -- Vera Drake (Imelda Staunton) is a maternal, middle-aged housekeeper in a working-class London neighborhood of the 1950s who's known to everyone as a nurturer. She cares for her elderly mother and many others, who depend on her generosity and compassion. Less known, even to her husband Stan (Phil Davis), is that Vera also helps poor young women with unwanted pregnancies end them, an illegal practice that she sees as ethical and necessary, but that may eventually leave her life in ruins. Written and directed by the gifted Mike Leigh, this heart-wrenching drama concerns a woman whose almost saintly sense of charity extends to all around her, but whose naiveté ultimately results in a traumatic reckoning with authority. Though he's dealing with a hot-button issue, Leigh does not moralize or sentimentalize, leaving us to mull the fate of an abortionist who even the police are loath to vilify. In a movie chock-full of outstanding performances, Staunton's Oscar-nominated turn as the kindly Vera is an acting feat of rare heart and authenticity.

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When Comedy Was Clean and Comediennes Were King

First, let's acknowledge that I laughed as hard at Bridesmaids as most anyone else. It was a consistently diverting, often very clever romp, and I thought Kristen Wiig and the rest of the cast were, on the whole, first-rate.

That said, even with the extra smarts and wit that distinguished this movie from so many imbecilic contemporary comedies, Bridesmaids still got most of its laughs from "below the belt" humor: gags involving sex, bodily functions, and drug use.

The great comedians of yesteryear -- Bob Hope, Jack Benny, even Bill Cosby -- referred to performing this type of material as "dropping your drawers." It was a last resort they themselves would never resort to.

Today, it seems that "drawer-dropping" comedy is all there is, and beyond any taste issues, I recognize what the old masters felt- the fundamental issue of going for the easy laugh... As one wag put it: "You laugh, but you're not happy about it."

Every so often, I like to be happy about what I laugh at... so much as I admire Ms. Wiig, my heart belongs to those fabulous silver screen comediennes that populated the evergreen comedies of yore: Carole Lombard, Jean Arthur, Irene Dunne, Claudette Colbert, Barbara Stanwyck and Rosalind Russell.

In fairness, unlike Ms. Wiig, these folks did not write their own material (neither in fact did Bob Hope or Jack Benny). Instead, they were skilled interpreters of a certain type of gossamer, highly sophisticated comedy that's long been extinct.

To animate those words and scenes required a keen sense of comic timing and instinct, all of which these actresses possessed in abundance. They also recognized the inherent absurdity of the human condition, and understood the therapeutic value of poking fun at it.

As a result, these special ladies made us laugh -- and feel smart -- at the same time.

For those wanting a respite from today's low, "in-your-face" brand of comedy, here are a few tried-and-true classics featuring these top screen comediennes:

Carole Lombard: Twentieth Century (1934)- Broadway producer Oscar Jaffe (John Barrymore) creates a star in the beautiful Lily Garland (Lombard), then alienates her, causing a decline in his own fortunes. Some time later, he happens upon Lily, now embarked on a glamorous Hollywood career, on the luxurious Twentieth Century Limited train. Taking full advantage of her on-board captivity, Oscar launches a no-holds-barred campaign to woo her back into the Jaffe fold. Howard Hawks's Twentieth Century stands as one of the great early screwball comedies, with an over-the-top Barrymore delivering perhaps his funniest screen performance as the desperate, histrionic Jaffe. As Lily, Lombard manages at once to be leading lady gorgeous and more than slightly nutty herself. The inspired script, which Charles MacArthur and Ben Hecht adapted from their own play, moves just as fast as that train. All aboard, comedy fans!

Jean Arthur: Mr. Deeds Goes To Town (1936)- Simple country boy Longfellow Deeds (Gary Cooper) inherits an immense fortune from a wealthy distant relative he doesn't even know, and must then navigate a sea of handlers and hand-out requests to make sense of his new life as multi-millionaire. But those who think they can manipulate this tuba-playing rube are in for a rude awakening. At the top of that list is Babe Bennett (Arthur), a beautiful but ruthless reporter who's sent undercover to get a scoop on Deeds, but soon finds her personal feelings getting in the way of business. This quintessential Frank Capra charmer is one of Cooper's most appealing comic forays, as his plain-talking, homespun personification of rural America outfoxes all those smug and greedy city slickers. Arthur is also terrific as Babe, the hard-nosed lady journalist who first ridicules, then falls for Longfellow, much to her own surprise. One of the screen's authentic classics, this is pixilated comedy at its very best. Beware the execrable Adam Sandler re-make.

Irene Dunne: The Awful Truth (1937)- Cary Grant and Irene Dunne play Jerry and Lucy Warriner, an affluent, attractive young couple who temporarily drift apart and initiate divorce proceedings. Both are unwilling to admit the obvious fact that they're still in love. Jerry plays the field, but always seems to be turning up (mostly to visit their dog, Mr. Smith). His visits only increase once Lucy gets involved with oil man Dan Leeson (Ralph Bellamy), a wealthy rube from Oklahoma. The couple's slow but inevitable rapprochement becomes one hilarious, delightful dance. Director Leo McCarey was renowned for his comedic flair (he had directed the Marx Brothers in Duck Soup), and this consistently sharp, often sidesplitting picture shows why. Reportedly the director actually improvised many of the comic set pieces right on the set, causing rising star Cary Grant much anxiety. He needn't have worried. The film was a hit, and cemented the reputations of both stars as much more than pretty faces, but in fact, gifted comic players with superb timing. Both Dunne and Bellamy received Oscar nods, while McCarey won for Best Director. Among the top screwball comedies ever made- and that's the truth!

Claudette Colbert: Midnight (1939)- Arriving at midnight in Paris without a penny to her name, American showgirl Eve Peabody (Colbert) meets Hungarian cabbie Tibor (Don Ameche), who takes an instant shine to this beauty in gold lame. Eve has other plans, though, and ditches Tibor to crash a Parisian high-society party, using his exotic-sounding surname. There, the "Baroness Czerny" meets aristocrat George Flammarion (John Barrymore), who, once he learns of Eve's clever disguise, makes her an irresistible proposition. Claudette Colbert was never better than in Mitchell Leisen's classic screwball comedy, which has lost none of its punchy wit or saucy flair with time. That has a lot to do with the cheeky script by Billy Wilder and Charles Brackett, who keep things delightfully ripe with the threat of Eve's exposure: Barrymore lures her to Versailles, where her job is to distract Jacques Picot (Francis Lederer), playboy lover of his wife, Helene (Mary Astor). When Ameche shows up in pursuit of Colbert, the fun really begins. The impeccable plotting and cynical banter will keep you in stitches!

Rosalind Russell: His Girl Friday (1940)- Sneaky, slimy editor Walter Burns (Cary Grant) will stop at nothing to prevent his best reporter (and former wife) Hildy Johnson (Russell) from leaving the exciting newspaper business for a dull marriage to the chronically normal Bruce Baldwin (Ralph Bellamy). As fate would have it, the year's biggest story is breaking, as condemned killer Earl Williams (John Qualen) breaks out of jail, and even Hildy can't resist the lure of the scoop. Will Walter's nefarious scheming prevent Hildy from reaching the altar? The legendary Howard Hawks directs what may be the fastest film comedy ever. A remake of The Front Page, this version's inspired plot twist is that Hildy is a female reporter, formerly wed to loveable scoundrel Burns. The conceit works, as underneath Walter and Hildy's scathing, rapid-fire repartee we sense a strong (though somewhat twisted) attraction. Both Grant and Russell are in top form, and all we have to do is keep up with them. A rip-roaring good time, start to finish.

Barbara Stanwyck: The Lady Eve (1941)- Colonel Harrington and daughter Jean (Charles Coburn and Stanwyck) are skilled card sharks who intend to ply their lucrative trade on board a chic ocean liner. Also on board is Charles Pike (Henry Fonda), a shy, naive heir to a brewery fortune. He's the perfect mark, but Jean starts to fall for him. Once off the boat, Pike resumes his normal life, but his ordered world gets disrupted once more when he meets an English lady with a striking resemblance to Jean. Could it be? Preston Sturges's crazy genius jumps right off the screen in this hilarious movie. A highly successful screenwriter before adding directing to his resume, he had an off-the wall sensibility that was way ahead of his time, and more than anything he'd done up to this point, this release proved it. Sturges's brilliantly anarchic script is brought to life here by a first-rate cast: Stanwyck is at the peak of her appeal as a husky-voiced con lady with a surprisingly vulnerable heart, and Coburn is incongruously cuddly as her father. Fonda also makes for a surprisingly effective straight man. This is one Lady you should stand up for.

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The Best of Rock 'n' Roll on Film

For social gatherings at home built around screening movies (and yes, folks -- movies can still be a communal experience), outstanding rock documentaries and concert films are virtually guaranteed crowd pleasers, particularly if your home theater set-up includes a quality sound system.

And no surprise, there are a host of fabulous rock titles on DVD and (now) Blu-ray that only improve with repeat viewings. Here are my top ten...

With A Hard Day's Night (1964), director Richard Lester not only unveils the inner workings of a rock n' roll band experiencing a sudden, virtually unprecedented acclaim, he also breathes new life into musical film itself. The disarming charisma and spontaneous energy of The Beatles made no traditional plot necessary. It was sufficient to portray a day in the life of the world's most talked about rock band. "The boys", as they're constantly referred to, spend their time narrowly avoiding masses of hysterical fans, jumping into cars and trains which in turn take them to the next hotel room, or sound stage, or performance hall. They each face this hectic life with humor and relative calm. And then they perform! Lester's documentary-style shooting makes all the proceedings feel breathtakingly real -- at first we assume everyone is improvising, though this was not the case. (Only John had the confidence to do it). Regardless, all four Beatles were natural performers, especially John and Ringo. The Fab Four are also matched here with fine British character actors like Norman Rossington (as their manager), and Wilfrid Brambell (as Paul's incorrigible grandfather), who provide additional comic support and flavoring. Night remains the perfect introduction to Beatlemania for your kids -- in all, a breathtaking, joyful musical ride.

It was 1967, the summer of love, a charged moment when rock music was evolving in daring new directions, fueled by psychedelic drugs, the sexual revolution, and a new generation finding its voice. It was also the summer of "Sergeant Pepper's", and the Monterey Pop Festival, which documentarian D.A. Pennebaker covered like a blanket, filming everything and everyone. Thus was created the first feature length rock concert film, Monterey Pop, showcasing immortals Jimi Hendrix, Otis Redding, Janis Joplin, Jefferson Airplane and The Who, among others. The incredible music they made lives on, but Pennebaker's magic camera makes it seem so close and so real that the distance of forty-plus years quickly recedes. The Criterion Collection's remastered three disc set contains the original eighty-five minute feature, and for those wanting more (and who wouldn't?) a second disc focusing on Hendrix and Redding's stunning work, and finally, a third DVD full of priceless out-take performances. This set is a must for true lovers of classic rock.

Of course, the monster of all rock concerts, and concert films, is Woodstock: 3 Days Of Peace And Music (1970), Michael Wadleigh's astonishing visual document of the legendary three-day music festival that drew nearly 500,000 people to Max Yasger's farm in 1969. A slew of cameras, (one of them manned by a young Martin Scorsese) roam from stage to mud-caked street, encountering band members, crew, fans, cops, and local "squares" alike, while the greatest acts of the time -- Hendrix and The Who (again), along with Joe Cocker, Sly and the Family Stone and others, perform at their respective peaks. Musician and "person-in-the-street" interviews are interwoven with concert performances, all of it presented in the then-ground-breaking format of multiple on-screen images. Most everyone appears justifiably awestruck at the influx of humanity that fueled this largest of all "happenings." "Woodstock" is a nearly four-hour kaleidoscope of unremitting fascination, another must for rabid rock fans. (And hey -- what's in them brownies?)

Filming what would become the classic Gimme Shelter (1970), master documentarians Albert and David Maysles were on hand to record the infamous free Stones concert at Altamont, which along with the Manson murders, brought the decade of flower power and free love to a dark, ominous close. We see not only the fateful concert itself, but all the advance planning leading up to the event. Given all the camera captures here, Shelter remains a uniquely powerful, often disturbing film document. Scenes of the advance work for the Altamont concert impart a queasy feeling of dread. Then, coverage of the concert itself juxtaposes fabulous renditions of Stones tunes with the emerging reality of a volatile situation just off-stage. There, drugged-out Hell's Angels bikers start beating audience members, causing one fatality. Jagger's numbed expression as he later views the video playback of the incident is unforgettable. This fascinating, frightening film records a tumultuous moment in our popular culture, and a turning point in the history of rock.

One person who seemed wholly unaffected by the close of the sixties was the king of '50's rock-n'-roll, still very much kicking in Denis Sanders' rousing Elvis: That's The Way It Is(1970). Here we find Presley at a crossroads, with the waning of his movie career allowing him to get back to live performing. Presley looks terrific as he rehearses for his much ballyhooed Las Vegas opening, and beyond the force of his charisma and talent in full blossom, we get a glimpse of Presley's comical, playful side, which humanizes this larger-than-life entertainer. Way culminates in a predictably triumphant opening night performance, with such luminaries as Cary Grant and Sammy Davis, Jr. in attendance. The ensuing years would not be kind to Elvis, which lends poignancy to this last moment when he appeared at his very best.

Several years later, in The Last Waltz (1978), wunderkind director Martin Scorsese would capture The Band's farewell tour after sixteen years on the road. To mark the milestone, the group assembled a rock hall-of-fame to join them, including Bob Dylan (whom the group backed for years), Eric Clapton, Joni Mitchell, Van Morrison, Muddy Waters, Dr. John and Neil Young. The rest is music history. Robbie Robertson, the film's producer and guiding light behind The Band, is the epitome of cool, off-stage and on. Highlights include Joni Mitchell's "Coyote", Waters' earthy, soulful "Mannish Boy", Dr. John's dreamy "Such A Night", and Clapton's jaw-dropping guitar work on "Further On Up The Road". Scorsese hired top directors of photography to film this event from every angle, and the result is an intimate, exhilarating ride into the heart of rock music.

Filmed over a three-day stint at Hollywood's Pantages Theater, director Jonathan Demme's first musical outing, Stop Making Sense (1984) celebrates the inspired pop energy of David Byrne's Talking Heads, as they're joined onstage by a succession of phenomenal players, including keyboardist Bernie Worrell. This infectious film captures the group at the pinnacle of their fame, but still it's much more than a filmed performance. Working from an idea hatched by Byrne, Sense opens with his solo rendition of "Psycho Killer" (accompanying himself on a boom-box), and then builds, song by song, to a roof-raising climax with "Burning Down the House." Demme's film is an uplifting, concept-driven dance party that avoids all the clichés.

Roy Orbison: Black and White Night (1988), a star-studded concert filmed at the historic Coconut Grove in downtown Los Angeles, features the falsetto-voiced pop star at the peak of his powers. Joining Orbison onstage are Bruce Springsteen, Bonnie Raitt, Jackson Browne and many others, singing gently rocking ballads like "Pretty Woman" and "Crying" in a rollicking hour of delightful, swinging collaboration. Originally aired on Showtime, Night evokes a 1940s nightclub environment complete with art deco set design, gorgeous black-and-white photography, and Orbison's trademark shades. But aside from director Mitchell's nostalgic, ever-inviting aesthetics, it is the musical performances that remain so compelling. Orbison sounds like he hasn't lost a beat (or missed a note) since his Sun Records days, and his duets with Elvis Costello, K.D. Lang, Tom Waits, and producer T Bone Burnett feel warm and rich, rather than like a stale imitation of previous successes. Who else can croon "Only the Lonely" so hauntingly? A Black and White Night is a triumph for Orbison, and a vibrant, living testament to his unique gift.

Rock devotees should also catch director Scorsese's No Direction Home (2005), an ambitious, insightful profile of Bob Dylan, first covering the enigmatic balladeer's rise, then his risky, courageous transformation from folk artist to rock'n'roller in the mid-sixties. Simultaneously, Dylan was under pressure from colleagues, fans and the press to assume a more active political role in those divisive days, but he steadfastly refused, for his own simple but unshakable reasons: he wanted simply to make music, and have the music speak for itself. The film suggests that even if Dylan's 1966 motorcycle accident hadn't sidelined him indefinitely, he still would have taken a lengthy hiatus from live performing, as his mid-sixties English tour was met with audience hostility every time the singer picked up an electric guitar, further straying from his folk roots. Including modern day interviews with Joan Baez, Pete Seeger, and Allen Ginsberg, Scorsese crafts a penetrating sixties time capsule, and a revealing meditation on the price of artistic integrity and iconic super-stardom.

Finally, in Neil Young: Heart Of Gold (2006), the legendary rocker debuts a suite of new songs at Nashville's historic Ryman Auditorium, former home of the Grand Ole Opry. This exquisite concert film captures Young performing these and a few older chestnuts with his pals, including wife Peg and Emmylou Harris, among others. Evocative backdrops, moody set lighting, and Jonathan Demme's fluid camerawork add to the experience. This lovely, deeply affecting music doc gets the red-carpet treatment from the director, who briefly introduces each of the players on their way to the show before literally zooming in on Young's remarkable performance. Singing folk-country songs about mortality, empty nests, and aged parents, Young's choppy rhythms and images of swaying Canadian cornfields harken back to his early '70s work on "Harvest" and "Comes a Time." It's obvious he's enjoying himself, and his between-song banter is tart, concise, and utterly charming. If you don't come away from Heart of Gold humming, you better have your ears checked.

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Oscar Recap: A Year Where Older Is Better

Though my own hit rate on Oscar predictions was just a bit over fifty percent, I was still smiling at the end credits.

Coming off last year's debacle hosted by zombie-like James Franco and the impossibly chirpy Anne Hathaway, it was gratifying to see the Academy finally pull off a halfway decent telecast.

Beyond the return of recurring host Billy Crystal, I thought the pacing of the show was better. It actually moved along, with fewer windy speeches and pointless production numbers.

Many are panning the evening of course, saying Crystal's gags fell flat and claiming the show felt old and tired.

Well, though I'll admit he was not batting a thousand on all his routines, I thought Crystal was a solid improvement over the Franco/Hathaway team, and it seemed the large and seemingly appreciative audience who watched it with me (in a theatre no less) felt the same.

Granted we were an older crowd. (Hey-why is "old" such a dirty word anyway?)

After the 2011 awards, when it was so painfully obvious that the Academy was trying to reinvent itself for a younger audience, this year "older" proved to be pretty winning.

Let me count the ways:

Even just one year ago, who could have predicted that a (mostly) silent, black and white movie harkening back to olden days could win Best Picture and four other major Oscars? I can tell you: no one.

Then, nearly half a century after making The Sound Of Music, octogenarian Christopher Plummer wins his first Academy Award. Talk about a Hollywood ending!

Finally, Meryl Streep, on her record-breaking seventeenth Oscar nod, finally scores another statuette after almost three decades. Her acceptance speech, full of warmth and humility, confirmed what we already suspected: she's a total class act.

So -- speaking as someone over fifty whose passion is looking back at the best of film, there was at least something to applaud in this year's Oscars.

As to the movies themselves, it's striking that the industry just bestowed their top honor on a film that could never have been sold in Hollywood.

Beyond all the charm and virtuosity in The Artist, what's so fundamentally cool about it is the boldness of its conceit.

In a cinematic landscape saturated by 3D and CGI, imagine pitching a silent film that dares to play by rules that became obsolete eight-five years ago.

And it worked.

Amazingly, jaded, money-hungry Hollywood, married as it is to formulaic movie franchises, just tipped its hat to something daringly original.

Will this have any impact on the kinds of features we see produced in the years to come?

Probably not, but it's nice to hope.

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An earlier version of this post incorrectly stated that Natalie Portman was a host on last year's Academy Awards.

2012 Oscars - Picks and Perspectives

Thinking ahead to Sunday, what's my overall impression? Well, correct me if I'm wrong, but this seems like a pretty lean year.

Unquestionably, there are a few memorable films in the running, but also a lot of filler -- some nominees that simply make you scratch your head in wonderment.

For instance, I was stunned to find the oppressive Extremely Loud and Incredibly Close as a Best Picture nominee. How did that happen?

I was also surprised to see newcomer Rooney Mara getting a best actress nod, and Melissa McCarthy making the list for Bridesmaids. (Not that Rooney and Melissa didn't do fine work -- but this is the Oscars, right?)

How about Undefeated, the Blind Side retread and nominee for best documentary that earned lackluster reviews and a whopping 5.0 on iMDb?

Then there are the omissions, like Steve McQueen's potent Shame, which certainly should have earned Picture, Director and Actor nods (for Michael Fassbender). And how could Michael Shannon get passed over for Take Shelter, or, for that matter, Kevin Spacey and Jeremy Irons for Margin Call?

This reminds us that much like Washington, Hollywood lives in its own little bubble. Though this isn't exactly news, it's troubling when the industry's biggest annual event makes it quite so obvious.

Commentary aside, here are my own humble predictions for the major awards this year:

Best Picture: Along with many others, I am expecting The Artist to win, and pray this comes to pass. It is a touching and heroic film, a tribute to everything movies once were, and still can be. (Not to wear my movie sensibilities on my sleeve, but the magical Hugo would be my back-up choice -- the finest work Scorsese has produced since Goodfellas.)

Best Actor: I have a hunch George Clooney will take it, as I think he really stretched himself in The Descendants, and earned it. Still, Brad Pitt could prevail, particularly since he's yet to win an Oscar. I doubt Jean Dujardin will be trotting up to the lectern, though I'd be thrilled if this happened. (It would also be heartening to see Gary Oldman up there, as he's the best actor of the whole bunch.)

Best Actress: Viola Davis made The Help as strong as it was, and I think she'll get it. Don't count out Meryl though, as she's having one hell of a late career run. And though she's been nominated an astonishing 17 times, she has not won anything in nearly 30 years.

Best Supporting Actor: Christopher Plummer, for all the right reasons. And with several wins, including a Golden Globe, under his belt, his triumph feels inevitable. (If Jonah Hill wins, I'm going on a bender. And I like baseball.)

Best Supporting Actress: I'm rooting for Janet McTeer, because she's the finest actress virtually no one's ever heard of, and she almost redeems a pretty lousy film. (If not, then just perhaps Jessica Chastain -- because 1) she's good, 2) she's in everything all of a sudden, and 3) it seems she's here to stay.)

Best Director: This one will be interesting: I favor Scorsese, but Michel Hazanavicius or even Alexander Payne might snag it. Then there's Terence Malick, of course, as the dark horse. I don't see Woody getting it. (Admirably, he avoids the Oscars. I also seem to be one of the few who thinks Midnight In Paris was overrated.)

Best Screenplay: For original screenplay, I vote for The Artist, though it would be nice to see Margin Call win for something. For best adapted screenplay, I'm putting my money on The Descendants.

Best Foreign Film: A Separation, by all means!

Best Art Direction: To my eyes, Hugo should win here, but The Artist is a contender.

Best Cinematography: The Tree Of Life, and well-earned. Whatever one may think of it otherwise, it's hard to argue the film is not brilliantly shot!

Now watch, I'll get it all wrong. Or maybe not. Regardless, at least we'll have the gowns -- and Billy Crystal.

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Best Actor: Clooney or Pitt?

No doubt: it's been a very good year for both these stars.

And much as I admire Jean Dujardin's sublime performance in The Artist, my hunch is that the industry will favor one of its own on Oscar night.

So who will it be -- George or Brad?

I'm saving my prediction for a later Oscar piece, but for now simply want to consider these actors' respective contributions, leading up to and including 2011.

And you'll note I say "actors," because one thing this past year confirmed was that both these handsome, movie-idol type personalities can, in fact, really act.

Some will claim they've always known it, but for me this was a pretty striking discovery. Too often Pitt and Clooney have been constrained by their leading man status to playing cool, heroic protagonists who save the day and get the girl. And they appear to be playing themselves. (Sometimes even on the same screen, as in Ocean's 11.)

Of course, this approach tends to work well at the box office, but does not leave more critical viewers with a true appreciation of the stars' actual acting range.

Still, as their respective careers progressed, both men used their clout (and advancing ages) to insist on more offbeat roles that would stretch their talents on-screen.

Prior to 2011, I think Pitt was somewhat more successful in registering his versatile acting chops in his films. I've always sensed a certain sameness to Clooney -- a slick, cocky quality that was hard for him to leave behind. And when he did, it felt forced.

Example: I felt he was miscast in as producer Fred Friendly in the over-stylized Good Night and Good Luck from 2005. I'd met the real Friendly, and trust me, he was nowhere to be seen in Clooney's performance.

That's why his work in The Descendants is such a revelation. Almost for the first time, George brings off the role of a vulnerable, imperfect, struggling, suffering human being. I liked this man, and more important, I cared about him.

Whatever one may think of the film overall (I loved it), I find it harder to understand those who don't recognize this as Clooney's best work to-date.

As for Brad, personally I think he's being nominated for the wrong movie -- the one that shows him playing the movie star (the overrated Moneyball) rather than the actor (The Tree Of Life).

True, stars often win Oscars for past roles or their body of work rather than for the performance they're actually nominated for. Think Elizabeth Taylor for 1960's Butterfield 8, or nearly a decade later, John Wayne for True Grit.

Coincidentally, Clooney and Pitt are each up for two Oscars this year: in addition to their acting nods, Clooney is nominated for screenplay (The Ides Of March) and Pitt for picture (as producer of Moneyball).

Clooney has been nominated a total of seven times (four acting, one directing, two screenplay nods) and won once for his role in Syriana (2005). Pitt has received four nods, all for acting, besides this year's producer's credit. He has yet to take home an Oscar.

So which way will it go? I'll reveal my own hunch in a week's time. Meanwhile, I'd love to hear what you think.

As we all debate and wonder, here are just a few of my own favorite Pitt and Clooney titles, available on DVD.

Seven (1995)- A week before his retirement from the homicide division in an urban police department, world-weary Detective William Somerset (Morgan Freeman) finds himself on the tail of an ingenious serial killer whose grisly murders are inspired by the seven deadly sins. Adding to his stress is cocksure newbie David Mills (Pitt), who's joined the unit as Somerset's replacement after persuading his reluctant young wife (Gwyneth Paltrow) to move back to the city. At first, neither lawman realizes how madly brilliant the sermonizing psycho is, or how much pursuing this case to the end will ultimately cost them. Crackling with suspense and an almost unbearably persistent tension, David Fincher's Seven plunges us into the murky underside of a nightmarish, rainy, unnamed city, where two detectives at opposite ends of their respective careers are drawn into the darkest corners of their own consciousness. Pitt and Freeman, representing modes of innocence and experience, arrogance and wisdom, are perfectly matched, and Fincher's neo-noir style further builds the film's psychological intensity. Edgy, bleak, and unforgettable, Seven ranks with Silence of the Lambs as one of the most harrowing policiers of the '90s.

Out Of Sight (1998)- Handsome, suave career bank robber Jack Foley (Clooney) escapes from a Florida prison, only to be nabbed by gorgeous federal marshal Karen Sisco (Jennifer Lopez). Foley's partner Buddy (Ving Rhames) intervenes, however, and the crafty convict squirms away, but not before he and Sisco have a long, overheated ride in the trunk of a car. While both fantasize about their mutual attraction, priorities prevail: Jack plans a major diamond heist, and Sisco checks up on his former associates and kooky ex-wife (Catherine Keener) hoping to smoke him out. Mining the risqué wit and edgy, intricate plotting of Elmore Leonard's novel, this cool, stylish crime-caper romance by Steven Soderbergh is designed solely for one purpose: to entertain. Clooney, trying to escape bush-league fame on TV's ER, projects all the bad-boy self-confidence and irresistible charm that would soon make him a movie star. Lopez is tough but alluring too, a sultry match for Clooney's charismatic, calculating Foley. Strong support from Keener, Rhames, Dennis Farina, Albert Brooks, Luis Guzman, and especially Don Cheadle (as a psychotic inmate) keep things rolling. Don't let this funky heist flick Out of Sight.

Snatch (2000)- Seedy British boxing promoters Turkish (Jason Statham) and Tommy (Stephen Graham) team up with Irish Gypsy pugilist Mickey (Pitt) to throw a fight organized by crazed mobster Brick Top (Alan Ford). Their paths eventually cross with Franky Four Fingers (Benicio del Toro), a Jewish gangster who's transporting a stolen 84-carat diamond to New York, and dangerous Russian hoodlum Boris the Blade (Rade Sherbedgia), for whom Franky's placed a bet on the fixed fight. Guy Ritchie's kinetic, ultra-stylish heist film is an amalgam of all the best caper films, rolled out with a punk attitude and bristling Cockney accent. The plot is outrageous but loads of fun (wait until a certain dog swallows a squeaky toy), and the ensemble cast -- Statham, Graham, Del Toro, Ford, and Sherbedgia -- may not all be household names, but their fiercely funny performances will stay etched in your mind. Nearly stealing the show is Pitt, playing a crooked bruiser whose Gaelic brogue is hilariously incomprehensible to everyone. Snatch this punchy, black-humored romp through London's criminal underbelly-before someone else does.

O Brother Where Art Thou? (2000)- In Depression-era Mississippi, three convicts -- smooth-talking con man Everett (Clooney), anxious nutcase Pete (John Turturro), and dim-witted rube Delmar (Tim Blake Nelson) -- manage to escape a chain gang, then go on a soul-running, picaresque quest for $1.2 million in hidden cash. Keeping ahead of the law, they encounter bible salesmen and Klansmen, prophets and river sirens, and even manage to record a hit song, all while Everett tries to win back his soon-to-be-remarried wife (Holly Hunter). A wacky cross between "Ulysses" and "Sullivan's Travels," the Coens' stylized slapstick adventure is packed with loopy dialogue, smart visual gags, and plenty of sly cultural references (legendary gangster Baby Face Nelson and sold-his-soul-to-the-devil blues musician Robert Johnson are among the colorful Southern characters the fugitives meet on the road). O Brother is a comic caricature of 1930s Mississippi and its milieu seen through a mythic lens. Terrific support from John Goodman, Charles Durning (as a Southern politico), and Hunter round out a superbly offbeat cast, while Alison Kraus and T-Bone Burnett provide the grace note with their old-timey soundtrack.

Michael Clayton (2007)- New York City lawyer Michael Clayton (Clooney) is a "fixer" for a big firm, cleaning up the dirty messes his high-paying clients leave behind, but lately he's been feeling burned out and disillusioned. Things come to a head for Clayton when his guilt-ridden friend, ace lawyer Arthur Edens (Tom Wilkinson), decides to blow the whistle on a corporate client's massive wrongdoing, thereby threatening his career, his sanity, even his life. One of the thorniest and most celebrated legal thrillers in years, Clayton marks the directorial debut of Bourne trilogy screenwriter Tony Gilroy, whose film is distinguished by intelligent dialogue, meticulous pacing, and plenty of riveting tension. A-lister Clooney adopts a quieter, less showy pose as a troubled lawyer torn between his loyalty to firm honcho Sydney Pollack and his pal Wilkinson, who gives an astounding performance as an erratic, manic-depressive lawyer at the breaking point. As you'd expect, the no-nonsense Swinton is superb as the offending Client's top lawyer (she won an Oscar for this). Director Gilroy handles all the intrigue -- a cover-up, then a murder -- with cold efficiency, but catharsis does arrive in the final scene.

The Tree Of Life (2011)- Terence Malick's latest film is an enigmatic, often profound meditation on nature, innocence, love and faith, experienced largely through the lens of one American family. In a 1950s Texas suburb, Mr. O'Brien (Pitt) and Mrs. O'Brien (Jessica Chastain) raise three sons, teaching them to be good, honorable Christian men. But the family has problems: Mr. O'Brien is a moody, rigid disciplinarian, burdening his sons with his fixation on ambition and masculine ideals. In particular, the eldest boy, Jack (Hunter McCracken), struggles with conflicting feelings about his powerful Dad, and finds various ways to act out and rebel. Later, the grown-up Jack (Sean Penn) embarks on a spiritual quest to understand his painful childhood, the sudden death of his younger brother, and his fractured adulthood. Book-ending the family narrative are sequences portraying both the origin of the universe, and the afterlife. Epic, ambitious, and highly unconventional, some viewers struggled with this autobiographical, long-gestating magnum opus from Malick. Though the director perhaps falls short in making his more abstract, existential sequences cohere with the central story, this barely detracts from the film's blinding impact. Winner of the Palme d'Or at Cannes, Tree is at once visually astonishing and emotionally resonant: its uncanny sense of place and stunning, sun-drenched cinematography evoke those achingly familiar, elusive small moments that give texture and flavor to our daily lives. The lovely Jessica Chastain's career was launched here, but both she and Penn feel slightly underused. Rather, it's Pitt (in the performance of his career) and the young McCracken who make this daring work of genius soar. Branch out and experience this controversial film for yourself.

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Clark Gable: King of Hollywood

As we kick off Oscar month tomorrow, we also honor the birthday of Clark Gable, who picked up a statuette at the seventh Academy Awards ceremony in 1935.

He got it for a movie he did not want to do -- a comedy called It Happened One Night -- and though he would be nominated twice more, he would not win again.

Though he was neither the most sophisticated of men (he liked nothing better than to hunt or fish) nor the finest actor (he reserved that title for his close friend Spencer Tracy), he had a powerful on-screen charisma that went way beyond his evident virility.

He projected a refreshing openness, a confidence that was not off-putting but approachable. This special quality made men like him, and women want him.

As he himself put it: "The only reason they come to see me is that I know that life is great - and they know I know it."

By the late '30s, he was well established as the top star at the top studio in Hollywood, officially proclaimed as the "King Of Hollywood" by both the industry and his public.

Teasingly called "King" by his pal Tracy, he laughed it off. But all the fuss did embarrass him. There was a part of his success he couldn't fathom (what did people see in him up there?).

Still, he knew what worked for him. The way he saw it, he was good simply at playing himself, and had a few proven tricks that worked for him in front of a camera. That was it, and he never kidded himself there was anything more to it.

Acknowledging his limited range, he was savvy about knowing which roles would work for him, while also advancing the Gable image.

Still, it was a long climb to the top.

Born in 1901, the son of an oil driller in Ohio, William Clark Gable was an affable but unremarkable child. His mother died when he was still an infant, and he was raised mostly by his stepmother.

An indifferent student, Clark dropped out of school at 16 and took a host of jobs to support himself. Drawn to the stage when he was just twenty, he saw acting as a way out of working in the oil fields.

He was a strapping young man with startling gray eyes, but had big ears and bad teeth. Still, he was focused, determined, ambitious. He studied his craft, and in 1924, ended up marrying Josephine Dillon, the acting coach who would mentor him in his early career. (She was well over a decade Clark's senior.)

By 1930, after years of small stage roles and work as a film extra, Gable was finally poised for success in Hollywood. He had made a big splash in a West Coast production of The Last Mile, playing death row convict Killer Mears. (Coincidentally, Tracy had scored a triumph in the very same role back east.)

That same year, he divorced Josephine and married Texas socialite Ria Langham, whose wealth and social connections would also come in handy as his career took off. (Seventeen years Clark's senior, she was even older than Josephine.)

Gable's teeth got fixed, and the studios at first tried pinning back his ears, which didn't take. In 1931, he got his first featured part in a Western called The Painted Desert, and soon caught the eye of star Joan Crawford, who picked him for her vehicle, Dance, Fools, Dance.

Soon after, he'd grow the thin pencil moustache that became his trademark, and it seemed nothing could stop him.

As basic as Gable was, his life from this point on was as eventful as any of his movies.

During the frigid on-location shoot for The Call Of The Wild (1934), Gable, who did like the ladies, warmed up his young co-star Loretta Young on at least one occasion.

A staunch Catholic, Young secretly had their baby, which she then "adopted". The girl was named Judy and looked just like her father.

Though Judy Lewis met Gable, he was billed only as an old friend of her mother's. Incredibly, she would only learn the truth about his paternity after his death.

Then there was Gable's romance with actress/comedienne Carole Lombard, which, in a town full of feigned relationships, was the real thing. Ria granted Gable a divorce so Carole and Clark (whom she called "Pa") could finally be married in 1939, the year of Gable's biggest triumph as Rhett Butler in Gone With The Wind.

This marriage marked the happiest portion of Gable's life, but the union was cut short in less than three years, when on a war bond tour in 1942, Lombard's plane crashed into a mountain. Gable never really recovered.

To keep active and in honor of his wife's dying effort to the Allied Cause, Gable enlisted and served in the Army Air Corps in Europe.

After the war, he had one unsuccessful marriage (to Sylvia Ashley, Douglas Fairbanks's widow) and then finally hit marital pay dirt again with Kay Spreckles, a blonde divorcee with two children.

Like his friend Spencer Tracy, Gable started feeling his age more in the fifties, and was also well aware that a new generation of leading men was on the rise. Yet his star never really dimmed. Though he felt uncomfortable kissing female stars a quarter century his junior, Gable continued doing what he did best and kept busy.

Sex siren Marilyn Monroe was thrilled when she learned she would play opposite Gable in John Huston's production of Arthur Miller's psychological Western The Misfits (1960). She had adored him since girlhood.

The consummate professional, Gable saw it as just another picture, to be completed as quickly and efficiently as possible. Inevitably, he became increasingly frustrated on this troubled production, where Miller and Monroe's marriage seemed to be imploding.

In particular, Gable became restless and annoyed at Marilyn's tardiness. So at age 59, after a lifetime of steady smoking and drinking -- and more recently, crash dieting to prepare for movie parts, Gable opted to do his own stunts, a decision that likely accelerated his death.

Just a few months before Kay gave birth to his only son, John Clark, Gable died suddenly of a heart attack on November 16, 1960.

Reportedly, it didn't feel like the loss of just one man, but the passing of an era.

So -- how has the Gable legacy held up over the years?

Certainly, he will always be remembered for Rhett Butler and that famous blow-off line to Scarlett ("Frankly, my dear...").

However, a few other Gable entries-notably his most famous pairing with Tracy in San Francisco (1936), have not aged particularly well. Then there a few titles that remain unavailable on DVD, like the classic Red Dust (1932), a lusty romantic adventure set in Africa that first teamed Clark with the sultry Jean Harlow. (However, you can find Mogambo, John Ford's remake of Dust twenty years later, with the durable Clark repeating his role, albeit to lesser effect).

The six titles that follow show the King of Hollywood at his best, giving viewers young and old a pretty good sense of why he was crowned in the first place:

It Happened One Night (1934)- Ellie Andrews (Claudette Colbert), a mixed-up heiress, hits the road incognito to escape a loveless impending marriage and a chronically over-protective father (Walter Connolly). Riding with the common folk on a bus, she meets reporter Peter Warne (Gable), who grudgingly befriends this unusual creature, who appears curiously oblivious to the ways and customs of real life. When Peter discovers her true identity, he knows he's got hold of the story of the century, but by this time, he's also started to have feelings for Ellie. What's a desperate, smitten newsman to do? Frank Capra's sublime romantic comedy swept the 1934 Oscars, and it's still easy to understand why. Few seventy-year old movies hold up like this one. Colbert makes a charming, deft comedienne (check out that hitch-hiking scene!), and Gable was never more appealingly human than here. The scene where Peter takes off his shirt and exposes his bare chest was a first, and reportedly, sounded a death knell for the undershirt industry. Hail to the walls of Jericho!

China Seas (1935)- On a luxury ship bound for Hong Kong, dashing Captain Alan Gaskell (Gable) finds himself in a gentleman's quandary when the classy woman he loves, Sybil Barclay (a very young and unusually proper Rosalind Russell), unexpectedly climbs aboard. Trying to appease jealous mistress China Doll (Jean Harlow), Alan must also foil a gold-piracy plot masterminded by China's crooked Irish pal Jamesy (Wallace Beery). Produced by Irving Thalberg for MGM, this salty-tongued, high-seas romance adventure features Gable, then "King of Hollywood", in one of his sauciest and naughtiest roles, playing a caustic, philandering ship captain on the South Pacific who feels outclassed and unworthy of Russell's attention. Snappy dialogue, a rollicking storyline of love and piracy, and excellent supporting turns by Harlow, Beery, and Lewis Stone keep the bumptious "China Seas" afloat for the whole voyage.

Mutiny On The Bounty (1935)- In 18th century Great Britain, sadistic Captain Bligh (Charles Laughton) commands the HMS Bounty on a long voyage to Tahiti to collect food supplies. When his consistent cruelty towards his crew goes beyond reasonable limits, second-in-command Fletcher Christian (Gable) faces the fateful decision of whether or not to seize control of the ship. MGM's adaptation of the famous Nordhoff/ Hall book is given top shelf treatment here, with the sneering Laughton the definitive Bligh, and the studio's biggest star, Gable, playing Christian with gusto (and notably, without either a British accent or his trademark mustache). But never mind -- this is grand, sweeping entertainment, suitable for the whole family.

Gone With The Wind (1939)- At the outbreak of the Civil War, feisty, narcissistic Southern belle Scarlett O'Hara (Vivien Leigh) meets her match in roguish charmer Rhett Butler (Gable), who woos her despite her love for another man, Ashley Wilkes (Leslie Howard). Ashley however has chosen the gentle Melanie Hamilton (Olivia de Havilland) for his bride. All this sets the stage for one of cinema's most turbulent romances, with plenty of historic, cathartic moments in the background, as the progress and aftermath of the war leaves the Old South in ashes. One of the world's most cherished and enduring pictures, "Wind" was birthed in the mind of novelist Margaret Mitchell and incubated by the brilliant, obsessive David O. Selznick, who spared no expense in bringing this powerful, affecting story to the big screen. The ultra-lavish production features ornate costumes and art design, jaw-dropping set pieces and historical sequences (especially the burning of Atlanta, for which a Hollywood set was torched), all wrapped around the story of a resourceful, if not likable, heroine. Leigh plays the self-absorbed Scarlett to perfection, while Gable's Rhett is devilishly suave and fiercely masculine. Grand studio filmmaking at its aristocratic best, Selznick's brainchild nabbed an armload of Oscars, including Best Picture.

Command Decision (1949)- During the Second World War, Air Force Brigadier General Casey Dennis (Gable) decides to take advantage of fair weather by sending maximum sorties to decimate German factories where, unbeknownst to his airmen, a new, devastatingly superior jet is being manufactured. But after two days of extremely heavy losses, Dennis faces intense pressure from his senior officer, Major General Roland Kane (Walter Pidgeon), and image-conscious Congressmen, to pick easier targets -- or be out of a job. Based on William Wister Haines's Broadway hit, this impeccably acted drama focuses on the politicking and senior-decision-making behind managing a war -- and homeland morale. Gable is superb as the tough-minded general who must defend his top-secret, suicidal Operation Stitch to reluctant pilots and officers alike, while co-stars Pidgeon and Brian Donlevy shine as the supposedly more sensible generals. Charles Bickford has a nice turn, too, as an army reporter who thinks the privately aggrieved Dennis is a glory-hunting butcher, and watch for Edward Arnold as a Capitol Hill bigwig. Obey my "Command" -- see this smart, gripping film.

Run Silent, Run Deep (1958)- Commander Richardson (Gable) is a career Navy officer who wrangles one last command a year after his last sub was torpedoed in Japan's perilous Bungo Straits. His second in command is Lt. Jim Bledsoe (Burt Lancaster), who'd been in line to helm the sub. Crew unrest grows as Richardson drills them mercilessly on maneuvers ("Dive! Dive!"). Eventually, it dawns on Bledsoe that Richardson intends to bend orders to pursue the infamous Japanese destroyer that slammed him before, taking the vessel right back into the Bungo Straits. In veteran director Robert Wise's tense, trim "Run," an aging but vigorous Gable plays Richardson with panache and iron determination. Wise creates just the right mood of simmering hostility via some pointed Gable/Lancaster byplay and various telling incidents with the crew, which includes a young Jack Warden and Brad Dexter. Mounted by Lancaster's own production company, "Run" remains not only a riveting war film, but one of mega-star Gable's last shining moments. Also look for a future comic in the crew-the inimitable Don Rickles!

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For Black History Month, 10 Key Films on the African-American Experience

With Martin Luther King's birthday just past us, and Black History month coming up, the time seems right to celebrate those invaluable films that shed light on the black community's long struggle for equal rights in this country.

Even for those of us who think we know the story well, it's one that always bears repeating, both for ourselves and our children, and an assortment of outstanding movies on DVD can help.

Until the early sixties, the portrayal of black characters in movies was confined to servants, porters, and other similar stereotypes. With too rare exceptions, only with the advent of the Civil Rights movement did the film industry wake up and begin to show black people as three-dimensional characters endowed with intelligence and pride.

The 10 key titles listed here, which combine documentary and narrative forms, bear authentic witness to the black experience, past and present, while lending crucial perspective on their courageous fight for the kind of freedom and opportunity that white people have always taken for granted.

A Raisin In The Sun (1961) -- Walter Lee Younger (Sidney Poitier) is a proud but frustrated young man counting on his recently widowed mother, Lena (Claudia McNeil), to let him invest her $10,000 life-insurance check in a business which could lift him and his family out of their dead-end existence. Despite her son's entreaties, Lena plans to buy a home and leave Chicago's South Side for good, stoking Walter's anguish and resentment. Based on Lorraine Hansberry's play, Daniel Petrie's magnificent A Raisin In The Sun provides an ideal star vehicle for young Poitier's explosive talent. The actor projects barely suppressed rage as he pleads with Claudia McNeil's resolute matriarch, who wants to use her money to buy a new home. Poitier's raw desperation is palpable as his one chance to better himself slips away. See this for Poitier's intense performance, and McNeil's equally powerful turn as his mother. Ruby Dee also scores as Ruth, Walter's long-suffering wife.

Nothing But A Man (1964) -- In this landmark independent film by Michael Roemer, Duff (Ivan Dixon), a struggling black railroad worker meets Josie (Lincoln), a shy, refined preacher's daughter. They fall in love, but soon Josie must adjust to Duff's frustration as he faces discrimination in a repetitive, dead-end job. How they surmount these obstacles and stay together shines a penetrating light on the black experience of the time. A lean film of unusual grace and power, thanks to a perceptive script and solid characterizations. Both Dixon and jazz singer Lincoln give heartfelt portrayals as Duff and Josie, and look for the late, great Julius Harris playing Duff's drunk, delinquent father. Nothing is an inspiring work of cinema that helped fuel the Civil Rights era, and still speaks volumes today.

The Autobiography Of Miss Jane Pittman (1974) -- Originally a TV movie, "Pittman" traces the life of the title character from a childhood in slavery all the way through to the civil-rights movement. The film begins in 1962 as an aged Pittman is visited in her Baton Rouge home by journalist Quentin Lerner (Michael Murphy), who, vetting material for a book, prompts her recall of events both tragic and inspiring. The gifted Cicely Tyson is a marvel as Jane, gradually transforming from a young girl to a wizened but still spirited lady of 100+ years. A revealing history lesson and tribute to the sturdy spirit of one human being who endured through periods of vast change, this important and touching film feeds both brain and heart. Widely recognized as a creative milestone in television programming, Pittman makes for ideal family viewing.

Killer Of Sheep (1977) -- Living hand to mouth in the Watts section of Los Angeles, Stan (Henry Gayle Sanders) toils at a slaughterhouse, where the dispiriting, mind-numbing routine of dispatching livestock leaves him emotionally remote from his wife (Kaycee Moore) and young son. Under these circumstances, life's pleasures come in small and unexpected ways. New to DVD, Charles Burnett's tender, affecting film, a landmark in American independent cinema, hasn't much of a plot, content instead to observe the melancholic daily existence of an impoverished African-American neighborhood. But its neorealist aesthetic, lugubrious pace, and minimal storyline are the ingredients for a surprisingly moving film that depicts ghetto life with lasting beauty and an authentic sense of humanity. Both touching and heartbreaking, with a sweet jazz score setting a mood of inner yearning, the under-exposed Killer of Sheep should be at the top of your must-see list.

Say Amen, Somebody (1982) -- The unparalleled joy and healing power of gospel music is brought to life in this uplifting documentary. Part-history lesson, part-revival meeting, the movie not only stresses the importance of this musical form in people's spiritual lives, but also allows us to see its transforming effect in the here and now. Regardless of anyone's race or creed, this entry provides rare nourishment for the soul, as we listen to its infectious practitioners, both young and old. Especially poignant are the respective presences of "Professor" Thomas Dorsey, then over eighty, and "Mother" Willie May Ford Smith, a hearty seventy-nine. With its message of love and hope made contagious, Director George Nierenberg fashions a touchingly human and inspiring portrait that translates how this special music has sustained (mainly) African-American people through adversity for so long. A humbling and glorious achievement.

Eyes On The Prize (1987) -- This six-episode PBS miniseries provides an in-depth look at the American Civil Rights movement, covering the storied struggles during the insurgent years from 1954-1965, and culminating in the passage of the Voting Rights Act in 1965. Interviews with participants both legendary and obscure are interwoven with now iconic archival footage to provide a full picture of the fight. We revisit the marches, bus boycotts, and the tortuous path to school integration, and hear the inspiring words of Martin Luther King Jr. ring out once again across the decades. This justly lauded Emmy winner is the definitive document for anyone wishing to fully understand this tumultuous moment in history, and that should be most everyone. Its detailed, rigorous recounting of a seminal period in American history covers topics and events often glossed over in history class, such as the Emmett Till murder trial and how race played a role at the contentious 1964 Democratic Convention. It also does full justice to the legacy of spiritual leader Martin Luther King, Jr. and Rosa Parks, whose proud defiance sparked a movement. Perhaps most important, Eyes gives voice to the average citizens who participated -- those who helped changed history, but never received recognition for it. We should all prize -- and watch -- this landmark work of remembrance.

Glory (1989) -- This is the true story of Colonel Robert Gould Shaw (Matthew Broderick), son of Massachusetts abolitionists, who's appointed to lead the first black regiment for the Union in the Civil War. Before this group is able to prove their mettle in battle, Shaw must fight injustice within the Union hierarchy, as superior officers doubt the regiment's ability to fight and seem unwilling (at first) to even equip them properly. Ultimately, Shaw's faith in his men is borne out heroically. Edward Zwick's vivid Civil War epic boasts terrific battle sequences, but aside from the story's inherent fascination, what sets this movie apart is the incredible acting glimpsed in between the gunfire. Broderick brings to Shaw a nuanced mix of determination and vulnerability, but Denzel Washington virtually steals the picture as a defiant enlisted man. (He won an Oscar for this.) Morgan Freeman also shines as a wise, seasoned regimental sergeant. Glory delivers both rousing entertainment and a vital history lesson, in one winning package.

Malcolm X (1992) -- Ambitious film chronicles the remarkable life of murdered civil-rights leader Malcolm X (Denzel Washington), born Malcolm Little, from his early years in a Harlem gang to his religious conversion during a stint in prison, marriage to Betty Shabazz (Angela Bassett), and eventual rise to fame as a controversial orator and spokesman for the Nation of Islam, led by Elijah Muhammad (Al Freeman Jr.). A life-changing pilgrimage to Mecca, however, not only upends Malcolm's radical views of race, but tragically puts him on the outs with his mentor. Built around a commanding performance by star Washington, Spike Lee's Malcolm X is the writer-director's most ambitious, impassioned film to date, as it presents a turbulent and eventful life filled with self-transformation. The Oscar-nominated Washington never lets you forget his hero's fiery charisma, the emotional impact and candor of his speeches, or the resentment he faced from both sides of the racial divide. With a top-notch cast, and Ernest Dickerson's fluid camerawork creating immediacy, Malcolm X bristles with energy and impact.

4 Little Girls (1997) -- Spike Lee's documentary revisits a shocking crime that shook the nation in 1963, when a Baptist church in Birmingham, Alabama was blown up, killing four African-American girls. The film combines reminiscences of the girls' families and friends with observations on the times and the event's broader significance within the Civil Rights movement. Girls may be heartbreaking to watch, but it's also essential viewing, as director Lee revisits an atrocity we should never forget. The overwhelming sense of personal loss and moral outrage is palpable. It's also striking how this unthinkable tragedy accelerated the progress of civil rights, with the barbarity of the southern segregationists' act thrusting the race issue right to the front of the world stage. Ultimately, these four promising, innocent girls are seen as martyrs to the age-old struggle for racial equality. Don't miss this touching, insightful film.

Freedom Riders (2010) -- During the turbulent Civil Rights era, over 400 men and women, black and white, challenged segregation laws by riding buses together into the Deep South. As a result of this non-violent act, these activists endured beatings, tear gas, and imprisonment. Based on the acclaimed book by Raymond Arsenault, Riders brings together interviews with the participants themselves, as well as journalists, government officials, and other first-hand witnesses. The result is a vivid account of a gallant struggle against racial injustice. While most Americans have doubtless heard of the Freedom Riders, this meticulously researched work, presented by the acclaimed PBS series American Experience, provides a level of immediacy and detail that brings the whole period back into vivid focus. Nominated for three Emmys, the film is a superb technical achievement, but more than anything else, its story of ordinary citizens taking extraordinary risks for the noblest of ideals is both affecting and profoundly humbling. This fascinating, inspirational chapter in our country's history should be required viewing for all thoughtful people, young and old.

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For His Upcoming Birthday, the Top Ten Cary Grant Movies by Farr

Next week marks the 108th anniversary of Cary Grant's birth.

Have people forgotten Cary Grant? He's been gone a quarter of a century now, and his last movie was made forty-five years ago.

Personally, I don't believe so. He was too good, too much of an original to fade away from our collective consciousness.

What made him so special?

For one thing, he managed to appeal in equal measure to both men and women: women for all the evident reasons, men because he flew in the face of conventional wisdom. Though possessed of an almost feminine beauty and grace, he still managed to project masculinity, brains, and most importantly, humor.

When an interviewer gushed to the star that everyone wanted to be Cary Grant, he famously replied, "So would I." This seemingly off-hand remark spoke volumes, for the Cary Grant persona was painstakingly developed and refined by a mortal man with his own fair share of foibles, fears and weaknesses.

It's easy to forget (if you even knew in the first place) that this personification of suave elegance endured a miserable lower middle class upbringing in Bristol, England as Archie Leach, the son of a mentally unstable mother and a father who first had his wife committed and then deserted the family.

Archie found salvation -- literally -- by joining the circus, where his natural athleticism made him a skilled tumbler and acrobat. A first tantalizing taste of performing before crowds would eventually lead him to the stage, and eventually, Hollywood.

As great as he was, in his time people sensed he was always playing Cary Grant, and for this he was marginalized slightly, never winning an Oscar over a thirty-five year career.

Of course, Oscar has most always lacked a funny bone, so humorous films have often received short shrift in the nominations. This is, of course, ridiculous, since comedies are the most difficult form to bring off successfully.

As to Grant not winning an Oscar, the sheer talent it took to play Cary Grant -- particularly in his great comedies -- cannot be underestimated; the plain truth is that he was totally unique.

How could anyone so perfect -- with full ten ratings on looks, style, and charm -- also be so approachable? Though blessed with a virtually flawless appearance, he was never arrogant or remote. His innate decency and charm always managed to penetrate the surface gloss. That's why we loved him.

The following ten films represent my top ten "desert island" Cary Grant picks. In anticipation of sampling some of these ageless features, let's wish Archie Leach a happy birthday, and thank him profusely for giving us Cary Grant, a character who will remain forever young, vital and real.

Topper (1937) -- George and Marion Kirby (Grant and Constance Bennett) have it all: they're rich, attractive and glamorous -- that is, until they're killed when driving their roadster too fast. Now bona-fide ghosts, the couple have one final errand to do before going to their eternal rest: help their stifled, hen-pecked banker Cosmo Topper (Roland Young) get more out of life -- while he's still living! This uproarious comedy was another step to super-stardom for Cary, who first showed his comic chops here. Bennett (older sister of Joan) is the essence of high-toned beauty as wife Marion. Young is also memorable as the put-upon Cosmo, a man who must cope not only with a rigid, controlling wife (Billie Burke) but a couple of goofy, upper crust specters who keep turning his well-ordered world upside down.

The Awful Truth(1937) -- Grant and the sublime Irene Dunne play Jerry and Lucy Warriner, a wealthy young couple who temporarily drift apart and impulsively initiate divorce proceedings. Both are unwilling to admit the obvious fact that they're still in love. Their eventual rapprochement becomes one delightful, hilarious dance. Director Leo McCarey was a genius with comedy, and this consistently sharp, side-splitting picture proves it. When Lucy starts an ill-advised rebound relationship with a rich oil rube from Oklahoma (wonderfully played by Ralph Bellamy) Jerry starts popping in even more often to embarrass his former spouse. Predictably, a good bit of the time he ends up embarrassing himself. This underexposed classic hasn't aged a day since its release.

Bringing Up Baby (1938) -- Paleontologist David Huxley (Grant) leads a quiet, studious life. Then, quite by accident he runs into daffy heiress Susan Vance (Katharine Hepburn) who quickly takes a shine to the handsome, bespectacled scientist. Used to getting what she wants, Susan simply won't let David go. Before long, Huxley's life gets turned upside down, as Susan kidnaps him to her starchy aunt's Connecticut estate, along with her explorer brother's recently arrived present, a tame leopard called "Baby." The mayhem escalates from there. Howard Hawks's quintessential screwball outing remains one of our most riotous and inspired screen comedies. Grant and Hepburn are in fabulous form, with Grant wholly convincing as the nerdy, befuddled victim, and Kate on fire as a flaky but determined lass who's finally found true love, and intends to hold on, come what may.

Only Angels Have Wings (1939) -- The riveting Angel centers on one Geoff Carter (Grant) operator of an airfreight service in South America's fog-enshrouded Andes Mountains. Often confronting treacherous flying conditions, Geoff must make life-or-death decisions about when his men can fly. Further complicating life on the ground is the arrival of Bonnie Lee (Jean Arthur) a showgirl in transit who's socked in by weather, and Macpherson (Richard Barthelmess) a pilot harboring a dark secret. Macpherson is also joined by his young wife Judy (Rita Hayworth) who, it turns out, had once been involved with Geoff. The plot thickens along with the fog. Elements of drama and romance comingle with the serious business of men being men in this involving, exciting adventure story. Grant stretches his screen persona effortlessly as a tough guy with little humor and no polish, and Arthur makes a spunky love interest. Young Hayworth is also stunning in a breakthrough role.

His Girl Friday (1940) -- Sneaky, slimy newspaper editor Walter Burns (Grant) will do anything to prevent his best reporter Hildy Johnson (Rosalind Russell) from leaving the paper for a dull marriage to the chronically normal Bruce Baldwin (Ralph Bellamy). As fate would have it, the year's biggest story is breaking, as a condemned killer breaks out of jail, and even Hildy can't resist the lure of the scoop. Will Walter's nefarious scheming prevent Hildy from reaching the altar? Director Howard Hawks teams with Grant again to create what may be the fastest film comedy ever. A remake of The Front Page, this version's inspired plot twist is that Hildy is a female reporter, formerly wed to loveable scoundrel Burns. The conceit works, as underneath Walter and Hildy's scathing, rapid-fire repartee we sense a strong (though somewhat twisted) animal attraction. Both Grant and Russell are in top form, and all we have to do is keep up with them. A rip-roaring good time, from start to finish.

The Philadelphia Story (1940) -- Haughty Philadelphia socialite Tracy Lord (Katharine Hepburn) is engaged to marry self-made, upstanding George Kittredge (John Howard) after divorcing her wealthy, careless first spouse, C.K. Dexter-Haven (Grant). C.K shows up for the event with no hard feelings, along with society reporter/frustrated novelist Macaulay "Mike" Connor (James Stewart) and photographer Liz Imbrie (Ruth Hussey). What transpires next is a peerless comedy of errors, where, thankfully, everything comes out right in the end. George Cukor's pitch-perfect adaptation of Philip Barry's hit play marked a triumphant Hollywood comeback for Kate (having earlier been labeled "box-office poison" by exhibitors) and an Oscar-winning vehicle for up-and-coming star James Stewart, wonderful as a fish out of water in high society. Though overlooked by the Academy, Grant is every bit as good as the raffish C.K., while Hepburn shines in what may be her signature role. Don't miss Roland Young's hilarious turn as naughty Uncle Willie. Sly and sophisticated, this title stands as one of our finest screen comedies.

Notorious (1946) -- American intelligence officers tracking Nazis in post-war South America coerce Alicia Hubermann (Ingrid Bergman) daughter of an executed Nazi spy, to use her feminine wiles to implicate more of her father's colleagues, including one Alex Sebastian (Claude Rains). Before the assignment is disclosed; however, American agent Devlin (Grant) and Alicia have already begun a passionate romance, complicating matters going forward. Notorious still delivers outstanding suspense, with director Alfred Hitchcock at his most subtle. The story of a fallen woman-first redeemed by love, then put in peril is gripping throughout, and stars Grant and Bergman emit powerful on-screen chemistry. Acting laurels also go to supporting player Rains, who's never been slimier than here, playing a Nazi agent. But then, just look at his friends -- and that mother!

To Catch A Thief (1955) -- On the sun-drenched French Riviera, someone is relieving rich women of their precious jewels, and all the evidence points to retired cat burglar John Robie (Grant). Reluctant to sit still for questioning, "The Cat" evades investigators who show up at his luxe villa and -- with the help of London insurer H.H. Hughson (John Williams) -- cozies up to wealthy American widow Mrs. Stevens (Jesse Royce Landis) who he believes may be the thief's next victim. Robie's only hope for clearing himself will be to expose his imitator, that is if Mrs. Stevens' knockout daughter Francie (Grace Kelly) doesn't distract him too much! Filmed in VistaVision by Oscar winner Robert Burks, Alfred Hitchcock's swanky, breezy suspense film takes a simple idea -- one cat burglar on the tail of another -- and spins it into cinematic gold. With his customary wit and sexual innuendo, the director positions tanned star Grant on a collision course with the resplendent Kelly, who never looked more ravishing as spoiled heiress Francie, especially in a wide-brimmed white sun hat and bathing outfit Jackie O might have coveted. When they kiss, there are literally fireworks on-screen, a technique Hitch used to keep the censors from snipping his film. You'll have a lot of fun catching this "Thief."

North By Northwest (1959) -- By chance, martini-swilling ad man Roger Thornhill (Grant) is mistaken for a top spy, and set up for murder. He then finds himself in the unfamiliar position of fugitive, crisscrossing the country in search of the real culprit, his only chance of survival. Along the way, he meet the beautiful but mysterious Eve Kendall (Eva Marie-Saint) who wants to help him. But is she who or what she seems? Fifty years after release, Northwest still provides kinetic, colorful entertainment for the whole family, full of director Hitchcock's trademark twists and turns. Only Cary could undertake such a rugged and dangerous journey and keep looking marvelous with no change of clothes. Marie-Saint is appropriately enigmatic and alluring as the icy blonde who may or may not be in his corner. James Mason's treacherous turn as cold-blooded enemy agent Philip Vandamm also stays etched in your memory.

Charade (1963) -- Parisian Regina Lampert (Audrey Hepburn) knew she had marital problems, but when her errant husband gets mysteriously killed, she finds being a widow even more troublesome. It seems her spouse was involved in hijacking some significant loot during the war, and now some of his past comrades want to know where the money went. H. Bartholemew (Walter Matthau) is the government agent also interested in the case, and suave Peter Joshua (Grant) the gallant older man who serves as Regina's protector. But is Peter really on Regina's side? This Hitchcock homage provides a last glimpse of Cary as leading man. At sixty, the actor still brings off his trademark persona superbly. Hepburn is also in top form as the put upon damsel in distress. Deftly combining mystery, romance, and humor, director Stanley Donen creates a chic, sophisticated mood via gorgeous Paris locations and a smooth Henry Mancini score. The supporting cast shines as well, with James Coburn and George Kennedy standing out among the heavies. As top-drawer entertainment, Charade is the real thing.

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