Sometimes, if you’re a movie geek, you just suddenly find yourself in recasting mode. It comes with the territory. You’re watching a performance – maybe an acclaimed, expertly played one – yet something in you just senses the part clicking a little ( or a lot) better with another performer onboard. You play out the movie in your head till finally your (recast) version’s as real as the actual one. Then you start wishing other people could see THAT movie.
Apologies to those whose names actually appeared on the credits. Your paycheques have been cashed, your nominations and awards are irrevocable, your laurels remain intact. Someday (for better or worse) technology will probably make infinite recasting feasible. For now, indulge me. Play these alternately populated versions in your head. And I suspect you’ll soon be thinking of the films you’d recast.
P.S. Although, of course, the whole thing’s a flight of fancy, I’ve imposed one rule as a concession to reality. The substitutes must have been more or less contemporary to the project at hand. Hence, no Catherine Zeta-Jones in “Gone with the Wind” or Betty Grable in “Chicago”. Other than that, the sky’s the limit. It’s an open casting call.
Movies, Actresses, Actors & Other Things... A collaborative project between Canadian Ken & StinkyLulu.
Saturday, February 24, 2007
Recasting...SOUTH PACIFIC (1958)
Though reviewers had ( and have) their doubts about Joshua Logan’s screen version of “South Pacific”, the reputation of the property itself made it a virtually critic-proof juggernaut at the box-office in ’58.
The big Rodgers and Hammerstein stage musicals (Oklahoma!, The King and I, South Pacific) constituted such an imposing part of the 50’s landscape it was pretty much taken for granted that when they were filmed, you went. Everybody knew the songs – they were the sing-a-long soundtracks of the era.In hindsight, the film versions of all of them could have been better. Compared to the finest of the late 40’s/early 50’s MGM musicals, these mammoths lacked lightness and creativity. Often following the stage versions too slavishly, they frequently lumbered where they might have leapt. Understandably, Rodgers and Hammerstein’s paramount concern seemed to be the musical scores. And – no doubt about it – the film orchestrations were splendid – often dramatic improvements on the stage versions. What can you say about the “Bali Hai” prelude to “South Pacific”, the radiant choral work in “Oklahoma!”, the rousing “March of the Siamese Children”? Just tingle with pleasure, genuflect and play ‘em again. What’s more, some of the movie castings were spectacularly right. Gordon Macrae (Oklahoma!) and Yul Brynner (“The King and I”) were essentially unimprovable.
Where “South Pacific” was concerned, neither Rossano Brazzi nor John Kerr seemed ideal choices as Emile or Lt. Cable. Both had to be dubbed for their songs. Besides which, neither brought anything exceptional to his role. Juanita Hall (dubbed though she was) projected an oddball screwiness that perhaps justified her presence. But it’s in the critical role of Nellie Forbush that the picture comes up maddeningly short. Not that it’s badly played. No, the problem’s simply the discrepancy between what the role might have been and what emerged. Mitzi Gaynor first popped up in Fox musicals of the early 50’s – a fresh, zingy new discovery. But a certain staleness crept in quite soon, not helped by dud vehicles like “Down Among the Sheltering Palms” and “The I Don’t Care Girl”. She WAS talented – and with the right script and a sympathetic director, Gaynor sparkled. Teamed with Donald O’Connor in “There’s No Business Like Show Business”, as counterpoint to an iconically languid Marilyn Monroe in “Lazy”, she upped her game delightfully. Gaynor did her own singing in “South Pacific” and pushed herself pretty much to her limit in that department. Trouble was she was much better as a dancer than a singer. And the role of Nellie called for a minimum of dancing and a maximum of singing. On balance, Gaynor is actually okay in the part.
But, in retrospect, another artist – eminently high-profile at the time – was such a natural, almost inescapable choice for the role that any other casting now seems unforgivable. What the part requires is an attractive, freshly scrubbed All-American girl next door. Bouncy and effervescent – but grounded. Self-reliant, yet open to romance. A solid, sensitive actress who can make the most of Nellie’s conflicted realization of her own latent racism. Not just credible, but touching. And, oh yes, she has to have a wonderful singing voice – strong and sunny - to deliver numbers like “Wonderful Guy”, “Cock-eyed Optimist” and “Gonna Wash That Man Right Outta My Hair”. Plus the comic chops to sell “Honey Bun”. The American musical comedy leading lady at her best and most beguiling. Did I hear someone say Doris Day? It’s a name that looms large and luminous over the role and the picture - zooming way beyond the might-have-been into the outer reaches of the absolutely, undoubtedly should-have-been – and then some!
Doris was also a big box-office name – perhaps the only icon of early 50’s musicals who survived and prospered for years to come as a powerful screen attraction. Her involvement in the project would surely have made it an even sweeter box-office proposition. Yes, it’s true that a Rodgers and Hammerstein musical of this caliber hardly needed superstars. The vehicle itself would pack ‘em in. But trumping that theory is Day’s indisputable rightness for the role of Nellie. Age-wise – perfectly acceptable; box-office-wise – golden; talent-wise – a magical match.
As it happens, Doris’ prominence and her hands-down appropriateness for the role were so obvious at the time that she was high on the list of prospective candidates. I’ve read various reasons given for her failure to snag the part. Did Rodgers and Hammerstein balk at her big star fee? If so, it was misguided thrift. Or was there another explanation? One account suggests that at a Hollywood party, with celebrities gathered around a piano, Doris was asked to join in and said something to the effect of “I don’t sing at parties.”. This supposedly happened within earshot of some big shot who had a vital say in “South Pacific”’s casting. And apparently ticked him off to the extent that Doris’ name was simply crossed off the list. The story may be apocryphal. But, whatever the reason – it’s wrong, just wrong that Doris didn’t play Nellie. We all need to have seen and heard her sing those words “I’m as corny as Kansas in August” and to have cheered her on when she tried to wash that man right outta her hair.
Along with Garland, Astaire and Kelly, Doris is one of the great blazing talents of the movie musical era – a 20th century wonder. And it’s a shame she was never attached to any of the legendary musical properties. Certainly, “Pajama Game” came close. And though Doris’ “Calamity Jane” emerged as a much better movie than the similarly themed “Annie Get Your Gun”, it’s the Irving Berlin show - with its cavalcade of famous songs – that sits higher in the pantheon. Doris Day and “South Pacific” would have enhanced each other’s reputations. The fact that, separately Doris and “South Pacific” both remain immensely famous is beside the point. Bottom line: We never got to see Doris Day in “South Pacific” She … and we … wuz robbed!
The big Rodgers and Hammerstein stage musicals (Oklahoma!, The King and I, South Pacific) constituted such an imposing part of the 50’s landscape it was pretty much taken for granted that when they were filmed, you went. Everybody knew the songs – they were the sing-a-long soundtracks of the era.In hindsight, the film versions of all of them could have been better. Compared to the finest of the late 40’s/early 50’s MGM musicals, these mammoths lacked lightness and creativity. Often following the stage versions too slavishly, they frequently lumbered where they might have leapt. Understandably, Rodgers and Hammerstein’s paramount concern seemed to be the musical scores. And – no doubt about it – the film orchestrations were splendid – often dramatic improvements on the stage versions. What can you say about the “Bali Hai” prelude to “South Pacific”, the radiant choral work in “Oklahoma!”, the rousing “March of the Siamese Children”? Just tingle with pleasure, genuflect and play ‘em again. What’s more, some of the movie castings were spectacularly right. Gordon Macrae (Oklahoma!) and Yul Brynner (“The King and I”) were essentially unimprovable.
Where “South Pacific” was concerned, neither Rossano Brazzi nor John Kerr seemed ideal choices as Emile or Lt. Cable. Both had to be dubbed for their songs. Besides which, neither brought anything exceptional to his role. Juanita Hall (dubbed though she was) projected an oddball screwiness that perhaps justified her presence. But it’s in the critical role of Nellie Forbush that the picture comes up maddeningly short. Not that it’s badly played. No, the problem’s simply the discrepancy between what the role might have been and what emerged. Mitzi Gaynor first popped up in Fox musicals of the early 50’s – a fresh, zingy new discovery. But a certain staleness crept in quite soon, not helped by dud vehicles like “Down Among the Sheltering Palms” and “The I Don’t Care Girl”. She WAS talented – and with the right script and a sympathetic director, Gaynor sparkled. Teamed with Donald O’Connor in “There’s No Business Like Show Business”, as counterpoint to an iconically languid Marilyn Monroe in “Lazy”, she upped her game delightfully. Gaynor did her own singing in “South Pacific” and pushed herself pretty much to her limit in that department. Trouble was she was much better as a dancer than a singer. And the role of Nellie called for a minimum of dancing and a maximum of singing. On balance, Gaynor is actually okay in the part.
But, in retrospect, another artist – eminently high-profile at the time – was such a natural, almost inescapable choice for the role that any other casting now seems unforgivable. What the part requires is an attractive, freshly scrubbed All-American girl next door. Bouncy and effervescent – but grounded. Self-reliant, yet open to romance. A solid, sensitive actress who can make the most of Nellie’s conflicted realization of her own latent racism. Not just credible, but touching. And, oh yes, she has to have a wonderful singing voice – strong and sunny - to deliver numbers like “Wonderful Guy”, “Cock-eyed Optimist” and “Gonna Wash That Man Right Outta My Hair”. Plus the comic chops to sell “Honey Bun”. The American musical comedy leading lady at her best and most beguiling. Did I hear someone say Doris Day? It’s a name that looms large and luminous over the role and the picture - zooming way beyond the might-have-been into the outer reaches of the absolutely, undoubtedly should-have-been – and then some!
Doris was also a big box-office name – perhaps the only icon of early 50’s musicals who survived and prospered for years to come as a powerful screen attraction. Her involvement in the project would surely have made it an even sweeter box-office proposition. Yes, it’s true that a Rodgers and Hammerstein musical of this caliber hardly needed superstars. The vehicle itself would pack ‘em in. But trumping that theory is Day’s indisputable rightness for the role of Nellie. Age-wise – perfectly acceptable; box-office-wise – golden; talent-wise – a magical match.
As it happens, Doris’ prominence and her hands-down appropriateness for the role were so obvious at the time that she was high on the list of prospective candidates. I’ve read various reasons given for her failure to snag the part. Did Rodgers and Hammerstein balk at her big star fee? If so, it was misguided thrift. Or was there another explanation? One account suggests that at a Hollywood party, with celebrities gathered around a piano, Doris was asked to join in and said something to the effect of “I don’t sing at parties.”. This supposedly happened within earshot of some big shot who had a vital say in “South Pacific”’s casting. And apparently ticked him off to the extent that Doris’ name was simply crossed off the list. The story may be apocryphal. But, whatever the reason – it’s wrong, just wrong that Doris didn’t play Nellie. We all need to have seen and heard her sing those words “I’m as corny as Kansas in August” and to have cheered her on when she tried to wash that man right outta her hair.
Along with Garland, Astaire and Kelly, Doris is one of the great blazing talents of the movie musical era – a 20th century wonder. And it’s a shame she was never attached to any of the legendary musical properties. Certainly, “Pajama Game” came close. And though Doris’ “Calamity Jane” emerged as a much better movie than the similarly themed “Annie Get Your Gun”, it’s the Irving Berlin show - with its cavalcade of famous songs – that sits higher in the pantheon. Doris Day and “South Pacific” would have enhanced each other’s reputations. The fact that, separately Doris and “South Pacific” both remain immensely famous is beside the point. Bottom line: We never got to see Doris Day in “South Pacific” She … and we … wuz robbed!
Recasting...THE KING AND I (1956)
As long as we’re in Rodgers and Hammerstein territory, might as well deal with “The King and I” – a much better film adaptation of its source material.
Yul Brynner is, of course, perfection – and thank God the producers insisted on his repeating his stage role. He owed his whole career to that part – and stayed respectful of and commited to it all his life. Brynner continued to play the king on stages all over the world. It wasn’t his only good work – but it remained his signature performance. Deborah Kerr’s position in films in the late 50’s was one of eminent distinction. Critics adored her. But she’d managed to make a strong connection with the public too. Her beauty wasn’t glamour girl style – but rather a mixture of naturalness, restraint and innate intelligence A class act if ever there was one. Gertrude Lawrence had played Anna in the original cast – but died shortly after. Valerie Hobson enjoyed a triumph in the London production. But despite her immense talent had never established herself as a major film name in America. It was clear a new Anna was needed. And Deborah Kerr’s was the name ultimately announced. She met all the criteria but one. She didn’t sing. Solution? In perhaps the most famous version of movie dubbing, Marni Nixon supplied the vocals while Kerr mimed. The practice certainly wasn’t new. Jeanne Crain and Rita Hayworth were regularly dubbed, though it wasn’t publicized. For “The King and I”, the public was pretty much made aware of Nixon’s participation. And it proved to be no problem. Nixon’s singing was lovely. While Kerr’s pedigree, her popularity, her skill at lip-synching and her genuine acting ability all contributed to making the performance an audience pleaser.
There was another serious contender though. One who sang – beautifully. Who wanted the role. Campaigned vigorously for it. And, according to some sources, came intriguingly close to landing it. Ireland’s red-haired wonder, Maureen O’ Hara, the “Queen of Technicolor”, had already been a star for a decade and a half when “The King and I” went into production. And for all those years., Hollywood had seldom utilized her glorious emerald soprano. A 1949 desert epic , “Bagdad” offered audiences a tantalizing taste of O’Hara’s vocal gifts. But, for the most part, the public hadn’t heard her warble. As a friend of mine once said of the similarly gifted Rhonda Fleming, another noted Technicolor queen, considering her other attributes, she hardly needed to sing. That she was so good at it seemed downright superfluous. Too many Saturday matinee potboilers had dimmed O’Hara’s star status somewhat. But every once in a while a John Ford assignment would put her firmly back in the spotlight. And remind audiences what a unique and appealing talent she was. Key to this was O’Hara’s onscreen persona as a self-assured spitfire who could match wills and wits with any male. Somehow O’Hara could cross swords with a man (literally and figuratively) and still never lose her femininity. If she had to fight, fight she did, taking no prisoners. And if she was wrong, she never lost her dignity or the audience’s respect when she surrendered. Her capitulations were victories, her victories triumphs. The widowed Mrs. Anna comes to a strange land with her young son (and wasn’t Rex Thompson a perfect screen son for O’Hara?) to take on a Maureen O’Hara scale challenge. She stands up to a man and a culture, respecting both but never flinching and not sacrificing her principles. She fights the good fight, emerges values intact and makes a difference. O’Hara’s lovely voice was meant for “Getting to Know You” “Whistle a Happy Tune” and “Hello Young Lovers”. According to her autobiography, Darryl Zanuck was enthusiastic – and sent a test recording of O’Hara’s singing to Rodgers and Hammerstein. But they refused to listen to it. Having pigeonholed the actress based on one aspect of her screen persona, they vowed never to let their Mrs. Anna be played by a “pirate queen”. The loss was theirs and ours. O’Hara later made a couple of LP’s for major labels. And in 1960 starred in a “King and I’ styled Broadway musical called “Christine”. The project didn’t click. But a cast recording supplies glorious evidence of O’Hara’s vocal prowess. Yul Brynner’s king was a force of nature. O’Hara might well have been his equal. Standing up to every tantrum and tirade, giving as good as she got. With time and energy left over to tidy up the rest of Siam as well.
Ladylike Kerr played extremely well with Yul Brynner. But O’Hara and Brynner may well have sent sparks shooting all over the screen. That would have been a crackerjack “King and I” to see! If you want an idea of what an exciting Anna O’Hara might have made, just imagine her - green eyes flashing, red hair blazing, decked out in that beautiful golden ballgown, sharing a galloping waltz with Brynner and singing “Shall We Dance”. An image so vivid, it’s almost impossible to believe it didn’t happen!
Yul Brynner is, of course, perfection – and thank God the producers insisted on his repeating his stage role. He owed his whole career to that part – and stayed respectful of and commited to it all his life. Brynner continued to play the king on stages all over the world. It wasn’t his only good work – but it remained his signature performance. Deborah Kerr’s position in films in the late 50’s was one of eminent distinction. Critics adored her. But she’d managed to make a strong connection with the public too. Her beauty wasn’t glamour girl style – but rather a mixture of naturalness, restraint and innate intelligence A class act if ever there was one. Gertrude Lawrence had played Anna in the original cast – but died shortly after. Valerie Hobson enjoyed a triumph in the London production. But despite her immense talent had never established herself as a major film name in America. It was clear a new Anna was needed. And Deborah Kerr’s was the name ultimately announced. She met all the criteria but one. She didn’t sing. Solution? In perhaps the most famous version of movie dubbing, Marni Nixon supplied the vocals while Kerr mimed. The practice certainly wasn’t new. Jeanne Crain and Rita Hayworth were regularly dubbed, though it wasn’t publicized. For “The King and I”, the public was pretty much made aware of Nixon’s participation. And it proved to be no problem. Nixon’s singing was lovely. While Kerr’s pedigree, her popularity, her skill at lip-synching and her genuine acting ability all contributed to making the performance an audience pleaser.
There was another serious contender though. One who sang – beautifully. Who wanted the role. Campaigned vigorously for it. And, according to some sources, came intriguingly close to landing it. Ireland’s red-haired wonder, Maureen O’ Hara, the “Queen of Technicolor”, had already been a star for a decade and a half when “The King and I” went into production. And for all those years., Hollywood had seldom utilized her glorious emerald soprano. A 1949 desert epic , “Bagdad” offered audiences a tantalizing taste of O’Hara’s vocal gifts. But, for the most part, the public hadn’t heard her warble. As a friend of mine once said of the similarly gifted Rhonda Fleming, another noted Technicolor queen, considering her other attributes, she hardly needed to sing. That she was so good at it seemed downright superfluous. Too many Saturday matinee potboilers had dimmed O’Hara’s star status somewhat. But every once in a while a John Ford assignment would put her firmly back in the spotlight. And remind audiences what a unique and appealing talent she was. Key to this was O’Hara’s onscreen persona as a self-assured spitfire who could match wills and wits with any male. Somehow O’Hara could cross swords with a man (literally and figuratively) and still never lose her femininity. If she had to fight, fight she did, taking no prisoners. And if she was wrong, she never lost her dignity or the audience’s respect when she surrendered. Her capitulations were victories, her victories triumphs. The widowed Mrs. Anna comes to a strange land with her young son (and wasn’t Rex Thompson a perfect screen son for O’Hara?) to take on a Maureen O’Hara scale challenge. She stands up to a man and a culture, respecting both but never flinching and not sacrificing her principles. She fights the good fight, emerges values intact and makes a difference. O’Hara’s lovely voice was meant for “Getting to Know You” “Whistle a Happy Tune” and “Hello Young Lovers”. According to her autobiography, Darryl Zanuck was enthusiastic – and sent a test recording of O’Hara’s singing to Rodgers and Hammerstein. But they refused to listen to it. Having pigeonholed the actress based on one aspect of her screen persona, they vowed never to let their Mrs. Anna be played by a “pirate queen”. The loss was theirs and ours. O’Hara later made a couple of LP’s for major labels. And in 1960 starred in a “King and I’ styled Broadway musical called “Christine”. The project didn’t click. But a cast recording supplies glorious evidence of O’Hara’s vocal prowess. Yul Brynner’s king was a force of nature. O’Hara might well have been his equal. Standing up to every tantrum and tirade, giving as good as she got. With time and energy left over to tidy up the rest of Siam as well.
Ladylike Kerr played extremely well with Yul Brynner. But O’Hara and Brynner may well have sent sparks shooting all over the screen. That would have been a crackerjack “King and I” to see! If you want an idea of what an exciting Anna O’Hara might have made, just imagine her - green eyes flashing, red hair blazing, decked out in that beautiful golden ballgown, sharing a galloping waltz with Brynner and singing “Shall We Dance”. An image so vivid, it’s almost impossible to believe it didn’t happen!
Recasting...ALL ABOUT EVE (1950)
For my money, Anne Baxter gave one of the best performances in movie history in Orson Welles’ “Magnificent Ambersons”. Her Lucy offers a fresh, original spin on the ingénue – smart, supportive and skeptical at the same time. It’s rich and warm, playful, inventive – an altogether spectacular piece of work. And Moses wasn’t the only miracle worker in “The Ten Commandments”. On the surface of it, Baxter, as sexy throne princess Nefertiri, seems unlikely casting. A little past her heyday as a movie star. Without the box-office clout of Susan Hayward or the sexpot image of Marilyn Monroe. But, what do you know? She turned out to be a complete delight in the role. The screenplay chugged along on a nifty level of low-octane poetry, somehow managing to reconcile the grandiose elements with comic ones. And Baxter’s performance shone at both ends of the spectrum. What’s more she proved a marvelous partner for Heston AND Brynner, bringing out the best and the beast in both of them. The lady buzzed with authority and snap. And the Egyptian hair-styles and costuming made her look sexier than she’d ever been before, evolving impressively from frisky kitten to vengeful pantheress. No doubt about it – when it comes to Baxter, I’m an admirer.
Yet the role for which Anne Baxter’s most famous is one I have real reservations about. Eve Harrington brought her an Oscar nomination and lasting renown. And at first glance, she seems to be almost perfect casting. Because Baxter had already proven that (a) as a fresh-faced ingénue she really could be not just believable but beguiling and (b) she had the voice, poise and general smarts to play strong, intimidating types too. Eve has to be able to take a lot of people in (pretty much everybody but Thelma Ritter – and, of course, who could ever fool her?) with her apparent sincerity. But , at some point, she’s also got to pull out that inner viper. Plus bang out enough charisma and authority to convince us that onstage she’s able to not just understudy Margo Channing but actually supplant her. Baxter’s got the balls for that. But it’s as “innocent” Eve that she falters. The wheels are constantly turning for all to see. She might as well be waving a blueprint of her plans at the audience. When she starts launching those theatrical intakes of breath and switches on the faraway look to wax poetic about art/life, it simply doesn’t fly. Phony baloney posturing. It doesn’t fool us and certainly wouldn’t convince the pack of Broadway wiseguys she’s pitching it to. Did Mankiewicz really think this was the way to go? Hard to believe. Doesn’t it seem obvious that the key to capturing the early Eve is to play it as if you really ARE nice – as if you hadn’t read the whole script. Clearly Baxter’s devious Eve has her nasty eye on the prize from the get-go. It’s well-known that Jeanne Crain was a prime contender for the part. And certainly her onscreen niceness was just what the doctor ordered for Eve’s initial scenes. Problem is who could ever imagine Crain as a potential rival, let alone successor to Bette Davis? I mean, Crain as Baby Jane? Forget it!
I do think there was an ideal Eve available, though. One who was on the scene and at just the right moment in her career to sieze the part and soar with it. Someone who, like Baxter in “Ambersons”, had polished off a superb demonstration of what exciting things could be done with an ingénue role. A young actress touted in 1950 as a star of tomorrow. With reservoirs of talent that could have made her a superb Eve in the picture’s later stages as well as the early ones. I could say Barbara Bel Geddes. And she’d have been a pretty smart choice. But – even better, I think – Nancy Olson, so marvelous in “Sunset Blvd”. That got her a well-deserved Oscar nomination. and it seemed likely there would be more to come.
I’d leave the rest of “Eve”’s cast alone. But Olson would have been the ultimate Eve. Fresh and sincere – so brave and good to begin with. Who wouldn’t want to help her? Then impressively and evilly empowered in the later stages. Olson played her young women in a direct, straight-from-the shoulder style quite different from Anne Baxter’s take on Eve. If Baxter had a moustache, we’d have seen her twirling it in reel one. A shame, because, elsewhere, Anne Baxter had made it clear she shared Olson’s gift for making forthrightness interesting. Without ever veering into eccentricity, Nancy Olson still managed to be intriguing. She had an excellent vocal instrument, pleasing but with a suggestion of steel. Beautiful, but watch out – that steel might just get cold and sharp enough to do some real damage.
In my universe, Anne Baxter would still have an Oscar ( for “Ambersons” though, not for “Razor’s Edge”). And Nancy Olson would have kicked off her filmography with not one but two great performances in classic Hollywood-on-Hollywood films. Gloriously jump-starting the long, illustrious movie career she so clearly deserved.
Yet the role for which Anne Baxter’s most famous is one I have real reservations about. Eve Harrington brought her an Oscar nomination and lasting renown. And at first glance, she seems to be almost perfect casting. Because Baxter had already proven that (a) as a fresh-faced ingénue she really could be not just believable but beguiling and (b) she had the voice, poise and general smarts to play strong, intimidating types too. Eve has to be able to take a lot of people in (pretty much everybody but Thelma Ritter – and, of course, who could ever fool her?) with her apparent sincerity. But , at some point, she’s also got to pull out that inner viper. Plus bang out enough charisma and authority to convince us that onstage she’s able to not just understudy Margo Channing but actually supplant her. Baxter’s got the balls for that. But it’s as “innocent” Eve that she falters. The wheels are constantly turning for all to see. She might as well be waving a blueprint of her plans at the audience. When she starts launching those theatrical intakes of breath and switches on the faraway look to wax poetic about art/life, it simply doesn’t fly. Phony baloney posturing. It doesn’t fool us and certainly wouldn’t convince the pack of Broadway wiseguys she’s pitching it to. Did Mankiewicz really think this was the way to go? Hard to believe. Doesn’t it seem obvious that the key to capturing the early Eve is to play it as if you really ARE nice – as if you hadn’t read the whole script. Clearly Baxter’s devious Eve has her nasty eye on the prize from the get-go. It’s well-known that Jeanne Crain was a prime contender for the part. And certainly her onscreen niceness was just what the doctor ordered for Eve’s initial scenes. Problem is who could ever imagine Crain as a potential rival, let alone successor to Bette Davis? I mean, Crain as Baby Jane? Forget it!
I do think there was an ideal Eve available, though. One who was on the scene and at just the right moment in her career to sieze the part and soar with it. Someone who, like Baxter in “Ambersons”, had polished off a superb demonstration of what exciting things could be done with an ingénue role. A young actress touted in 1950 as a star of tomorrow. With reservoirs of talent that could have made her a superb Eve in the picture’s later stages as well as the early ones. I could say Barbara Bel Geddes. And she’d have been a pretty smart choice. But – even better, I think – Nancy Olson, so marvelous in “Sunset Blvd”. That got her a well-deserved Oscar nomination. and it seemed likely there would be more to come.
I’d leave the rest of “Eve”’s cast alone. But Olson would have been the ultimate Eve. Fresh and sincere – so brave and good to begin with. Who wouldn’t want to help her? Then impressively and evilly empowered in the later stages. Olson played her young women in a direct, straight-from-the shoulder style quite different from Anne Baxter’s take on Eve. If Baxter had a moustache, we’d have seen her twirling it in reel one. A shame, because, elsewhere, Anne Baxter had made it clear she shared Olson’s gift for making forthrightness interesting. Without ever veering into eccentricity, Nancy Olson still managed to be intriguing. She had an excellent vocal instrument, pleasing but with a suggestion of steel. Beautiful, but watch out – that steel might just get cold and sharp enough to do some real damage.
In my universe, Anne Baxter would still have an Oscar ( for “Ambersons” though, not for “Razor’s Edge”). And Nancy Olson would have kicked off her filmography with not one but two great performances in classic Hollywood-on-Hollywood films. Gloriously jump-starting the long, illustrious movie career she so clearly deserved.
Friday, February 02, 2007
500 Favorite Films (or Autobiography by Cinema)
I’m all about lists. Movie lists mainly. What some get out of fifteen minutes of yoga, I can achieve toting up my 25 favorite Euro-Peplum titles. Sleep may knit up the ravel’d sleeve of care - but so can compiling a list of my 15 favorite Japanese films – or my 25 most cherished B-westerns. Or silents. Or Bollywood musicals.
I was born in a Northern Ontario town. And not too long after, my mom started to take me to the movies – a babe in arms. My earliest memory is probably of Gene Kelly dancing around a flower stall. Saturday matinees in our town tended to bring back the same kid/crowd-pleasing titles again and again. So “Calamity Jane”, “Treasure Island”, “Scared Stiff”, Peter Pan” and “Desert Legion” all loomed large on my pre-teen landscape. So did some stars. Forget Brando. He was someone else’s idea of a movie idol. For me, Rossana Podesta and Jacques Sernas were the real deal. My love affair with movies certainly never stopped. Nor did the list-making.
What follows is a chronological rundown of my 500 favorite movies. As has often been said in preface to similar lists, these are not necessarily what I’d choose as the greatest or most important movies ever made. I was mightily impressed by “Battleship Potemkin”, “La Terra Trema” and “Raging Bull”. But I may never watch them again. The titles on my list are the ones I’m fondest of. I’d revisit any of them at the drop of a hat – and often have. The list evolves, of course. I made a similar one seven years ago. And 30% of those titles have dropped off to make room for others. I haven’t stopped loving the drop-outs. They’ve just moved on to a sunny well-deserved retirement. And some of them, no doubt, will boomerang back onto a future list.
Turner Classics has just made its long overdue arrival in Canada. So the movie mania is going to get hot and heavy now. But, in the meantime, here’s my list – as of early 2007. I offer it in lieu of an autobiography – or maybe it IS my autobiography, ghost-written by a million writers, directors, craftsmen and performers.
I was born in a Northern Ontario town. And not too long after, my mom started to take me to the movies – a babe in arms. My earliest memory is probably of Gene Kelly dancing around a flower stall. Saturday matinees in our town tended to bring back the same kid/crowd-pleasing titles again and again. So “Calamity Jane”, “Treasure Island”, “Scared Stiff”, Peter Pan” and “Desert Legion” all loomed large on my pre-teen landscape. So did some stars. Forget Brando. He was someone else’s idea of a movie idol. For me, Rossana Podesta and Jacques Sernas were the real deal. My love affair with movies certainly never stopped. Nor did the list-making.
What follows is a chronological rundown of my 500 favorite movies. As has often been said in preface to similar lists, these are not necessarily what I’d choose as the greatest or most important movies ever made. I was mightily impressed by “Battleship Potemkin”, “La Terra Trema” and “Raging Bull”. But I may never watch them again. The titles on my list are the ones I’m fondest of. I’d revisit any of them at the drop of a hat – and often have. The list evolves, of course. I made a similar one seven years ago. And 30% of those titles have dropped off to make room for others. I haven’t stopped loving the drop-outs. They’ve just moved on to a sunny well-deserved retirement. And some of them, no doubt, will boomerang back onto a future list.
Turner Classics has just made its long overdue arrival in Canada. So the movie mania is going to get hot and heavy now. But, in the meantime, here’s my list – as of early 2007. I offer it in lieu of an autobiography – or maybe it IS my autobiography, ghost-written by a million writers, directors, craftsmen and performers.
500 Favorite Films, 1-100: From 1914 into 1937
1-100
1. THE BARGAIN(1914-Reginald Barker)
11. THE SILENT MAN(1917-William S.Hart)
15. THE KID(1921-Charles Chaplin)
21. SON OF THE SHEIK(1926-George Fitzmaurice)
31. NOAH’S ARK(1928-Michael Curtiz)
41. NEAR THE RAINBOW’S END(1930-J.P.McGowan)
51.HOT SATURDAY(1932-William A.Seiter)
61.FLYING DOWN TO RIO(1933-Thornton Freeland)
71.THE PAINTED VEIL(1934-Richard Boleslawski)
81.GOLD-DIGGERS OF 1935(1935-Busby Berkeley)
91.THE DANCING PIRATE(1936-Lloyd Corrigan)
1. THE BARGAIN(1914-Reginald Barker)
William S.Hart
2. CABIRIA(1914-Giacomo Pastrone)Italia Manzini
3. THE CHEAT(1915-Cecil B.DeMille) Fannie Ward,Sessue Hayakawa
4. FIOR DI MALE(1915-Carmine Gallone) Lyda Borelli
5. A FOOL THERE WAS(1915-Frank Powell) Theda Bara
6. INTOLERANCE(1916-D.W.Griffith) Mae Marsh,Robert Harron,Constance Talmadge
7. THE RETURN OF DRAW EGAN(1916-William S.Hart)William S.Hart
8. THE SOCIAL SECRETARY(1916-John Emerson) Norma Talmadge
9. A GIRL’S FOLLY(1917-Maurice Tourneur) Doris Kenyon,Robert Warwick
10. THE NARROW TRAIL(1917-Lambert Hillyer) William S.Hart
11. THE SILENT MAN(1917-William S.Hart)
William S.Hart
12. HIS MAJESTY THE AMERICAN(1919-Joseph Henabery) Douglas Fairbanks
13. WAGON TRACKS(1919-Lambert Hillyer) William S.Hart
14. THE TOLL GATE(1920-Lambert Hillyer) William S.Hart15. THE KID(1921-Charles Chaplin)
Charles Chaplin,Jackie Coogan,Edna Purviance
16. ROBIN HOOD(1922-Allan Dwan) Douglas Fairbanks
17. A WOMAN OF PARIS(1923-Charles Chaplin) Edna Purviance,Adolphe Menjou
18. SIEGFRIED(1924-Fritz Lang) Paul Richter,Hanna Ralph
19. THE GREAT K&A TRAIN ROBBERY(1926-Lewis Seiler) Tom Mix
20. THE LODGER(1926-Alfred Hitchcock) Ivor Novello
21. SON OF THE SHEIK(1926-George Fitzmaurice)
Rudoph Valentino,Vilma Banky
22. THE STRONG MAN(1926-Frank Capra) Harry Langdon
23. THE TEMPTRESS(1926-Fred Niblo) Greta Garbo,Antonio Moreno
24. BARBED WIRE(1927-Rowland V.Lee) Pola Negri,Clive Brook
25. THE BELOVED ROGUE(1927-Alan Crosland) John Barrymore,Conrad Veidt
26. IT(1927-Clarence Badger) Clara Bow,Antonio Moreno
27. MAN WOMAN AND SIN(1927-Monta Bell)Jeanne Eagels,John Gilbert
28. THE CROWD(1928-King Vidor) Eleanor Boardman,James Murray
29. THE LAST COMMAND(1928-Josef von Sternberg) Emil Jannings,Evelyn Brent
30. THE MYSTERIOUS LADY(1928-Fred Niblo) Greta Garbo,Conrad Nagel
31. NOAH’S ARK(1928-Michael Curtiz)
Dolores Costello,George O’Brien
32. THE PATSY(1928-King Vidor)Marion Davies,Marie Dressler
33. SPIONE(1928-Fritz Lang) Willy Fritsch,Gerda Maurus,Lien Dyers
34. DIE BUCHSE DER PANDORA/PANDORA’S BOX(1929-G.W.Pabst) Louise Brooks,Fritz Kortner,Franz (Francis) Lederer
35. PICCADILLY(1929-E.A.Dupont) Jameson Thomas,Anna May Wong,Gilda Gray
36. ANNA CHRISTIE{German language version}(1930-Jacques Feyder) Greta Garbo
37. BACK PAY(1930-William A.Seiter) Corinne Griffith,Montagu Love
38. THE BIG TRAIL(1930-Raoul Walsh)John Wayne,Marguerite Churchill
39. DIE DREI VON DER TANKSTELLE(1930-Wilhelm Thiele) Lilian Harvey,Willy Fritsch
40. KING OF JAZZ(1930-John Murray Anderson)Paul Whiteman,Bing Crosby
41. NEAR THE RAINBOW’S END(1930-J.P.McGowan)
Bob Steele
42. A NOUS LA LIBERTE(1931-Rene Clair) Raymond Cordy,Henri Marchand
43. BLONDE CRAZY(1931-Roy Del Ruth) James Cagney,Joan Blondell
44. DER KONGRES TANZT/CONGRESS DANCES(1931-Erik Charrell) Lilian Harvey,Willy Fritsch,Conrad Veidt
45.SUSAN LENOX : HER FALL AND RISE(1931-Robert Z.Leonard)Greta Garbo,Clark Gable
46.SVENGALI(1931-Archie Mayo)
47.NEAR THE TRAIL’S END(1931-Wallace Fox) John Barrymore,Marion Marsh
Bob Steele
48.PALMY DAYS(1931-Edward Sutherland) Eddie Cantor,Charlotte Greenwood
49.BLONDE VENUS(1932-Josef von Sternberg) Marlene Dietrich,Herbert Marshall,Cary Grant
50.FREAKS(1932-Tod Browning) Olga Baclanova,Harry Earles,Wallace Ford
51.HOT SATURDAY(1932-William A.Seiter)
Nancy Carroll,Randolph Scott,Cary Grant
52.THE MUMMY(1932-Karl Freund)Boris Karloff,Zita Johann
53.NO MAN OF HER OWN(1932-Wesley Ruggles)Carole Lombard,Clark Gable
54.PLAY-GIRL(1932-Ray Enright) Loretta Young,Norman Foster,Winnie Lightner
55.RAIN(1932-Lewis Milestone) Joan Crawford,Walter Huston
56.THE TEXAN(1932-Clifford Smith) Buffalo Bill Jr, Bobby Nelson
57.TEXAS BUDDIES(1932-R.N.Bradbury)Bob Steele
58.THE BIG CHANCE(1933-Albert Herman)John Darrow,Merna Kennedy,Mickey Rooney
59.DELUGE(1933-Felix Feist) Peggy Shannon,Sidney Blackmer,Lois Wilson
60.FEMALE(1933-Michael Curtiz) Ruth Chatterton,George Brent
61.FLYING DOWN TO RIO(1933-Thornton Freeland)
Dolores del Rio,Gene Raymond,Ginger Rogers,Fred Astaire
62.FOOTLIGHT PARADE(1933-Lloyd Bacon) James Cagney,Joan Blondell,Ruby Keeler,Dick Powell
63.THE GHOUL(1933-T.Hayes Hunter) Boris Karloff,Cedric Hardwicke,Ernest Thesiger,Ralph Richardson
64.MYSTERY OF THE WAX MUSEUM(1933-Michael Curtiz) Lionel Atwill,Glenda Farrell,Fay Wray,Frank McHugh
65.PEG O’MY HEART(1933-Robert Z.Leonard)Marion Davies,Onslow Stevens,J.Farrell MacDonald
66.SHE HAD TO SAY YES(1933-Busby Berkeley) Loretta Young,Lyle Talbot
67.SUPERNATURAL(1933-Victor Halperin)Carole Lombard,Randolph Scott
68.EVERGREEN(1934-Victor Saville) Jessie Matthews,Sonnie Hale,Barry MacKay
69.IT’S A GIFT(1934-Norman Z.McLeod) W.C.Fields,Kathleen Howard,Tommy Bupp
70.LA SIGNORA DI TUTTI(1934-Max Ophuls)Isa Miranda
71.THE PAINTED VEIL(1934-Richard Boleslawski)
Greta Garbo,Herbert Marshall,George Brent
72.THE PRIVATE LIFE OF DON JUAN(1934-Alexander Korda)Douglas Fairbanks,Merle Oberon,Benita Hume,Athene Seyler
73.THE SCARLET EMPRESS(1934-Josef von Sternberg)Marlene Dietrich,John Lodge
74.STAND UP AND CHEER!(1934-Hamilton MacFadden) Warner Baxter,Madge Evans,Shirley Temple,James Dunn
75.TARZAN AND HIS MATE(1934-Cedric Gibbons,Jack Conway)Johnny Weissmuller,Maureen O’Sullivan,Paul Cavanagh
76.WAY OF THE WEST(1934-Robert Emmett Tansey) Wally Wales,Bobby Nelson
77.BRIDE OF FRANKENSTEIN(1935-James Whale)Colin Clive,Valerie Hobson,Boris Karloff,Elsa Lanchester,Ernest Thesiger
78.CAPTAIN BLOOD(1935-Michael Curtiz) Errol Flynn,Olivia deHavilland
79.THE DEVIL IS A WOMAN(1935-Josef von Sternberg) Marlene Dietrich,Lionel Atwill
80.FIRST A GIRL(1935-Victor Saville) Jessie Matthews,Sonnie Hale,Griffith Jones,Anna Lee
81.GOLD-DIGGERS OF 1935(1935-Busby Berkeley)
Dick Powell,Gloria Stuart,Alice Brady,Hugh Herbert,Adolphe Menjou,Glenda Farrell
82.NAUGHTY MARIETTA(1935-W.S.Van Dyke)Jeanette MacDonald,Nelson Eddy
83.RIDER OF THE LAW(1935-R.N.Bradbury) Bob Steele
84.SMOKEY SMITH(1935-R.N.Bradbury) Bob Steele
85.STEAMBOAT ‘ROUND THE BEND(1935-John Ford) Will Rogers,John McGuire,Anne Shirley
86.TOP HAT(1935-Mark Sandrich) Fred Astaire,Ginger Rogers
87.THE WHOLE TOWN’S TALKING(1935-John Ford)Edward G.Robinson,Jean Arthur
88.THE BOLD CABALLERO(1936-Wells Root) Robert Livingston,Heather Angel
89.THE COWBOY STAR(1936-David Selman) Charles Starrett,Iris Meredith,Wally Albright
90.CRAIG’S WIFE(1936-Dorothy Arzner) Rosalind Russell,John Boles
91.THE DANCING PIRATE(1936-Lloyd Corrigan)
Charles Collins,Steffi Duna,Frank Morgan
92.THE INVISIBLE RAY(1936-Lambert Hillyer) Boris Karloff,Bela Lugosi,Frances Drake
93.KEEP YOUR SEATS PLEASE(1936-Monty Banks)George Formby,Florence Desmond
94.LE GOLEM(1936-Julien Duvivier) Harry Baur
95.RAMONA(1936-Henry King) Loretta Young,Don Ameche
96.ROSE MARIE(1936-W.S.Van Dyke)Jeanette MacDonald,Nelson Eddy
97.SWING TIME(1936-George Stevens)Fred Astaire,Ginger Rogers
98.THESE THREE(1936-William Wyler) Merle Oberon,Miriam Hopkins,Joel McCrea
99.THINGS TO COME(1936-William Cameron Menzies) Raymond Massey,Ralph Richardson
100.ARIZONA DAYS(1937-John English)Tex Ritter,Eleanor Stewart,Tommy Bupp
500 Favorite Films, 101-200: From 1937 into 1944
101-200
101.BREAKFAST FOR TWO(1937-Alfred Santell)
110.THANK YOU MR.MOTO(1937-Norman Foster)
111.BORDER G-MAN(1938-David Howard)
121.BLONDIE BRINGS UP BABY(1939-Frank Strayer)
131.MAN IN THE IRON MASK(1939-James Whale)
141.THE CARSON CITY KID(1940-Joseph Kane)
151.THE SEA HAWK(1940-Michael Curtiz)
161.HIGH SIERRA(1941-Raoul Walsh)
171.ZIEGFELD GIRL(1941-Robert Z.Leonard)
181.THIS GUN FOR HIRE(1942-Frank Tuttle)
191.THANK YOUR LUCKY STARS(1943-David Butler)
101.BREAKFAST FOR TWO(1937-Alfred Santell)
Barbara Stanwyck,Herbert Marshall
102.BULLDOG DRUMMOND’S REVENGE(1937-Louis King) John Howard,Louise Campbell,John Barrymore
103.CHARLIE CHAN ON BROADWAY(1937-Eugene Forde) Warner Oland,Keye Luke,Joan Marsh
104.THE FIREFLY(1937-Robert Z.Leonard) Jeanette MacDonald,Allan Jones
105.FLIGHT FROM GLORY(1937-Lew Landers) Chester Morris,Whitney Bourne,Van Heflin,Douglas Walton
106.GASPARONE(1937-Georg Jacoby)Johannes Heesters,Marika Rokk
107.HEIDI(1937-Allan Dwan) Shirley Temple,Jean Hersholt,Mary Nash,Thomas Beck
108.LA HABANERA(1937-Detlef Sierck{Douglas Sirk})Zarah Leander,Karl Martell
109.SNOW WHITE AND THE SEVEN DWARFS(1937-David Hand) animated110.THANK YOU MR.MOTO(1937-Norman Foster)
Peter Lorre,Thomas Beck,Jayne Regan,Philip Ahn
111.BORDER G-MAN(1938-David Howard)
George O’Brien,Laraine Johnson(Laraine Day)
112.THE CHILDHOOD OF MAXIM GORKY(1938-Marc Donskoi) Alyosha Lyarsky,Varvara Massalitinova
113.COWBOY FROM BROOKLYN(1938-Lloyd Bacon)Dick Powell,Priscilla Lane
114.GIRL OF THE GOLDEN WEST(1938-Robert Z.Leonard)Jeanette MacDonald,Nelson Eddy,Walter Pidgeon
115.HAWAIIAN BUCKAROO(1938-Ray Taylor)Smith Ballew,Evalyn Knapp
116.JEZEBEL(1938-William Wyler) Bette Davis,Henry Fonda,George Brent,Fay Bainter
117.MARIE ANTOINETTE(1938-W.S.Van Dyke) Norma Shearer,Tyrone Power,Robert Morley
118.RAWHIDE(1938-Ray Taylor) Smith Ballew,Lou Gehrig,Evalyn Knapp
119.SWEETHEARTS(1938-W.S.Van Dyke)Jeanette MacDonald,Nelson Eddy
120.VOLGA - VOLGA(1938-Grigori Aleksandrov) Lyubov Orlova,Igor Ilyinsky
121.BLONDIE BRINGS UP BABY(1939-Frank Strayer)
Penny Singleton,Arthur Lake,Larry Simms,Jonathan Hale
122.BLONDIE MEETS THE BOSS(1939-Frank Strayer)Penny Singleton,Arthur Lake,Larry Simms,Jonathan Hale
123.BLONDIE TAKES A VACATION(1939-Frank Strayer) Penny Singlton,Arthur Lake,Larry Simms,Donald Meek
124.FIRST LOVE(1939-Henry Koster) Deanna Durbin,Robert Stack,Helen Parrish,Eugene Pallette
125.THE FLYING DEUCES(1939-Edward Sutherland) Stan Laurel.Oliver Hardy,Jean Parker
126.HALLO JANINE(1939-Carl Boese) Marika Rokk,Johannes Heesters
127.HONEYMOON IN BALI(1939-Edward H.Griffith) Madeleine Carroll,Fred MacMurray
128.THE HUNCHBACK OF NOTRE DAME(1939-William Dieterle) Charles Laughton,Maureen O’Hara,Cedric Hardwicke,Edmond O’Brien
129.LADY OF THE TROPICS(1939-Jack Conway) Hedy Lamarr,Robert Taylor
130.MADE FOR EACH OTHER(1939-John Cromwell) Carole Lombard,James Stewart
131.MAN IN THE IRON MASK(1939-James Whale)
Louis Hayward,Joan Bennett
132.MARSHAL OF MESA CITY)1939-David Howard) George O’Brien,Virginia Vale,Henry Brandon,Leon Ames
133.THE MIKADO(1939-Victor Schertzinger) Kenny Baker,Jean Colin,Sydney Granville
134.MYSTERY PLANE(1939-George Waggner)John Trent,Marjorie Reynolds,Polly Ann Young
135.ONLY ANGELS HAVE WINGS(1939-Howard Hawks) Cary Grant,Jean Arthur
136.OVER THE MOON(1939-Thornton Freeland) Merle Oberon,Rex Harrison,Robert Douglas
137.SECOND FIDDLE(1939-Sidney Lanfield) Sonja Henie,Tyrone Power,Edna May Oliver
138.SON OF FRANKENSTEIN(1939-Rowland V.Lee)Basil Rathbone,Boris Karloff,Lionel Atwill,Bela Lugosi
139.THE APE(1940-William Nigh)Boris Karloff,Maris Wrixon
140.BRIGHAM YOUNG(1940-Henry Hathaway) Tyrone Power,Linda Darnell,Dean Jagger
141.THE CARSON CITY KID(1940-Joseph Kane)
Roy Rogers,Pauline Moore,Bob Steele
142.CHARLIE CHAN IN PANAMA(1940-Norman Foster) Sidney Toler,Victor Sen Yung,Jean Rogers,Mary Nash
143.FOREIGN CORRESPONDENT(1940-Alfred Hitchcock) Joel McCrea,Laraine Day
144.HUDSON’S BAY(1940-Irving Pichel)Paul Muni,Gene Tierney,John Sutton
145.I TAKE THIS WOMAN(1940-W.S.Van Dyke) Hedy Lamarr,Spencer Tracy
146.LA CORONA DI FERRO/THE IRON CROWN(1940-Alessandro Blasetti)Massimo Girotti,Elisa Cegani
147. LAW AND ORDER(1940-Ray Taylor)Johnny Mack Brown,Nell O’Day,Fuzzy Knight
148.THE LETTER(1940-William Wyler) Bette Davis,Herbert Marshall,James Stephenson
149.THE MARK OF ZORRO(1940-Rouben Mamoulian)Tyrone Power,Linda Darnell
150.SANTA FE TRAIL(1940-Michael Curtiz) Errol Flynn,Olivia deHavilland,Raymond Massey
151.THE SEA HAWK(1940-Michael Curtiz)
Errol Flynn,Brenda Marshall,Flora Robson
152.STRANGER ON THE THIRD FLOOR(1940-Boris Ingster) Peter Lorre,John McGuire
153.STRIKE UP THE BAND(1940-Busby Berkeley)Mickey Rooney,Judy Garland
154.THE THIEF OF BAGDAD(1940-Michael Powell,Tim Whelan & Ludwig Berger)Conrad Veidt,Sabu,June Duprez,John Justin
155.’TIL WE MEET AGAIN(1940-Edmund Goulding) Merle Oberon,George Brent,Pat O’Brien
156.TIN PAN ALLEY(1940-Walter Lang)Alice Faye,John Payne,Jack Oakie,Betty Grable
157.YOU’LL FIND OUT(1940-David Butler) Kay Kyser,Boris Karloff,Peter Lorre,Bela Lugosi,Helen Parrish,Dennis O’Keefe
158.BILLY THE KID(1941-David Miller) Robert Taylor,Brian Donlevy, Mary Howard
159.CITIZEN KANE(1941-Orson Welles) Orson Welles,Joseph Cotten,Dorothy Comingore
160.THE DEVIL AND MISS JONES(1941-Sam Wood) Jean Arthur,Charles Coburn
161.HIGH SIERRA(1941-Raoul Walsh)
Humphrey Bogart,Ida Lupino,Joan Leslie
162.INVISIBLE GHOST(1941-Joseph H.Lewis) Bela Lugosi,Polly Ann Young,John McGuire
163.NEVER GIVE A SUCKER AN EVEN BREAK(1941-Edward F.Cline)W.C.Fields,Gloria Jean
164.SILVER STALLION(1941-Edward Finney) David Sharpe,LeRoy Mason,Chief Thundercloud
165.SIS HOPKINS(1941-Joseph Santley) Judy Canova,Bob Crosby,Susan Hayward
166.SULLIVAN’S TRAVELS(1941-Preston Sturges) Joel McCrea,Veronica Lake
167.SUNNY(1941-Herbert Wilcox) Anna Neagle,John Carroll,Ray Bolger
168.SUN VALLEY SERENADE(1941-Bruce Humberstone) Sonja Henie,John Payne,Lynn Bari
169.WEEK-END IN HAVANA(1941-Walter Lang) Alice Faye,John Payne,Carmen Miranda
170.YOU’LL NEVER GET RICH(1941-Sidney Lanfield)Fred Astaire,Rita Hayworth
171.ZIEGFELD GIRL(1941-Robert Z.Leonard)
Judy Garland,Lana Turner,Hedy Lamarr
172.ARABIAN NIGHTS(1942-John Rawlins) Maria Montez,Jon Hall,Sabu
173.CAT PEOPLE(1942-Jacques Tourneur) Simone Simon,Kent Smith,Jane Randolph
174.DESPERATE JOURNEY(1942-Raoul Walsh) Errol Flynn,Raymond Massey,Ronald Reagan,Nancy Coleman
175.DIE GROSSE LIEBE(1942-Rolf Hansen)Zarah Leander,Viktor Staal
176.HALALOS CSOK(1942-Laszlo Kalmar)Katalin Karady,Istvan Nagy
177.HOLIDAY INN(1942-Mark Sandrich) Bing Crosby,Fred Astaire,Marjorie Reynolds
178.I MARRIED AN ANGEL(1942-W.S.Van Dyke)Jeanette MacDonald,Nelson Eddy
179.I MARRIED A WITCH(1942-Rene Clair) Fredric March,Veronica Lake,Susan Hayward
180.THE MAGNIFICENT AMBERSONS(1942-Orson Welles)Joseph Cotten,Tim Holt,Anne Baxter,Agnes Moorehead,Dolores Costello,Ray Collins
181.THIS GUN FOR HIRE(1942-Frank Tuttle)
Alan Ladd,Veronica Lake,Robert Preston
182.THE GANG’S ALL HERE(1943-Busby Berkeley) Alice Faye,Carmen Miranda
183.JITTERBUGS(1943-Malcolm St.Clair)Stan Laurel,Oliver Hardy,Vivian Blaine
184.LE BARON FANTOME(1943-Serge de Poligny) Alain Cuny,Gabrielle Dorziat
185.THE LEOPARD MAN(1943-Jacques Tourneur) Dennis O’Keefe,Jean Brooks,Margo
186. PHANTOM OF THE OPERA(1943-Arthur Lubin) Nelson Eddy,Claude Rains,Susanna Foster,Edgar Barrier
187.RETURN OF THE VAMPIRE(1943-Lew Landers)Bela Lugosi, Frieda Inescourt,Nina Foch,Miles Mander
188.THE SEVENTH VICTIM(1943-Mark Robson)Kim Hunter,Jean Brooks,Tom Conway,Hugh Beaumont,Evelyn Brent
189.THE SONG OF BERNADETTE(1943-Henry King)Jennifer Jones,Charles Bickford,Vincent Price,Gladys Cooper
190.SON OF DRACULA(1943-Robert Siodmak)Lon Chaney Jr.,Robert Paige,Louise Allbritton,Evelyn Ankers
191.THANK YOUR LUCKY STARS(1943-David Butler)
Dennis Morgan,Joan Leslie,Eddie Cantor,Bette Davis,Errol Flynn,Ann Sheridan
192.ALI BABA AND THE FORTY THIEVES(1944-Arthur Lubin)Maria Montez,Jon Hall,Turhan Bey
193.BLUEBEARD(1944-Edgar Ulmer) John Carradine,Jean Parker
194.CAN’T HELP SINGING(1944-Frank Ryan)Deanna Durbin,Robert Paige,Akim Tamiroff
195.A CANTERBURY TALE(1944-Michael Powell)Dennis Price,Sheila Sims,Eric Portman
196.CURSE OF THE CAT PEOPLE(1944-Robert Wise & Gunter von Fritsch)Simone Simon,Ann Carter,Kent Smith,Jane Randolph,Elizabeth Russell,Julia Dean
197.DIE FRAU MEINER TRAUME(1944-Georg Jacoby) Marika Rokk,Viktor Janson
198.FRENCHMAN’S CREEK(1944-Mitchell Leisen) Joan Fontaine,Arturo de Cordova
199.HOUSE OF FRANKENSTEIN(1944-Erle C.Kenton)Boris Karloff,Lon Chaney Jr.,John Carradine,Anne Gwynne,Lionel Atwill
200.JANE EYRE(1944-Robert Stevenson)Joan Fontaine,Orson Welles,Peggy Ann Garner
500 Favorite Films, 201-300: From 1944 into 1953
201-300
201.THE MASK OF DIMITRIOS(1944-Jean Negulesco)
211.STRANGLER OF THE SWAMP(1945-Frank Wisbar)
221.THE RAZOR’S EDGE(1946-Edmund Goulding)
231.NORTHWEST OUTPOST(1947-Allan Dwan)
241.MIRANDA(1948-Ken Annakin)
251.BEYOND THE FOREST(1949-King Vidor)
261.STROMBOLI(1949-Roberto Rossellini)
271.STORM WARNING(1950-Stuart Heisler)
281.MARK OF THE RENEGADE(1951-Hugo Fregonese)
291.THE MERRY WIDOW(1952-Curtis Bernhardt)
201.THE MASK OF DIMITRIOS(1944-Jean Negulesco)
Sydney Greenstreet,Peter Lorre
202.MEET ME IN ST. LOUIS(1944-Vincente Minnelli) Judy Garland,Margaret O’Brien
203.SONG OF NEVADA(1944-Joseph Kane) Roy Rogers,Dale Evans
204.THE SPIDER WOMAN(1944-Roy William Neill) Basil Rathbone,Nigel Bruce,Gale Sondergaard
205.TOGETHER AGAIN(1944-Charles Vidor) Irene Dunne,Charles Boyer
206.THE BULLFIGHTERS(1945-Malcolm st.Clair) Stan Laurel,Oliver Hardy,Richard Lane
207.THE GREAT FLAMARION(1945-Anthony Mann) Erich von Stroheim,Mary Beth Hughes
208.HANGOVER SQUARE(1945-John Brahm)Laird Cregar,Linda Darnell,George Sanders
209.LEAVE HER TO HEAVEN(1945-John M.Stahl)Gene Tierney,Cornel WildeJeanne Crain
210.THE SPANISH MAIN(1945-Frank Borzage)Maureen O’Hara,Paul Henreid,Walter Slezak
211.STRANGLER OF THE SWAMP(1945-Frank Wisbar)
Rosemary La Planche,Blake Edwards
212.SUDAN(1945-John Rawlins)Maria Montez,Jon Hall,Turhan Bey
213.THRILL OF A ROMANCE(1945-Richard Thorpe)Esther Williams,Van Johnson
214.THE WICKED LADY(1945-Leslie Arliss)Margaret Lockwood,James Mason,Patricia Roc,Griffith Jones,Michael Rennie
215.ZOMBIES ON BROADWAY(1945-Gordon Douglas)Wally Brown,Alan Carney,Bela Lugosi,Anne Jeffreys
216.CENTENNIAL SUMMER(1946-Otto Preminger)Jeanne Crain,Linda Darnell,Cornel Wilde,Constance Bennett,Walter Brennan
217.GILDA(1946-Charles Vidor)Rita Hayworth,Glenn Ford,George Macready
218.HUMORESQUE(1946-Jean Negulesco)Joan Crawford,John Garfield
219.LA BELLE ET LA BETE/BEAUTY AND THE BEAST(1946-Jean Cocteau)Jean Marais,Josette Day
220.OF HUMAN BONDAGE(1946-Edmund Goulding)Paul Henreid,Eleanor Parker
221.THE RAZOR’S EDGE(1946-Edmund Goulding)
Tyrone Power,Gene Tierney,Anne Baxter,Clifton Webb,John Payne,Lucile Watson
222.SUSPENSE(1946-Frank Tuttle)Belita,Barry Sullivan,Albert Dekker,Eugene Pallette
223.ZIEGFELD FOLLIES(1946-Vincente Minnelli)Fred Astaire,Lucille Bremer,Judy Garland,Kathryn Grayson,Gene Kelly
224.CAPTAIN FROM CASTILE(1947-Henry King)Tyrone Power,Jean Peters,Cesar Romero
225.THE DEVIL THUMBS A RIDE(1947-Felix Feist)Lawrence Tierney,Ted North,Nan Leslie
226.THE EXILE(1947-Max Ophuls)Douglas Fairbanks Jr,Maria Montez
227.THE FOXES OF HARROW(1947-John M.Stahl)Rex Harrison,Maureen O’Hara
228.GERMANIA ANNO ZERO/GERMANY YEAR ZERO(1947-Roberto Rossellini)Edmund Meschke,Ingetraud Hinz
229.THE GHOST AND MRS. MUIR(1947-Joseph L.Mankiewicz)Gene Tierney,Rex Harrison,George Sanders,Natalie Wood
230.MY WILD IRISH ROSE(1947-David Butler)Dennis Morgan,Arlene Dahl
231.NORTHWEST OUTPOST(1947-Allan Dwan)
Nelson Eddy,Ilona Massey,Hugo Haas
232.THE PARADINE CASE(1947-Alfred Hitchcock)Gregory Peck,Alida Valli,Charles Laughton,Charles Coburn,Louis Jourdan
233.THIS TIME FOR KEEPS(1947-Richard Thorpe)Esther Williams,Johnnie Johnston
234.ABBOTT & COSTELLO MEET FRANKENSTEIN(1948-Charles Barton)Bud Abbott.Lou Costello,Bela Lugosi,Lon Chaney Jr.,Lenore Aubert,Jane Randolph
235.BLANCHE FURY(1948-Marc Allegret)Valerie Hobson,Stewart Granger
236.CHANDRALEKHA(1948-S.S.Vasan)T.R. Rajkumari,Ranjan
237.FABIOLA(1948-Alessandro Blasetti)Michele Morgan,Henri Vidal,Massimo Girotti
238.THE KISSING BANDIT(1948-Laslo Benedek)Frank Sinatra,Kathryn Grayson
239.THE LADY FROM SHANGHAI(1948-Orson Welles)Rita Hayworth,Orson Welles,Everett Sloane,Glenn Anders
240.MACBETH(1948-Orson Welles)Orson Welles,Jeanette Nolan,Dan O’Herlihy,Edgar Barrier
241.MIRANDA(1948-Ken Annakin)
Glynis Johns,Griffith Jones,Googie Withers,Margaret Rutherford
242.MYSTERY IN MEXICO(1948-Robert Wise)William Lundigan,Jacqueline White
243.THE PIRATE(1948-Vincente Minnelli)Judy Garland,Gene Kelly,Walter Slezak
244.PITFALL(1948-Andre De Toth)Dick Powell,Lizabeth Scott,Jane Wyatt,Raymond Burr
245.THE RED SHOES(1948-Michael Powell)Anton Walbrook,Moira Shearer,Marius Goring
246.SIREN OF ATLANTIS(1948-Greg C.Tallas)Maria Montez,Jean Pierre Aumont,Dennis O’Keefe
247.THREE DARING DAUGHTERS(1948-Fred M.Wilcox)Jeanette MacDonald,Jane Powell,Jose Iturbi,Edward Arnold
248.UNDER CALIFORNIA STARS(1948-William Witney)Roy Rogers,Jane Frazee,Michael Chapin
249.ABBOTT & COSTELLO MEET THE KILLER(1949-Charles Barton)Bud Abbott,Lou Costello,Boris Karloff,Lenore Aubert
250.ADVENTURES OF DON JUAN(1949-Vincent Sherman)Errol Flynn,Viveca Lindfors,Robert Douglas,Alan Hale
251.BEYOND THE FOREST(1949-King Vidor)
Bette Davis,Joseph Cotten,David Brian
252.BLACK MAGIC(1949-Gregory Ratoff)Orson Welles,Nancy Guild,Frank Latimore
253.THE BLUE LAGOON(1949-Frank Launder)Jean Simmons,Donald Houston
254.BORDER INCIDENT(1949-Anthony Mann)George Murphy,Ricardo Montalban, James Mitchell,Howard Da Silva
255.GRAND CANYON(1949-Paul Landres)Richard Arlen,Mary Beth Hughes
256.GUN CRAZY(1949-Joseph H.Lewis)Peggy Cummins,John Dall
257.MY DREAM IS YOURS(1949-Michael Curtiz)Doris Day,Jack Carson,Lee Bowman,Eve Arden,S.Z.Sakall
258.PRINCE OF FOXES(1949-Henry King)Tyrone Power,Orson Welles,Wanda Hendrix
259.THE ROCKING HORSE WINNER(1949-Anthony Pelissier)Valerie Hobson,John Howard Davies,John Mills
260.STRAY DOG(1949-Akira Kurosawa)Toshiro Mifune,Takashi Shimura
261.STROMBOLI(1949-Roberto Rossellini)
Ingrid Bergman,Mario Vitale
262.TOO LATE FOR TEARS(1949-Byron Haskin)Lizabeth Scott,Don DeFore,Dan Duryea
263.CAGED(1950-John Cromwell)Eleanor Parker,Hope Emerson,Agnes Moorehead,Lee Patrick,Jan Sterling
264.THE FORTUNES OF CAPTAIN BLOOD(1950-Gordon Douglas)Louis Hayward,Patricia Medina,Dona Drake,Lowell Gilmore
265.THE FURIES(1950-Anthony Mann)Barbara Stanwyck,Walter Huston,Wendell Corey
266,LUCI DEL VARIETA/VARIETY LIGHTS(1950-Federico Fellini & Alberto Lattuada)Carla Del Poggio,Peppino De Filippo,Giulieta Masina
267.PAGAN LOVE SONG(1950-Robert Alton)Esther Williams,Howard Keel
268.PANIC IN THE STREETS(1950-Elia Kazan)Richard Widmark,Paul Douglas,Jack Palance,Zero Mostel,Barbara Bel Geddes
269.RASHOMON(1950-Akira Kurosawa)Toshiro Mifune,Machiko Kyo,Masayuki Mori
270.ROCKETSHIP X-M(1950-Kurt Neumann)Lloyd Bridges,Osa Massen,John Emery,Hugh O’Brian
271.STORM WARNING(1950-Stuart Heisler)
Ginger Rogers,Ronald Reagan,Doris Day
272.THREE LITTLE WORDS(1950-Richard Thorpe)Fred Astaire,Red Skelton,Vera-Ellen,Arlene Dahl
273.TREASURE ISLAND(1950-Byron Haskin)Bobby Driscoll,Robert Newton
274.WHERE DANGER LIVES(1950-John Farrow)Robert Mitchum,Faith Domergue
275.WHERE THE SIDEWALK ENDS(1950-Otto Preminger)Dana Andrews,Gene Tierney,Gary Merrill,Tom Tully
276.ABBOTT & COSTELLO MEET THE INVISIBLE MAN(1951-Charles Lamont)Bud Abbott,Lou Costello,Arthur Franz,Nancy Guild,Adele Jergens
277.AN AMERICAN IN PARIS(1951-Vincente Minnelli)Gene Kelly,Leslie Caron,Georges Guetary,Oscar Levant,Nina Foch
278.BADAL(1951-Amiya Chakrabarty)Premnath,Madhubala
279.THE FLAME OF ARABY(1951-Charles Lamont)Maureen O’Hara,Jeff Chandler
280.HONG KONG(1951-Lewis R.Foster)Ronald Reagan,Rhonda Fleming
281.MARK OF THE RENEGADE(1951-Hugo Fregonese)
Ricardo Montalban,Cyd Charisse
282.RICH YOUNG AND PRETTY(1951-Norman Taurog)Jane Powell,Danielle Darrieux,Wendell Corey,Vic Damone,Fernando Lamas
283.SHOW BOAT(1951-George Sidney)Kathryn Grayson,Howard Keel,Ava Gardner
284.WESTWARD THE WOMEN(1951-William Wellman)Robert Taylor,Denise Darcel
285.AARON SLICK FROM PUNKIN CRICK(1951-Claude Binyon)Dinah Shore,Alan Young,Robert Nerrill,Adele Jergens,Minerva Urecal
286.THE BELLE OF NEW YORK(1952-Charles Walters)Fred Astaire,Vera-Ellen
287.CUBA CABANA(1952-Fritz Peter Buch)Zarah Leander,O.W.Fischer
288.THE DEVIL MAKES THREE(1952-Andrew Marton)Gene Kelly,Pier Angeli,Claus Clausen
289.DON’T BOTHER TO KNOCK(1952-Roy Ward Baker)Richard Widmark,Marilyn Monroe,Anne Bancroft
290.LA REGINA DI SABA/THE QUEEN OF SHEBA(1952-Pietro Francisci)Leonora Ruffo,Gino Leurini,Gino Cervi
291.THE MERRY WIDOW(1952-Curtis Bernhardt)
Lana Turner,Fernando Lamas
292.OTHELLO(1952-Orson Welles)Orson Welles,Michael MacLiammoir,Suzanne Cloutier
293.RED PLANET MARS(1952-Harry Horner)Peter Graves,Andrea King,Marvin Miller
294.SCARAMOUCHE(1952-George Sidney)Stewart Granger,Eleanor Parker,Janet Leigh,Mel Ferrer
295.WAY OF A GAUCHO(1952-Hugo Fregonese)Rory Calhoun,Gene Tierney,Richard Boone
296.ABBOTT & COSTELLO GO TO MARS(1953-Charles Lamont)Bud Abbott,Lou Costello,Mari Blanchard,Robert Paige,Martha Hyer
297.THE BAND WAGON(1953-Vincente Minnelli)Fred Astaire,Cyd Charisse,Jack Buchanan
298.BENEATH THE 12-MILE REEF(1953-Robert D.Webb)Robert Wagner,Terry Moore,Gilbert Roland,Richard Boone,Peter Graves
299.A BLUEPRINT FOR MURDER(1953-Andrew L.Stone)Joseph Cotten,Jean Peters
300.CALAMITY JANE(1953-David Butler)Doris Day,Howard Keel,Allyn Ann Mclerie,Philip Carey,Dick Wesson
500 Favorite Films, 301-400: From 1953 into 1964
301-400
301.DANGEROUS WHEN WET(1953-Charles Walters)
305.SERPENT OF THE NILE(1953-William Castle)
311.AMAR(1954-Mehboob Khan)
321.THE BIG COMBO(1955-Joseph H.Lewis)
Faith Domergue,Jeff Morrow,Rex Reason,Lance Fuller,Russell Johnson
331.BACK FROM ETERNITY(1956-John Farrow)
341.THE TEN COMMANDMENTS(1956-Cecil B.De Mille)
Charlton Heston,Yul Brynner,Anne Baxter,Cedric Hardwicke,Debra Paget
342.BLACK PATCH(1957-Allen H.Miner)
351.THE ONE THAT GOT AWAY(1957-Roy Ward Baker)
361.UKIGUSA/FLOATING WEEDS(1959-Yazujiro Ozu)
371.RISATE DI GIOIA/THE PASSIONATE THIEF(1960-Mario Monicelli)
(1961-Vittorio Cattafavi)
(1961-Mario Caiano)
381.DER SCHATZ IM SILBERSEE/TREASURE OF SILVER LAKE(1962-Harald Reinl)
391.YUKINOJE HENGE/AN ACTOR’S REVENGE(1963-Kon Ichikawa)
(1963-Michele Lupo)
HERCULES (1964-Antonio Margheriti)
301.DANGEROUS WHEN WET(1953-Charles Walters)
Esther Williams,Fernando Lamas,Jack Carson,Charlotte Greenwood,Denise Darcel
302.IT CAME FROM OUTER SPACE(1953-Jack Arnold)Richard Carlson,Barbara Rush
303.MEET MR.LUCIFER(1953-Anthony Pelissier)Stanley Holloway,Peggy Cummins,Joseph Tomelty,Kay Kendall
304.PETER PAN(1953-Clyde Geronimi,Wilfred Jackson & Hamilton Luske) animated305.SERPENT OF THE NILE(1953-William Castle)
Rhonda Fleming,William Lundigan,Raymond Burr
306.SHANE(1953-George Stevens)Alan Ladd,Jean Arthur,Brandon deWilde,Jack Palance
307.THUNDER IN THE EAST(1953-Charles Vidor)Alan Ladd,Deborah Kerr,Charles Boyer,Corinne Calvet
308.TITANIC(1953-Jean Negulesco)Clifton Webb,Barbara Stanwyck,Robert Wagner
309.UGETSU MONOGATARI(1953-Kenji Mizoguchi)Masayuki Mori,Kinuyo Tanaka,Machiko Kyo
310.WAR OF THE WORLDS(1953-Byron Haskin)Gene Barry,Ann Robinson
311.AMAR(1954-Mehboob Khan)
Dilip Kumar,Madhubala,Nimmi
312.THE EGYPTIAN(1954-Michael Curtiz)Edmund Purdom,Jean Simmons,Gene Tierney,Victor Mature,Bella Darvi
313.JIVARO(1954-Edward Ludwig)Fernando Lamas,Rhonda Fleming,Brian Keith
314.KILLERS FROM SPACE(1954-W.Lee Wilder)Peter Graves,Barbara Bestar
315.LE RAGAZZE DI SAN FREDIANO(1954-Valerio Zurlini)Antonio Cifariello,Rossana Podesta,Corinne Calvet
316.THE NAKED JUNGLE(1954-Byron Haskin )Charlton Heston,Eleanor Parker
317.PUSHOVER(1954-Richard Quine)Fred MacMurray,Kim Novak,Dorothy Malone
318.THE RIVER OF NO RETURN(1954-Otto Preminger)Marilyn Monroe,Robert Mitchum,Tommy Rettig,Rory Calhoun
319.SECRET OF THE INCAS(1954-Jerry Hopper)Charlton Heston,Thomas Mitchell,Nicole Maurey,Yma Sumac
320.THERE’S NO BUSINESS LIKE SHOW BUSINESS(1954-Walter Lang)Ethel Merman,Donald O’Connor,Marilyn Monroe,Dan Dailey,Mitzi Gaynor
321.THE BIG COMBO(1955-Joseph H.Lewis)
Cornel Wilde,Jean Wallace
322.CAROLINA CANNONBALL(1955-Charles Lamont)Judy Canova,Andy Clyde
323.CULT OF THE COBRA(1955-Francis D.Lyon)Faith Domergue,Marshall Thompson,William Reynolds,Jack Kelly
324.JUPITER’S DARLING(1955-George Sidney)Esther Williams,Howard Keel,Marge & Gower Champion,George Sanders
325.KILLER’S KISS(1955-Stanley Kubrick)Jamie Smith,Frank Silvera,Irene Kane
326.LAND OF THE PHARAOHS(1955-Howard Hawks)Jack Hawkins,Joan Collins,Dewey Martin,Sydney Chaplin
327.NIGHT OF THE HUNTER(1955-Charles Laughton)Robert Mitchum,Shelley Winters,Billy Chapin,Lillian Gish,James Gleason
328.RECORD OF A LIVING BEING(1955-Akira Kurosawa)Toshiro Mifune
329.SON OF SINBAD(1955-Ted Tetzlaff)Dale Robertson,Sally Forrest,Vincent Price,Mari Blanchard,Lili St.Cyr
330.THIS ISLAND EARTH(1955-Joseph Newman)Faith Domergue,Jeff Morrow,Rex Reason,Lance Fuller,Russell Johnson
331.BACK FROM ETERNITY(1956-John Farrow)
Robert Ryan,Anita Ekberg,Rod Steiger,Phyllis Kirk,Jon Provost,Gene Barry
332.THE BEAST OF HOLLOW MOUNTAIN(1956-Edward Nassour & Ismael Rodriguez)Guy Madison,Patricia Medina
333.THE BURNING HILLS(1956-Stuart Heisler)Tab Hunter,Natalie Wood,Skip Homeier,Earl Holliman
334.THE CATERED AFFAIR(1956-Richard Brooks)Bette Davis,Ernest Borgnine,Debbie Reynolds,Barry Fitzgerald,Rod Taylor
335.THE CREATURE WALKS AMONG US(1956-John Sherwood)Jeff Morrow,Rex Reason,Leigh Snowden
336.DAKOTA INCIDENT(1956-Lewis R.Foster)Dale Robertson,Linda Darnell,John Lund,Ward Bond,Skip Homeier
337.HELEN OF TROY(1956-Robert Wise)Rossana Podesta,Jacques Sernas,Cedric Hardwicke,Stanley Baker
338.THE KING AND FOUR QUEENS(1956-Raoul Walsh)Clark Gable,Eleanor Parker,Jo Van Fleet,Jean Willes,Barbara Nichols,Sara Shane
339.ROCK ROCK ROCK(1956-Will Price)Tuesday Weld,Teddy Randazzo
340.THE SEARCHERS(1956-John Ford)John Wayne,Vera Miles,Jeffrey Hunter,Natalie Wood,Henry Brandon
341.THE TEN COMMANDMENTS(1956-Cecil B.De Mille)
Charlton Heston,Yul Brynner,Anne Baxter,Cedric Hardwicke,Debra Paget
342.BLACK PATCH(1957-Allen H.Miner)
George Montgomery,Diane Brewster,Sebastian Cabot
343.THE BLACK SCORPION(1957-Edward Ludwig)Richard Denning,Mara Corday,Carlos Rivas
344.FORTY GUNS(1957-Samuel Fuller)Barbara Stanwyck,Barry Sullivan,Dean Jagger,John Ericson
345.GUN GLORY(1957-Roy Rowland)Stewart Granger,Rhonda Fleming,James Gregory,Chill Wills
346.HELL DRIVERS(1957-Cy Endfield)Stanley Baker,Peggy Cummins,Patrick McGoohan,Herbert Lom
347.THE INCREDIBLE SHRINKING MAN(1957-Jack Arnold)Grant Williams
348.KRONOS(1957-Kurt Neumann)Jeff Morrow,Barbara Lawrence,John Emery
349.THE MONOLITH MONSTERS(1957-John Sherwood)Grant Williams,Lola Albright
350.NIGHT OF THE DEMON(1957-Jacques Tourneur)Dana Andrews,Peggy Cummins,Niall MacGinnis,Athene Seyler
351.THE ONE THAT GOT AWAY(1957-Roy Ward Baker)
Hardy Kruger
352. 20 MILLION MILES TO EARTH(1957-Nathan Juran)William Hopper,Joan Taylor
353.ATTACK OF THE 50 FT WOMAN(1958-Nathan Juran)Allison Hayes,William Hudson,Yvette Vickers
354.BELL BOOK AND CANDLE(1958-Richard Quine)James Stewart,Kim Novak
355.THE COLOSSUS OF NEW YORK(1958-Eugene Lourie)John Baragrey,Mala Powers,Otto Kruger,Robert Hutton
356.I MARRIED A MONSTER FROM OUTER SPACE(1958-Gene Fowler Jr)Tom Tryon,Gloria Talbott
357.THE PARTY CRASHERS(1958-Bernard Girard)Bobby Driscoll,Mark Damon,Connie Stevens,Frances Farmer,Walter Brooke
358.TOUCH OF EVIL(1958-Orson Welles)Charlton Heston,Orson Welles,Janet Leigh,Marlene Dietrich,Joseph Calleia
359.VERTIGO(1958-Alfred Hitchcock)James Stewart,Kim Novak
360.THE VIKINGS(1958-Richard Fleischer)Kirk Douglas,Tony Curtis,Janet Leigh,Ernest Borgnine
361.UKIGUSA/FLOATING WEEDS(1959-Yazujiro Ozu)
Ganjiro Nakamura,Machiko Kyo,Ayako Wakao,Haruko Sugimura
362.THE GIANT BEHEMOTH(1959-Eugene Lourie)Gene Evans,Andre Morell
363.IT HAPPENED TO JANE(1959-Richard Quine)Doris Day,Jack Lemmon
364.JOURNEY TO THE CENTER OF THE EARTH(1959-Henry Levin)Pat Boone,James Mason,Arlene Dahl,Diane Baker
365.LES YEUX SANS VISAGE/EYES WITHOUT A FACE(1959-Georges Franju)Pierre Brasseur,Alida Valli,Edith Scob
366.MIDDLE OF THE NIGHT(1959-Delbert Mann)Fredric March,Kim Novak
367.RIO BRAVO(1959-Howard Hawks)John Wayne,Dean Martin,Walter Brennan
368.THE WILD AND THE INNOCENT(1959-Jack Sher)Audie Murphy,Sandra Dee,Joanne Dru,Gilbert Roland
369.LA DOLCE VITA(1960-Federico Fellini)Marcello Mastroianni,Anouk Aimee,Anita Ekberg,Yvonne Furneaux
370.POLLYANNA(1960-David Swift)Hayley Mills,Jane Wyman,Karl Malden
371.RISATE DI GIOIA/THE PASSIONATE THIEF(1960-Mario Monicelli)
Anna Magnani,Toto,Ben Gazzara
372.THE WORLD OF SUZIE WONG(1960-Richard Quine)William Holden,Nancy Kwan
373.ERCOLE A LA CONQUISTA DI ATLANTIDE/HERCULES & THE CAPTIVE WOMEN(1961-Vittorio Cattafavi)
Reg Park,Fay Spain,Ettore Manni
374.IL SEPULCRO DEI RE/CLEOPATRA’S DAUGHTER(1961-Fernando Cerchio)Debra Paget,Ettore Manni,Robert Alda,Corrado Pani
375.MACISTE ALLA VALLE DEI RE/SON OF SAMSON(1961-Carlo Campogalliani)Mark Forest,Chelo Alonso
376.THE MISFITS(1961-John Huston)Clark Gable,Marilyn Monroe,Montgomery Clift,Thelma Ritter,Eli Wallach
377.ULISSE CONTRO ERCOLE/ULYSSES AGAINST THE SON OF HERCULES(1961-Mario Caiano)
Georges Marchal,Michael Lane
378.URSUS NELLA VALLE DEI LEONI(1961-Carlo Ludovico Bragaglia)Ed Fury,Moira Orfei
379.THE YOUNG ONES(1961-Sidney J.Furie)Cliff Richard,Carole Gray,Robert Morley
380.THE DAYS OF WINE AND ROSES(1962-Blake Edwards)Jack Lemmon,Lee Remick,Charles Bickford
381.DER SCHATZ IM SILBERSEE/TREASURE OF SILVER LAKE(1962-Harald Reinl)
Lex Barker,Pierre Brice,Herbert Lom
382.GYPSY(1962-Mervyn LeRoy)Rosalind Russell,Natalie Wood,Karl Malden
383.HIGH AND LOW(1962-Akira Kurosawa)Toshiro Mifune,Tatsuya Nakadai
384.LOLITA(1962-Stanley Kubrick)James Mason,Sue Lyon,Shelley Winters,Peter Sellers
385.LONG DAY’S JOURNEY INTO NIGHT(1962-Sidney Lumet)Katharine Hepburn,Ralph Richardson,Jason Robards Jr,Dean Stockwell
386.THE MANCHURIAN CANDIDATE(1962-John Frankenheimer)Frank Sinatra,Laurence Harvey,Janet Leigh,Angela Lansbury,James Gregory
387.PLANETA BURG/PLANET OF STORMS(1962-Pavel Klushantsev)Vladimir Yemelyanov,Gennadi Vernov
388.THE DAMNED/THESE ARE THE DAMNED(1962-Joseph Losey)Macdonald Carey,Shirley Anne Field,Oliver Reed,Alexander Knox,Viveca Lindfors
389.WALK ON THE WILD SIDE(1962-Edward Dmytryk)Laurence Harvey,Capucine,Jane Fonda,Anne Baxter,Barbara Stanwyck
390.WHATEVER HAPPENED TO BABY JANE(1962-Robert Aldrich)Bette Davis,Joan Crawford
391.YUKINOJE HENGE/AN ACTOR’S REVENGE(1963-Kon Ichikawa)
Kazuo Hasegawa,Ayako Wakao
392.THE BIRDS(1963-Alfred Hitchcock)Rod Taylor,Tippi Hedren,Suzanne Pleshette
393.LA BAIE DES ANGES/BAY OF ANGELS(1963-Jacques Demy)Jeanne Moreau,Claude Mann
394.MACISTE L’EROE PIU GRANDE DEL MONDO/GOLIATH & THE SINS OF BABYLON(1963-Michele Lupo)
Mark Forest,Jose Greci,Giuliano Gemma
395.NIGHT TIDE(1963-Curtis Harrington)Dennis Hopper,Linda Lawson,Gavin Muir,Luana Anders
396.SODOM AND GOMORRAH(1963-Robert Aldrich)Stewart Granger,Pier Angeli,Anouk Aimee,Rossana Podesta,Stanley Baker
397.TOYS IN THE ATTIC(1963-George Roy Hill)Dean Martin,Geraldine Page,Wendy Hiller,Yvette Mimieux,Gene Tierney
398.WINNETOU 1. TEIL/APACHE GOLD(1963-Harald Reinl)Lex Barker,Pierre Brice
399.ANTHAR L’INVINCIBLE/DEVIL OF THE DESERT AGAINST THE SON OFHERCULES (1964-Antonio Margheriti)
Kirk Morris,Michele Girardon
400.HUSH HUSH SWEET CHARLOTTE(1964-Robert Aldrich)Bette Davis,Olivia deHavilland,Joseph Cotten,Mary Astor,Agnes Moorehead
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