
Seven Samurai
Every film about assembling a team for one last job descends from this one: Kurosawa makes seven men matter, then stages a battle in the mud nobody has equaled.

Every film about assembling a team for one last job descends from this one: Kurosawa makes seven men matter, then stages a battle in the mud nobody has equaled.

Nobody has ever made obsession look this beautiful or this sick: a man falls for an image instead of a person, and Hitchcock follows him past every point it should stop.

The quiet masterpiece of ordinary life: Ozu finds the ache of a whole century in parents visiting children who have no time for them, and it will find you too.

Nothing else on film is this happy, and the subject is an industry in a panic: Hollywood's terror at the arrival of sound became two hours of pure delight.

Hollywood has never been crueler about itself: Louis B. Mayer told Wilder he had disgraced the industry, which is the highest praise the film could possibly have received.

American comedy has never been funnier, and the Legion of Decency was appalled: Wilder ran a single disguise for two hours without ever letting the joke thin out.

Suspense has never been constructed more purely, and the real subject is the audience: Hitchcock traps you in one room with a man who cannot stop watching his neighbors.

Every spy thriller since owes it something, James Bond most of all: Hitchcock chases an innocent man across America by crop duster and over Mount Rushmore, enjoying himself throughout.

Kurosawa gave the language a word for irreconcilable testimony and opened Japanese cinema to the world: four accounts of one killing, none of which can be squared with another.

Other directors have been stealing from this western for seventy years: Ford put John Wayne's racism on screen without excusing it, and framed his story in a much-copied doorway.

Screen acting changed with Brando in the back of that taxi: Kazan made the film to justify naming names, which gives the whole thing an uncomfortable heat.

Nothing beats it as a filmed argument, and it happens in a single room: eleven jurors want to go home, one will not, and the temperature keeps rising.

The sharpest script ever written about ambition: an aging star takes in an adoring young fan, and theater people have been quoting the lines for three-quarters of a century.

The French New Wave announces itself: Truffaut put his own miserable childhood on screen at twenty-seven, and the last shot changed what an ending was allowed to do.

Indian cinema arrived in the world with this: Ray shot it on weekends with a first-time crew and no money, and the children seeing a train is pure wonder.

Kurosawa's answer to how a life should be spent: a bureaucrat gets one piece of terrible news and starts spending what is left deliberately, which will change how you see your job.

Charles Laughton never directed again after it failed, and critics have spent seventy years calling it a masterpiece: a preacher with tattooed knuckles and two children on a river.

Three of its four leads won Academy Awards and the fourth was Brando: this is where screen acting stopped being theatrical and started being something else entirely.

France stayed uncomfortable enough to keep it out of cinemas for eighteen years: Kubrick tracked the camera down the trenches and staged an injustice that still makes people furious.

No image from any film has been parodied more: a knight plays chess with Death on a beach, and Bergman is completely serious about the question underneath it.