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1948

Showing 48 works across all media from 1948

Bicycle Thieves

Directed by Vittorio De Sica
1948 · Italy

Italian neorealism starts with this, and it still guts people: De Sica cast a factory worker as his lead and found a whole society inside one stolen bicycle.

★ 9.1

The Red Shoes

Directed by Michael Powell and Emeric Pressburger
1948 · United Kingdom

Scorsese has been watching it since childhood and has never stopped: Powell and Pressburger put a ballet on screen in Technicolor so saturated that it plays like a fever.

★ 8.0

Snow Country

1948 · 175 pages

At a hot spring in Japan's snow country, a wealthy Tokyo idler keeps visiting a geisha who loves him past anything he can give. Kawabata states almost nothing and it lands anyway.

★ 7.2

Red River

Directed by Howard Hawks
1948

Ford said he never knew Wayne could act until he saw this: a cattle drive turns into a mutiny, and the man in charge becomes the thing to escape.

★ 7.0

Cry, the Beloved Country

1948 · 320 pages

A Zulu parson goes to Johannesburg to find his son and learns the boy killed a white man who fought for black South Africans. Paton's fifteen million readers made apartheid a world scandal.

★ 6.7

The Naked and the Dead

1948 · 736 pages

America's novel of the Second World War, published when Mailer was twenty-five and just back from the Philippines. A reconnaissance platoon crosses a Japanese-held island while he tracks every man's fear.

★ 6.5

The Tunnel

1948 · 138 pages

Writing from a prison cell, the painter Juan Pablo Castel explains why he killed the woman who understood his work. Sabato follows a jealous mind step by step until its logic feels ordinary.

★ 6.0

Rope

Directed by Alfred Hitchcock
1948

Alfred Hitchcock disguised half the cuts so the film plays like one unbroken take: two students host a dinner party in the apartment where they have done something, and the camera never leaves.

★ 4.5

Hamlet

Directed by Laurence Olivier
1948 · United Kingdom

The first film made outside America to be named Best Picture: Laurence Olivier cut half the play, shot it in high-contrast monochrome, and moves the camera through Elsinore like a ghost.

★ 3.0