
Tokyo Story
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.

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.

Mizoguchi's ghost story is the one other directors mention when asked what changed them: two peasants chase money through a civil war, and the crossing through fog is unearthly.

Suspense does not get more physical than this: four desperate men drive truckloads of nitroglycerin over mountain roads, and every rut in the surface becomes an ordeal.

The western seen entirely through a small boy's worship, which is the honest way to look at it: a gunfighter tries to stop being one and cannot.

Audrey Hepburn became a star overnight and Dalton Trumbo wrote the script while blacklisted: a princess slips her handlers for one unscheduled day in Rome, with a reporter who knows who she is.

The kiss in the surf was scandalous enough to define the decade: Pearl Harbor sits at the end of it, and Sinatra took a role for almost nothing to save his career.

Wilder made a POW comedy in 1953 and refused to soften the Americans in it: a barracks works out that somebody inside is trading information to the Germans, and starts looking around.

Five people and a mountain, and no town or fort anywhere in it: Anthony Mann pushed James Stewart into playing a bounty hunter with nothing likable left, shot entirely outdoors.