
12 Angry Men
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.

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.

Yuri Zhivago, a doctor who writes poetry, is carried through war and revolution and away from the women he loves. Pasternak lets history arrive like weather, and the Soviets banned it outright.

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.

Leiber and Stoller wrote it as a goof; Scotty Moore's solo nearly derails the take and Presley never blinks.

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.

Lean built an epic about the seduction of a job well done: a British colonel in a Japanese prison camp finds a strange satisfaction in building their bridge properly.
Holly took the title from a John Wayne line and recut it in Clovis after Decca shelved the first version.

Bergman cast the founding father of Swedish cinema as an old man reckoning with his own coldness: a drive across the country, punctuated by dreams that keep ambushing him.

A Cairo merchant rules his household as a tyrant and drinks his nights away with singers while his wife may not step outside. Over three generations, revolution and war reach inside that house.
Cooke credited it to his brother L.C. to dodge his publisher, then carried it to number one on both charts.

One microphone, Roland Janes muted behind the boogie piano, and a July 1957 television debut that turned it national.

Sal Paradise crosses and recrosses America with Dean Moriarty, a car thief who talks nonstop and cannot sit still. Kerouac made restlessness the American subject, and the prose runs on the same fuel.

Giulietta Masina gives the performance that everyone remembers from Fellini: a Roman streetwalker keeps hoping harder than her luck deserves, and the film never once pities her.
Cut in Clovis as "Cindy Lou" until Allison's girlfriend got the title, and his paradiddles never let up.

Lewis argued theology with Sam Phillips between takes at Sun, decided the devil could wait, and cut it anyway.
Felice and Boudleaux Bryant's plot is an alibi, Boston banned it as suggestive, and it still topped the pop chart.

A shaken Pepsi bottle gave Blackwell the title, and Presley's version held number one for two solid months.

Waters heard Ann Cole sing it on tour, cut a single that flopped, then made it his signature at Newport.

Some thirty acts turned the Bryants' song down; Don Everly's intro, written for something else, took it to number two.

Coltrane's only record as a leader for Blue Note, made as a favor to the label's founder while he was under contract elsewhere.