
Vertigo
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.

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 opening crane shot is the most studied three minutes in film school: Welles was fired off his own picture, and the version we watch was restored from his memo.

Lucas took the two bickering peasants and turned them into R2-D2 and C-3PO: Kurosawa's first widescreen film tells an escape story from the point of view of its most useless characters.

Jerome Moross wrote the score American westerns have been quoting ever since: a sea captain arrives in Texas and refuses to prove anything to anybody, which nobody there can forgive.

It won all nine awards it was nominated for, the biggest clean sweep the Oscars had seen: Lerner and Loewe wrote it straight for the screen, and Paris in 1900 looks fabulously expensive.

Sidney Poitier and Tony Curtis are chained together at the wrist, which was the entire argument in 1958: two convicts break out of a crash in the South and cannot move separately.

Paul Newman and Joanne Woodward fell in love making this and married before it opened: William Faulkner boiled down into one Mississippi town, and the heat is doing most of the acting.