One of Hitchcock's greatest entertainments, Foreign Correspondent is also a stirring propaganda piece which clearly indicts the Nazi regime.

A remarkable example of Hollywood's not choking on the prestige adorning the filming of a classic, Pride and Prejudice is an unusually successful adaptation of Jane Austen's most famous novel.

Leigh is stunning in this second cinematic version of author Sherwood's hit play.

Though there are a few chuckles, the presentation is predictable slapstick and takes much longer than need be to get to the main point.

Depending on your own feelings, you will find Fontaine either endearing or totally maddening. Whichever, she's right in the part; and Hitchcock's relentless camera seems to luxuriate in her emotional masochism.

Luckily the atmospheric photography and fine sets (Universal claimed it built an exact duplicate of the original Salem house) pull the sometimes melodramatic performances through.

A feeble attempt at comedy in the Damon Runyon mold (although based on a Louis Bromfield opus), this is a hit-and-miss affair with some offbeat casting.

This is the one that started it all and it is also one of the weakest of the "Road" pictures.

Ford's visualization of Steinbeck's novel is so emotionally gripping that viewers have little time to collect themselves from one powerful scene to the next.

This was Disney's second full-length animated feature and it may well the greatest of the studio's cartoon classics.

Though technically efficient, convincingly acted, and having a number of subtle messages, Swiss Family Robinson was still a hefty loss to RKO.

You'd have to be a grump not to like this funny, sentimental blend of pathos, drama and zaniness.

To quote Olivia de Havilland, "Everytime I see it, I find something fresh, some shade of meaning I hadn't noticed before."

This may be the best romantic comedy ever made. The great Ernst Lubitsch handles his "small" theme brilliantly, bringing the lives of everyday people to the screen as he had never done before.

Though grim and offbeat, Of Mice And Men is a noble morality tale that can be appreciated for its simplicity. The acting is faultless and Copland's score is magnificent.

Under the sure directorial hand of genre veteran Marshall, Destry Rides Again is a well-paced western that seamlessly combines humor, romance, suspense and action.

More mystery than comedy dominates this sometimes draggy production, whose script is less inspired than in previous THIN MAN efforts. The atmosphere and sets, along with stellar performances by the principals, can't offset a weak story.

A fitting finale to a decade of memorable gangster films. This slick, whirlwind-paced crime melodrama is another tour de force for James Cagney, making it a companion piece to ANGELS WITH DIRTY FACES.

While MR. SMITH GOES TO WASHINGTON is the most moral of films, it is so artfully filled with real emotion that it never becomes heavy-handed.

JAMAICA INN had many interesting incidents associated with it. Unfortunately, very little of that interest reached the screen.

There's no place like home, and there will never be another movie like this one, a dazzling fantasy musical so beautifully directed and acted that it deserves its classic status.

Gary Cooper enacts the title role with quiet magnificence in this superb adventure tale loaded with drama, action, and mystery.

A superb motion picture, and one in which Ford's obsession with Americana and the forces and emotions that made this country what it is are plainly in view.

Only Angels Have Wings is a powerful character study, and director Hawks and his fine, predominantly male cast carefully develop the personalities of an interesting collection of characters. Though much of the dialogue is predictable, the story is strong, the acting is outstanding, and Hawks's cameras move with fluid grace through the confining sets.

A superb romance, the film deftly mixes humor with pathos and passion, and takes us on an emotional voyage that never fails to please.

An extremely witty, well-paced comedy which plays beautifully today.

The classic western, Stagecoach is one of John Ford's greatest frontier epics.

Appealingly Continental in look and style, Intermezzo continually verges on soap, but is redeemed by carefully calibrated performances and Ratoff's loving direction.