Highly sentimental social soaper, subtly crafted by director Stahl.

One of the best examples of Depression-era musicals.

This is the sort of yarn that Runyon told well and often: hard-hearted wise guys melting when they have to put aside tough talk and show their true emotions. It'll have you showing your emotions, too.

What really makes The Thin Man an enduring classic, though, is the interplay between Powell and Loy, one of the greatest happily married couples ever to flicker on a screen.

Leisen, who would go on to make Hold Back the Dawn and Lady in the Dark, rarely equalled the splendor of this film.

[An] utterly beguiling film.

Although the lead trio does well enough, the presence of cinema's greatest musical comedy team fairly blasts the screen lovers into orbit whenever either or both of them are onscreen.

A funny, entertaining little film that pales in comparison with the original, but has enough value in its own right.

Most of the superstars in this fascinating but offbeat production are thoroughly unrecognizable, buried under pounds of makeup or smothered in cumbersome costumes.

This unabashedly sentimental adaptation of Louisa May Alcott's novel remains, to this day, an example of Hollywood's best filmmaking.

A masterpiece...DUCK SOUP is perhaps the best, and funniest, depiction of the absurdities of war ever committed to celluloid.

Few debuts have been as impressive or odd as that made by the voice of Claude Rains in this macabre classic based on the novel by H.G.Wells.

What is so remarkable about THE BLOOD OF THE POET is that Cocteau has created a lasting piece of art, a haunting poem, as exciting today as it was in 1930.

A great supporting cast and Bacon's well-judged direction help make Footlight Parade one of the greatest of the Berkeley extravaganzas.

This early precursor to Sunset Boulevard and The Bad and the Beautiful was so inside that many people outside the movie business didn't catch the nuances, and it still packs a considerable comic punch.

A rare beauty. Noel Coward, in an atypically serious venture, traces 30 years of a British family's life.

The ultimate monster movie and one of the grandest and most beloved adventure films ever made, KING KONG is a film that has given us one of the most enduring icons of American popular culture--a massively destructive but curiously sympathetic giant gorilla whose rampage through New York City suggests, on a psychological level, the re-emergence of repressed desire.

The film that revived public interest in musicals after many early talkie bombs sabotaged the genre, 42nd Street was the first real glimpse of the surreal artistry of choreographer Busby Berkeley.

A deft blend of comedy, action, and romance.

The second pairing of Clark Gable and Jean Harlow is a steamy drama of infidelity, set against an exotic background and peppered with dialog and situations that pushed the boundaries of Hollywood self-censorship as far as they would go.

GRAND HOTEL remains a classic of its kind.

Not a masterpiece but divine all the same. The Marx Brothers bring their special brand of anarchy to the world of college football in this wonderfully madcap comedy.

One of Hawks's undisputed masterpieces, and a landmark in the screen depiction of gangsters.

Although slow-moving and uneven, Freaks is one of Browning's more consistently fine films, a landmark still worth seeing.

A mystical and exotic story of love and destruction, a film for which both star and director became legends.

Easily the best of the many versions of the Stevenson horror classic.

Fitzmaurice directs with great style here and makes the most of the lavish production techniques available to him.

A winding story with no real direction.