The Best Picture Oscar in 1949 went to All the King's Men, a hard-hitting political melodrama that will strike any number of eerily familiar chords with audiences weaned on later American politics: from the Kennedys to Nixon, Bill Clinton and beyond, US politicians obviously haven't changed much in the intervening decades. Based on the Pulitzer Prize-winning novel of the same name, this grittily realistic movie charts the rise and fall of Willie Stark (Broderick Crawford in an Oscar-winning role), a hick lawyer whose ideals are inexorably eroded by his relentless pursuit of power. When we first meet him, Stark is the people's champion, a struggling self-taught advocate who isn't afraid to speak out against "graft". Although inspired by the real-life story of Louisiana Governor Huey Pierce Long, All the King's Men also parallels the much later Primary Colors (1998), which is itself a thinly disguised portrait of Bill Clinton's presidential campaign. Like that movie, this one tells the tale from the point of view of a young idealist (John Ireland) who succumbs to the fledgling politician's charm and joins his campaign team. There he meets cynical aide Sadie Burke (Mercedes McCambridge, in another Oscar-winning role) and together they connive at and excuse every increasingly corrupt move made in the name of political expediency, until matters get dangerously out of hand after the governor's son kills his girlfriend in a drunk-driving incident (a spooky premonition of Chappaquidick?). The performances are all top-notch, as is the fast-paced screenplay and direction from Robert Rossen (later director of The Hustler in 1961). Less idealistic than Capra's Mr Smith Goes to Washington, this is a movie ahead of its time which still has plenty to say about the state of modern politics, American or otherwise. -Mark Walker.

The title of 1969's Carry On Again Doctor says it all; almost the same cast playing similar characters to their previous year's outing in Carry On Doctor. This one rejoices in the alternative title "Bowels are Ringing". But the enduring popularity of these films owes almost everything to their basic formula and if it occasionally seems a bit cobbled together, all the old favourites are still here. This time, the setting moves from the National Health Service to the private sector and even stretches as far as the "Beatific Islands" when Jim Dale is exiled to a missionary clinic for his overzealous attention to the female patients-who include Barbara Windsor of course. There, orderly Sid James rules the roost of the clinic with his harem of local women. Trivia addicts can spot Mrs Michael Caine in a brief role as a token dusky maiden. The second half of the Talbot Rothwell script picks up nicely as the characters converge on the private hospital back in England where Dale rakes in the money with a bogus weight loss treatment. Hattie Jacques is in fine form as Matron, Kenneth Williams fascinates with his usual mass of mannerisms and Joan Sims is stately as the Lady Bountiful figure financing most of the shenanigans. It's a tribute to their professionalism that we can still lose ourselves in some of the creakiest old jokes around. -Piers Ford.

Christian Dior really ought to be considered one of the stars of Indiscreet, director Stanley Donen's consummately glamourous, altogether grown-up love story. The magnificent 1950s "New Look" gowns Dior designed for Ingrid Bergman, herself at the peak of sophistication and loveliness, are a high point of the film's chic, cosmopolitan mise en scène. Bergman plays Anne Kalman, a celebrated actress who's "the envy of everyone who knows her," yet is bored and lonely. Then she meets suave diplomat Philip Adams (Cary Grant), her match in every way: looks, charm, elegance-the works. The electricity is palpable between them and neither makes any attempt to hide that fact. When Anne learns that Philip is an expert on international finance, she's bold enough to crack: "I'm crazy about hard currency. " It's the very maturity of the romance between Anne and Philip that makes this movie so exhilarating, so romantic, and so affecting. When people fall in love at "a certain age" it's much more poignant; much more is at stake. (The film has a truly surprising plot twist, which throws everything into chaos. ) The two "sadder but wiser" stars Bergman and Grant had certainly seen their share of love and heartbreak by this time in their lives, and it shows. [+]

The original Planet of the Apes is that rarity of the genre: a science fiction film that has dated not one bit: its intelligent script, frightening costuming, and savagely effective conclusion (which needs no big-budget special effects to augment its impact) remain both potent and relevant. When Colonel George Taylor (the fabulous Charlton Heston) crash lands his spacecraft on what seems to be an unfamiliar planet, he is captured and held prisoner by a dominant race of rational, articulate apes. However, the ape community is riven with internal dissension, centred in no small part on its policy toward humans, who, on this planet, are treated as mindless animals. Befriended and ultimately assisted by the more liberal simians, Taylor escapes-only to find a more terrifying obstacle confronting his return home. Heavy-handed object lessons abound-the ubiquity of generational warfare, the inflexibility of dogma, the cruelty of prejudice-and the didactic finger prints of The Twilight Zone's Rod Serling are very much in evidence here. But director Franklin Schaffner has a dark, pop-apocalyptic sci-fi vision all of his own, helped along by Jerry Goldsmith's terrifyingly avant-garde score. And time has not dulled the monumental emotional imp act of the film's climactic payoff shot. -Miles Bethany, Amazon. com.

Marlene Dietrich purrs through sexy songs, and Jimmy Stewart succumbs to her sultry, androgynous ways in this seminal Western with more than a touch of comedy. He plays your average nice guy who turns out to have something special up his sleeve when confronted by a gang of bad guys. He tames the banditos and wins dance-hall girl Dietrich's heart with his nonviolent ways. You may think you have seen this before, and most likely you have. Based on the 1930 novel by Max Brand, the plot has been copied repeatedly. However, this atmospheric 1939 delight stands far above its imitators. This is the movie in which Dietrich, wearing full saloon-gal regalia, sings, "See What the Boys in the Back Room Will Have. " It was remade with Audie Murphy in 1954 as Destry, but that version lacks the charisma provided by Stewart and Dietrich. -Rochelle O'Gorman.