A rare example of mainstream animation being used to tell a highly political story, Animal Farm retains its value as a vivid adaptation of George Orwell's classic novel. Characters were eliminated, certain elements of plot were simplified, and the book's gloomy ending was softened to offer a glimmer of hope, but Orwell's parable of the Russian revolution-retold as a revolt among not-so-equal barnyard animals-remains potently intact. As produced by the famous British animation studio run by John Halas and Joy Batchelor, this still-important 1954 film is anything but kiddie fare; it steadfastly avoids sentiment, and despite its slightly more upbeat ending this is still a story that involves exploitation, death, betrayal, and an inevitable uprising that goes a step beyond Orwell's pessimistic conclusion. With British actor Maurice Denham supplying all the voices and Gordon Heath providing newsreel-like narration, this economical, documentary-like telling of Orwell's tale was criticised for its "Disneyfied" style, but the animation is actually quite striking in its European influence and bold use of symbolism. It has aged, and some of its impact has been lost to the course of history, but it's an essential addition to any serious animation collection. Excellent commentary and a 30-minute "making of" featurette place this extraordinary milestone of British animation in proper historical context. -Jeff Shannon.

The L-Shaped Room, adapted by writer-director Bryan Forbes from Lynne Reid Banks' novel, unfolds in a dank, depressing London boarding house. Leslie Caron plays Jane Fosset, a 27-year-old French woman, down on her luck, who takes a room. There are bugs in her mattress. The taps drip. The landlady ("the lovely Doris") is a drunken, malicious busybody. Forbes doesn't paint the English in a flattering light. They're covetous, eccentric and xenophobic. "I never close my door to the nigs," Doris tells Fosset, as if to prove that she is no racist. When Fosset reveals that she's pregnant and unmarried, everybody turns against her. The one real friend Fosset makes is Toby (Tom Bell), an impoverished would-be writer who lives in the room downstairs. [+]

The life of Christ got an excessively long treatment (260 minutes, later trimmed to 195) in this 1965 film directed by George Stevens (The Diary of Anne Frank). Max von Sydow does beautiful work as Jesus-his spontaneous mourning at discovering his friend Lazarus has died is not like anything in other New Testament epics-and Stevens renders the familiar tale with a handsome authenticity. But the project is nearly undone by an unwise gimmick in which seemingly half of Hollywood's living stars at the time make brief cameo appearances, some of which are ridiculous (who can forget the sight of John Wayne as a Roman Centurion solemnly intoning, "Truly he was the son of Gaaad"?). But there is a lot to like in the film, and Von Sydow's sensitive nobility sticks in the memory. -Tom Keogh The life of Christ got an excessively long treatment (260 minutes, later trimmed to 195) in The Greatest Story Ever Told, the 1965 film directed by George Stevens. Max von Sydow does beautiful work as Jesus-his spontaneous mourning at discovering his friend Lazarus has died is not like anything in other New Testament epics-and Stevens renders the familiar tale with a handsome authenticity. But the project is nearly undone by an unwise gimmick in which seemingly half of Hollywood's living stars at the time make brief (often very brief) cameo appearances, some of which are ridiculous (who can forget the sight of John Wayne as a Roman Centurion solemnly intoning, "Truly he was the son of Gaaad"?). But there is a lot to like in the film, and Von Sydow's sensitive nobility sticks in the memory. -Tom Keogh.

Cool and introspective, Otto Preminger's sleek, stylish Bonjour Tristesse is one of his most understated films. Jean Seberg stars as a spoiled teenager who acts with a high-society sophistication beyond her years, and dapper David Niven is her playboy father, going through young female playmates like socks. Flitting through the French jet set and comparing conquests, they summer on the gorgeous French Riviera, where mature fashion designer Deborah Kerr enters their lives and wins Niven's heart. Seeing an end to her lifestyle, Seberg plots an end to the relationship with equal parts conniving ruthlessness and juvenile prankishness, too self-absorbed to even consider the brutal results of her actions. Told in flashback from a sleek but shadowy black-and-white Paris, the film melts into the vivid Technicolor of memory. Seberg's voiceover narration is arch, but her impish, often petulant performance is perfect, as is Niven's flippant, womanizing bachelor father (Preminger lets their curious, flirtatious intimacy hang like an unanswered question and a nervous subtext). Kerr's middle-aged working woman seems almost puritanical compared to the irrepressible travelers, but under her rules and limits lies an honest concern for a "child" who believes herself an adult. Preminger's camera prowls through the drama just removed enough to be respectful, and intimate enough to get under the characters' skin. Like the best of his dramas, there are no heroes or villains, only complex, flawed, achingly sympathetic characters. -Sean Axmaker.

Sergei Eisenstein's revolutionary sophomore feature has so long stood as a textbook example of montage editing that many have forgotten what an invigoratingly cinematic experience he created. A 20th-anniversary tribute to the 1905 revolution, Eisenstein portrays the revolt in microcosm with a dramatisation of the real-life mutiny aboard the battleship Potemkin. The story tells a familiar party-line message of the oppressed working class (in this case the enlisted sailors) banding together to overthrow their oppressors (the ship's officers), led by proto-revolutionary Vakulinchuk. When he dies in the shipboard struggle the crew lays his body to rest on the pier, a moody, moving scene where the citizens of Odessa slowly emerge from the fog to pay their respects. As the crowd grows Eisenstein turns the tenor from mourning a fallen comrade to celebrating the collective achievement. The government responds by sending soldiers and ships to deal with the mutinous crew and the supportive townspeople, which climaxes in the justly famous (and often imitated and parodied) Odessa Steps massacre. Eisenstein edits carefully orchestrated motions within the frame to create broad swaths of movement, shots of varying length to build the rhythm, close-ups for perspective and shock effect, and symbolic imagery for commentary, all to create one of the most cinematically exciting sequences in film history. Eisenstein's film is Marxist propaganda to be sure but the power of this masterpiece lies not in its preaching but its poetry. -Sean Axmaker.

You will never find a more chillingly suspenseful, perversely funny, or viciously satirical political thriller than The Manchurian Candidate, based on the novel by Richard Condon (author of Winter Kills). The film, withheld from distribution by star Frank Sinatra for almost a quarter-century after President Kennedy's assassination, has lost none of its potency over time. Former infantryman Bennet Marco (Sinatra) is haunted by nightmares about his platoon having been captured and brainwashed in Korea. The indecipherable dreams seem to centre on Sergeant Raymond Shaw (Laurence Harvey), a decorated war hero but a cold fish of a man whose own mother (Angela Lansbury, in one of the all-time great dragon-lady roles) describes him as looking like his head is "always about to come to a point". Mrs Bates has nothing on Lansbury's character, the manipulative queen behind her second husband, Senator John Iselin (James Gregory), a notoriously McCarthyesque demagogue. -Jim Emerson.

There's really been only one rival to James Bond: Derek Flint in the swinging-60s action-comedies Our Man Flint (1966) and In Like Flint (1967). That's because of James Coburn's special brand of American cool. He's so cool, in fact, that he doesn't care to save the world. That is, until he's personally threatened. He's a true libertarian, with more gadgets and girls than Bond, but with none of his stress or responsibility. Our Man Flint finds our unflappable hero thwarting mad scientists who control the weather-and an island of pleasure drones. Lee J Cobb costars as Flint's flustered superior, and Edward Mulhare plays a British nemesis with snob appeal. For fans of Austin Powers, incidentally, the funny-sounding phone comes from the Flint films. However, Our Man Flint's best gadget remains the watch that enables Flint to feign death. There's a great Jerry Goldsmith score, too. [+]

Anatomy of a Murder, Otto Preminger's 1959 film of the novel by Robert Traver (a pen name for a Michigan Supreme Court Justice), was controversial in its day for making frank on-screen use of then-unheard words such as "panties", "rape" and "spermatogenesis"-and it remains a trenchant, bitter, tough, witty dissection of the American legal system. With its striking Saul Bass title design and jazzy Duke Ellington score, Anatomy of a Murder takes a sophisticated approach unusual for a Hollywood film of its vintage. Most radically, it refuses to show the murder or any of the private scenes recounted in court, leaving it up to us to decide along with the jury whether the grumpy and unconcerned Lieutenant Frederick Manion (Ben Gazzara) was or was not subject to an "irresistible impulse" tantamount to insanity when he shot dead Barney Quill, the bear-like bar owner alleged to have raped Manion's teasing trailer-trash wife Laura (Lee Remick in unfeasibly tight trousers). James Stewart plays Paul "Polly" Biegler a former District Attorney keen to get back into court to clash with the political dullard who replaced him in office. Biegler is supported by the skills of his snide secretary (Eve Arden) and boozy-but-brilliant research partner (Arthur O'Connell). For the prosecution, the befuddled local DA hauls in Dancer (George C Scott), a prissy legal eagle from the local big city whose sharp-suited, sly elegance makes an interesting clash with Biegler's "aw-shucks" jimmy-stewartian conniving. This is simply the best trial movie ever made, with a real understanding of the way lawyers have to be not only great actors but stars, assuming personalities that exaggerate their inner selves and weighing every outburst and objection for the effect it has on the poor saps in the jury box. On the DVD: The print is letterboxed to 1. 85:1, but it's a bit of a cheat since that seems to involve trimming the top and bottom of the image (losing the steps under and the clouds above the Columbia lady in the opening titles), though the film isn't seriously hurt by a tighter look at the action. Also included are: an Ellington-scored photo montage, soundtracks in English, French, German, Italian and Spanish with subtitles in ten languages, filmographies for director and principal cast, original advertising (highlighting Saul Bass' poster designs, a trailer and more trailers for more Columbia Jimmy Stewart or courtroom films. [+]

The League of Gentlemen is a sardonic crime drama in which Jack Hawkins plays an embittered retired army officer who recruits seven fellow ex-soldiers to carry out a bank raid with military precision. The film presents an England between post-war austerity and the more liberated 1960s where traditional moral certainties were rapidly being discarded; a London where ex-officers left on the scrapheap at war's end could justify turning their military experience to armed robbery. Unfortunately the tale is neither particularly amusing or thrilling, with an overlong central detour via an army camp prefacing the exciting heist and a largely anti-climactic ending. Nevertheless Hawkins effectively subverts his heroic officer type from The Cruel Sea (1953) and The Bridge on the River Kwai (1957), and there's excellent support from a great cast including Nigel Patrick, Richard Attenborough and Roger Livesey. Bryan Forbes not only wrote the cynical screenplay but costarred with wife Nanette Newman in her first significant screen role. More influential than truly classic, The League of Gentlemen has lent its name to a modern BBC comedy, an "Extraordinary" comic strip-turned-movie, and proved the template for heist films ever since, including both versions of The Italian Job (1969 and 2003). On the DVD:The League of Gentlemen is presented in an anamorphically enhanced 16:9 transfer from an excellent condition print and mostly looks and sounds fine. There's minimal print damage, though sadly Philip Green's ironically patriotic main title music suffers from significant distortion. The only extra is the original trailer, which is now something of a period piece itself. -Gary S Dalkin.