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.

Paul Newman plays a racecar driver, Frank Capua, who steps out of his professional and personal isolation long enough to marry a single mother, Elora (Joanne Woodward). The two have a brief but happy life together with Elora's 13-year-old son, Charley (Richard Thomas), but it comes to an end when Frank goes back on the racing circuit and Elora assuages her loneliness in the arms of her husband's chief rival, Luther (Robert Wagner). Frank checks out, and Charley travels across the country to find him and effect a reconciliation. A touching movie (with some good racing footage) by director James Goldstone, Winning is about the real pain of people who have become used to a certain way of safe, arm's-length living, and who have to learn to get beyond it to find redemption in love and faith. Good performances by Newman, Woodward, and Thomas, who makes a terrific impression in one of his earliest roles. -Tom Keogh.

Burt Lancaster gives one of his most daringly complex performances in The Swimmer, a fascinating adaptation of John Cheever's celebrated short story. At first it seems that middle-aged businessman Ned Merrill (Lancaster) is merely enjoying a spontaneous adventure, swimming from pool to pool among the well-tended estates of his affluent Connecticut neighbourhood. But as Ned encounters a variety of neighbours, we see from their reactions that he's on an entirely different kind of journey, balanced on the edge of some mysterious psychosis that we can't fully understand until the film's final, devastating image. A compelling portrait of loss, refracted memories, and deep-rooted emotional denial, The Swimmer sprung from the same late-60s soil that yielded similarly ground-breaking literary films such as The Graduate and Goodbye, Columbus. It's an egotistical showcase for the physical prowess of its 55-year-old star, but Lancaster turns it into something deeper, more disturbing, and completely unforgettable. -Jeff Shannon.

Maggie Smith is so witty and commanding in The Prime of Miss Jean Brodie that you might forget the script paints Jean Brodie as an ultimately self-deluding spinster. Dame Maggie won the first of her two Oscars for playing a teacher in 1930s Edinburgh more in thrall to her romantic notions of art and beauty than the real world (she exalts the Mona Lisa and Mussolini with equal fervour), a cultivator of worshipping "Brodie Girls". Smith's expert playing makes many of the brogue-heavy Brodie-isms worth memorising ("She seeks to intimidate me by the use of quarter-hours") and raises the picture above its generally theatrical style. Real-life husband Robert Stephens plays Jean's married lover; Celia Johnson excels as the hostile headmistress; and Pamela Franklin is the deadpan whistle-blower within Miss Brodie's coven. The dippy music of Rod McKuen helps mark the movie as more of a reflection of the 1960s than the 30s. -Robert Horton.

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. [+]

Warren Beatty, Faye Dunaway, Gene Hackman, Michael J. Pollard.

Even under the heavy censorship of 1946 Hollywood, Lana Turner and John Garfield's libidinous desires burn up the screen in Tay Garnett's adaptation of James M. Cain's torrid crime melodrama. Platinum blond Turner is Cora, a restless sexpot stuck in a roadside diner married to mundane middle-aged fry cook Nick Smith (Cecil Kellaway) when handsome drifter Frank (Garfield) blows her way. It's lust at first sight, a rapacious desire that neither can break off, and before long they're plotting his demise-but in the wicked world of Cain nothing is that easy. Garnett's visual approach is subdued compared to the more expressionistic film noir of the period, but he's at no loss when he films the luminous Turner in her milky-white wardrobe. She radiates repressed sexuality and uncontrollable passion while Garfield's smart-talking loner Frank mixes street-smart swagger and scrappy toughness with vulnerability and sincere intensity. Co-star Hume Cronyn cuts a cold, calculating figure as their conniving lawyer, a chilly character that only increases our feelings for the murderous couple, victims of an all-consuming amour fou that drives their passions to extremes. -Sean Axmaker, Amazon. com.