Gone with the Wind is a sprawling mosaic of a picture, one of the best-loved and most successful in movie history, but also one of the most frustrating. Wonderfully epic in scope, the decline and fall of the antebellum South as seen through the eyes of feisty, independent and wilful heroine Scarlett O'Hara makes the first half of the picture an absolutely riveting spectacle. From the aristocratic old world of Tara to the horrors of Atlanta under siege, Gone with the Wind features any number of indelible scenes and images: the genteel girls taking an enforced siesta during the Twelve Oaks barbecue, a horrified Scarlett walking through the wounded, the flight from burning Atlanta, and Scarlett's moving pledge against a burnished sunset set to Max Steiner's glorious music score. But the second half shifts gear, the melodramatic quotient is upped yet further as tragedy piles upon tragedy, and despite its unwieldy length everything feels rushed. Add to that the central problem that the audience never really understands, why Scarlett could ever fall for weak-chinned Ashley in the first place, and the picture begins to unravel unsatisfactorily. Behind the scenes problems doubtless contributed, with directors coming and going, Vivien Leigh and Clark Gable apparently barely able to stand the sight of each other, and producer David O Selznick's endless rewrites and interference. Nonetheless, this 1939 box-office smash remains one of Hollywood's finest achievements, an irresistible spectacle chock-full of the finest stars in the filmic firmament striking sparks off one another. They really don't make 'em like this anymore. On the DVD: No extra features on this DVD, which is a pity given the amount of material that must be available, but it has to be admitted this disc is worth the asking price simply to drink in the astonishing quality of the picture, sumptuously presented in its original 1. 33:1 "Academy" ratio. [+]

Two things make it impossible to consign Josef von Sternberg's seedily atmospheric 1930 masterpiece The Blue Angel to the archives of museum land: it was the first film to put Marlene Dietrich in front of an international audience; and it features a towering performance from Emil Jannings as the professor whose fall from grace is precipitated by his obsession with Dietrich's archly vampish showgirl Lola-Lola. On both counts The Blue Angel remains a potent, vibrant work which still has moments of real relevance. Dietrich's performance is indeed hypnotic: von Sternberg lights her face and exposed flesh-shoulders and thighs-in a way that clearly indicates the erotic charge she generates among the men in the Blue Angel night club, and in Jennings in particular. Before our eyes his repressed, puritanical self-will disintegrates and his fate is sealed. The pivotal moment is, of course, when Dietrich teases her audience with "Falling in Love Again", her stockinged and suspendered legs astride a beer barrel, a top hat rakishly on her head. It would become the signature tune of her cabaret act in later years but here she delivers it with a far less studied, throwaway cheeriness; how, indeed, can it be her fault if men cluster around her like moths around a flame? This is the raw material on which an icon was built, but there is much else to fascinate in the film itself: you can still smell the pungent grim reality of a trouper's life on the road; and the professor's pathetic efforts to control his class of unruly boys still resonates today. this is an essential piece of film history. On the DVD: The Blue Angel is presented in its German and English-language versions, both restored and digitally remastered. [+]

Ingmar Bergman's 1956 film, The Seventh Seal has been parodied by everyone from Woody Allen to Bill and Ted's Bogus Journey, but it remains one of the strangest and richest classics of world cinema. Max Von Sydow plays a knight returning from the Crusades to encounter an apocalyptic scenario inspired by the Book of Genesis. He plays chess with Death (Bengt Ekerot), sees a manacled witch, watches a band of flagellants go by-all of it foretelling an inevitable end to life. Unabashedly allegorical and lyrical and existing in a world unto itself, the film is enormously mesmerising no matter what one thinks of the weighty meanings Bergman has attached to it all. -Tom Keogh Ingmar Bergman's best-known film and deservedly so, 1957's The Seventh Seal is an allegorical study of death, God and the meaning, if any, of human existence. It is a film that every human being should see, addressing as it does our deepest hopes, anxieties, curiosities and fears. Yet it's also a magical and captivating experience, close to the state of a lucid dream. Max Von Sydow plays Antonius Block, the knight who has returned, gaunt, weathered and disillusioned, from the crusades, to find his home country in the grip of the plague. He is met by Death, in the pallid, hooded form of Bengt Ekerot, whom he challenges to a game of chess. The longer he can stave off defeat, the longer he can prolong the existence of himself and his own entourage, whom Block acquires in the form of his cynical squire a young family and a band of travelling players. [+]

On its first release in 1945, just after VJ day, Objective Burma came under fire in the British press-much as Saving Private Ryan would do some 40 years later-for portraying the jungle war as a solely American operation. But the passage of time has allowed the movie's many merits to outshine its narrow remit. The movie's bone-chilling portrayal of pain, sacrifice and endurance is astonishing; the jungle atmosphere is so persuasive you'd swear it was shot on the actual locations; and you'll never forget the terrifying last dark night on a mountainside-or the crocodiles. A paratroop captain (Errol Flynn) sets out with a platoon to attack a Japanese outpost in the jungle. The Americans reach their target, take out the enemy with almost balletic precision, then gear up to return home. This feels like the point when a conventional war movie would have reached its action-filled climax, but the journey has only begun. Ahead lies one of the most arduous and agonising adventures any World War II film ever offered, brilliantly directed by that underrated old master Raoul Walsh and photographed with almost tactile realism by the great James Wong Howe. Franz Waxman also contributes one of his finest music scores. Flynn is excellent (he had given his best performance ever in Walsh's Gentleman Jim three years earlier), and he's backed by a solid cast including Henry Hull (as an ageing war correspondent), James Brown, William Prince, George Tobias and Stephen Richards (soon to change his name to Mark Stevens). Incidentally, two of the writers, Alvah Bessie and Lester Cole, were later blacklisted; see if you can spot any Commie propaganda. [+]

Made at the height of his Box Office success, Dirk Bogarde stars as an RAF pilot caught up in a forbidden romance in this classic British film set in the Far East during the Second World War. Flight Lieutenant Michael Quinn (Dirk Bogarde) finds himself grounded in Delhi after his aircraft crashes, and posted to a special Japanese language course for interrogators of prisoners-of-war. The Brigadier (Anthony Bushell) introduces Michael and his fellow officers to their instructor, and exquisitely beautiful young Japanese girl, Susuki San (Yoko Tani). As the days pass, Michael and Susuki spend their off-duty time exploring Delhi and their love grows. But there is a shadow between them - something that Susuki refuses to talk about. Michael even nicknames her 'Sabby' - because 'sabishii' is Japanese for sad. Before Michael can uncover Susuki's tragic secret however, he is captured by the Japanese and the two lovers are parted. [+]

The back reads: "After four years in the Great War (WW1), Frank Gibbons (Robert Newton) is demobbed and returns home to his wife (Celia Johnson) and their children. They move into a small house which , although homely, becomes the setting for much high drama. A unique portrait of a family living between two World Wars is beautifully captured with Frank and his wife battling through triumphs and tragedies with patient British resolve. ".