Like the Greenwich Village courtyard view from its titular portal, Alfred Hitchcock's classic Rear Window is both confined and multileveled: its story and visual perspective are dictated by its protagonist's imprisonment in his apartment, convalescing in a wheelchair, from which both he and the audience observe the lives of his neighbours. Cheerful voyeurism, as well as the behaviour glimpsed among the various tenants, affords a droll comic atmosphere that gradually darkens when he sees clues to what may be a murder. Photographer LB "Jeff" Jeffries (James Stewart) is, in fact, a voyeur by trade, a professional photographer sidelined by an accident while on assignment. His immersion in the human drama (and comedy) visible from his window is a by-product of boredom, underlined by the disapproval of his girlfriend, Lisa (Grace Kelly), and a wisecracking visiting nurse (Thelma Ritter). Yet when the invalid wife of Lars Thorwald (Raymond Burr) disappears, Jeff enlists the two women to help him to determine whether she's really left town, as Thorwald insists, or been murdered. Hitchcock scholar Donald Spoto convincingly argues that the crime at the centre of this mystery is the MacGuffin-a mere pretext-in a film that's more interested in the implications of Jeff's sentinel perspective. We actually learn more about the lives of the other neighbours (given generic names by Jeff, even as he's drawn into their lives) he, and we, watch undetected than we do the putative murderer and his victim. Jeff's evident fear of intimacy and commitment with the elegant, adoring Lisa provides the other vital thread to the script, one woven not only into the couple's own relationship, but reflected and even commented upon through the various neighbours' lives. At a minimum, Hitchcock's skill at making us accomplices to Jeff's spying, coupled with an ingenious escalation of suspense as the teasingly vague evidence coalesces into ominous proof, deliver a superb thriller spiked with droll humour, right up to its nail-biting, nightmarish climax. At deeper levels, however, Rear Window plumbs issues of moral responsibility and emotional honesty, while offering further proof (were any needed) of the director's brilliance as a visual storyteller. [+]

The second and last of Anthony Mann's historical epics is a smart, handsome spectacle of the decadence, corruption, and intrigue that tore apart the greatest empire the world has seen. The sprawling story spreads itself thin over a number of characters and stories. At the centre are handsome but stiff Stephen Boyd as Livius, the loyal soldier and symbolic son of the ageing emperor Marcus Aurelius(Alec Guinness), and Christopher Plummer as Commodus, the corrupt heir to the throne. They are boyhood friends turned enemies when the latter accedes to the throne and sells out the values of his father for greed and hedonistic pleasures. The three-hour running time is filled out with the tales of Sophia Loren (as the beautiful Lucilla in love with Livius but coveted by greedy Commodus) and a gallery of heroes and villains that includes James Mason, Mel Ferrer, Anthony Quayle, John Ireland, Omar Sharif, and Eric Porter. The film is highlighted with spectacular scenes-a grandiose funeral fit for an emperor, brutal battles in the provinces as the barbarians threaten the empire, and a climactic duel to decide the destiny of Rome-which Mann weaves into the shadowy intrigue of the halls of power. Like his previous epic El Cid, The Fall of the Roman Empire remains one of the best of the 1960s epics: well written (and historically accurate up to a point) with strong performances and a consistently elegant style, It lacks a central core and the magnetic hero of its superior predecessor. Ridley Scott's Gladiator (2000) tackles the same story with an updated action-adventure slant. -Sean Axmaker The second and last of Anthony Mann's historical epics is a smart, handsome spectacle of the decadence, corruption and intrigue that tore apart the Roman empire. The sprawling story spreads itself thin over a number of characters and stories. [+]

They call it Giant because everything in this picture is big, from the generous running time (more than 200 minutes) to the sprawling ranch location (a horizon-to-horizon plain with a lonely, modest mansion dropped in the middle) to the high-powered stars. Stocky Rock Hudson stars as the confident, stubborn young ranch baron Bick Benedict, who woos and wins the hand of Southern belle Elizabeth Taylor, a seemingly demure young beauty who proves to be Hudson's match after she settles into the family homestead. For many the film is chiefly remembered for James Dean's final performance, as poor former ranch hand Jett Rink, who strikes oil and transforms himself into a flamboyant millionaire playboy. Director George Stevens won his second Oscar for this ambitious, grandly realised (if sometimes slow moving) epic of the changing socio-economic (and physical) landscape of modern Texas, based on Edna Ferber's bestselling novel. The talented supporting cast includes Mercedes McCambridge as Bick's frustrated sister, put out by the new "woman of the house"; Chill Wills as the Benedicts' garrulous rancher neighbour; Carroll Baker and Dennis Hopper as the Benedicts' rebellious children; and Earl Holliman and Sal Mineo as dedicated ranch hands. -Sean Axmaker, Amazon. com.