When the theatrical release of James Cameron's Titanic was delayed from July to December of 1997, media pundits speculated that Cameron's $200 million disaster epic would cause the director's downfall, signal the end of the blockbuster era and sink Paramount Studios as quickly as the ill-fated luxury liner had sunk on that fateful night of April 14, 1912. Some studio executives were confident, others horrified, but the clarity of hindsight turned Cameron into an Oscar-winning genius, a shrewd businessman and one of the most successful directors in the history of motion pictures. Titanic would surpass the $1 billion mark in global box-office receipts (largely due to multiple viewings, the majority by teenage girls), win 11 Academy Awards including best picture and director, produce the bestselling movie soundtrack of all time and make a global superstar of Leonardo DiCaprio. A bona fide pop-cultural phenomenon, the film has all the ingredients of a blockbuster (romance, passion, luxury, grand scale, a snidely villain and an epic, life-threatening crisis), but Cameron's alchemy of these ingredients proved more popular than anyone could have predicted. His stroke of genius was to combine absolute authenticity with a pair of fictional lovers whose tragic fate would draw viewers into the heart-wrenching reality of the Titanic disaster. As starving artist Jack Dawson and soon-to-be-married socialite Rose DeWitt Bukater, DiCaprio and Kate Winslet won the hearts of viewers around the world and their brief but never-forgotten love affair provides the humanity that Cameron needed to turn Titanic into an emotional experience. Present-day framing scenes (featuring Gloria Stuart as the 101-year-old Rose) add additional resonance to the story and, although some viewers proved vehemently immune to Cameron's manipulations, few can deny the production's impressive achievements. Although some of the computer-generated visual effects look artificial, others-such as the sunset silhouette of Titanic during its first evening at sea, or the climactic splitting of the ship's sinking hull-are state-of-the-art marvels. In terms of sets and costumes alone, the film is never less than astounding. More than anything else, however, the film's overwhelming popularity speaks for itself. [+]

French film-maker Claude Lelouch continues to take critical heat for this 1966 international hit, which has been labelled "schmaltzy" and dismissed as overly stylised for its simple story line. While it certainly can't be mistaken for a masterpiece of the French New Wave (Lelouch was left in the dust that year by such wonders as Jean-Luc Godard's Masculin Feminin), A Man and a Woman has a jumpy impressionism that engages a viewer precisely because it cuts against conventional expectations of romance. Starring Anouk Aimée as a widowed "script girl" (working in film production) and Jean-Louis Trintignant as a racer who lost his wife to suicide, the film is really an objective sampling-almost a study-of moments between the time the two characters meet and the point at which they begin to read each other intuitively. Generous flashbacks fill in details on the pair's woeful, recent histories, while endless documentary-like glimpses of Aimée's and Trintignant's characters at work in their highly charged professions become a visual engine for the days passing between measured developments in love. Lelouch is more drily humane than lush in his approach, though the film strains once in a while for a forced naturalism that can actually be more narcissistic than the most obvious romantic contrivance. Still, A Man and a Woman-in the best sense-is also a movie in love with itself, with its own ability to evoke and conjure and construct dozens of different ways of tracking a relationship in progress. If Lelouch doesn't exactly push open the boundaries of cinema as several of his film-making peers did at the time, he certainly enjoys what he's doing. -Tom Keogh, Amazon. com.

Les Amants du Pont Neuf is a film that once more shows us Paris as a city of romance, but from a very different viewpoint than we might expect. The young lovers this time around are Alex and Michelle, two of the many homeless people sleeping rough on the streets of the capital. Their particular abode is the bridge of the title, the oldest such structure in the city, which they share with the older, wiser Hans. Gradually drawn together, they look for and find love in what is a particularly loveless and harsh environment. Director Leos Carax created a film that combined great beauty with an almost nightmarish reality, particularly in a gruesome opening image of a homeless hostel which seems to have a documentary feel to it. Juliette Binoche and Dennis Lavant are superb as the lovers, drawing us in to their world of joy, despair and anger. Ultimately, Les Amants du Pont Neuf manages to pull off that rare feat of being both visually stunning and emotionally engaging. On the DVD: Paris may have been filmed countless times before and since, but rarely has its beauty been so captured as here. With the action taking place mainly at night or twilight, the colours are rich and vivid or ghostly pale; both extremes are beautifully captured on this format. Resplendent with many stunning set pieces (noteably the fireworks that light up the city), this is one of the most visually sumptuous films of recent years. [+]

Briefed by the Ministry of Information to make a film that would foster Anglo-American relations in the post-war period, innovative filmmakers Michael Powell and Emeric Pressburger, came up with A Matter Of Life And Death-an extravagant and extraordinary fantasy in which David Niven stars as a downed pilot who must justify his continuing existence to a heavenly panel of judges, because he has made the mistake of falling in love with an American girl (Kim Hunter) when he really should have been dead. National stereotypes are lampooned as the angelic judges squabble over his fate. In a neat reversal of expectations, the Heaven sequences are black and white, while Earth is seen in techni-colour. Daring cinematography mixes monochrome and colour, incorporates time-lapse images, and even toys with background 'time freezes' 50 years before "The Matrix". Roger Livesey and Raymond Massey lead the fine supporting cast, in what is one of the undoubted jewels of British cinema. On the DVD: A Matter of Life and Death is presented in reasonably sharp 4:3 ratio with decent mono sound. Aside from English hard-of-hearing subtitles there are no extras. -Mark Walker.

French director Eric Rohmer, former critic and Cahiers du Cinema editor, created a very special romantic film series around the difficult choices men make when they fall in love with two women, called "Six Moral Tales. " My Night at Maud's was the third entry and it was so well received in 1969 that it gave Rohmer international prominence. To this day, it remains Rohmer's masterpiece, a brilliantly insightful and sublime meditation on adult indiscretions. Jean-Louis Trintignant plays a chaste engineer who thinks he has met his soul mate in church (Marie-Christine Barrault), yet winds up accidentally spending the night with the seductive Maud (Francoise Fabian), who is more his intellectual equal. Filmed in stark black and white by Nestor Almendros, this is one of those rare films in which questions about philosophy translate into unexpected answers about the heart. It's slow and methodical but well worth the experience. -Bill Desowitz.

Few films have defined a generation as much as The Graduate did. The alienation, the nonconformity, the intergenerational romance, the blissful Simon and Garfunkel soundtrack-they all served to lob a cultural grenade smack into the middle of 1967 America, ultimately making the film the third most profitable up to that time. Seen from a later perspective, its radical chic has dimmed a bit, yet it's still a joy to see Dustin Hoffman's bemused Benjamin and Anne Bancroft's deliciously decadent, sardonic Mrs Robinson. The script by Buck Henry and Calder Willingham is still offbeat and dryly funny and Mike Nichols, who won an Oscar for his direction, has just the right, light touch. -Anne Hurley, Amazon. com.

Italian star and filmmaker Massimo Troisi was dying of heart failure even before this film, his dream project, began production, and he prevailed upon British director Michael Radford (White Mischief) to see him and the film through to the end. (The 40-year-old Troisi, a beloved comic actor in Italy, died the day production wrapped. ) Based on true events, Troisi plays a shy postman who strikes up an unlikely friendship with exiled Chilean poet Pablo Neruda (Philippe Noiret). Through Neruda's example and tutelage, the hero learns to think of his Italian fishing village in lyrical terms, as well as how to talk to women and even find the strength to take his political stands. Sweet as it is, the film finally pushes beyond its charming borders to become an even more complex and poignant story about the pain of growing into one's destiny. -Tom Keogh, Amazon. com.