Marlene Dietrich purrs through sexy songs, and Jimmy Stewart succumbs to her sultry, androgynous ways in Destry Rides Again a seminal Western with more than a touch of comedy. He plays your average nice guy who turns out to have something special up his sleeve when confronted by a gang of bad guys. He tames the banditos and wins dance-hall girl Dietrich's heart with his non-violent ways. You may think you have seen this before, and most likely you have. Based on the 1930 novel by Max Brand, the plot has been copied repeatedly. However, this atmospheric 1939 delight stands far above its imitators. This is the movie in which Dietrich, wearing full saloon-gal regalia, sings, "See What the Boys in the Back Room Will Have". It was remade with Audie Murphy in 1954 as Destry, but that version lacks the charisma provided by Stewart and Dietrich. -Rochelle O'Gorman, Amazon. com.

After seeing Saving Private Ryan, this epic tale about the Normandy invasion will look sanitised. But in its re-creation of events leading to the epochal battle, The Longest Day is captivating and grand, and the parade of famous actors who cross the screen naturally give the already charged action even more of a boost. Three directors worked on it: Ken Annakin (Battle of the Bulge), Andrew Marton (Crack in the World) and Bernhard Wicki (this film being his only credit). -Tom Keogh The Longest Day is Hollywood's definitive D-day movie. More modern accounts such as Saving Private Ryan are more vividly realistic, but producer Darryl F Zanuck's epic 1962 account is the only one to attempt the daunting task of covering that fateful day from all perspectives. From the German high command and front-line officers to the French Resistance and all the key Allied participants, the screenplay by Cornelius Ryan, based on his own authoritative book, is as factually accurate as possible. The endless parade of stars (John Wayne, Henry Fonda, Robert Mitchum, Sean Connery, and Richard Burton, to name a few) makes for an uneasy mix of verisimilitude and Hollywood star-power, however, and the film falls a little flat for too much of its three-hour running time. But the set-piece battles are still spectacular, and if the landings on Omaha Beach lack the graphic gore of Private Ryan they nonetheless show the sheer scale and audacity of the invasion. -Mark Walker.

From the battered streets of Europe. To the hell of the Pacific. A War that would change the coursee of history. A masterly mini-series to equal the scope of the world's most turbulent era. 4-tape boxed set.

The "unearthly" strains of Ron Grainer's soon-to-be-famous title music announced the arrival of Dr Who to British TV screens on Saturday 23rd November, 1963. It must have been quite a baffling experience for first-time viewers: the swirling abstract graphics, the weird electronic sound effects courtesy of the BBC's Radiophonic Workshop, the very oddity of the show's title. This really was groundbreaking TV. "I think you'll find there's a very simple explanation for all of this", says schoolteacher Ian Chesterton (William Russell) condescendingly, shortly before being taken on board the TARDIS and transported to an alien planet. For audiences, too, this was something entirely unfamiliar, yet obviously appealing: Dr Who ran for almost 30 years and even long after cancellation it remains one of the BBC's most popular shows. His later incarnations were all eccentric in their different ways, but William Hartnell's original Doctor is an irascible and distinctively alien character, not at all happy having to put up with ignorant 20th-century humans. The "Unearthly Child" of the title is his granddaughter Susan (Carole Ann Ford), temporarily attending school on Earth. She is conspicuously different from her classmates and attracts the attention of two of her teachers who resolve to find out why. After an encounter with her mysterious grandfather they are whisked away on an adventure to a different time and place where angry cavemen are trying in vain to learn the secret of fire. Thus the show's trademarks are established from the outset: the Doctor and his more or less reluctant human companions, the mechanical unreliability of the TARDIS, the cliffhanger ending of each episode. [+]

"I've never seen a woman who was more like a man," a character observes of Vienna (Joan Crawford), who has just opened a saloon that hasn't exactly endeared itself to the local townspeople. Emma (Mercedes McCambridge), the local sexually repressed, lynch-happy harpy, is particularly displeased. Vienna is wooed both by the Dancin' Kid (Scott Brady) and by Johnny Guitar (Sterling Hayden), a peripatetic tough guy-turned-troubadour with whom she has a past. When the Kid's gang (which includes Ernest Borgnine) decides to knock over the bank before heading to California, Emma wants just about everyone in sight on the business end of a rope. Nicolas Ray's 1954 epic was considered one of the downright strangest Westerns of all time-the women were far tougher than the men (Johnny watches on laconically during the bank robbery, not bothering with heroics), and some saw in the film a bizarre allegory for the McCarthy Red scare. A half-century later, it's still a curious, intriguing piece of moral ambiguity from a time when such a thing ostensibly didn't exist. Hayden is an enigmatic presence, and Crawford's commanding star turn is what you'd expect. -David Kronke.

Based on the true story of the building of a bridge on the Burma railway by British prisoners-of-war held under a savage Japanese regime in World War II, The Bridge on the River Kwai (1957) is one of the greatest war films ever made. The film received seven Oscars, including Best Picture, Director, Performance (Alex Guinness), for Sir Malcolm Arnold's superb music, and for the screenplay from the novel by Pierre Boulle (who also wrote Monkey Planet, the inspiration for Planet of the Apes). The story does take considerable liberties with history, including the addition of an American saboteur played by William Holden, and an entirely fictitious but superbly constructed and thrilling finale. Made on a vast scale, the film reinvented the war movie as something truly epic, establishing the cinematic beachhead for The Longest Day (1962), Patton (1970) and A Bridge Too Far (1977). It also proved a turning-point in director David Lean's career. Before he made such classic but conventionally scaled films as In Which We Serve (1942) and Hobson's Choice (1953). Afterwards there would only be four more films, but their names are Lawrence of Arabia (1962), Dr Zhivago (1965), Ryan's Daughter (1970) and A Passage to India (1984). On the DVD: Too often the best extras come attached to films that don't really warrant them. Not so here, where a truly great film has been given the attention it deserves. The first disc presents the film in the original extra-wide CinemaScope ratio of 2. [+]