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Every month, our contributors will be putting together a list of ten films on certain topics. Each month will be different and will feature an alphabetical list our selections, commentary from each of us on our picks and an itemized list showing what we each selected.

To start off our first list, we chose a subject that will give you an idea of where we come from as cineastes, fans of the medium who consume movies like a frustrated dieter consumes candy. These are the films that influenced our tastes and opinions about movies, made us see them in differing lights and altogether molded who we would and have become as film enthusiasts.

This is an eclectic list of films from as early as 1927 to as recent as 2012. They are films that span genres, continents and directors. Only two films on our lists coincided, Citizen Kane and Star Wars, and even these films only saw two contributors select them. Our lists don’t reflect what we think are the best films ever made, but the films that meant the most to us for various reasons. In our commentaries below, we’ll discuss just why we find these films so fascinating and why they hold a place in our hearts and provide inspiration in our minds.


AfricanQueen

The African Queen (1951)

Commentary By Peter J. Patrick – (dir. John Huston) My introduction to and obsession with the Academy Awards began when I was eight and was told that Humphrey Bogart had won an Oscar for The African Queen. I couldnโ€™t understand how he had won an award for acting and his co-star, Katharine Hepburn, who I perceived even at that age to have given the better performance, had not. I have been second-guessing the Academy ever since.

AllThatJazz

All That Jazz (1979)

Commentary By Thomas LaTourrette – (dir. Bob Fosse) Probably more than any chase film, this showed me how editing can impress. The twirling dancers at the beginning is for me a very iconic moment. I have heard the movie did not age well, but it was striking at the time.

AmericaninParis

An American in Paris (19581)

Commentary By Thomas LaTourrette – (dir. Vincente Minnelli) I have not seen this in years, and it may not hold up all that well, but it was the first film I remember that used color and movement so well. The stylized work may be dated now, but the Technicolor is still a wow. Perhaps I should have listed The Wizard of Oz in its place for the way it used color, but I saw this on a big screen for the first time, whereas Oz was most often seen on television.

AnnieHall

Annie Hall (1977)

Commentary By Tripp Burton – (dir. Woody Allen) Any list of movie favorites for me has to have a reference to Woody Allen — he is my favorite director, favorite writer and the auteur behind many of my favorite films. I canโ€™t remember if Annie Hall was my first Woody Allen film or not, but it was certainly the one that cemented my love for the New York filmmaker. The way Allen played with genre, tone, format and reality was mind-blowing to the young cinephile in me, but the film was also so real and funny along the way. It certainly didnโ€™t feel like any sort of movie I had seen before! It remains the romantic comedy everything in my mind gets compared to, a film I revisit often and it changed the way I look at so many aspects of filmmaking.

Apartment

The Apartment (1960)

Commentary By Peter J. Patrick – (dir. Billy Wilder) 1960 was the first year that I saw all the yearโ€™s major films before the Oscar nominations were announced. Although I very much loved Sons and Lovers, Psycho, Home from the Hill, Elmer Gantry, Inherit the Wind and others, The Apartment was by far my favorite. I was overjoyed when it was nominated for a slew of awards and then won Best Picture.

AutumnSonata

Autumn Sonata (1978)

Commentary By Wesley Lovell – (dir. Ingmar Bergman) When looking at world cinema, it’s difficult not to look on the work of Ingmar Bergman with respect and admiration. Which film is your favorite often depends on your personality. Autumn Sonata was the first film from Bergman that I felt I had watched something truly magnificent. A small character study starring Ingrid Bergman and Liv Ullmann, the performances were so spectacular that it remains one of my all-time favorite foreign films. It was also one of the few films that showed that a great story is made far superior with great actors taking you to a new place.

CitizenKane

Citizen Kane (1941)

Commentary By Wesley Lovell – (dir. Orson Welles) It has almost become fashionable to diss Citizen Kane in favor of more recent or off-beat choices like The Godfather or Vertigo, but this was the first film from the black-and-white era that I ever found myself enthralled with. I was a young High Schooler who knew nothing about film or film history when I rented this one only to discover that I was thoroughly enchanted by its pervasive mystery and historical exploration of a tormented man. The twist gave it even more resonance.

This was all before I dug into film in a meaningful way in college. That’s where I learned so much more about the film, its history and its construction that I truly cemented it in my list as one of the finest films ever made. The creativity of shots, diversity of story and uncharacteristic look at a simulacrum of a real historical figure all became a heavy influence on future filmmakers and we owe a great deal of what film has become as an art form to this picture.

Commentary By Tripp Burton – Like most anyone else who loves, thinks or writes about movies, Citizen Kane almost automatically goes on this list. I saw it for the first time in high school, more than fifty years after it was made, and it still felt like a jolt of lightning to me. It may not seem as innovative as it did then, but you still see exactly how rule-breaking it must have been. It still feels like something unlike any other film of its time. It was also one of the first films I remember wanting to read more about, discovering the history of the film and the effect it had on so many others after it.

A couple of years later, Citizen Kane was announced as the AFIโ€™s Greatest Film of All Time. Because of all of that publicity, a group of friends (who werenโ€™t versed at all in film history) wanted to watch it. I sat down with them watching the film, but also explaining to them what made it so important and innovative — how Welles was playing with time, how he took out floorboards to get some of the shots, how the use of shadows was so unique. It was the first time I ever really felt like a โ€œfilm teacherโ€ and could put all of this information I was accumulating to good use. Iโ€™m not sure if they liked the film very much, but they certainly understood it a lot better.

CityLights

City Lights (1931)

Commentary By Tripp Burton – (dir. Charles Chaplin) I had seen Charlie Chaplin films before. I had seen great romantic films before. I had seen silent films before. I had seen funny films before. And I had certainly seen great films I loved before. Something about seeing City Lights for the first time, though, altered my perspective on the power of film. It was so funny, so touching, so exhilarating and so timeless that this is what I wanted every film to be. It seemed like it was made for me and my sensibility perfectly, and I continue to consider it the ideal film in so many ways. No one has ever equalled it, and maybe no one will, but I will keep hoping someone can someday.

ClockworkOrange

A Clockwork Orange (1971)

Commentary By Wesley Lovell – (dir. Stanley Kubrick) Anyone who’s known me or my taste in film knows that Stanley Kubrick is my all-time favorite filmmaker. It’s hard to say which film influenced me more, but I give A Clockwork Orange that assignation because it was the first film of his that I saw in the theater and was able to grasp just how powerful and inventive he was. I knew next to nothing about the film going into that midnight screening back in the mid-90’s. I was ensorcelled by the visceral nature of the film, its emotional impact and its commentary on social stigmas, crime and the overreaching methods the government can go to in order to preserve the status quo.

DickTracy

Dick Tracy (1990)

Commentary By Tripp Burton – (dir. Warren Beatty) I was eight years old when Dick Tracy came out, and it was one of the biggest event films of that summer (at least for the eight-year-old crowd). We were all about the action figures, the merchandise, the yellow hats and the walkie talkie watches. Seeing the film, though, opened my eyes to a lot more than just the characters and gadgets; it is the first time that I started to notice all of the work and craft that goes into filmmaking. I remember thinking about how someone chose to use those bright colors, how that make-up transformed people into monsters, how each character had their own signature look and even how the music made the film more exciting. My obsession with the movie led me to follow and even watch (part of) my first Oscar telecast, wanting to see if Al Pacino would win, or how Madonna would do performing. Watching the film today, I have a hard time separating that nostalgic discovery from the faults of the movie, but perhaps no movie jump-started my love and appreciation for film, both as an art and as an Oscar race, than Dick Tracy.

DolceVita

La Dolce Vita (1960)

Commentary By Peter J. Patrick – (dir. Federico Fellini) By 1962 I had seen numerous foreign language films dubbed into English for easy consumption. La Dolce Vita was the first film I saw with subtitles. It instantly became my favorite foreign language film and has remained so. Its many iconic images from the Christ statue being flown by a helicopter to Marcello Mastroianni and Anita Ekberg frolicking in the Trevi Fountain remain evergreen.

DrivingMissDaisy

Driving Miss Daisy (1989)

Commentary By Wesley Lovell – (dir. Bruce Beresford) This was the film that started everything for me. In 1989, I was an impressionable teenager attending Junior High School in a small Midwestern town. I had been fascinated in radio countdowns for years and I heard about this film called Driving Miss Daisy that had apparently been nominated for several Academy Awards. Which ones I didn’t know, I just knew I had to see it. I begged my mother to take me in spite of her reservations. Of course, she knew I was into horror films, so what harm could a film like this really have been?

I was totally engrossed in it. In my smallish town environment, there weren’t many black children and I didn’t really know any Jews, so everything that transpired in the film touched me deeply. I think it was the first time I truly understood what it was like to endure prejudice from someone else’s perspective. The film founded in me what would eventually become my socio-political belief system. It inspired me in many ways. It also introduced me to the Academy Awards, which I watched for the first time ever to see if my favorite film of the year had won. It did. I didn’t know then just how much was stacked against it (no Best Director nomination), but from there my passion for the Oscars developed until I founded a website about the Oscars six years later.

HowGreenWasMyValley

How Green Was My Valley (1941)

Commentary By Peter J. Patrick – (dir. John Ford) When the classic films of the 1930s and 1940s started appearing on TV in the late 1950s, John Ford quickly became my favorite director, edging out Alfred Hitchcock and Frank Capra. I was especially taken by Fordโ€™s ability to present films about specific peoples and incidents and make mean something to all people in all times. I loved The Informer, The Grapes of Wrath, and The Long Voyage Home but mostly I loved How Green Was My Valley about a Welsh coal mining community at the turn of the 20th Century.

LawrenceofArabia

Lawrence of Arabia (1962)

Commentary By Thomas LaTourrette – (dir. David Lean) This film showed me how film could be used on an epic scale, with the camera work, acting and score all working to make a wonderfully cohesive whole. I donโ€™t know if anyone has made full use of the screen the way David Lean did in this film.

LifeofPi

Life of Pi (2012)

Commentary By Thomas LaTourrette – (dir. Ang Lee) I decided to include this as a realization that I can still be surprised at the movies. It had a great use of color and the CGI technology did not distract from what is, in a way, a very intimate movie. I saw it twice, once in 3D and once in 2D, and it worked well in both forms. It was a successful achievement.

LioninWinter

The Lion in Winter (1968)

Commentary By Thomas LaTourrette – (dir. Anthony Harvey) A bickering family brought to roaring life by Katharine Hepburn and Peter Oโ€™Toole. Shows what a good cast, strong script and memorable score can do for a film. This is also one of the few films that I have ever bought.

LordoftheRings

The Lord of the Rings Trilogy (2001-2003)

Commentary By Wesley Lovell – (dir. Peter Jackson) Apart from being an ambitious effort, all three films shot concurrently, the film represents a glimpse into the nature of cinema and its ability to transport audiences to different worlds with struggles not too different from our own. Perfectly acted and richly detailed, the trilogy based on J.R.R. Tolkien’s noted books represents a high water mark in modern cinema that showed us just how high the bar could be raised with a grand bit of imagination.

MakeWayforTomorrow

Make Way for Tomorrow (1937)

Commentary By Peter J. Patrick – (dir. Leo McCarey) One of the thrills of movie-going in the 1970s was the ability to see many classics of earlier years that I had either seen on TV or not at all. One of my favorite discoveries of that era was Leo McCareyโ€™s depression era masterpiece that still has the ability to move audiences to tears eighty years after social security became law in the U.S. Beulah Bondi, then still in her forties, was especially memorable as a 70-year-old woman resigned to go to the old ladiesโ€™ home she was clearly not ready for.

MaryPoppins

Mary Poppins (1964)

Commentary By Thomas LaTourrette – (dir. Robert Stevenson) The use of live action, animation, dance and songs created a fun movie that has held up surprisingly well. Watching people dive into animation was a wonderful effect. It can still cheer me up.

Metropolis

Metropolis (1927)

Commentary By Wesley Lovell – (dir. Fritz Lang) What budding cinephile hasn’t been exposed to the beauty of this late-era silent masterpiece. A dizzying combination of glorious set designs, compelling narrative and fierce performances leaves the audience breathless. When you know how far cinema had come in such a short time and that a film like this was the epitome of those advances, you gain a great deal of inspiration.

MidnightCowboy

Midnight Cowboy (1969)

Commentary By Peter J. Patrick – (dir. John Schlesinger) Midnight Cowboy was a film that completely bowled me over. During the filming in 1968 I had a workday habit of walking from the Long Island Railroad Station at New Yorkโ€™s Pennsylvania Station at 7th Avenue and 34th Street across town to my office at Park Avenue and 53rd Street in the early morning. In any event, I found the filmโ€™s gritty realism the epitome of the new style of filmmaking of the late 60s and early 70s. It was also the first film for which I wrote a review which was quoted in a New York newspaper.

MulhollandDr

Mulholland Dr. (2001)

Commentary By Tripp Burton – (dir. David Lynch) It is interesting that two of the filmโ€™s on my list came out in 2001 (this and The Royal Tenenbaums). I was a sophomore in college that year, fully exploring film for the first real time, and seeing new types of films I wouldnโ€™t normally have gravitated to. Mulholland Dr. was one of those, and it blew my mind. Never before had I seen something so non-linear, so weird, yet so thematically coherent and entertaining. I never thought cinema could be like this, more like a great, impenetrable novel than a piece of Hollywood production. It was so modern and new, yet also so rooted in classic cinema that you felt like you could stumble on it on TCM at any time. I immediately delved into the work of David Lynch, and opened myself up to exploring all kinds of filmmaking, even those that didnโ€™t seem as narratively driven or neatly constructed as what I thought of as โ€œgreat films.โ€ โ€œGreat filmsโ€ come in all shapes, sizes, tones and formalities, and Mulholland Dr. brought them all out for me.

MurderontheOrientExpress

Murder on the Orient Express (1974)

Commentary By Wesley Lovell – (dir. Sidney Lumet) In grade school, I was a bit of an odd duck. My literary choices were largely limited to the works of Agatha Christie. For a kid that young to be so fascinated by the mysteries she created was an anomaly. I even had a small display on my desk in 6th grade with all of my favorite Christie novels. It comes as no surprise that as I discovered there were cinematic adaptations of her works that I lapped them up as quickly as I could. I saw all the TV-based Poirot adaptations starring Peter Ustinov and even the big screen flop of Appointment with Death. I loved Death on the Nile, but the film that lighted my imagination most was Murder on the Orient Express.

A sumptuous period drama with an all-star cast of actors I had never heard of (at that time), Sidney Lumet’s tense investigative drama pits my personal favorite Christie detective, Hercules Poirot, against a trainload of suspects all with a desire to see the victim dead. Watching as the slow-boil investigation unfolded was pure delight for a young reader and much of my interest in cinema score and set design was invigorated by this film.

NightmareonElmStreet

A Nightmare on Elm Street (1984)

Commentary By Wesley Lovell – (dir. Wes Craven) If it wasn’t odd enough that a grade schooler could be an Agatha Christie fan, it was even more bizarre for a youngster to be exposed to and become a fan of horror films. Yet, the deliciously evil Freddy Krueger inducted me into the genre in the late 1980’s and I’ve been enamored with it ever since. A tight psychological drama, A Nightmare on Elm Street takes a different tack than most 80’s slasher films by putting the killer into the world of dreams where death means that you never wake up again. There are myriad ways to explore the depths of this film and it gets too little respect among cineastes, but it’s clear that the original film developed and enhanced some of the tropes of the genre and created an unforgettable and frightening cinematic experience.

PhiladelphiaStory

The Philadelphia Story (1940)

Commentary By Thomas LaTourrette – (dir. George Cukor) This has been my favorite film for decades. The acting and sparkling dialogue make it a delectable comedy. I rarely re-watch movies, but this in one I can see often. It is the only movie I have owned in both VHS and DVD formats. If I am down, it can always pick me up. Still my favorite without a doubt.

PulpFiction

Pulp Fiction (1994)

Commentary By Tripp Burton – (dir. Quentin Tarantino) For any budding cinephile of the 1990s, Pulp Fiction was the jolt of energy that we all needed to understand fully what films are possible of doing to us. My early teenage self watched the film on a pan and scan VHS rental tape in the sun room of my parentโ€™s house, and it still seemed to explode off the television. Like Citizen Kane decades before, this was the film for my generation that seemed to redefine everything possible about film: the interlocking, out of sequence timeframe; the almost new language Tarantino seemed to invent; the raw acting performances by a slew of actors a young cinephile had yet to truly meet before; that explosive soundtrack, colorful cinematography, kinetic editing and dry sense of humor. Then, as I started to discover that Tarantino didnโ€™t invent as much as curate, it led toward beginning to understand a whole world of film that I hadnโ€™t known existed: blacksploitation, noir and foreign films that I watched merely because they had been referenced in Pulp Fiction. It was the gateway drug for so many of us in the 1990s, leading to a cinematic world of possibilities we had never dreamed of.

RachelGettingMarried

Rachel Getting Married (2008)

Commentary By Tripp Burton – (dir. Jonathan Demme) I went back and forth putting Rachel Getting Married on this list, but I did so because it plays a unique part in my filmgoing experience. I was in my mid-twenties when Rachel Getting Married came out, and by then I thought I had kind of had all the types of filmgoing experiences I could; for whatever reason, though, on the afternoon I saw Rachel Getting Married, I had an unexpected visceral reaction I had almost never had before. I cried through this movie, not because I felt overly touched or saddened by what was happening (it isnโ€™t a tear-jerker by any means) but because I got emotionally overwhelmed by this movie. The combination of pitch-perfect performances, the verite-lite ascetics and the use of live music in the second half of the film drowned me. I have certainly cried before at movies, but this was the first time that a movie so completely (and unexpectedly) crushed me emotionally for reasons that I canโ€™t even explain, and taught me the true power of cinema as a visceral, emotional art form. It is an idiosyncratic experience, and one I may never have again, but I grew a lot as a film lover and experiencer that afternoon.

RearWindow

Rear Window (1954)

Commentary By Tripp Burton – (dir. Alfred Hitchcock) When I am asked what the Greatest Movie Ever Made is, this is what I answer. Not only is it a perfectly constructed thriller, but Hitchcock says so much about the act of filmmaking and film watching, and plays with our status as voyeurs throughout the entire film. Iโ€™m not sure even when I first saw the film, but it seems like it has always been at the top of my list for as long as I have been thinking about great movies, and has continually been the bar all other films are measured against.

RoyalTenenbaums

The Royal Tenenbaums (2001)

Commentary By Tripp Burton – (dir. Wes Anderson) I donโ€™t often see movies more than once in the theatre (there is too much to see), but I saw The Royal Tenenbaums three times in its initial release. I kept bringing people to see it, hoping they would share the same love of the film I did. Not many seem to love this film as much as I did, but it became one of the first films I remember defending and championing over and over again. It touched a nerve in my film loving (and literary) self that not many other films had. I studied it quite a bit, wanting to take it apart, listening to Andersonโ€™s wonderful commentary and learning from it. For the next several years, its formality and wry sense of self informed my tastes more than anything else, and I think a lot of my film preferences still stem from what Anderson does with the Tenenbaum family, from use of music and costumes to the cinematography and dialogue.

Searchers

The Searchers (1956)

Commentary By Peter J. Patrick – (dir. John Ford) Released at a time when it seemed that every other show on TV was a western, John Fordโ€™s revenge-driven western was underappreciated in 1956 when critics and the Academy were enamored by the modern western Giant and the Quaker western Friendly Persuasion, but this greatest of all westerns finally got its due in the 1970s when other films including Star Wars and Taxi Driver started borrowing from it.

SnowWhite

Snow White and the Seven Dwarfs (1937)

Commentary By Peter J. Patrick – (dir. David Hand) One of the first films I saw as a child in a theatre was a re-issue of Disneyโ€™s Snow White and the Seven Dwarfs. It was the first feature length animated film I saw and one of only two, the other being a re-issue of Pinocchio. Snow White gave me an appreciation of what the motion picture was capable in doing in expanding a short story or in this case, a fairy tale.

SoundofMusic

The Sound of Music (1965)

Commentary By Thomas LaTourrette – (dir. Robert Wise) This is the first film I remember seeing in a theater. As a six-year-old, the scenic views, music and schmaltzy storyline made an impact that still thralls years later. It may be cheesy, but it is well made cheese.

SpiritedAway

Spirited Away (2001)

Commentary By Wesley Lovell – (dir. Hayao Miyazaki) As much as a Disneyphile as I am, there’s little that can compare with the sheer artistic brilliance of a Hayao Miyazaki film. First introduced to the master animator with Princess Mononoke, I overcame my dislike of the Anime style to delve into the world of Miyazaki, a gorgeous, hand-drawn universe where the bizarre and sensational are commonplace and every story is about growing up, but not growing old. While I love Disney, especially the period from Beauty and the Beast to Mulan, nothing has ever sparked my imagination or my investment in the animation medium than Miyazaki and the beautiful world of Spirited Away, his finest film.

StarWars

Star Wars (1977)

Commentary By Tripp Burton – (dir. George Lucas) Like most every American boy who grew up in the 1980s, Star Wars (particularly the original film) was probably the most important film of my childhood. We watched and rewatched the original trilogy, we collected the merchandise, we played Boba Fett in the backyard and we talked about the films incessantly. Now, I am getting to go through that experience again with my oldest daughter, and see a new generation of kids love everything about the film I did. Star Wars did a lot more for my generation, though, than just thrill us and entertain us. It taught us the power of the hero myth and the structure of story. We all think of Joseph Campbell in George Lucas-like terms, we learned rising action, conflict and denouement through this film and the structure of story is linked in many of our minds to the journey of Luke Skywalker. Then, as I (and many Star Wars fanatics) grew older, we went out and discovered Lucasโ€™ inspirations: Kurosawa (and his much-mocked swiping transitions), John Fordโ€™s The Searchers, Fritz Lang and Metropolis, even Lawrence of Arabia and Once Upon a Time in the West. My love of Star Wars helped me discover the more mature, but equally as wonderful, world of cinema Lucas had first mined for us. While my tastes may have grown over the years, and while the limits of George Lucasโ€™ filmmaking have become more aware to me as Iโ€™ve gotten older, there is still a part of me that judges every film I see against Star Wars.

Commentary By Thomas LaTourrette – The visual effects transported me to a new place. It was the first time that I remember a science fiction film being able to do that. The effects were quite an achievement of their time.

Sunrise

Sunrise (1927)

Commentary By Wesley Lovell – (dir. F.W. Murnau) Before I swapped majors in college to film studies, I had been interested in films as an art form through my fascination with the Academy Awards. Although the Oscars aren’t the finest purveyors of good taste, they set my young mind on a track that eventually put me where I am today. It was during my years at college that I took a film class that exposed me to a number of film dramas the exemplified specific periods in history. One of those films was Sunrise, A Song of Two Humans. At the time, the only copy the teacher had was on laserdisc, a long-abandoned recording format that seems utterly antiquated today. Yet, watching this film on the screen for the first time, and only barely understanding its place and importance in film history, I knew I was watching something special. I was engrossed in the complex love story and the rich performances without being able to hear a single word. From there, my appreciation for silent films, romantic dramas and strong female performances was forever solidified.

SunsetBoulevard

Sunset Boulevard (1950)

Commentary By Thomas LaTourrette – (dir. Billy Wilder) A rather over-the-top production featuring a lineup of then Hollywood past and present royalty, but strong performances make it a memorable film. 65 years later, it still is remarkable.

Vertigo

Vertigo (1958)

Commentary By Peter J. Patrick – (dir. Alfred Hitchcock) The first Hitchcock film I remember seeing in a theatre was an immediate favorite of mine at 14. I loved everything about it from the opening sequence with James Stewart establishing his fear of heights in a most graphic way to the San Francisco Bay Area locations to the startling finale. It remains along with Notorious and Rear Window, one of my three favorite Hitchcock films of all time. Iโ€™m delighted to see several critics now proclaiming it as the greatest film of all time.

WizardofOz

The Wizard of Oz (1939)

Commentary By Peter J. Patrick – (dir. Victor Fleming) Another of the first films I saw as a child in a theatre was a re-issue of The Wizard of Oz which opened my eyes to the wonder of color in a film. Reality was represented by black-and-white in the early parts of the film and in the last scene. The film turned magic when Dorothy opened the door of her house after it landed in Oz and everything was in breathtaking color, a fact lost on TV audiences when the film was first shown in the days of black-and-white TV.

Wesley’s List

Peter’s List

Tripp’s List

Thomas’ List

  • Autumn Sonata
  • Citizen Kane
  • A Clockwork Orange
  • Driving Miss Daisy
  • The Lord of the Rings Trilogy
  • Metropolis
  • Murder on the Orient Express
  • A Nightmare on Elm Street
  • Spirited Away
  • Sunrise
  • The African Queen
  • The Apartment
  • La Dolce Vita
  • How Green Was My Valley
  • Make Way for Tomorrow
  • Midnight Cowboy
  • The Searchers
  • Snow White and the Seven Dwarfs
  • Vertigo
  • The Wizard of Oz
  • Annie Hall
  • Citizen Kane
  • City Lights
  • Dick Tracy
  • Mulholland Dr.
  • Pulp Fiction
  • Rachel Getting Married
  • Rear Window
  • The Royal Tenenbaums
  • Star Wars
  • All About Eve
  • All That Jazz
  • An American in Paris
  • Lawrence of Arabia
  • The Lion in Winter
  • Mary Poppins
  • The Philadelphia Story
  • The Sound of Music
  • Star Wars
  • Sunset Boulevard

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