100 Best Movies (31-40)

The Godfather, Parts I and II (1972, 1974)
The very best of the gangster-glamorizing genre, if you give a damn about such things, and you really shouldn't.

Gone With the Wind (1939)
Long, Southern soaper closer to Jackie Collins than Shakespeare. Two big stars at their best. Still works, always will.

Gun Crazy (1949)
This nasty, bleak little take on Hollywood's favorite tale--psycho lovers on the lam from the law--has something that's missing from Bonnie and Clyde, Thieves Like Us, True Romance and all the others: irrepressible, irresistible Peggy Cummins, the gal we'd most like to be gunned down by.

A Hard Day's Night (1964)
Very funny, winning young guys run, hop, jump, flirt, wisecrack and make music. Our favorite Marx Brothers movie.

The Haunting (1963)
Two towering talents the movies completely misused--Claire Bloom and Julie Harris--provide the warm heart beating at the center of this cold-blooded haunted house thriller, which lets your imagination do all the work.

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His Girl Friday (1940)
A classic of pre-shrill feminism. The one-liner chemistry between newspaper people Cary Grant and Rosalind Russell would probably result in mutual sexual harassment charges in real life today.

In a Lonely Place (1950)
A refreshingly off-putting Humphrey Bogart plays the self-involved, tormented writer with rage to spare, and the winningly sexy/creepy Gloria Grahame plays the woman who loves him to little avail. A remarkably grim and true portrait of a writer, a category of humans Hollywood so loathes and fears and needs that movies seldom present them realistically.

The Informer (1935)
John Ford's pointed political mood piece is a demanding partner, but still retains the power to haunt you afterwards.

The Innocents (1961)
Henry James's The Turn of the Screw makes for an alluring yet distant film, easily the movies' most ghostly ghost story. Great script, acting, and direction, but one lone teardrop steals the show.

Intolerance (1916)
Difficult, daunting, dated, and--OK, yes--challenging to sit through, yet D.W. Griffith's complex, four-part film lives up to its reputation as the first great epic produced in Hollywood.

100 Best Movies, Part 5 (41-50)

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