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100 Best Films of the 20th Century

100 Best Films of the 20th Century

100 MUST-SEE FILMS
OF THE 20th CENTURYPart 1 past LEONARD MALTIN

100 Must-Meet Films of the 20th Century: Leonard Maltin's Picture show and Video Guide 2000 independent the exclusive list of the author's "100 Must-See Films of the 20th Century" - an fantabulous starting point for flick viewing.

Facts and Commentary about the Listing:

  • As the leading film historian and critic Maltin admitted, "these are not the but smashing films of the century, or the only ones worth seeing." They could accept been supplemented with more silent films, more foreign films, documentaries, shorts and cartoons, more than from directors Frank Capra, John Ford, Buster Keaton, Preston Sturges, Baton Wilder and Joseph Mankiewicz, and Robert Altman.
  • Eighty-1 of the 100 films on this list were found on the list of 200 Greatest Films recommended at this site. The two lists were remarkably similar, although Maltin had ten foreign-language films in his choices.
100 Must-See Films of the 20th Century
by Leonard Maltin

(part one, ordered chronologically by decade)
Silent Years

The Nascence of a Nation (1915)
186 minutes, D: D. W. Griffith

The landmark of American motion pictures. Griffith's epic story of two families during Civil State of war and Reconstruction is withal fascinating. Sometimes the drama survives intact; other times, one must sentinel in a more historical perspective. Griffith's portrayal of Ku Klux Klan in heroic part has kept this film a center of controversy to the present twenty-four hours.

Intolerance (1916)
178 minutes, D: D. W. Griffith

Landmark American epic, interweaves iv stories of prejudice and inhumanity, from the Babylonian era to the modern 24-hour interval. Melodramatic, to exist sure, but gains in momentum and power as it moves toward its stunning climax. That'south Lillian Gish as the female parent rocking the cradle; Constance Talmadge gives a most appealing and contemporary performance every bit the sprightly Mountain Girl.

Our Hospitality (1923)
74 minutes, D: Buster Keaton

Buster goes to the Due south to claim a family inheritance, and falls in love with the girl of a longtime rival clan. Sublime silent comedy, ane of Buster's best, with a genuinely hair-raising finale. Incidentally, Buster married his leading lady in existent life.

Greed (1924)
140 minutes, D: Erich von Stroheim

Powerful accommodation of Frank Norris' novel McTeague, about a uncomplicated human whose wife's obsession with money eventually drives him to madness. Fifty-fifty though von Stroheim's film was taken from him, and severly cutting by the studio (it originally ran eight hours), this remains a stunning piece of work, one of the greatest of all silent films. The terminal sequences in Death Valley are unforgettable.

The Gold Blitz (1925)
82 minutes, D: Charlie Chaplin

Immortal Chaplin classic, pitting Picayune Tramp confronting Yukon, affections of dance-hall girl, whims of a burly prospector. Trip the light fantastic toe of the rolls, eating leather shoe, motel tottering over cliff - all highlights of wonderful, timeless comedy. Chaplin re-edited flick in 1942; that version, with his narration and music, runs 72m.

Potemkin (1925 - Russian)
65 minutes, D: Sergei Eisenstein

Landmark film about 1905 Revolution. Unlike many staples of film history classes, this one has the power to grip any audience. Odessa Steps sequence is maybe the most famous movie scene of all time.

The Large Parade (1925)
141 minutes, D: Rex Vidor

One of the best WWI films ever; clean-shaven Gilbert a wonderful hero. Adoree an unforgettable heroine. Filled with memorable vignettes, and some of the nearly harrowingly realistic battle scenes ever filmed. A precious stone.

The Freshman (1925)
70 minutes, D: Sam Taylor and Fred Newmeyer

I of Lloyd'south all-time remembered films casts him as collegiate patsy who'll exercise anything to be popular on campus, unaware that everyone is making fun of him. Football game finale is one of several comic highlights. A existent audience-rouser.

Metropolis (1927 - German)
120 minutes, D: Fritz Lang

Classic silent-picture fantasy of futuristic urban center and its mechanized society, with upper-class young man abandoning his life of luxury to join oppressed workers in a revolt. Heavy going at times, only startling set design and special effects control attending throughout. Many shorter prints exist; reissued in 1984 at 87 minutes with colour-tints and score past Giorgio Moroder. [As well restored in its most complete version in 2002.]

The General (1927)
74 minutes, D: Buster Keaton

One of Keaton's best silent features, setting one-act confronting true Civil War story of stolen train, Union spies. Not every bit fanciful as other Keaton films, but beautifully done.

Sunrise (1927)
110 minutes, D: F. Due west. Murnau

Exquisite silent film is merely every bit powerful today every bit when it was made, telling simple story of farmer who plans to murder his wife, led on past another adult female. Triumph of direction, camerawork, art management, and performances, all hauntingly beautiful. Screenplay by Carl Mayer, from Hermann Suderman'southward story. Cinematographers Karl Struss and Charles Rosher won Oscars, as did the film for "artistic quality of production." Gaynor likewise won Best Actress Oscar (shared for her performances in 7th Heaven and Street Angel). Remade in Germany as The Journey to Tilsit. Full title onscreen is Sunrise - A Song of Two Humans.

The Oversupply (1928)
104 minutes, D: Male monarch Vidor

Classic drama about a few happy and many non-and then-happy days in the matrimony of hard-luck couple. One of the greatest silent films; holds up beautifully. Written past Harry Behn, John V.A. Weaver, and manager Vidor, from the latter's original story.

1930s

All Quiet on the Western Front end (1930)
133 minutes, D: Lewis Milestone

Brilliant, moving accommodation of Erich Maria Remarque'south eloquent pacifist novel about German boys' experiences as soldiers during WWI. Time hasn't dimmed its ability, or its poignancy, one scrap. Scripted by Milestone, Maxwell Anderson, Del Andrews, and George Abbott. University Award winner for Best Picture and Director.

Metropolis Lights (1931)
86 minutes, D: Charlie Chaplin

Chaplin's masterpiece tells story of his dear for blind flower girl, and his hot-and-cold friendship with a drunken millionaire. Eloquent, moving, and funny. 1 of the all-fourth dimension greats.

M (1931 - German)
99 minutes, D: Fritz Lang

Harrowing melodrama near psychotic kid murderer brought to justice past Berlin underworld. Riveting and frighteningly contemporary; cinematically dazzling, particularly for an early talkie. Lorre's performance is unforgettable.

Dracula (1931)
75 minutes, D: Tod Browning

Classic horror motion-picture show of Transylvanian vampire working his evil spell on perplexed group of Londoners. Lugosi's most famous role with his definitive interpretation of the Count, ditto Frye as looney Renfield and Van Sloan as unflappable Professor Van Helsing.

Frankenstein (1931)
70 minutes, D: James Whale

Definitive monster pic, with Clive as the ultimate mad scientist, creating a homo-made existence (Karloff) just inadvertently giving him a criminal brain. Information technology'southward creaky at times, and cries for a music score, but it'south still impressive...as is Karloff's performance in the office that made him a star. Long-censored footage, restored in 1987, enhances the impact of several key scenes, including the drowning of a little girl. Based on Mary Shelley's novel. Followed past Bride of Frankenstein .

Trouble in Paradise (1932)
83 minutes, D: Ernst Lubitsch

Sparkling Lubitsch confection about two jewel thieves (Marshall and Hopkins) who fall in love, simply find their relationship threatened when he turns on the charm to their newest (female) victim. This film is a working definition of the term "sophisticated comedy." Script by Samson Raphaelson and Grover Jones.

Rex Kong (1933)
103 minutes, D: Merian C. Cooper

Classic version of beauty-and-animal theme is a moviegoing must, with Willis O'Brien'southward special effects and animation of monster ape Kong still unsurpassed. Final sequence atop Empire State Building is now movie theater folklore; Max Steiner music score too memorable. Followed immediately past The Son of Kong.

Duck Soup (1933)
70 minutes, D: Leo McCarey

The Marx Brothers' near sustained bit of insanity, a bomb when first released, just now considered a satiric masterpiece. In postage-stamp-sized Freedonia, Prime Government minister Rufus T. Firefly (Groucho) declares war on neighboring Sylvania simply for the hell of information technology. Plenty gags for five movies, only our favorite is still the mirror sequence. Zeppo's swan song with his brothers.

Sons of the Desert (1933)
69 minutes, D: William A. Seiter

Laurel and Hardy's all-time feature picture; duo sneaks off to fraternal convention without telling the wives; then the fun begins, with Chase as hilariously obnoxious conventioneer.

Information technology Happened Ane Night (1934)
105 minutes, D: Frank Capra

Legendary romantic one-act doesn't age a bit. Still every bit enchanting as ever, with reporter Gable and runaway heiress Colbert falling in love on rural bus trip. Hitch-hiking travails, the Walls of Jericho, other memorable scenes remain fresh and delightful. Start movie to win all five major Oscars: Picture, Role player, Actress, Director, and Screenplay (Robert Riskin). Based on Samuel Hopkins Adams' story "Dark Double-decker," originally published in Cosmopolitan.

It's A Gift (1934)
73 minutes, D: Norman Z. McLeod

Fields is a grocery store owner who goes Westward with his family. Beautiful comedy routines in one of the Not bad Human being's unforgettable films. Charles Sellon every bit a blind man, T. Roy Barnes as a salesman looking for Carl LaFong, contribute some hilarious moments. A remake of Fields' silent moving-picture show It's the Erstwhile Army Game.

A Night at the Opera (1935)
92 minutes, D: Sam Woods

The Marx Brothers invade the world of opera with devastating results. Arguably their finest picture show (a close race with Duck Soup), with tuneful music and appealing romance neatly interwoven. One priceless comedy bit follows some other: the stateroom scene, the Political party of the First Part contract, etc. This is every bit good as it gets.

Bride of Frankenstein (1935)
75 minutes, D: James Whale

Eye-filling sequel to Frankenstein is even better, with rich vein of dry out wit running through the chills. Inimitable Thesiger plays weird doc who compels Frankenstein into making a mate for his creation; Lanchester plays both the "bride" and, in amusing prologue, Mary Shelley. Pastoral interlude with blind hermit and final, riotous creation scene are highlights of this truly classic motion picture. Scripted by John L. Balderston and William Hurlbut. Marvelous Franz Waxman score, reused for many subsequent films. Followed by Son of Frankenstein.

The 39 Steps (1935 - British)
87 minutes, D: Alfred Hitchcock

Classic Hitchcock mystery with overtones of low-cal comedy and romance, equally innocent Donat is pulled into spy-ring activities. Memorable banter between Donat and Carroll, who thinks he's a criminal, set manner for sophisticated dialogue for years. John Buchan'due south novel was adapted by Charles Bennett and Alma Reville; additional dialogue by Ian Hay.

Swing Time (1936)
103 minutes, D:George Stevens

One of the best Astaire-Rogers films, with stars every bit trip the light fantastic squad whose romance is hampered by Fred'southward engagement to daughter back domicile (Furness). Fine support by Moore and Broderick, unforgettable Jerome Kern-Dorothy Fields songs "A Fine Romance," "Pick Yourself Upwardly." Oscar-winning "The Fashion You lot Expect Tonight." Astaire's Bojangles product number is a screen classic.

Modern Times (1936)
89 minutes, D: Charlie Chaplin

Charlie attacks the machine age in inimitable fashion, with sharp pokes at other social ills and the struggle of modern-day survival. Goddard is the gamin who becomes his partner in life. Chaplin'south last silent movie (with his own music - including "Smile" - sound effects and gibberish vocal) is consistently hilarious, and unforgettable. Last shot is among Chaplin's most famous and most poignant.

Dodsworth (1936)
101 minutes, D: William Wyler

Superb adaptation of Sinclair Lewis novel almost centre-aged American industrialist who retires, goes to Europe, where he and his wife find differing sets of values, and new relationships. Intelligently written (by Sidney Howard), beautifully filmed, extremely well acted, with Huston recreating his Broadway office. Won Oscar for Interior Ornament (Richard Day). Unusually mature Hollywood film, not to be missed.

Mr. Deeds Goes to Town (1936)
115 minutes, D: Frank Capra

Cooper is Longfellow Deeds, who inherits 20 million dollars and wants to give it all away to needy people. Arthur is highly-seasoned every bit the hard-boiled big-metropolis reporter who tries to figure out what makes him tick. Capra won his second Oscar for this irresistible film, written past Robert Riskin (from Clarence Budington Kelland'due south story "Opera Hat").

Yard Illusion (1937 - French)
117 minutes, D: Jean Renoir

Renoir's classic treatise on war, focusing on French prisoners during WWI and their cultured German commandant. Beautiful performances raise an eloquent script (by Renoir and Charles Spaak).

Snow White And The Vii Dwarfs (1937)
83 minutes, D: Ben Sharpsteen

Walt Disney's groundbreaking animated characteristic film - the first of its kind - is still in a class by itself, a warm and blithesome rendition of the classic fairy tale, enhanced past the bright personalities of the vii dwarfs. Merely a real-life Grumpy could neglect to dear it. Songs include "Whistle While You lot Work," "Heigh Ho," and "Some Day My Prince Volition Come up."

The Adventures of Robin Hood (1938)
102 minutes, D: Michael Curtiz

Dashing Flynn in the definitive swashbuckler, winning hand of de Havilland (never lovelier equally Maid Marian), foiling evil prince Rains, dueling wicked Rathbone. Erich Wolfgang Korngold's outstanding score earned an Oscar, as did the art management and editing. Scripted by Norman Reilly Raine and Seton I. Miller. Arguably Flynn's greatest role.

The Lady Vanishes (1938 - British)
97 minutes, D: Alfred Hitchcock

An sometime adult female'south disappearance during a railroad train ride leads baffled young adult female into a dizzying web of intrigue. Delicious mystery-comedy; Hitchcock at his best, with a witty script by Frank Launder and Sidney Gilliat, and wonderful performances by Naunton Wayne and Basil Radford, who scored such a hitting as a pair of twits that they repeated those roles in several other films! Based on Ethel Lina White'due south novel The Wheel Spins.

Stagecoach (1939)
96 minutes, D: John Ford

I of the great American films, and a landmark in the maturing of the Western, balancing graphic symbol study (as disparate passengers travel together on the same stagecoach) and peerless activeness (in a lengthy Indian attack, featuring Yakima Canutt's famous stuntwork). Besides the motion picture that propelled John Wayne to genuine stardom. Mitchell won an Oscar as the drunken doc, every bit did the music score. Script by Dudley Nichols, from Ernest Haycox's story "Stage to Lordsburg" (whose plot is reminiscent of Guy de Maupassant's Boule de Suif). Filmed in Ford'southward beloved Monument Valley on the Arizona-Utah border.

Gone With The Wind (1939)
222 minutes, D: Victor Fleming

If not the greatest movie e'er made, certainly one of the greatest examples of storytelling on picture show, maintaining involvement for well-nigh four hours. Margaret Mitchell'south story is, in effect, a Ceremonious War soap opera, focusing on vixenish Southern belle Scarlett O'Hara, brilliantly played by Leigh; she won Oscar, as did the picture, McDaniel, director Fleming, screenwriter Sidney Howard (posthumously), many others. Memorable music past Max Steiner in this 1-of-a-kind film meticulously produced by David O. Selznick.

The Wizard of Oz (1939)
101 minutes, D: Victor Fleming

A genuine American classic, based on 50. Frank Baum's story of a Kansas girl who goes "Over the Rainbow" to a state of colorful characters and spirited gamble. A perfect cast in the perfect fantasy, with Harold Arlen and Eastward. Y. Harburg's unforgettable score. Only as skilful the fifteenth time every bit it is the first time. Won Oscars for "Over the Rainbow" and Herbert Stothart'due south scoring, plus a special miniature award for Judy.

1940s

His Daughter Friday (1940)
92 minutes, D: Howard Hawks

Excellent one-act remake of The Front end Folio with Grant as conniving editor, Russell equally star reporter (and his ex-wife), Bellamy as mama's boy she's trying to ally amid hot murder story. Terrific character actors add sparkle to must-see moving picture, scripted by Ben Hecht and Charles Lederer.

The Grapes of Wrath (1940)
129 minutes, D: John Ford

Classic Americana of Okies moving from dust bowl to California during Depression, lovingly brought to screen. Fonda, as ex-con, is unforgettable in office of his life. Darwell, equally determined family matriarch, and Ford won well-deserved Oscars. Written for the screen (from John Steinbeck's archetype) and produced by Nunnally Johnson. Don't miss this one.

Fantasia (1940)
120 minutes, D: Ben Sharpsteen (production supervisor)

Walt Disney's eight-office marriage of music and animated images remains an amazing accomplishment; Taylor'due south narration dates it more than the content. "The Sorcerer's Apprentice" (with Mickey Mouse), "The Dance of the Hours" (with dancing hippos and alligators), "Rite of Bound" (dinosaurs stalking the earth), and "A Night on Bald Mountain" (with Chernobog, the personification of evil) are so stunning that they make upwards for the less compelling sequences. Besides notable for groundbreaking utilize of multichannel stereophonic sound.

Sullivan's Travels (1941)
91 minutes, D: Preston Sturges

Tired of making fluff, moving picture director McCrea decides to exercise a "serious" film; to enquiry it, he sets out with ten cents in his pocket to experience life in "the existent earth." Slapstick and sorrow blend seamlessly in this landmark Hollywood satire, which grows more pertinent with each passing year. A unique accomplishment for writer-director Sturges.

Citizen Kane (1941)
119 minutes, D: Orson Welles

Welles' offset and best, a moving picture that broke all the rules and invented some new ones, with fascinating story of Hearst-like publisher'southward rise to power. The cinematography (by Gregg Toland), music score (by Bernard Hermann), and Oscar-winning screenplay (by Welles and Herman J. Mankiewicz) are all first-rate. A stunning film in every way...and Welles was simply 25 when he made it!

The Maltese Falcon (1941)
100 minutes, D: John Huston

Outstanding detective drama improves with each viewing. Bogey is Dashiell Hammett's "hero" Sam Spade, Astor his client, Lorre the evasive Joel Cairo, Greenstreet (in his talkie picture debut) the Fat Human being, and Melt the neurotic gunsel Wilmer. Huston's beginning directorial effort (which he also scripted) moves at lightning pace, with cameo by his male parent Walter Huston as Captain Jacobi.

The Lady Eve (1941)
94 minutes, D: Preston Sturges

Stanwyck is a con artist who sets her eyes on wealthy Fonda - the dolt to end all dolts, who proclaims "snakes are my life." Sometimes empty-headed and strident, this moving picture grows funnier with each viewing - thanks to Sturges's script, breathless stride, and two unequalled stars.

Casablanca (1942)
102 minutes, D: Michael Curtiz

Everything is correct in this WW2 classic of war-torn Morocco with elusive nighttime-lodge owner Rick (Bogart) finding quondam flame (Bergman) and her husband, surreptitious leader Henreid, among skeletons in his closet. Rains is marvelous as dapper police chief, and nobody sings "As Fourth dimension Goes By" like Dooley Wilson. Three Oscars include Picture, Managing director, and Screenplay (Julius and Philip Epstein and Howard Koch). Our candidate for the best Hollywood picture of all time.

The Ox-Bow Incident (1943)
75 minutes, D: William A. Wellman

The irony and terror of mob dominion are vividly depicted in this unforgettable drama about a lynch mob taking the law into its ain hands, despite protests of some level-headed onlookers. Based on Walter Van Tilburg Clark's volume; superb script by Lamar Trotti.

The Miracle of Morgan's Creek (1944)
99 minutes, D: Preston Sturges

Frantic, hilarious comedy of Betty attention all-dark political party, getting pregnant and forgetting who's the father. Bracken and Demarest have never been meliorate than in this daring wartime farce. Filmed in 1942.

Double Indemnity (1944)
106 minutes, D: Baton Wilder

Wilder-Raymond Chandler script (from the James Thousand. Cain novel) packs fireworks in account of insurance salesman MacMurray coerced into murder plot by alluring Stanwyck and subsequent investigation by Fred'southward colleague Robinson. An American flick classic, with crackling dialogue throughout.

My Darling Clementine (1946)
97 minutes, D: John Ford
Beautifully-directed, low-key Western about Wyatt Earp (Fonda) and Doc Holliday (Mature), leading to inevitable gunfight at O.K. Corral. Total of wonderful details and vignettes; exquisitely photographed past Joseph P. MacDonald. 1 of director Ford's finest films, and an American classic. Screenplay by Samuel G. Engel and Winston Miller, from a story by Sam Hellman. Based on a volume by Stuart N. Lake. Remake of Frontier Marshal (1939).

It's A Wonderful Life (1946)
129 minutes, D: Frank Capra

Sentimental tale of Stewart, who works all his life to make practiced in small town, thinking he'southward failed and trying to cease his life. Guardian angel Travers comes to bear witness him his fault. Only Capra and this bandage could pull it off so well; this film seems to improve with age. Capra, Frances Goodrich, Albert Hackett, and Jo Swerling expanded Philip Van Doren Stern's short story "The Greatest Gift" (which had originally been written by Stern every bit a Christmas card!).

The Best Years of Our Lives (1946)
172 minutes, D: William Wyler

American classic of three veterans returning abode after WW2, readjusting to civilian life. Robert Sherwood's script from MacKinlay Kantor's volume perfectly captured mood of postwar U.S.; withal powerful today. Seven Oscars include Best Picture, Wyler, March, Russell, Sherwood, Daniel Mandell'south editing, Hugo Friedhofer's score. Russell, an actual veteran who lost his easily, also took home a second Oscar, a special award for bringing hope and courage to other veterans.

Great Expectations (1946 - British)
118 minutes, D: David Lean

One of the greatest films ever made, a vivid adaptation of Dickens's tale of a mysterious benefactor making poor immature orphan a gentleman of means. Opening graveyard sequence is a gem. Oscars went to cinematographer Guy Green and art manager John Bryan. Lean, Kay Walsh, Cecil McGivern, and producers Anthony Havelock-Allan and Ronald Neame all contributed to script.

The Bicycle Thief (1948 - Italian)
90 minutes, D: Vittorio De Sica

Simple, realistic tale of working-human whose job depends on his bicycle, and the shattering week he spends with his young son after it is stolen. An honest, beautiful film that deservedly earned a special Academy Award (before foreign films had a category of their ain); 1 of the all-fourth dimension classics.

The Treasure of the Sierra Madre (1948)
124 minutes, D: John Huston

Splendid accommodation of B. Traven'southward tale of gilt, greed, and human nature at its worst, with Bogart, Huston, and Holt as unlikely trio of prospectors. John Huston won Oscars for Best Direction and Screenplay, and his father Walter won as Best Supporting Player. That's John as an American tourist near the get-go, and young Robert Blake selling lottery tickets.

Gun Crazy (1949/1950)
86 minutes, D: Joseph H. Lewis

Knockout of a sleeper in the Bonnie and Clyde tradition, stylishly (and sometimes startingly) directed. Cummins is femme fatale who leads gun-crazy Dall into life of crime. Screenplay credited to MacKinlay Kantor and Millard Kaufman (who was actually "fronting" for then black-listed author Dalton Trumbo), from Kantor's Saturday Evening Post story. Aka Deadly Is The Female person.

100 Best Films of the 20th Century

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