67. THE MANCHURIAN CANDIDATE
United Artists, 1962 PRINCIPAL CAST Frank Sinatra, Laurence Harvey, Janet Leigh, Angela Lansbury
DIRECTOR John Frankenheimer
PRODUCERS George Axelrod, John Frankenheimer
SCREENWRITER George Axelrod An ex-Korean War POW is brainwashed by communists to become a political assassin. This paranoid cold-war thriller shocked audiences with its terrifying look at a Soviet sleeper/mole who can be triggered into action by simply playing a little solitaire.
68. AN AMERICAN IN PARIS
MGM, 1951 PRINCIPAL CAST Gene Kelly, Leslie Caron, Oscar Levant
DIRECTOR Vincente Minnelli
PRODUCER Arthur Freed
SCREENWRITER Alan Jay Lerner Kelly and Caron fall in love to the tunes of Gershwin— I Got Rhythm, Our Love Is Here To Stay and S’Wonderful—in postwar Paris. The film’s legendary finale, the 17-minute ballet, was both daring and innovative in 1951.
 73. WUTHERING HEIGHTS
United Artists, 1939 PRINCIPAL CAST Laurence Olivier, Merle Oberon, Donald Crisp, David Niven
DIRECTOR William Wyler
PRODUCER Samuel Goldwyn
SCREENWRITERS Charles MacArthur, Ben Hecht Olivier stars as the brooding master of Wuthering Heights, who roams the English moors in search of his lost love, Cathy, played by Oberon. Gregg Toland’s moody cinematography infuses the Emily Brontë-based film with a haunting atmosphere.
 75. DANCES WITH WOLVES
Orion, 1990 PRINCIPAL CAST Kevin Costner, Mary McDonnell, Graham Greene
DIRECTOR Kevin Costner
PRODUCERS Kevin Costner, Jim Wilson
SCREENWRITER Michael Blake Costner directs and stars in this lasting vision of the old West, where a disillusioned soldier leaves the Civil War and strikes out to the prairie on his own. After a difficult start, he learns to live, love, and respect the land when the Sioux Indians welcome him into their tribe.
 82. GIANT
Warner Bros., 1956 PRINCIPAL CAST Elizabeth Taylor, Rock Hudson, James Dean
DIRECTOR George Stevens
PRODUCERS George Stevens, Henry Ginsberg
SCREENWRITERS Fred Guiol, Ivan Moffat This sprawling epic is based on the celebrated Edna Ferber novel about two generations of an American ranching family, who clash over money, property and racism in Texas. Dean was killed just prior to the last day of shooting.
 84. FARGO
Gramercy, 1996 PRINCIPAL CAST Frances McDormand, William H. Macy
DIRECTOR Joel Coen
PRODUCER Ethan Coen
SCREENWRITERS Ethan Coen, Joel Coen A frigid Minnesota landscape is the setting for a series of gruesome murders intertwined with a botched kidnapping. McDormand is Marge, the pregnant police officer who reconstructs the crime with a style all her own. “You betcha.”
 86. MUTINY ON THE BOUNTY
MGM, 1935 PRINCIPAL CAST Charles Laughton, Clark Gable, Franchot Tone
DIRECTOR Frank Lloyd
PRODUCER Albert Lewin
SCREENWRITERS Talbot Jennings, Jules Furthman, Carey Wilson Based on a historical incident, this film features Laughton as Captain William Bligh, an excellent seaman whose lack of humanity and rigid adherence to regulations forces Gable’s Fletcher Christian to lead a mutiny against him.
87. FRANKENSTEIN
Universal, 1931 PRINCIPAL CAST Boris Karloff, Colin Clive
DIRECTOR James Whale
PRODUCER Carl Laemmle, Jr.
SCREENWRITERS Garrett Fort, Francis Edward Faragoh Dr. Frankenstein is obsessed with creating a man from parts of dead people. “It’s alive. It’s alive.” But the creature’s grotesque looks and strange manner cause him to be mistaken for a monster. Whale’s movie ushered in a new era of horror films, and Karloff was stuck with the image of the monster for the rest of his career.
 89. PATTON
Twentieth Century-Fox, 1970 PRINCIPAL CAST George C. Scott, Karl Malden
DIRECTOR Franklin J. Schaffner
PRODUCER Frank McCarthy
SCREENWRITERS Francis Ford Coppola, Edmund H. North The film’s opening scene—Scott as Patton speaking in front of a giant American flag—sets the stage for an epic biography of the controversial World War II general. “Now I want you to remember that no bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country.”
90. THE JAZZ SINGER
Warner Bros., 1927 PRINCIPAL CAST Al Jolson, May McAvoy
DIRECTOR Alan Crosland
SCREENWRITER Alfred A. Cohn The story of a cantor’s son who rejects tradition and heritage for the stage was supposed to be a movie with only synchronized music. But Jolson’s ad-lib, “You ain’t heard nothin’ yet,” marked the beginning of the end for the silent era.
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