Top 1. 0 war movies Film. As the second world war thriller became bogged down during the mid- 6. Operation Crossbow and The Heroes of Telemark, someone was needed to reintroduce a little sang- froid, some post- Le Carré espionage, and for heaven's sake, some proper macho thrills into the genre. Alistair Maclean stepped up, writing the screenplay and the novel of Where Eagles Dare simultaneously, and Brian G Hutton summoned up a better than usual cast headed by Richard Burton (Major Jonathan Smith), a still fresh- faced Clint Eastwood (Lieutenant Morris Schaffer), and the late Mary Ure (Mary Elison). Parachuted into the German Alps, they have one day to rescue an American general held in an apparently impregnable mountaintop fortress. As it turns out, there are about 4. Kraut- killing (Schaffer just loves mowing them down in their dozens).

Every chase and gun battle is a classic, and the climactic fight on top of the cable cars remains etched in the memory of a generation. And yes, that is Burton, having the time of his life for a change. John Patterson Rome, Open City (Roma, Citta aperta). Photograph: Ronald Grant Archive. There is perhaps no film to rival the humanism and clarity of purpose of Roberto Rossellini's neorealist masterpiece, which documents the Nazi occupation of Rome and the bravery of the Italian resistance. It scarcely matters how many times you watch it, the image of a woman shot in the back as she runs through the street is astonishing in its barbarism. Open City's great power is its immediacy.

Rossellini started work as soon as allied tanks rolled into war- destroyed Rome in June 1. Fellini), and by January he was shooting. Making a virtue of meagre resources, film was scavenged and Rossellini took his camera on to the streets (Rome's film studio Cinecittà was serving as a refugee camp). Parts look like newsreel footage: during filming of one scene involving Nazi officers (acted by grips) arresting a group of men, a passerby actually pulled out his revolver to stop them. But the story plays like a gripping thriller: a cat- and- mouse game between Gestapo and resistance cell. Aldo Fabrizi stars as Don Pietro, a portly priest based on real- life underground hero Don Morosini.

Anna Magnani is magnificent as the young widow protecting her lover, who is in hiding from the Germans. Fabrizi was known as a comic actor and Magnani had cut her teeth in cabaret; together they give the film tremendous warmth and heart. So while it is a great war film, Open City is filled with snapshots of daily life, family spats and love affairs, which become unbelievably moving in the context. Martin Scorsese said it is "the most precious moment of film history". Godard concurred, saying: "All roads lead to Rome, Open City." Cath Clarke La Grande Illusion.

Photograph: Ronald Grant Archive. It takes some doing to make a first world war film that transcends the war itself, but that's what Jean Renoir achieved with this authoritative but compassionate movie – to the extent that it was still dangerous by the time of the second.

In addition, it's the wellspring of so many war- movie cliches: the seditious singing of the Marseillaise by French prisoners of war (later borrowed by Casablanca); the mechanics of tunnel- digging (as aped by The Great Escape). And it provided an enduring archetype of German officer- class stiffness in the form of Erich Von Stroheim's monocled, neck- braced Von Rauffenstein.

The principal "Illusion" that Renoir's film tackles is that of European aristocracy, and their belief that their class position superseded (and would survive) the inconvenient conflict they presently found themselves in – whichever side they were on. That notion is still desperately clung to by Von Rauffenstein, who thinks nothing of inviting the captive French pilots he's just shot down to lunch "if they're officers", and indeed, turns out to have moved in similar social circles to Pierre Fresnay's upper- crust de Boeldieu. But there's no concealing where Renoir's real sympathies lie: with heroic commoner Marechal (Jean Gabin) and Jewish merchant Rosenthal (Marcel Dalio). Stronger affinities than class will hold the future Europe together, the film suggests – though there will be those who don't accept it. The film's foreshadowing of rising anti- semitism was certainly unacceptable to the Nazis.

They confiscated the movie when they invaded France three years later, as a matter of priority. On top of Renoir's political and humanist perceptions, La Grande Illusion is equally modern in its execution. The fluid camera moves feel ahead of their time and despite some theatrical acting, the characters are drawn with great credibility and compassion, and the prisoner- of- war life feels utterly authentic.

Renoir had experience in these matters. He was a pilot during the first world war. His passion and anger were borne of first- hand experience, not just intellectual conviction. No wonder this feels more like a text than something simply made up.

List of those Lost Cartoons and TV Shows on DVD. www.wingnuttoons.com. Full List of Inventory 1/27/17. You can search for a specific title by using your computer or other device's search function. If you want a specific list (such as. Insight: Detwiler Fire Update From Mariposa County / PolitiFact California / Film Noir Festival / Dunkirk. El Apóstol (Spanish: "The Apostle") was a 1917 Argentine animated film utilizing cutout animation, and the world's first animated feature film.

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Steve Rose Robert de Niro in The Deer Hunter Illustration: Ronald Grant Archive. Writer- director Michael Cimino had but one feature under his belt – the spirited caper movie Thunderbolt and Lightfoot – before he found himself at the helm of the first epic studio movie directly about the lately concluded Vietnam war that had traumatised his country. Taking a leaf from Coppola's Godfather, Cimino opens his story slowly, with an extended working- class Russian- Orthodox wedding sequence in the three lead characters' Pennsylvania mining hometown, followed by a hunting trip to the nearby mountains. He then plunges us directly – that is, in a single, brutal cut – into the flaming maelstrom of the war itself. Michael, Steven and Nick (Robert De Niro, John Savage and an epicene young Christopher Walken, respectively) find themselves trapped and captured after a vicious firefight, and forced by their Vietcong captors to play a nightmare version of Russian roulette. They manage to escape, though only Michael and Steven find their way back to the US.

More or less destroyed inside, they find no place for themselves or their experiences at home and Michael returns to Saigon to rescue Nick. The Russian roulette aspect was widely criticised, and almost certainly never happened but, as a metaphor for America's suicidal intervention in south- east Asia, it cannot be beaten. JP Ice Cube, George Clooney & Mark Wahlberg in Three Kings Photograph: Allstar/Cinetext/Warner Bros. When he came to make his third film, David O Russell already had behind him an abrasive indie debut (Spanking the Monkey) and an accomplished modern screwball (Flirting with Disaster). But that could hardly prepare audiences for the ambition and reach of his black- comedy- with- a- conscience, Three Kings, about a gold heist that takes place at the end of the 1. Gulf war. The movie came to be known briefly for starting a war of its own — between Russell and his star, George Clooney, who had dust- ups on set over the director's apparent volatility (the pair have only recently enjoyed a rapprochement).

Less than a year into his presidency, Donald Trump has repeatedly defended white supremacists and self-identified Nazis, toyed with the idea of going to war with. La Grande Illusion. Download Mia Cartoon In Hd. Photograph: Ronald Grant Archive It takes some doing to make a first world war film that transcends the war itself, but that's what Jean Renoir.

The film endures, though, as one of the great modern examples not only of the rhetorical weight of the best war movies but of the miracles that can occur when mavericks work in Hollywood. It begins in the Iraqi desert. In a moment of confusion, Sgt Troy Barlow (Mark Wahlberg) shoots a surrendering enemy officer.

It hardly matters since no one knows what's going on anyway. This war is over and I don't even know what it was about," complains a reporter. Sometimes, chaos and misconception can be an advantage. Storming into an Iraqi bunker to steal gold bullion that had itself been stolen by Saddam Hussein, Troy and his colleagues Sgt Major Archie Gates (Clooney) and Sgt Chief Elgin (Ice Cube) are assumed by terrified villagers to have arrived hotfoot from the latest massacre. But those army fatigues are not decorated with human flesh – the soldiers just happen to have been standing too close to a cow when it stepped on a cluster- bomb.