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Whether in film or on television, MacMurray normally played the nice guy, but for Double Indemnity he turned his everyman decency into a mask—perfect for a character who can barely conceal what a lustful, conniving bastard he is. Robert Downey Jr., Actor: Iron Man. One of the first titles to be preserved in the Library of Congress’ National Film Registry, The Maltese Falcon is landmark filmmaking. Huston also penned the screenplay, on Howard Hawks’ advice, almost verbatim from Hammett’s hard-boiled novel. It was always a fantastic film; a tale of sadistic psychological torture, murder and greed. The truest mark of the film’s brilliance is its accessibility: Even if you know zip about postwar history, you’ll be dazzled by Ozu’s unparalleled discipline as a filmmaker, charmed by Hara’s wonderful performance, and moved by the themes present in the fabric of the narrative, especially its painful depiction of what it means to let go of the ones we love most. Gilda taunts Johnny throughout the film, goading him with her sex appeal, and for his part, Vidor teases us, too—“Gilda, are you decent?” Define decent. —A.G. Sexual blackmail and postwar espionage: A classic cocktail and one that packs a punch. Sitting for hours with pen in hand, I wrote down as much 1940s slang … Similarly, animators were given tickets to the Ballet Russe, and reptiles were brought into the studio to be studied. Bogart’s antihero is a man of honor, as it suits him—he has no qualms about kissing his dead partner’s widow while the body’s still warm, or turning in the guilty woman he loves to the police. Charlie Chaplin’s first “talkie” was a biting satire that he wrote, directed, produced, scored, and starred in-as both of the lead roles, a fascist despot who bears a rather marked resemblance to Adolf Hitler and a persecuted Jewish barber. In Stray Dog,  Kurosawa emulates the central feat of Jules Dassin’s The Naked City, the marriage between the stylized trappings of film noir and cinematic realism, but Stray Dog doesn’t copy Dassin’s work; rather, it absorbs and applies lessons taught by The Naked City in ways that only a filmmaker like Kurosawa could. Director Raoul Walsh, reuniting here with Cagney after The Roaring Twenties and The Strawberry Blonde, echoes the off-the-rails energy of his leading man, infusing the film with an incendiary nihilism and amorality. The Bicycle Thief is both a sentimental portrait of a father and son, and a dramatization of the social issues of its era. Can you believe there was a time when Katharine Hepburn was known in Hollywood as “box office poison”? Together they pop, but no matter how brightly they might shine, Out of the Past remains a masterwork coated in darkness from page to screen. Assamese cinema, also known as Jollywood, is the cinema industry in the Assamese language, watched primarily in Assam, India.The industry was born in 1935 when Jyoti Prasad Agarwala released his movie Joymoti.Since then the Assamese cinema has developed a slow-paced, sensitive style, especially with the movies of Bhabendra Nath Saikia and Jahnu Barua. The film understands wartime trauma in ways most war films simply don’t; it captures Italy’s emotional, and sociopolitical fragility in the aftermath of World War II on celluloid like an insect trapped in amber, indulging in slight degrees of wish fulfillment while staging a credible representation of Italian resistance to German occupation in 1944. Peter Lorre plays the surgeon, who has altered Jonathan’s face to make him look like Boris Karloff (naturally). Just watch the visual motif of that boudoir introduction recur in the “Put the Blame on Mame” musical number-turned-striptease. Shows sold out across the country, yet Fantasia initially ran at a loss due to the expense of the state-of-the-art Fantasound systems along with theater lease and other production costs. —D.S. Akira Kurosawa shoots every scene in the pursuit of making his audience swelter, yanking us into the frame and effectively immersing us in his neorealist depiction of Tokyo. The effect of Kurosawa’s technique is dizzying, all the better to reinforce Stray Dog’s central theme, in which the line between lawmen and criminals is irrevocably blurred. Today, with the rest of Dreyer’s oeuvre to reflect on (especially Ordet, which was his only commercial success, despite being just as ponderous and obtuse as Day of Wrath), this film is simpler to parse. Referred to by many as the first major noir (after the more obscure 1940 film Stranger on the Third Floor), this John Huston classic set the bar for the archetypal detective, the subgenre as a whole, and the rest of star Humphrey Bogart’s career. 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