To Be or Not to Be is a surprisingly fresh comedy for its time (original 1942 - mel brooks did an 80s remake but eh), and director Ernst Lubitch also has a good romcom/christmas movie called The Shop Around the Corner (Jimmy Stewart) which I watched last month.
Obvious classic noirs should not be missed, my pick would be Double Indemnity, Night and the City and Murder, My Sweet. The Big Heat is also a classic and I remember having a soft spot for Where the Sidewalk Ends, which made me sad that Dana Andrews was never better utilised in more noirs (I don't really like Laura, the best known one of his).
Classic westerns is an area of which I'm pretty ignorant, although Winchester '73 is a very overlooked one, again with Jimmy Stewart.
For some 1940s-50s Hollywood meta commentary, I don't think you can do better than what the Coens showed in Barton Fink and Hail, Caesar. Although they're 2 very different types of movie, 25 years apart, I kind of view them as a pair. The first of is a surreal psychological examination of Hollywood's relationship with beauty and truth, the latter being a satirical take on the struggles of hollywood 'fixer' Eddie Manix, who is depicted as practically a saint even though the Coens surely know he was not.
To Be or Not to Be is a surprisingly fresh comedy for its time (original 1942 - mel brooks did an 80s remake but eh), and director Ernst Lubitch also has a good romcom/christmas movie called The Shop Around the Corner (Jimmy Stewart) which I watched last month.
Obvious classic noirs should not be missed, my pick would be Double Indemnity, Night and the City and Murder, My Sweet. The Big Heat is also a classic and I remember having a soft spot for Where the Sidewalk Ends, which made me sad that Dana Andrews was never better utilised in more noirs (I don't really like Laura, the best known one of his).
Classic westerns is an area of which I'm pretty ignorant, although Winchester '73 is a very overlooked one, again with Jimmy Stewart.
For some 1940s-50s Hollywood meta commentary, I don't think you can do better than what the Coens showed in Barton Fink and Hail, Caesar. Although they're 2 very different types of movie, 25 years apart, I kind of view them as a pair. The first of is a surreal psychological examination of Hollywood's relationship with beauty and truth, the latter being a satirical take on the struggles of hollywood 'fixer Eddie Manix, who is depicted as practically a saint even though the Coens surely know he was not.
To Be or Not to Be is a surprisingly fresh comedy for its time (original 1942 - mel brooks did an 80s remake but eh), and director Ernst Lubitch also has a good romcom/christmas movie called The Shop Around the Corner (Jimmy Stewart) which I watched last month.
Obvious classic noirs should not be missed, my pick would be Double Indemnity, Night and the City and Murder, My Sweet. The Big Heat is also a classic and I remember having a soft spot for "Where the Sidewalk Ends", which made me sad that Dana Andrews was never better utilised in more noirs (I don't really like Laura, the best known one of his).
Classic westerns is an area of which I'm pretty ignorant, although Winchester '73 is a very overlooked one, again with Jimmy Stewart.
For some 1940s-50s Hollywood meta commentary, I don't think you can do better than what the Coens showed in Barton Fink and Hail, Caesar. Although they're 2 very different types of movie, 25 years apart, I kind of view them as a pair. The first of is a surreal psychological examination of Hollywood's relationship with beauty and truth, the latter being a satirical take on the struggles of hollywood 'fixer Eddie Manix, who is depicted as practically a saint even though the Coens surely know he was not.
To Be or Not to Be is a surprisingly fresh comedy for its time (original 1942 - mel brooks did an 80s remake but eh), and director Ernst Lubitch also has a good romcom/christmas movie called The Shop Around the Corner (Jimmy Stewart) which I watched last month.
Obvious classic noirs should not be missed, my pick would be Double Indemnity, Night and the City and Murder, My Sweet. "The Big Heat" is also a classic and I remember having a soft spot for "Where the Sidewalk Ends", which made me sad that Dana Andrews was never better utilised in more noirs (I don't really like Laura, the best known one of his).
Classic westerns is an area of which I'm pretty ignorant, although Winchester '73 is a very overlooked one, again with Jimmy Stewart.
For some 1940s-50s Hollywood meta commentary, I don't think you can do better than what the Coens showed in Barton Fink and Hail, Caesar. Although they're 2 very different types of movie, 25 years apart, I kind of view them as a pair. The first of is a surreal psychological examination of Hollywood's relationship with beauty and truth, the latter being a satirical take on the struggles of hollywood 'fixer Eddie Manix, who is depicted as practically a saint even though the Coens surely know he was not.