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This highly political film about the Algerian struggle for independence from France took "Best Film" honors at the 1966 Venice Film Festival. The bulk of the film is shot in flashback, presented as the memories of Ali (Brahim Haggiag), a leading member of the Algerian Front de Liberation Nationale (FLN), when finally captured by the French in 1957. Three years earlier, Ali was a petty thief who joined the secretive organization in order to help rid the Casbah of vice associated with the colonial government. The film traces the rebels' struggle and the increasingly extreme measures taken by the French government to quell what soon becomes a nationwide revolt. After the flashback, Ali and the last of the FLN leaders are killed, and the film takes on a more general focus, leading to the declaration of Algerian independence in 1962. Director Gillo Pontecorvo's careful re-creation of a complicated guerrilla struggle presents a rather partisan view of some complex social and political issues, which got the film banned in France for many years. That should not come as a surprise, for La Battaglia di Algeri was subsidized by the Algerian government and -- with the exception of Jean Martin and Tommaso Neri as French officers -- the cast was entirely Algerian as well. At least three versions exist, running 135, 125, and 120 minutes. ~ Robert Firsching, All Movie Guide

Stanley Kubrick's return to filmmaking after a seven-year hiatus, this film crystallizes the experience of the Vietnam War by concentrating on a group of raw Marine volunteers. Based on Gustav Hasford's novel The Short Timers, the film's first half details the volunteers' harrowing boot-camp training under the profane, power-saw guidance of drill instructor Sgt. Hartman (R. Lee Ermey, a real-life drill instructor whose performance is one of the most terrifyingly realistic on record). Part two takes place in Nam, as seen through the eyes of the now thoroughly indoctrinated marines. Ironically, Full Metal Jacket was filmed almost entirely in England. ~ Hal Erickson, All Movie Guide

Glory is a celebration of a little-known act of mass courage during the Civil War. Simply put, the heroes involved have been ignored by history due to racism. Those heroes were the all-black members of the 54th Regiment of the Massachusetts Volunteer Infantry, headed by Col. Robert Gould Shaw (Matthew Broderick), the son of an influential abolitionist (played by an uncredited Jane Alexander). Despite the fact that the Civil War is ostensibly being fought on their behalf, the black soldiers are denied virtually every privilege and amenity that is matter of course for their white counterparts; as in armies past and future, they are given the most menial and demeaning of tasks. Still, none of the soldiers quit the regiment when given the chance. The unofficial leaders of the group are gravedigger John Rawlins (Morgan Freeman) and fugitive slave Trip (Denzel Washington), respectively representing the brains and heart of the organization. The 54th acquit themselves valiantly at Fort Wagner, SC, charging a fortification manned by some 1,000 Confederates. Glory was based on Lincoln Kirstein's Lay This Laurel and Peter Burchard's One Gallant Rush; the latter book was founded on the letters of Col. Robert Gould Shaw, the real-life character played by Matthew Broderick. The film won a Best Supporting Actor Oscar for co-star Denzel Washington, and additional statuettes for Best Cinematography (Freddie Francis) and Sound Recording. ~ Hal Erickson, All Movie Guide

Animal Crackers, like The Cocoanuts before is an all-but-literal translation to film of a smash-hit Marx Brothers Broadway musical. The aristocratic Mrs. Rittenhouse (Margaret Dumont) holds a weekend party at her Long Island Estate. Her guest of honor is famed (but likely fraudulent) African explorer Geoffrey T. Spaulding (Groucho Marx). Also showing up are renegade musician Signor Emmanuel Ravelli (Chico Marx), the mute, girl-chasing "Professor" (Harpo Marx) and Spaulding's faithful secretary Horatio Jamison (Zeppo Marx). The film, revolving around a stolen painting, finds Groucho lecturing on his most recent safari ("One morning I shot an elephant in my pajamas. How he got in my pajamas, I don't know"), Harpo and Chico unabashedly cheating at bridge, Groucho dictating a wildly nonsequitur letter to the firm of Hungerdunger, Hungerdunger, Hungerdunger and McCormick, and Groucho and Chico drawing up plans to build a house. ~ Hal Erickson, All Movie Guide

One of the most powerful anti-war statements ever put on film, this gut-wrenching story concerns a group of friends who join the Army during World War I and are assigned to the Western Front, where their fiery patriotism is quickly turned to horror and misery by the harsh realities of combat. Director Lewis Milestone pioneered the use of the sweeping crane shot to capture a ghastly battlefield panorama of death and mud, and the cast, led by Lew Ayres, is terrific. It's hard to pick a favorite scene, but the finale, as Ayres stretches from his trench to catch a butterfly, is one of the most devastating sequences of the decade. The film won Oscars for Best Picture and for Milestone's direction -- and trivia buffs should note that the actors were coached by future luminary George Cukor, while Ayres became a conscientious objector in World War II. The Road Back (1937) followed, and the film was remade for television in 1979. ~ Robert Firsching, All Movie Guide

Charles Chaplin was deep into production of his silent City Lights when Hollywood was overwhelmed by the talkie revolution. After months of anguished contemplation, Chaplin decided to finish the film as it began--in silence, save for a musical score and an occasional sound effect. Once again cast as the Little Tramp, Chaplin makes the acquaintance of a blind flower girl (Virginia Cherrill), who through a series of coincidences has gotten the impression that the shabby tramp is a millionaire. A second storyline begins when the tramp rescues a genuine millionaire (Harry Myers) from committing suicide. When drunk, the millionaire expansively treats the tramp as a friend and equal; when sober, he doesn't even recognize him. The two plots come together when the tramp attempts to raise enough money for the blind girl to have an eye operation. Highlights include an extended boxing sequence pitting scrawny Chaplin against muscle-bound Hank Mann, and the poignant final scene in which the now-sighted flower girl sees her impoverished benefactor for the first time. Chaplin's decision to release the silent City Lights three years into the talkie era was partially vindicated when more than one critic singled out this "comedy in pantomime" as the best picture of 1931. ~ Hal Erickson, All Movie Guide