Anatomy of a Murder (1959)

Superb courtroom drama directed by Otto Preminger. 

James Stewart plays a brilliant but unconventional former district attorney, who acts as a defence lawyer for a suspected murder. 

There are plenty of quirky and strange characters, and dialogue is also attractively offbeat – particularly given the repeated reference to "panties". 

Every actor is remarkable, and there are memorable performances by Lee Remick (as the ambiguous Laura Manion), Ben Gazzara (as Lt. Frederick Manion) and George C. Scott (as the prosecutor Claude Dancer). Especially memorable is the judge played by Joseph N. Welch (a real-life lawyer). 

There's also an excellent soundtrack by Duke Ellington.

The Hustler (1961)

Paul Newman is utterly terrific in this drama about a wildly talented pool player, “Fast” Eddie Felson, who lacks the wise judgement to capitalise on his gifts. Jackie Gleason plays his rival, Minnesota Fats. Piper Laurie is his troubled, heavy-drinking girlfriend Sarah. And George C. Scott is the manipulative, controlling Bert. 

Adapted from the novel by Walter Tevis, it feels closer to a play at times. There’s a gritty, low-key quality to the scenes, which are built around character and dialogue. Newman is wonderful, oozing an easy charm even when things start to go wrong for him.

Martin Scorsese filmed a sequel in 1986 called The Color of Money. Paul Newman reprised the role of Fast Eddie, but unfortunately his young protégé was played by Tom Cruise. 

Trivia: Bob Dylan borrowed these lines spoken by Piper Laurie for his 1985 song “Seeing the Real You at Last”

: “I've got troubles, and I think maybe you've got troubles. Maybe it'd be better if we just leave each other alone.”

 

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

Cold War black comedy.

Apparently losing his mind, a US Air Force general (Sterling Hayden) orders a nuclear attack on the Soviets. This, we learn, will trigger a “doomsday machine” response so vast that will render Earth uninhabitable. With the clock ticking to call off the strike, we follow the story in three related threads – the struggle to retract the order from within the air base where the general is stationed, the progress of the B-52 plane that’s on the way to drop its bombs, and the discussions in the war room where the US president considers the options. 

Stanley Kubrick directs, and there’s a beauty to some of the black and white shots. Unfortunately, the film is constructed around Peter Sellers, who – for no apparent reason – plays three different roles. If you don’t find him hilarious (I don’t), you’re in trouble. Some of the satire hits the spot (a British RAF exchange officer not being able to call the president and avoid Armageddon because he doesn’t have sufficient spare change in his pocket), but a lot of it falls flat. It taps into a potentially rich seam of material regarding the futility of war and mutually assured destruction, but it’s too uneven and simply not funny enough to make those points in a satisfactory manner.