Kind Hearts And Coronets (1949) 

Meticulous design and refined style match dark wit of revenge bought by erudite Dennis Price as he murders estranged family heirs all played by Alec Guinness. Social and sexual politics illustrated by devious Joan Greenwood and superior Valerie Hobson.

Knight Without Armour (1937) 

Reluctant hero Robert Donat is a persuasive presence, weaving and suffering through Revolutionary Russia as he saves and falls for icy Marlene Dietrich. Sweeping action drama shines with scale even if story resolves into set pieces rather than fluid narrative.

Lady Hamilton (1941) 

Sumptuous production values and Miklós Rózsa's score sweep away the inadequacies of story-telling, especially since it needs to balance contemporary wartime propaganda. However, Vivien Leigh's luminous, passionate performance compels the eye and the heart.

The Lady Vanishes (1938) 

Beautifully realized comedy thriller, brimming with detail that rewards repeat viewings and shot through with Hitchcock's devilish wit. Script and cast bring humanity to the narrative and enclosed train setting ramps up tension and fun. Genuine classic.

The Lady Vanishes (1979) 

Nimble, cleanly visualized comedy thrills with indulgent heiress Cybill Shepherd and cynical reporter Elliott Gould searching for missing nanny Angela Lansbury on the eve of war. Lightly involving, breezy script tied to lush production values.

Laughter In Paradise (1951) 

Genial farce sees four family members forced to endure humiliation in order to receive inheritance. Mildly appealing and briskly shaped, highlighted by trials of lonely Fay Compton and suffering endured by wearied Alastair Sim.

The League Of Gentlemen (1960)

Centred on two heist sequences (army base played for more comic effect, final bank hit accenting tense action), robust, unfussy storytelling see bitter veteran Jack Hawkins round up unit of British stars to implement plans with military precision. Solidly entertaining.

The Legend Of The Lone Ranger (1981) 

Elegantly framed Western action and often impressively scaled production underlines tonal confusion, with masked crusader's origin story alternately brutal revenge and playful comic book. Energy-drained lack of involvement amid expansive landscapes.

The Life And Death Of Colonel Blimp (1943)

Masterfully realised, thrillingly cinematic, comic drama spans the world wars and crystallises the satiric stereotype and yearning individual within Roger Livesey's title character. Rousing support from Deborah Kerr and Anton Walbrook, creatively and technically sublime.

Love Story (1944) 

Though set in contemporary wartime, the intensity and emotion mirrors other Gainsborough melodramas as characters battle tragedy and loss to live the day. Lively performances from Margaret Lockwood, Stewart Granger and Patricia Roc as well perennial Cornish Rhapsody remain engaging.

Lydia (1941) 

Slight tale of aged Merle Oberon reuniting with old flames and revealing lost, true love exists in dream-like state, burnished with silver light amid extravagant sets. Some spellbinding sequences, attractively performed, without building to compelling emotions.

Mad About Men (1954) 

Spirited if slight farce features dual characters for Glynis John, one realizing her romantic independence, the other a frisky mermaid. Margaret Rutherford lends quirky support, locations are attractive, men reduced to disposable walk-ons. 

Madeleine (1950) 

Sublimely made, intelligently revealed drama, with impressively ambiguous Ann Todd scandalizing society after being accused of lover Ivan Desny's murder. Visually and aurally intoxicating, culminating with a gripping, claustrophobic trial and an everlasting stare.

Major Barbara (1941) 

Convinced Wendy Hiller is the titular Salvation Army leader who bemuses professor Rex Harrison and confronts wealthy ammunitions father Robert Morley. Formidable cast includes bullish Robert Newton, while gentle satire rails against hypocrisy with immaculate visuals and design.

Madonna Of The Seven Moons (1945) 

Suffused with religious imagery, a mesmerizing, heady brew of costume melodrama, aided by a fervent Hans May score. Frustrated Phyllis Calvert leads split life, demure housewife and wild gypsy, while Stewart Granger and Patricia Roc glide amid the lush silver and black visuals.

The Magic Box (1951) 

Committed dreamer Robert Donat provides sympathetic anchor as William Friese-Green, innovative motion picture pioneer, ruined by future ambition. With burnished visuals and formidable parade of British stars, a worthy document rather than embracing biography. 

Malta Story (1953) 

Alec Guinness is the reluctant hero, Muriel Pavlow the local love interest and Jack Hawkins the iron commander who needs sacrifice to repel the Axis threat during the Siege Of Malta. Solid production with effective mix of location shoot and documentary footage.

Man Friday (1975) 

Psychological reversal sees Richard Roundtree's considerate Friday teach Peter O'Toole's self-important Crusoe of nature and humanity. Sledge-hammer themes regarding colonialism and racism are often muddled, though star charisma elevates humour despite tonal shifts.

The Man In Grey (1943) 

The film that initiated the glorious cycle of Gainsborough melodramas and secured stardom for Lockwood, Mason, Calvert and Granger. Though sometimes muddily plotted, the seductive atmosphere more than compensates and the approach is uncompromising.

The Man In The Iron Mask (1977) 

Lively, attractively produced adaptation with a superior cast realizing the swirls of court intrigue and manipulation. Breezy pacing spices up drama while Richard Chamberlain is persuasive as twins vying for the French throne and Jenny Agutter provides grounded emotion.

The Man Who Could Work Miracles (1937) 

When the gods decide on a human experiment, lowly Roland Young is bestowed with powers that rapidly go to his head. Playful spirit and light humour heightened by fine VFX, tempered by blunt style and heavy-handed messages.

March Or Die (1977) 

Sombre foreign legion adventure, as haunted Gene Hackman hardens soldiers to face ferocious Arab battle. Dry tone blunts impact, though lively Terence Stamp & tenacious Catherine Deneuve provide colour amid some impressively staged action, and themes of cultural abuse & anti-war fatalism.

A Matter Of Life And Death (1946) 

An elegy to love and loss, a political reflection of the bonds between allies, a sumptuous creation of pure cinema. Beautifully designed and shot, Powell & Pressburger's sublime fantasy remains vital and affecting, both technically and emotionally.

Mayerling (1968) 

Lush production values lend impressive scale to tragic love story between willful Catherine Deneuve and agitated Omar Sharif. Politics of fading Austro-Hungarian Empire and court intrigue provide engaging context. Lacks intensity despite committed performances.

The Medusa Touch (1978) 

Diverting supernatural thriller features dogged detective Lino Ventura discovering background to misanthropic Richard Burton, who even from hospital bed weaves destructive telekinetic powers. Sinister score, solid craft and suitably entertaining disaster sequences. 

Miracle In Soho (1957) 

Whimsical slice of London community life, a central melting pot of nations with untroubled John Gregson finding a girl on every street, until demure Belinda Lee pierces his indifference. Despite old fashioned appeal, defiantly theatrical poetic realism lacks lightness of touch.