The Naked Truth (1957) 

Amusingly dark blackmail tale features sneering Dennis Price threatening series of stalwart British stars with embarrassing revelations. Social satire remains muffled, broader comedy with Terry-Thomas, Peter Sellers and Peggy Mount more successful.

North West Frontier (1959) 

Spirited adventure manages both criticism and nostalgia for British Empire as principled Kenneth More leads fiery Lauren Bacall, confrontational Herbert Lom and diverse passengers on rickety train across battle-ravaged India. Expansive spectacle amid suspense and furious action.

The October Man (1947) 

Noir-fueled psychological thriller has recovering John Mills doubting his sanity when police become convinced he's a murderer. Loyal Joan Greenwood provides inspiration to prove innocence while dark atmosphere and nimble pacing maintain tense grip.

Odd Man Out (1947) 

At once a socio-political reflection of its time, more vitally a reflection of the human condition, of dreams and ambition and love. Classic cinematic artistry, William Alwyn's glorious score and sublime performances make this essential viewing in any age.

Oliver Twist (1948) 

Exciting blend of evocative visuals, narrative twists and incisive characters, equal parts dark and eccentric as Oliver navigates desperate London streets. Taut construction highlights Alec Guinness' devious Fagin and Robert Newton's brutal Sykes. Crafted with artful emotion.

Over The Moon (1939) 

After belittled Merle Oberon inherits family millions, she playfully enjoys high-life of expensive clothes, parties and suitors across Europe, even as down-to-earth doctor Rex Harrison remains true love. Lightly humorous, leisurely paced.

The Passionate Friends (1949) 

Beautifully crafted tale of love, longing and conformity, narrative design mirrors the fragmentary concern with memories and dreams. Cast and characters are aligned with a technical precision that draws the viewer in and subverts original thoughts.

The Private Life Of Don Juan (1934) 

As much a satiric deconstruction of the Douglas Fairbanks star persona as an affectionate portrait of the aging fictional character's difficulties in still climbing balconies and seducing women. Solid design and comic momentum builds to fitting resolution.

The Private Life Of Henry VIII (1933) 

Powered by an alternately childlike and avaricious Charles Laughton, a bawdy, witty view of the infamous king's romantic entanglements. Occasional design and visual ingenuity breaks through generally staid production. Performances revel in comedy and ultimate pathos.

The Railway Children (1970) 

Gorgeously realized tale of fractured family as Jenny Agutter and siblings find hope and adventure amid rural Edwardian community. Bernard Cribbins provides winning comic touch. Timeless visuals and gentle storytelling resolve with moving intensity.

Raise The Titanic (1980) 

John Barry's typically lush, elegiac score and solid production can't compensate for ponderous staging, numbing structure, lack of suspense and confusing Cold War energy source McGuffin. Even climatic reveal of titular boat underwhelms, despite potential for evocative imagery.

The Red Shoes (1948) 

Celebration of art and creativity, a dark tale of psychological abuse and control, with a visually thrilling mix of dance and drama. Molded by Anton Walbrook's svengali-like promoter, Moira Shearer is torn between life and ballet. Masterfully designed and told.

The Return Of The Pink Panther (1975) 

Sketchy plot concerning theft of invaluable diamond provides series of set pieces for Peter Sellers' endearing slapstick and language mangling as Inspector Closeau, sending Herbert Lom into murderous lunacy. Series of comic gems.

The Rise Of Catherine The Great (1934)  

Smartly told and opulently designed, disturbed relationship between Elisabeth Bergner's practical Catherine and Douglas Fairbanks Jr.'s dissolute Peter disintegrates as she comes to power. Patchily compelling and effecting,

Romeo And Juliet (1954)  

Interpretation might be rigid, yet design and framing are perfectly attuned to eternal tragedy for poignant Susan Shentall's Juliet and tense Laurence Harvey's Romeo. Evocative Italian locations well used while Flora Robson and Mervyn Johns provide fine support.

Sabotage (1936) 

A richly atmospheric London provides the backdrop for anarchist destruction. Dark humor, tense detail and a streamlined story are the bedrock for some thrilling sequences and a captivating Sylvia Sidney is the emotional, anguished heart that leads to murder.

Saturn 3 (1980) 

Persuasively designed and smoothly produced, a sometimes provoking Frankenstein story with Harvey Keitel imbuing robot Hector with his own murderous personality to terrorize Farrah Fawcett and Kirk Douglas on remote space station. Uneven storytelling dissipates tension.

The Scarlet Pimpernel (1934) 

Spirited Leslie Howard ably captures the fey English aristocrat and daring channel-hopping hero rescuing French nobles during Revolution. Devious 'frenchie' Raymond Massey and pressured Merle Oberon provide strong support amid lush sets and static storytelling rhythms.

Scott Of The Antarctic (1948) 

Preserved with gorgeously burnished colors, iconic tale of British bravery and sacrifice maintains studiously unaffected style and pace, as John Mills leads ill-fated expedition. Detailed approach builds quiet intensity from open landscapes to shrieking wind of final, claustrophobic tent.

Sea Of Sand (1958) 

Solid, gritty war action makes dramatic use of expansive, arid desert landscapes, aided by crisp pacing that builds tension. Richard Attenborough, John Gregson and Michael Craig are part of unit facing survival chase after blowing German supply camp.

The Servant (1963) 

Styled with dark intensity and cold visuals, indifferent James Fox gradually finds life consumed by seductive Dirk Bogarde, with sexual and social games further blurred by enticing Sarah Miles and prejudiced Wendy Craig. Characters feed off fractured dialog and bleak dreams. 

The Seventh Veil (1945) 

Seductively shot with a pervading sense of gothic romance, a wickedly enjoyable tale as repressed Anne Todd cracks under the glare of brooding James Mason. Though it falters during third act, hugely satisfying melodramatic nonsense, expertly orchestrated.

Simon And Laura (1955) 

Genial farce benefits from witty dialogue and finely pitched performances, with Kay Kendall and Peter Finch as spiky celebrity couple hiding breakup for BBC reality show on ideal marriage. Light satire on TV benefits from sophisticated visual polish and breezy pacing.

So Long At The Fair (1950) 

Sumptuous design and photography lend an enticing atmosphere as vibrant Jean Simmons' visit to the 1896 Paris Exhibition becomes a nightmare when her brother disappears. More a low-key mystery, enhanced by elegant background detail and spirited score.

Sophie's Choice (1982) 

Crafted with care and intelligence, aspiring writer Peter MacNicol's experiences in post-war Brooklyn with concentration camp survivor Meryl Streep and charismatic Kevin Kline are playful, evocative and finally harrowing. Clinically emotive rather than affecting.