11 Actors and Directors Share the Films That Define Them, From Barry Jenkins to Jessica Chastain, Jonah Hill, and More

The #FilmStruck4 hashtag has gone viral this week, and it’s giving movie fans some much-watch films from their favorite actors and directors.

FilmStruck, the streaming platform from Turner Classic Movies that specializes in arthouse and foreign films, has started a viral movement on social media with the #FilmStruck4 challenge. The company posted to its official Twitter page on April 17 an announcement asking people to share the four films that define them. The challenge quickly grew to include some of the best actors and directors working today, from Guillermo del Toro to Jessica Chastain, Barry Jenkins, Zoe Kazan, Edgar Wright, and more.

Del Toro had a hard time narrowing down his picks to just four, so he posted two separate posts with the eight films that define him. Fans of the director won’t be surprised to see Jean Cocteau’s “Beauty and the Beast” and Stanley Kubrick’s “2001: A Space Odyssey” included among his choices. Jessica Chastain split her list into two, one for performances that define her and one for movies. Chastain is an outspoken lover of Isabelle Huppert, so of course her work in “The Piano Teacher” made the cut.

“Moonlight” Oscar winner Barry Jenkins includes Gus Van Sant’s “Elephant” and Wong Kar-wai’s “In the Mood for Love” in his post, noting they made him “fall in love with cinema at very particular moments” in his life. Other celebrities sharing their personal selections include Kumail Nanjiani, Rob Lowe, and Tessa Thompson, whose awesome picks include “Malcolm X” and “Harold and Maude.”

Check out a selection of #FilmStruck4 posts below.




6 Fantastic Comedies on FilmStruck That Get Funnier With Age

Rediscover some of your favorite titles, available to stream now on FilmStruck.

There’s nothing worse than revisiting one of your favorite comedies from the past, a movie that’s brought you nothing but joy and laughter time and time again, only to realize in the cold light of adulthood…it kind of sucks. Have you changed so much over the years? Have you lost some spark of innocence and levity that once burned bright within? Or is it the movie that’s changed? Maybe that super questionable joke or character or premise isn’t holding up like it once did? Who were you to ever laugh at these things? Why did you ever like this???

Well, thanks to FilmStruck, you don’t have to worry about answering any of these questions. These timeless comedies, available to stream now, not only hold up, but have gotten even better with age. Let go of the fear and rediscover some of your old favorites.

“City Lights” (1931) — Watch Now on FilmStruck

When Chaplin made “City Lights” in 1931, it was three years since the advent of sound had taken over Hollywood. Chaplin thought “talkies” were a fad and despite some sound effects and musical synchronizing, he ignored studio objections and made “City Lights” as a silent picture. The resulting film is widely regarded as Chaplin’s best.

In this wonderfully simple and sentimental story, Chaplin’s Little Tramp strikes up a dysfunctional friendship with an alcoholic millionaire, whose riches (and general drunkenness) he exploits to impress a blind girl he’s fallen in love with. “City Lights” is chock full of iconic visual gags (the boxing match, oh the boxing match) that remain as funny and awe-inspiring as they did eighty-seven years ago. But what makes “City Lights” so enduring is how well those gags fill out a bittersweet love story that culminates into one of the all-time great Hollywood endings. “City Lights” may have marked the end of the silent era, but it ended it on a perfect grace note.

“His Girl Friday” (1940) — Watch Now on FilmStruck

When newspaper editor Walter Burns (Cary Grant) finds out his ex-wife and star reporter Hildy Johnson (Rosalind Russell) is getting remarried, he tries to lure her back into his newsroom – and his life – with a story too good to pass up. Although Ben Hecht and Charles MacArthur’s play “The Front Page” had already been adapted once before for the screen, director Howard Hawks made one crucial change in his version – that Hildy be a woman. But other than the ex-wife angle, much of the snappy dialogue from the play remains untouched, resulting in Russell having an absolute blast in a role that at the time was all too rare for women in Hollywood – assured, funny, and smart as hell. The chemistry between her and Grant is electric, and the way they tear through their breakneck dialogue is downright athletic.

Look, you’ve probably already seen “His Girl Friday.” But watch it again and revel in just how perfect a piece of comedy it remains today.

“To Be or Not To Be” (1942) — Watch Now on FilmStruck

Upon its release in 1942, Ernst Lubitsch’s Nazi-spoofing wartime comedy “To Be or Not to Be” was considered so offensive by some that even star Jack Benny’s father walked out during the first screening he attended, disgusted. Indeed, the film – about a theater company in Poland who must use their theatrical skills to foil the Nazis – is still rather shocking today. Murder, infidelity, and fascism are all given the Lubitsch screwball treatment, and considering that it was made just as the U.S. was entering World War II, the movie often feels as dangerous as it does funny. Think “Noises Off” meets “Inglorious Basterds.”

Tragically, “To Be or Not to Be” was the final role of its leading lady, Carole Lombard, who, at 33, died in a plane crash before the film was released. It’s an iconic performance from one of Hollywood’s best comedic actresses in one of Hollywood’s most daring comedies – one Jack Benny’s father learned to love and saw 46 times in theaters.

“No Time for Sergeants” (1958) — Watch Now on FilmStruck

From “A Face in the Crowd” to “The Andy Griffith Show” to “Matlock” – the whole of Andy Griffith’s remarkable career could be summed up in two simple words: “Aw” and “shucks.” No one did folksy like Andy. But he takes that golly-gee persona to poetic levels in “No Time for Sergeants,” the smash comedy based on Ira Levin’s hit Broadway play (which itself was based on a popular novel).

When wide-eyed country bumpkin Will Stockdale (Griffith) gets drafted into the Air Force his severe literal-mindedness and oblivious charm make him a headache and hero in equal measure. Like a proto-Forrest Gump, Stockdale barrels blindly through danger with a smile on his face, always managing to come through just fine – often to the horror of others, including a hyperventilating Don Knotts in a fortuitous screen debut alongside his future Mayberry pal.

“Sergeants” is something of a precursor to sweet rag-tag military comedies like “Stripes” and “Private Benjamin” – moving episodically as its fish out of water hero navigates training, butts heads with his superior officer, and then finally gets a taste of action. It makes sense that the book-play-film then got turned into a TV show — “No Time for Sergeants” works, not as a towering achievement in cinema, but as an old-fashioned, unpretentious, aw shucks blast.

“My Favorite Year” (1982) — Watch Now on FilmStruck

Peter O’Toole was Oscar-nominated for his role as Alan Swann, a washed up movie star scheduled to make an appearance on a TV variety show – if he can stay sober long enough to show up. Swann is modeled after producer Mel Brooks’ experiences with Errol Flynn while working on Sid Caesar’s “Your Show of Shows,” but O’Toole could have just as easily been playing himself, which is perhaps why he’s so effortless in the role. Less effortless is the movie around him, which sometimes veers hard into sub-Neil Simon slapstick and sentiment. Actor-turned-director Richard Benjamin (who went on to direct VHS classics like “The Money Pit” and “Mermaids”) doesn’t have the comedic finesse of, say, Mel Brooks, and the supporting cast (which includes a pre-“Perfect Strangers” Mark Linn-Baker as Brooks’ surrogate) often seem like they’re acting for a laugh track that never arrives. But despite these hiccups, “My Favorite Year” remains a wonderfully endearing and much beloved comedy, thanks almost entirely to O’Toole, who rides off with the movie on a stolen police horse right through Central Park.

“Local Hero” (1983) — Watch Now on FilmStruck

Movies don’t get much more charming than “Local Hero,” Bill Forsyth’s low-key comedy about an oil company rep (a delightfully deadpan Peter Riegert) who’s sent to a small seaside Scottish village by his eccentric billionaire boss (Burt Lancaster) to try and purchase the town and surrounding property from the locals. Forsyth fills this fictional small town with colorful characters and an overall appeal that often verges on magical. It’s a comedy not so much filled with jokes, but rather small moments of delight that grow funnier and funnier the more you get to know and love the people onscreen.

With gorgeous cinematography by Chris Menges and a perfect soundtrack by Mark Knopfler (who began playing his popular theme from the film during encores at Dire Straits shows) “Local Hero” is a true cult comedy, where the experience of watching it is similar to the experience of its main character – the more time you spend with it, the less you want to be released from its charms.

Movie March Madness: A24 Films, Auteur Directors, and More Go Head-to-Head in These Stressful Brackets

Choosing between “Moonlight” vs. “Lady Bird” is enough to keep you up at night, and that’s just one of the match-ups.

March Madness is no longer just for college basketball. Film lovers have been getting in on the competition by releasing movie-centric brackets of their own, and a majority of them have some of the hardest decisions you’ll probably have to make this week. Two brackets devoted to picking the best film released by A24 have gone viral. Choosing between “Lady Bird” and “Moonlight” is a damn crime that should absolutely keep you up at night.

Other brackets causing a buzz online are devoted to Tom Cruise movies and Disney/Pixar animated films. But the biggest bloodbath might just be the bracket created by FilmStruck, which pits auteurs like Kurosawa, Fellini, Varda, and Bergman against each other. How does one possibly choose between Fellini and Antonioni? It’s time for you to find out.

And just for your viewing pleasure, here’s how some of the IndieWire team has filled out these brackets over the last couple days:




Four Films Available on FilmStruck That Prove Katharine Hepburn and Spencer Tracy Are the Most Iconic Duo in History

Their collaboration lasted 25 years.

Before there was Jennifer Lawrence and Bradley Cooper, Emma Stone and Ryan Gosling, or Meg Ryan and Tom Hanks, there was Katharine Hepburn and Spencer Tracy. The iconic duo shared screen time on nine different occasions, starting with the 1942 rival-reporters classic “Woman of the Year” and coming to a close in 1967 with the unforgettable “Guess Who’s Coming to Dinner.” For years, rumors of a real-life romance between the twosome swirled around Hollywood, but recent reports have called the affair a sham. (More likely is the story that both Hepburn and Tracy were gay or bisexual and quietly tolerated gossip about their involvement as a convenient diversion.)

But more than romance, what defines the Hepburn/Tracy spirit is a progressive take on gender politics. Midcentury rom-coms might not be the first place you’d expect to find early rumblings of feminist thought and attacks on toxic masculinity, but Hepburn and Tracy aren’t your average team. In almost all of their shared films, both of their characters are employed — often as professional adversaries — and each story pivots on the couple’s clever sparring, both in business and in pleasure.

Over their 25-year partnership, Hepburn and Tracy’s perennial battle of the sexes played out across courtrooms and newsrooms, sports arenas and political arenas, a science lab, a TV network, and even the American frontier. But across their wide array of occupations, Hepburn and Tracy’s characters always share a sense of ambition and competition — one that inevitably injects their domestic life with a dose of devious, indecorous fun. Available to stream now on FilmStruck, here are a few Hepburn/Tracy classics that helped install the trailblazing duo in the Hollywood (and gender equity) halls of fame.

“Woman of the Year” (1942): Watch Now on FilmStruck

When Hepburn and Tracy met for the first time to begin shooting George Stevens’ “Woman of the Year,” Hepburn recalls telling her new counterpart, “I’m afraid I’m a bit tall for you, Mr. Tracy.” A producer standing by replied, “Don’t worry, Kate, he’ll cut you down to size.” It’s an apt anecdote: from there on in, struggles to surpass and upstage one another were a driving force in the couple’s singular dynamic.

“Woman of the Year” finds the young pair playing writers who work at the same newspaper: Tess (Hepburn) is an erudite foreign affairs columnist, and Sam (Tracy), an amiable sports reporter. But when their rivalry gives way to romance, Tess’ demanding work schedule begins to get in the way. Differences in class, education, and gender also threaten to strain the courtship, and much of the comedy derives from Sam scrambling to keep pace with Tess’ scholarly milieu while Tess struggles to understand all of Sam’s fuss about sports. The film is an exuberant, endearing triumph, setting a standard for wit and energy that defined Hepburn and Tracy’s partnership for a quarter of a century to come.

“Keeper of the Flame” (1943): Watch Now on FilmStruck

Keeper of the Flame

George Cukor directed three out of the nine films Hepburn and Tracy starred in together, starting with the left-leaning political mystery “Keeper of the Flame.” Adapted from a novel of the same name, the film follows a journalist, played by Tracy, who seeks to uncover the truth around the mysterious death of a political hero. Hepburn costars as the deceased man’s widow, whom Tracy’s character goads into revealing her late husband’s secrets.

While “Keeper” isn’t the most celebrated of Hepburn and Tracy’s collaborations, the film does represent the most overtly political story they share. Upon release, the film’s liberal bent stirred political controversy, inciting Republican Congressmen to demand that the Motion Picture Production Code enact restrictions on cinematic propaganda. Critical reception at the time of release was mixed, with Hedda Hopper calling the story, “‘Citizen Kane’ with all the art scraped off.” Cukor himself later distanced himself from the film, declaring, “I don’t think I really believed in the story. It was pure hokeypokey, and [Hepburn’s] part was phony, highfalutin.” Even so, watching the couple embroiled in a drama that’s less romp and more mystery is a worthy treat for any Hepburn/Tracy fans.

“Adam’s Rib” (1949): Watch Now on FilmStruck

ADAM'S RIB, Spencer Tracy, Katharine Hepburn, 1949

Despite Cukor’s rocky start with the couple, Hepburn and Tracy are in top form in Cukor’s sophomore collaboration, the 1949 courtroom comedy “Adam’s Rib.” When a woman goes to trial for the attempted murder of her cheating husband, two married lawyers take on opposing sides of the case: Adam (Tracy) as the prosecution and Amanda (Hepburn) as the woman’s ardent defense.

The case aggravates Adam and Amanda’s relationship into an outright gender war, with Amanda appealing to the jury to consider the defendant as an innocent victim of a sexist world. Making a farce of the court, Amanda calls a slew of female witnesses, each of whom have no connection to the case other than their impressive resumes. (One of the witnesses is an accomplished circus performer who, to Adam’s chagrin, literally lifts him into the air in front of the judge.)

“You sound cute when you get cause-y,” Adam coos on the phone to Amanda when she tries to make a point about the double standard between men and women who commit adultery. In a different movie, Adam’s wife might giggle, shrug, make a cute response; but Amanda isn’t just any wife. She slams down the phone in anger, asking her assistant, “Did you ever hear about the straw that broke the camel’s back? Well, it just happened again…The last straw on a female camel.” Amanda takes the driver’s seat in this story, both literally and figuratively, and she has all the makings of a feminist icon.

“Pat and Mike” (1952): Watch Now on FilmStruck

PAT AND MIKE, Spencer Tracy, Katharine Hepburn, 1952

Cukor remained in the director’s chair for Hepburn and Tracy’s next film, which follows athletic sensation Pat (Hepburn) and the tough sports manager Mike (Tracy) who offers to train her. Screenwriters Garson Kanin and Ruth Gordon were friends of Hepburn and Tracy, and the script was apparently inspired by their knowledge of Hepburn’s real life athletic prowess. Impressively, Hepburn, then 45, performed all of Pat’s golf and tennis feats herself, stealing the show with her athletic and comic agility.

But despite her talent, Pat has an Achilles heel: she can only perform when her controlling fiance isn’t around. It’s a symbolic premise, meant to demonstrate just how much female strength can be unleashed once women are relieved of overbearing men. Sports fields and courts may seem a far cry from the cultured, career-driven worlds Hepburn’s characters usually inhabit, but it’s a welcome departure. Whether in a suit, dress, or tennis shorts, Hepburn knows how to wear the pants in the relationship.

FilmStruck + SXSW Film Awards Livestream: Watch the Ceremony as It Unfolds From the Green Room (Exclusive)

Alicia Malone is hosting the proceedings in the Green Room.

All good things must come to an end, and so it is that the film portion of 25th anniversary of South by Southwest is drawing to a close. Worry not, however, as the occasion is being marked once more by the awards ceremony, this one presented by FilmStruck. Alicia Malone will be hosting an exclusive Facebook Live event from the Green Room at the Paramount Theatre beginning at 8:15 PM CST, which those of us not fortunate enough to be in Austin for can livestream below. IndieWire’s Eric Kohn will also be providing commentary on the films and experience at this year’s festival.

Honorees will be streaming into the Green Room immediately after coming offstage with their awards. Falling under the Jury, Audience, and Special categories, these prizes range from the Grand Jury Award in the Narrative Feature Competition to the Audience Award in the Documentary Feature Competition and beyond. Past winners include “Krisha” and “The Work,” one of 2017’s most acclaimed documentaries.

SXSW began on Friday, March 9, and runs until next Saturday, March 17. Watch the Film Awards Green Room Livestream:

Five Classic Neo-Noirs You Can Watch Right Now on FilmStruck

From “Body Heat” to “Mona Lisa,” the malleable genre continues to enthrall.

In his 1972 essay “Notes on Film Noir”, film critic-turned-screenwriter/director Paul Schrader wrote on how the genre was “not defined…by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood.” It’s a mood best described as ‘you’re screwed, pal.’

Cynicism has always been at the heart of film noir, a genre full of desperate characters clinging to the shadows of world that’s forgotten them. It’s a cynicism born out of post-War disillusionment and anxiety that spawned the genre’s heyday from the early-40s all the way through the mid-1950s when suddenly “Dragnet” and “Leave it To Beaver” were reaffirming America’s squeaky-clean Eisenhower-era view of itself.

But with the post-Watergate 70s and Cold War 80s came a new slew of anxieties as the genre evolved, this time with less Hollywood restrictions. That meant more sex, more violence, more brutal cynicism, and frankly, more fun. Here are some Neo-Noir gems (both beloved and obscure) that helped bring the genre out of the shadows and into the modern era.

“Body Heat” (1981) — Click Here to Watch on FilmStruck

Noir is often a screenwriter’s medium, with its knotty plotting and clever, snappy dialogue. So it makes sense that Lawrence Kasdan, the writer behind “Star Wars” The Empire Strikes Back” and “Indiana Jones and the Raiders of the Lost Ark”, made his directorial debut with “Body Heat,” a throwback-verging-on-remake of Billy Wilder’s noir classic “Double Indemnity.” William Hurt plays a sleazy Florida lawyer who strikes up a sexy-as-hell affair with a married woman (Kathleen Turner, in her breakout role) and gets drawn into a murder plot that (duh) doesn’t go as planned.

At first, “Body Heat” can seem like a spoof of noir conventions, but the movie’s eventual, ahem, heat comes from its intense eroticism. Sexual motivation has always been a basic ingredient in noir – the hubris of horniness –  but not until Hurt threw a chair through those French doors was that desire put onscreen so explicitly. Needless to say, “Body Heat” was a huge hit, catapulting Turner to stardom (along with Mickey Rourke who makes a big impression in a small role), and introducing a neo-noir subgenre that would come to dominate the 80s – the “erotic thriller.” But no matter how many tried (sorry “Body Double” and “Body of Influence) few entries were as erotic or as thrilling as Kasdan’s classic debut.

“Night Moves” (1975) — Click Here to Watch on FilmStruck

God, what a premise: a retired football star turned Los Angeles private eye (Gene Hackman) looks for the daughter of a washed up movie star. It’s a fun, pulpy set-up that could have just played like an extra-awesome episode of “The Rockford Files” and yet under Arthur Penn’s direction, “Night Moves” manages to be one of the more affecting dramas of the bitter post-Watergate era that defined Hollywood’s 1970s revolution. Hackman’s Harry Moseby represented a new kind of noir antagonist, one who didn’t always know what to say or do when confronted with danger, an anxious reflection of his time who finds himself quite literally adrift and isolated at the film’s startling climax.

Featuring incredible supporting performances from Jennifer Warren and Susan Clark (not to mention James Woods and Melanie Griffith in early career roles), “Night Moves” may have failed at the box office, but it has since gone on to be considered one of the stone cold classics of the neo-noir canon.

“Mona Lisa” (1986) — Click Here to Watch on FilmStruck

Bob Hoskins was basically the Jimmy Cagney of the modern British crime film, playing small-time crooks that mean well but tend to express themselves through bursts of violence and rage. In “Mona Lisa,” Hoskins plays one of these gangsters just out of prison who lands some work as the driver for a high-class call girl and after falling for her, finds himself entangled in the sordid underworld of sex trafficking and prostitution.

Written and directed by Neil Jordan just before his sensational “The Crying Game” garnered him worldwide attention, “Mona Lisa” is at once lurid, violent, and yet incredibly sweet, all thanks to Hoskins’ volcanic performance, which earned him an Oscar nomination and a Golden Globe. Michael Caine also has fun playing a ruthless crime boss that could easily be his character from “Get Carter” a few years on.

(Fun fact: “Mona Lisa” was produced by George Harrison, whose production company HandMade Films produced several bold films during the 1980s including Hoskins’ other neo-noir classic “The Long Good Friday,” Monty Python collabs “Life of Brian” and “Time Bandits,” and, um, “Shanghai Surprise.”)

“The Yakuza” (1974) — Click Here to Watch on FilmStruck

From “Out of the Past” to “Cape Fear” to “Night of the Hunter,” nobody lurked in the shadows of a noir picture quite like Robert Mitchum. So it was nice when he returned to the genre for a brief late-career streak in the 70s with “The Friends of Eddie Coyle,” “Farewell, My Lovely,” and Sydney Pollack’s bizarre and violent “The Yakuza.”

Written by Paul Schrader and his brother Leon (with punch ups by “Chinatown” scribe Robert Towne) “The Yakuza” follows retired detective Mitchum as he’s sent to Tokyo to retrieve the kidnapped daughter of an old army buddy (Brian Keith) who’s run afoul of the titular Japanese gangsters. Upon its initial release, “The Yakuza” was shrugged off by critics and audiences, but since then has gained something of a cult status, and it’s no wonder. When an aging Mitchum tears through Yakuza headquarters with a parka and shotgun alongside his katana-wielding best friend, you’re firmly in cult territory.

“The Onion Field” (1979) — Click Here to Watch on FilmStruck

“Guilty? That’s just something the man says in court when your luck runs out.”

So says a small-time thief on trial for murder in “The Onion Field,” Harold Becker’s adaptation of the true crime bestseller about the brutal 1963 killing of an LAPD detective and its prolonged legal aftermath. It’s a deeply compelling film that deals with guilt, both legal and psychological. There’s the detective (John Savage) who ran away after watching his partner get shot and can’t live with the guilt of his perceived cowardice; there’s the small-time thief (Franklyn Seales), wrongfully accused of pulling the trigger but still responsible and tormented; and there’s the killer himself (James Woods, absolutely chilling), who seems to feel nothing at all.

In many ways, “The Onion Field” feels like a direct forebearer to David Fincher’s “Zodiac” in its attention to forensic detail and how it conveys the central grisly crime as just the hinge point of a much longer and messier story about law and order. “The Onion Field” is the rare noir film that might seem too cynical and despairing at times if it all weren’t so damn true.

Other neo-noir classics available on FilmStruck:

“The Grifters” (1990)  — Click Here to Watch on FilmStruck

“The Long Good Friday” (1980)  — Click Here to Watch on FilmStruck

“Blood Simple” (1984)  — Click Here to Watch on FilmStruck

“The Killing of A Chinese Bookie” (1976)— Director’s Cut — Click Here to Watch on FilmStruck

Five Classic Best Picture Winners You Can Watch Right Now on FilmStruck

From “Casablanca” to “On The Waterfront,” these winners will be perfect to watch before this year’s Academy Awards.

Oscar fever is in full effect, and before you watch this year’s Academy Awards, FilmStruck has a great opportunity for you to study some Oscar history with classic Best Picture titles.

Thanks to Filmstruck’s new partnership with Warner Bros. Digital Networks and TCM Select, the streaming service has added dozens of classic films to its catalog — meaning you can catch up on Oscar winners of years past any time you wish. The service’s vast back catalog now includes some of the most iconic films from the Golden Age of Hollywood — including five classic Best Picture winners that paved the way for modern winners.

They range from some of the most iconic films in Hollywood history (“Casablanca” and “On the Waterfront”) to the not-quite-as-ubiquitous (“The Best Years of Our Lives”). Check out five classic Best Picture winners from the 1940s and ’50s — smack in the middle of Hollywood’s Golden Age — all available on Filmstruck.

“Casablanca” (1943)Click Here to Watch on FilmStruck

Witness Humphrey Bogart and Ingrid Bergman’s chemistry firsthand in one of the greatest romantic movies of all time. Bogart plays 1940s Casablanca nightclub owner Rick, who reconnects with his ex-lover Ilsa (Bergman) and vies with her husband, Victor (Paul Henreid) for her love. You already know who comes out on top.

The film, which was the duo’s only on-screen collaboration, contains classic lines — “Of all the gin joints in all the towns in all the world, she walks into mine,” — along with one of cinema’s greatest love triangles, and a closing shot not of a walk into the sunset but a stroll down a foggy airplane runway. It’s one of pop culture’s most-referenced films, including some very overt homages in 2017 Best Picture contender “La La Land.”

Director Michael Curtiz also took home a statue, along with writers Philip G. Epstein, Julius J. Epstein and Howard Koch for the screenplay, which is widely regarded as one of the greatest of all time.

“The Best Years of Our Lives” (1946)Click Here to Watch on FilmStruck

This post-World War II story follows the adjustment of three soldiers returning home from war  — Air Force bombardier Fred (Dana Andrews), petty officer Homer (Harold Russell) and platoon sergeant Al (Fredric March). Based on a novella by a former war correspondent, the film was one of the first to confront a litany of issues returning  soldiers faced — from alcoholism and employment to ostracism and what would later be named post-traumatic stress disorder.

Though it might not hold the pop culture ubiquity of a film like “Casablanca,” “The Best Years of Our Lives” won seven Oscars, including Best Picture, Best Director for William Wyler, Best Actor for March, Best Supporting Actor for Russell, and Best Film Editing, Adapted Screenplay and Original Score. Star Russell, who was not a professional actor but rather an actual veteran who lost his hands in combat, also won a special honorary Oscar from the Academy Board of Governors “for bringing hope and courage to his fellow veterans through his appearance.”

“An American in Paris” (1951) Click Here to Watch on FilmStruck

The seminal movie musical, based on George Gershwin’s score, stars Gene Kelly, Oscar Levant and Georges Guétary as three friends in the City of Light (two of whom end up falling for the same woman, played by Leslie Caron), is perhaps most famous for its 17-minute ballet sequence that cost nearly a half-million dollars to produce.

The film ended up winning six Oscars (Best Picture, Set Decoration, Cinematography, Costume Design, Music, and Screenplay) as well as an honorary award for Kelly for his “versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film.” It, too, was honored by “La La Land” (which paid tribute to Hollywood’s Golden Age).

“From Here to Eternity” (1953) — Click Here to Watch on FilmStruck

Set at a Hawaii Army base in the months leading up to the attack on Pearl Harbor, the film follows three soldiers, played by Burt Lancaster, Montgomery Clift, and Frank Sinatra as they navigate military life. Deborah Kerr, Donna Reed and Ernest Borgnine also star in the film, based on the 800-plus page novel of the same name by James Jones.

The steamy kiss between Lancaster and Kerr on the beach is one of the most famous movie kisses of all time, and in addition to the film’s Classic Hollywood bonafides, it was preserved by the National Film Registry in the Library of Congress for its cultural and historical significance.

“From Here to Eternity” took home eight Oscars, including Best Picture, Best Director for Fred Zinnemann, Best Screenplay, Best Supporting Actor for Sinatra, Best Supporting Actress for Reed, Best Black-and-White Cinematography, Best Film Editing, and Best Sound (Recording).

“On the Waterfront” (1954) — Click Here to Watch on FilmStruck

Elia Kazan’s controversial film was released under the specter of the director and screenwriter Budd Schulberg’s testimony at the House of Un-American Activities Committee, and won eight Oscars (including Best Picture, Best Director, Best Actor for star Marlon Brando, Best Supporting Actress for Eva Marie Saint, Best Screenplay, Best Film Editing, Best Black-and-White Set Decoration and Best Black-and-White Cinematography).

The film stars Brando as a dock worker who fights back against his corrupt union bosses, a response by Kazan to those who criticized his HUAC testimony.

(It, too, contains one of Hollywood’s most iconic lines: “I coulda been a contender,” muses Brando.)

Watch some additional Best Picture winners on FilmStruck below:

*”Hamlet” (1948) — Click Here to Watch on FilmStruck

*”Marty” (1955) — Click Here to Watch on FilmStruck

*”Tom Jones” (1963) Click Here to Watch on FilmStruck

*”The Last Emperor” (1987) Click Here to Watch on FilmStruck