mcg's - Rented List

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Risen up from privation and obscurity, Michael Marler (Nicol Williamson) has carved out a life for himself as a ruthless businessman in London.

Made determined and arrogant in his ascent to the cutthroat realm of business in the capital, his success is accompanied by a steady decline in the stability of his marriage. All this is disrupted by the news that Michael's father has suffered a bad accident, and so he steps outside of his tumultuous life to return to his family in Liverpool.

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When the murder of a priest results in a botched police investigation, prosecutor Henry Harvey (Dana Andrews) leads an effort to bring the killer to justice.

Once blackmail creeps into the investigation, all bets on an unclouded trial are off, resulting in an expolosive finale that remains one of the toughest in Kazan's work.

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F. Scott Fitzgerald's fascinating tale of studio politics in early Hollywood in breathtaking brought to the screen by director Elia Kazan and screenwriter Harold Pinter.

Robert De Niro heads a powerful cast as studio head Monroe Stahr, a thinly disguised Irving Thalberg character in command of his studio but haunted by a love lost to the past.

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After Dr. Clint Reed (Richard Widmark) is called in to supervise an autopsy of a unknown man, he discovers that the John Doe died of pneumonic plague.

Revealing his discovery to the mayor and city officials, Reed is informed that he has 48 hours before the public will be told about a potential outbreak. Joined by Captain Tom Warren (Paul Douglas) and his wife, Nancy (Barbara Bel Geddes), Reed must race against time to find out where the unknown man came from.

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Embittered ex-cop Dave Burke (Ed Begley) enlists ruthless killer Earle Slater (Robert Ryan, The Dirty Dozen) and gambling musician Johnny Ingram (Harry Belafonte) to rob an upstate New York bank.

Trouble unfolds however when, fuelled by racist hatred, Earle clashes with Johnny and the planned heist spirals into chaos, leading to a violent climactic confrontation With its exceptional jazz score, acerbic social commentary and atmospheric visual style, 'Odds Against Tomorrow' is a high point in the film noir canon, and one of the most important films of its era to address racism.

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Charles Bubbles (Albert Finney) is a famous writer from a bleak industrial town. His divorced wife (Billie Whitelaw) and son live on a farm he bought for them near his home town while he lives in a London townhouse, detached from reality.

Wretched in his wealth, Charlie stumbles through life drunk, debauched and dull, until he decides to go home again to revisit his ex-wife and child in the North.

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Chicago Morning Post editor Walter Burns (Cary Grant) is about to lose his ace reporter and former wife Hildy Johnson (Rosalind Russell) to Bruce Baldwin (Ralph Bellamy).

Then a late breaking story involving the impending execution of an anarchist who escapes and is hidden from the police by the former husband and wife throws the pair together once again.

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Three Brothers (Tre Fratelli) explores similarly knotty social and political territory through the seemingly straightforward story of three siblings returning to their native southern Italy to pay homage to their late mother.

However, their various professions - a judge in Rome (Philippe Noiret), a spiritual counsellor in Naples (Vittorio Mezzogiorno), a factory worker in Turin (Michele Placido) - have a profound effect on their response to this reunion.

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Based on John Steinbeck's novel and directed by Elia Kazan, 'East of Eden' is the first of three major films that make up James Dean's movie legacy.

The 24-year-old idol-to-be plays Cal, a wayward Salinas Valley youth who vies for the affection of his hardened father (Raymond Massey) with his favoured brother Aron (Richard Davalos).

Deanie (Natalie Wood) is a teenager eager to do what's right in her 1920s Kansas town. But the emotions she shares with boyfriend Bud (Warren Beatty) are too strong. Soon the conflict between respectable behavior and human desire will push Bud to physical collapse. And Deanie to madness.

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Written by Bunuel and his regular writing partner Jean-Claude Carriere, the film charts the ambitions of Celestine (Jeanne Moreau), a woman who comes to work in the Normandy estate occupied by Monsieur Rabour (Jean Ozenne), his daughter (Francoise Lugagne), and the daughter's husband, the right

wing Monsieur Montiel (Michel Piccoli). Celestine quickly learns that M. Rabour is a more or less harmless boot fetishist, his daughter a frigid woman more concerned with the family furnishings than in returning the affections of her husband, who, in turn, can't keep his hands off the servants. Celestine picks her way through this minefield carefully, spurning the advances of all of the men until it's convenient for her.

When private eye Philip Marlowe (Elliott Gould) is visited by an old friend, this sets in train a series of events in which he's hired to search for a missing novelist (Sterling Hayden) and finds himself on the wrong side of vicious gangsters.

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Miner Frank Machin (Richard Harris) lodges with a widow, Mrs. Hammond (Rachel Roberts). His competitive nature and powerful physique lead him to join the local rugby team and, as his career progresses, so too his brutal nature distances him from those around him.

Success - and perhaps a new sense of insecurity - seems to make Frank harsher and cruder...

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From the celebrated Russian director Andrei Tarkovsky comes his most autobiographical work and one that is regarded by many as his magnum opus.

Reflecting upon his own childhood and the destiny of the Russian people, 'Mirror' is a sublime expression of memory, imagination, thoughts and dreams intertwined with real life and family relationships. A transcendent, inspired and multilayered masterpiece that continues to grow in stature, 'Mirror' has an exceptional resonance and rewards countless viewings.

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How does an Irish lad without prospects become part of 18th-century nobility? For Barry Lyndon (Ryan O'Neal) the answer is: any way he can! His climb to wealth and privilege is the enthralling focus of this sumptuous Stanley Kubrick version of William Makepeace Thackeray's novel.

For this ravishing, slyly satiric winner of four Academy Awards, Kubrick found inspiration in the works of the era's painters. Costumes and sets were crafted in the era's designs and pioneering lenses were developed to shoot interiors and exteriors in natural light. The result? Barry Lyndon endures as a cutting-edge movie that brings a historical period to vivid screen life like no other film before or since.