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Fifty years after its release, “Chinatown” (1974) endures as a stunningly effective tribute to the Bogart private eye classics and the best noir entries of the ‘40s and ‘50s. Directed by the gifted Roman Polanski, an iconic performance by Jack Nicholson as private eye J.J. “Jake” Gittes beats at the heart of this film. The rest of the cast is equally stellar, however, with Faye Dunaway as twitchy, mysterious femme fatale Evelyn Mulwray, and powerhouse director John Huston playing her domineering, power hungry (and worse) father, Noah Cross. Even Polanski makes a cameo as a knife-wielding thug.   And let’s not forget Robert Towne’s sterling screenplay, peppered with smart, snappy dialogue that gives even Raymond Chandler a run for his money. In fact, out of eleven Oscar nods for the movie (including Best Picture, Actor, Actress, Director), only Towne went home with a statuette for his stinging, perfectly structured script. So I suppose, after fifty years, you think you know everything about this tale of water theft and sisters, I mean daughters! No, sisters!… but I’ll just let vile water baron Noah Cross tell you… “You may think you know what you're dealing with, but believe me, you don't.”

With Netflix increasingly focused on promoting their robust lineup of original programming, I find myself turning more and more to Amazon Prime for great older titles, often referred to as “classics.”

As producer/director Roger Corman once told me, movies are a kind of alchemy, an outcome of many complex elements. Bad movies can be forged from wrongheaded decisions, great ones can often be attributed to … plain dumb luck. The resulting concoction is all that counts. Of course, when you watch an amazing performance in a great film, it’s hard to envision how it could have been done any other way. Casting is crucial because most often we associate movies with the actors that star in them. But consider how differently a movie might have turned out if an alternate choice had been made. Just a tiny shift in the recipe can make a world of difference.  Here then is a list of 9 actual “what might have been” casting choices from some of our favorite films that prove my point. 

It boggles the mind that only a couple of generations back, women were sometimes referred to as “the weaker sex.” That’s not only sexist, but misleading.  Plenty of tough, cunning, even deadly female characters have graced the screen over the past six decades that prove this idiotic saying wrong.   Here are an even dozen.

In his hey-day, William Powell was the epitome of sophistication, wit and urbanity, with his distinctive baritone voice, custom tailored suits and pencil thin mustache. During the 1930s and 1940s, Powell was a bona fide box-office draw, starring opposite Myrna Loy as a tippling detective in “The Thin Man” series, as the sly hobo-turned-high society butler in the classic screwball farce “My Man Godfrey,” or in “The Great Ziegfeld,” playing legendary theater impresario Flo Ziegfeld.

They say the customer is always right — but not always right away. For instance, sometimes it takes a while for movie audiences to recognize just how special a film really is. When it premieres, there’s a barely audible thud, and very little box office.  The culprit could be poor distribution, half-hearted promotion, a storyline slightly ahead of its time, the ire of some influential critic with digestive trouble, or any combination of the above. A surprising number of now-classic films either just broke even, or actually lost money on initial release. Here are 10 classics from my list that fall into this category. 

There’s an extra frisson of excitement to be found in what I call “launch pad” movies. This is not necessarily a movie star’s first film, but rather the one that propels him or her to that exalted status. In these special outings, you can feel a certain electricity coming off the screen; it's as if the performer is announcing in a subliminal stage whisper: “I’ve arrived!”  Here are twenty key launch pad vehicles for some of my favorite stars, spanning eighty years of movie history.   

From the socially unacceptable, to the downright deviant, taboo topics make for dramatic movies. What we can’t, and wouldn’t, do in life, film plays out for us, revealing not only the forbidden acts, but also the hidden motivations behind them.