A mysterious, very old solicitor Mr. Blunden (Laurence Naismith) visits Mrs. Allen and her young children in her squalid&

The most successful public-television miniseries in American history, the 11-hour American Civil War defined what has since become known as the "Ken Burns approach"--voice-over narrators reading letters and documents dramatically and stating the writer's name at their conclusion, fresh live footage of places juxtaposed with still images (photographs, paintings, maps, prints), anecdotal interviews, and romantic musical scores taken from the era he depicts.

The American Civil War uses all of these devices to evoke atmosphere and resurrect an event that many knew only from stale history books. While Burns is a historian, a researcher, and a documentarian, he's above all a gifted storyteller, and it's his narrative powers that give this chronicle its beauty, overwhelming emotion, and devastating horror. Using the words of old letters, eloquently read by a variety of celebrities, the stories of historians like Shelby Foote and rare, stained photos, Burns allows us not only to learn and understand history, but also to feel and experience it. --Dave McCoy

A thriller that's nearly devoid of thrills? That's not a complaint--it's what makes The American Friend one of the most stylish (and at the time most expensive) films to emerge from the new German cinema of the 1970s. Loosely adapting Patricia Highsmith's mystery novel Ripley's Game, director Wim Wenders shifted priority from plotting to character, emphasising a richly colourful and atmospheric approach to locations in Hamburg, where a picture-framer (Bruno Ganz) is lured into an assassination scheme involving a mysterious Frenchman (Gerard Blain) and the titular American friend, Tom Ripley (played by Dennis Hopper, a far cry from either Matt Damon's portrayal of the same character in The Talented Mr Ripley or John Malkovich's in the 2003 version of Ripley's Game). The plotting is vague to the point of irrelevance; Wenders prefers to maintain the aura of mystery rather than generating any conventional suspense and expresses his affection for American movies by casting favourite directors Nicholas Ray and Samuel Fuller in pivotal supporting roles. The result is an intoxicating example of cinematic cross-pollination. --Jeff Shannon

What sounds like a high-concept romantic comedy pitch from hell--widower president falls for smart lobbyist while the world watches--is actually intelligent, charming, touching and quite funny. Granted, it's wish fulfilment all the way (when was the last time you saw a president who was truly presidential?) but in the capable hands of writer Aaron Sorkin (TV's Sports Night) and director Rob Reiner, TheAmerican President is incredibly enjoyable entertainment with quite a few ideas about both romance and the government. Michael Douglas stars as the president, who after three years in office starts thinking about the possibility of dating. When he auspiciously encounters cutthroat environmental lobbyist Sydney Ellen Wade (Annette Bening), sparks begin to crackle and the two begin a tentative but heartfelt romance. Of course, his job gets in the way--their first kiss is interrupted by a Libyan bombing--but darn it if these two kids aren't going to try and make it work! However, they hadn't counted on the president's Republican antagonist (Richard Dreyfuss), who starts carping about family values. The predictable plot--Douglas finally goes to bat for his lady and his country--is leavened by Sorkin's wonderful, snappy dialogue and a light touch from the usually subtle-as-a-sledgehammer Reiner. Both manage to create a believable White House-office atmosphere (with a crack staff including Martin Sheen, Michael J. Fox, Anna Deavere Smith and Samantha Mathis) as well as a plausible and funny dating scenario. The true success of the movie, though, rides squarely on Douglas and Bening; this is unequivocally Douglas's best comedic performance (ergo his best performance, period) and Bening, usually such a good bad girl, takes a standard career-woman role and fleshes it out magnificently. You can see in an instant why Douglas would fall for her. One of the best unsung romantic comedies of the 90s. --Mark Englehart