This semi-remake of Holiday Inn (the first movie in which Irving Berlin's perennial, Oscar-winning holiday anthem was featured) doesn't have much of a story, but what it does have is choice: Bing Crosby, Danny Kaye, Rosemary Clooney, an all-Irving Berlin song score, classy direction by Hollywood vet Michael Curtiz (Casablanca, The Adventures of Robin Hood), VistaVision (the very first feature ever shot in that widescreen format), and ultrafestive Technicolor! Crosby and Kaye are song-and-dance men who hook up, romantically and professionally, with a "sister" act (Clooney and Vera-Ellen) to put on a Big Show to benefit the struggling ski-resort lodge run by the beloved old retired general (Dean Jagger) of their WWII Army outfit. Crosby is cool, Clooney is warm, Kaye is goofy, and Vera-Ellen is leggy. Songs include: "Sisters" (Crosby and Kaye do their own drag version, too), "Snow", "We'll Follow the Old Man", "Mandy", "Count Your Blessings Instead of Sheep" and more. Christmas would be unthinkable without White Christmas. --Jim Emerson

Two song and dance men team up after the War to become one of the hottest acts around. Featuring tracks by Irving Berlin.

White Men Can't Jump, writer-director Ron Shelton's 1992 follow-up to the baseball comedy-drama Bull Durham, involves a different sport: basketball, as played on the neighbourhood hustler circuit. Woody Harrelson is Billy Hoyle, a good shooter using his white complexion to fool black players into thinking he can be stomped in easy bets. Billy's banter-filled matchup against Sidney Deane (Wesley Snipes) on a public court leads to a partnership in which Sidney becomes Billy's manager, taking the white outsider on a tour of the tougher sections of Los Angeles, where he plays homeboys for a few bucks. Inevitably, the two come apart over their innate competitiveness, a situation that has to be re-evaluated after Billy gets into trouble with some underworld creditors. Meanwhile, Billy's girlfriend (Rosie Perez) sits at home preparing herself for a maybe-someday appearance on Jeopardy. As with all of Shelton's sports-related films (Tin Cup, his script for The Best of Times), White Men Can't Jump is less about the fine points of the game than it is the rules by which players survive it. The script is literate and crackling with wit and satire (a scene in which a politician sponsors a black-white "solidarity" game is hilarious). The actors are entirely in sync, and the scenes under and around the hoops are a thrill to watch. --Tom Keogh, Amazon.com