Never watched an old movie before? Here are my recommendations

An obvious first choice to recommend must be Singin' In The Rain (1952). And though there's no denial of the sheer, timeless quality and magnitude of the film, I'm still not convinced it is a film for everyone. It's a musical, for one, and not everyone likes musicals, even good ones. Furthermore, it has elements that have a certain archaic feel about them; something very polished, controlled, almost too bright, too movie-esque. It's only a sense I get when I've shown it to others, and I may be wrong (hopefully everyone likes it when they first see it) but I think it's a general thing - and not to do with Singin' In The Rain as such - that have dissuaded some people from staying on board the old Hollywood movie train and simply taken it for a brief ride, acknowledging the beautiful scenery and the road to it but not really being awed in the same scope as the most dedicated cinephiles. Well, every man to his taste.

Of course, that being said, I've never fully understood some people's aversion towards black-and-white films, regarding old movies. It's like when people say they don't like poetry when music lyrics literally are poetry - and I've never heard of anyone who doesn't like music! Besides, newer Oscar-winning films like The Artist and Roma prove that it's far from an archaic feature belonging to another era. The lack of color doesn't subtract anything from the film itself; on the contrary, it adds to the contrasts of the imagery - just like it does to a black-and-white photography (which interestingly doesn't carry the same 'stigma' as black-and-white movies tend to among younger generations).

On another hand, I agree that certain acting methods in the first part of the 20th century seem a little theatrical, unvaried and stilted today. However, I find it a little less present in my recommendations below. The films that I've chosen are mostly so well-tuned in style, suspense, realism, subtlety and/or off-beat humor that you hardly realize that these are actors acting (at least, not in my opinion). And that's movie magic for you; when the film is so immersive that you don't notice anything else, hardly even think - and the impression may be almost unnameable, but significant.

Some might still not be convinced when watching the movies I've suggested. Just like one might with newer movies hailed by viewers, critics and the press alike. You can't really help your feelings, can you? If you're not feeling it, you're not feeling it. Still, I hope and believe the following movies are able to resonate with most audiences and have something universally recognizable to offer - whether in tone, style or message.

Here goes as follows, in no particular order:

Rear Window (1954)

My personal favourite Hitchcock film. As you'll come to discern from this list, I am intrigued by suspense movies which take place in a 'confined' space; in a room, on a train, on a boat, etc, since this confinement only increases the suspense. Rear Window is one of the best examples of how such a premise can be used, combined with Hitchcock's innate sense of details and the human curiosity towards our fellow man: An injured photographer discovers something fishy in one of the apartments across from his and tries to convince the people who visits to help him solve the mystery while keeping an eye on all the other apartments.

City Lights (1931)

Chaplin was an eminent visual storyteller. Often without words and through the smallest artistic effects, he could produce laughs as well as tears from the most thick-skinned viewers. Even to this day where our cinematic expectations have greatly expanded and are incredibly hard to surpass, his films still manage to move you. In City Lights the Tramp meets a blind girl begging in the streets, and by mistake she confuses him with a rich man. He stays in the role as he falls in love with her, afraid to tell her the truth, and instead goes to great lengths - often at his own expense - to help her out of her circumstances.

Jaws (1975, if you consider that 'old') 

The ultimate popcorn-munching movie with all the right-timed thrills, a brilliant cast and a perfect score. I once got my younger sister - who was utterly teenage-tired and mouthing off about my love for this 'silly' film - to sit up straight and become wholly immersed in it; even sometimes gasping in surprise from its effects even though she had staunchly proclaimed how easily see-through they were. And true, some of the gimmicks might seem outdated but the overall effect is not! 😏 🦈

Days of Wine and Roses (1962) 

When you see the names Blake Edwards and Jack Lemmon headlining this movie, you don't quite expect the tone and style of what you get which is something quite different from what these guys usually make. With a patient grasp on a very taboo subject at the time (still is), the film examines the stark and poignant effects alcoholism can have on the ordinary man/woman and the people close to them. Jack Lemmon battled with alcoholism himself, and the film is still used at AA meetings.

Sorry, Wrong Number (1948)

A woman confined to her bed with the phone as her only lifeline overhears a murder plot and as she seeks to trace the call, the mystery becomes entangled with the odd absence and behavior of her husband. As the story slowly unravels so does the main character. Think Hitchcock meets Memento and The Guilty.

I Don't Want to Be a Man (German: Ich Möchte Kein Mann Sein, 1918)

An oddball choice but I can't help but love this fairly unknown, little silent movie by Ernst Lubitsch: A young, brash girl decides to test the world of men by dressing up as one on a night out, incidentally running into her new, strict guardian, a young doctor, and hilarity ensues. The movie's carefree, unrestricted treatment of gender and sexuality has something very liberating and subversive about it. Usually, the subject of genderbending is used as a gimmick or treated very in-your-face with a moral predicament and various social consequences involved. Here, the genderfluid interaction between the sexes never once becomes strained or questioned - and Ossi Oswalda (our leading actress) is simply a gem!

Once Upon a Time in The West (1968)

You don't have to like westerns to like this one. In fact, I'd argue that none of Sergio Leone's iconic films could be deemed traditional westerns as such. They're too meta for that. And that's exactly what makes them so great. That and being visions of masterpieces in terms of collaborations, not just in direction and photography but acting- and music-wise as well. Leone's partnership with composer Ennio Morricone is perhaps the single greatest thing ever to happen in the history of film music before Spielberg and John Williams found each other.

The Nun's Story (1959)

At first glance, it may not be for everybody given its context in Catholic monasticism. Though it's not quite monasticism and that's where the movie gets interesting. Because the protagonist, a nun played by the ever compelling Audrey Hepburn, also works as an assistent surgeon to an atheistic doctor at a hospital in Belgian Congo. Inspired by a real story, the movie steers away from sanctimonious banalities in favour of a patient, complex insight in convents and how inner conflict can manifest itself.

12 Angry Men (1957)

The film delves into justice, prejudice, crime, racism and morality from 12 men's point of view as they are confined in a jury room while they decide the fate of another person. One could go so far as to say that these 12 (white) men are some of the same archetypes which have been predominant on and behind the Hollywood screen, not to mention, the institutional and judicial system, especially in America (whether that is intentionally hinted to or not). People usually like to mention Henry Fonda's characteristic 'hero act', but personally I find the unknown George Voskovec as the immigrant juror number 11 to be the hidden gem of this film. Bonus: Watch a satiric twist of its premise here.

The African Queen (1951)

A pinnacle in cinematic history bringing heavyweights Humphrey Bogart, Katharine Hepburn and John Houston together in some of their best work (and that's saying something). Not your usual jungle/survival adventure and all the more better for it. I'm not sure how else to sell the sheer magnificence of this one. I mean the acting alone... whew! You just have to watch it!

Marty (1955)

A movie that might go under the radar and appear boring to most people today, despite it won four Oscars at the time and was nominated for several more. Personally, I like its everyday-feel and honest portrayal of 1950s' New York and the city's inhabitants. I don't miss the drama when I watch it, maybe thanks to its painfully recognizable theme of loneliness which could be just as relevant today - and the profound, unflashy performances from Ernest Borgnine and Betsy Blair.

Dark Passage (1947) 

Of all the film noirs starring Humphrey Bogart and Lauren Bacall I could recommend to an 'old movie novice', I always keep coming back to this one. It's unique for its time since it's shot subjectively from Bogie's character's POV for a duration of the movie, and this feature is nicely incorporated with the storyline and a terrific supporting cast. Furthermore, the movie makes great use of the San Francisco scenery. Of course, if you like this one, I also recommend other Bacall-Bogie collabs such as The Big Sleep, To Have and Have Not and Key Largo.

The Kid (1921)

If you are not a tiny bit moved by this movie, you must have a heart of stone. Even if you're reluctant towards most child actors you've watched on screen, like I am, I can almost guarantee you'll like this one. The interaction between Jackie Coogan and Charlie Chaplin is sublimely sweet and funny and heart-breaking - and Chaplin once again proves you need no words to aptly convey a story with feelings.

Written on the Wind (1956)

With some of the 1950s' most prominent, beautiful actors, such as Rock Hudson and Lauren Bacall, and an extraordinary color palette, Douglas Sirk painted a chocolate box cover of American society, subtly concealing the putrid smell underneath; its patriarchal, puritanical structures and postwar materialism, with the humans caught in this perfect box. His idiosyncratic and often misunderstood melodramas may not be for everybody, but it is exactly because of the above-mentioned factors that I like his work so much and would recommend anyone to watch one of his films.

La Jetée (1962)

You may know the remake 12 Monkeys (1995) with Bruce Willis and Brad Pitt, and though the remake is quite good, Chris Marker's original short film is all the more interesting for its distinctive style, concept and indefinable genre. It's mostly built on a narration over a montage of still images, working like a stilted moving picture. The method underscores the concept of the moving image which in itself is made of a series of continuous still images. If that gave you a headache, don't worry; the end result has a very simple and intriguing effect which will leave an unforgettable impression.

Leave Her to Heaven (1945)

Imagine if Edward Hopper, Twin Peaks and Agatha Christie's And Then There Were None had a baby, it would most likely turn into this movie. Under the glossy surface of magnificent Technicolor achievement and supernaturally beautiful actresses, the tale of a romance soon twists its sugary idyll into an uncanny sensation that something is entirely wrong with our leading lady (Gene Tierney).
Tierney received an Oscar nomination for Best Actress and it's really no wonder: She plays the role to perfection; so much that I shudder and almost need to look away during that infamous lake scene... Well, I won't give too much away, but I don't recall watching any other actress of that era display such calculated, apathetic coldness (not even Nurse Ratched). You just need to watch and judge for yourself, I guess.

The Apartment (1960)

If you are looking for a 'rom-com' where the male protagonist is not somewhat of an arrogant pain-in-the-butt who only becomes more tolerable when he gets to know the female protagonist (could also be said vice versa. Actually, if you look at the trope-fest most rom-coms are, you'll discover just how problematic they tend to be), then you'll like The Apartment. In fact, it isn't so much a rom-com because its premise is rather sad (no spoilers) but it gradually develops into something very warm while avoiding sappy clichés, and the sweet and down-to-earth chemistry between Jack Lemmon and Shirley MacLaine is worth every penny.

Other worthy mentions: The Philadelphia Story, The 39 Steps, Laura, Some Like it Hot, Shadow of a Doubt, Sunset Boulevard, Casablanca, Battleship Potemkin, A Town Like Alice, Psycho, The Lady Vanishes, Dr. Strangelove, A Patch of Blue, Pickup on South Street, The Godfather Part I & II.