Jay Robinson is the best Caligula ever. No one else has come close.

Where is "The Beggar's Opera?"

Here is someone who needs rediscovery. Unquestionably a pioneer and one of the most imposing actors in film history. He was subtle and yet powerful.

She must have been the most scintillating, hottest, sexiest, smartest dish in the world to have fascinated Chaplin, Erich Remarque and H.G.Wells among other illustrious gentlemen. She was also Bob Hope's best leading lady.

She was an interesting person, beyond being an actress. I wish her life was happier but she had plenty to savor. I think her work with Claude Sautet should be rediscovered. Also (guilty pleasure) "Good Neighbor Sam." She adapted her European nature adorably to the American sensibility in that film.

Romy Schneider is adorable in this film. Jack Lemmon is a perfect partner.

I love this film. I went to it without reading a single critical notice, just walking in the theater. I was completely won over. The Stephane Grappelli score is great too. Whatever happened to Miou-Miou?

She had one of the most distinctive voices in film history. It was warm yet teasing and very sexy. She knew how to woo someone with the slightest effort. When she played vamps, she kidded herself as well as her "victim." In her best film, "Midnight," she has no money and no fear. Her looks, her confidence and her wit will get her through any difficulties...and they always do.

She has a neurotic side to her comic performances that give them a modern edge, but she can also be yearningly and richly romantic as in Borzage's "History Is Made At Night."

Jean Dixon should be recognized for her performance as Susan Potter in "Holiday" which is not listed here. Yes, she was wonderful in "My Man Godfrey" but Susan Potter was a whole person. So many gifted actresses were used as sidekicks or comic relief, but few of them suggested that they were capable of more. Jean Dixon could have done leads...in a better world.

They say that every actor, even a bad actor, has at least one great performance in him. I don't think that Cesar Romero is really a bad actor, merely a nondescript one. However, he makes a magnificent Cortez in this film. The beard helps a lot but I think the role just suits his good nature. He has majesty here and an all-knowing assurance.

An adorable film with a very endearing performance by Jeanne Crain. Easily her best work. This film should be better known.

The toughest, funniest wisecracker who ever lived. It has been written that there was no demarcation between the way she was on screen or off. She dated gangsters and married he-men. When she appeared on screen in any film, the energy level soared.

Why don't more people revere him as a film actor? He is, in my view, more talented than James Stewart and on par with Cary Grant. He doesn't approach Grant's iconographic status because he is not so clear an image, but he has far more range as an actor and has a more affecting presence than Grant, which is interesting since they were both cold fish in real life, at least as they were described by family and friends.

Genius. Genius. Genius.

His films were deceptively frivolous. He tapped deeper emotions in me than almost any other director. "Bay Of Angels" and "The Umbrellas Of Cherbourg" are benchmarks. I finally got round to "Lola" and have loved it ever since.

I know Davis thought she did not deserve the Oscar that she received for this performance, and maybe she was right since she was competing against Katharine Hepburn for her career-best work in "Alice Adams," but Davis is fantastic in this film. She is so fierce and uncompromising and courageous.

Rod Taylor was a good actor. He rarely got opportunities to show what he could do, however. Maybe his burly type limited people's perceptions. When he was allowed some emotional room, as in this film, he was a resourceful performer. Even in piffle, like "Sunday In New York," he was not a commonplace leading man.

Wonderful film with great performances from the three leads and a beautiful score. After this triumph, Joanna Cassidy deserved better roles.

When you think about it, Hollywood wasn't the best place for her. In her early English films, she showed a depth and humanity that her American directors rarely tapped, with the exception of Fred Zinnemann. She was hired by MGM as a replacement for Greer Garson and she was so much more the greater actress. It took another English director, Jack Clayton, to allow her to perform at her most instinctual and creative.

I think he is one of the most believable of actors. In "The Third Man" and "Sons and Lovers," the context is as important as his character. This might mean that he doesn't come through as flamboyantly as some, but in staying with the overall flow of the film he inhabits, he can still be individual and, also, realistic. For me, this is the best kind of acting.

The greatest choreographer in film history. See his work in "The 'I Don't Care' Girl" if you want proof.

One of the subtlest and most expressive actresses in film history. She deserved better roles.

Possibly the finest Italian actress of her day.

Nobody ever makes reference to Hoagy Carmichael's musical (and acting) contribution to this film. Of course we remember Bacall's rendition of "How Little We Know," but what about "Hong Kong Blues" and "Baltimore Oriole." The latter is used as background music but if you want to hear the song in toto, you should listen to Barbara Lea sing it magnificently at this link <http://www.youtube.com/watch?v=ua1vTbRYI4M>.

This is Juliette Binoche's most immediate performance since "Rendez-vous." And she doesn't have to strip down. Her emotions are naked, even inside the complicated (and dazzling) structure of this film.

Sometimes a featured player can make a stronger impression than a star. In two performances in two completely different James Bond films, "Casino Royale" and "On Her Majesty's Secret Service," Angela Scoular is almost as delicious as Joan Greenwood. I don't know where her career went but I have never forgotten her.

She shames most actresses and actors. Her work is as detailed as Streep's but Redgrave is much more lyrical and poetic.

Magnificent Charles Laughton. Also, wonderful and neglected Mary Boland.

Bette Davis's mad scene is one of the high points of her career. I know of no other actress who could have brought it off with such grandeur and such poignancy.