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An all-star cast lights up the screen in this riveting epic hailed as "a vivid dramatization of one of history's titanic turning points". (Gene Shalit, Today) The year is 1942 and the Nazis are cutting a deadly swath through Russia. Under the leadership of Kruschev (Bob Hoskins), the citizens of Stalingrad are mounting a brave resistance, spurred by the exploits of their local hero, Vassili Zaitsev (Jude Law). An expert sniper, Vassili's deeds have become legendary - thanks to propaganda produced by Vassili's best friend, a political officer named Danilov (Joseph Fiennes). To stop Vassili, the Germans dispatch their best sniper, Major Konig (Ed Harris), to Stalingrad. When Vassili and Danilov both fall in love with a beautiful soldier (Rachel Weisz), Danilov deserts his friend, leaving Vassili to face his German counterpart alone. As the city burns, Vassili and Konig begin a cunning game of cat and mouse, waging a private war for courage, honor and country.

Like Saving Private Ryan, Enemy at the Gates opens with a pivotal event of World War II--the German invasion of Stalingrad--re-created in epic scale, as ill-trained Russian soldiers face German attack or punitive execution if they flee from the enemy's advance. Director Jean-Jacques Annaud captures this madness with urgent authenticity, creating a massive context for a more intimate battle waged amid the city's ruins. Embellished from its basis in fact, the story shifts to an intense cat-and-mouse game between a Russian shepherd raised to iconic fame and a German marksman whose skill is unmatched in its lethal precision. Vassily Zaitzev (Jude Law) has been sniping Nazis one bullet at a time, while the German Major Konig (Ed Harris) has been assigned to kill Vassily and spare Hitler from further embarrassment.

There's love in war as Vassily connects with a woman soldier (Rachel Weisz), but she is also loved by Danilov (Joseph Fiennes), the Soviet officer who promotes his friend Vassily as Russia's much-needed hero. This romantic rivalry lends marginal interest to the central plot, but it's not enough to make this a classic war film. Instead it's a taut, well-made suspense thriller isolated within an epic battle, and although Annaud and cowriter Alain Godard (drawing from William Craig's book and David L. Robbins's novel The War of the Rats) fail to connect the parallel plots with any lasting impact, the production is never less than impressive. Highly conventional but handled with intelligence and superior craftsmanship, this is warfare as strategic entertainment, without compromising warfare as a manmade hell on Earth. --Jeff Shannon

It is 1942 and the German submarine fleet is heavily engaged in the so called "Battle of the Atlantic" to harass and destroy English shipping. With better escorts of the Destroyer Class, however, German U-Boats have begun to take heavy losses. "Das Boot" is the story of one such U-Boat crew, with the film examining how these submariners maintained their professionalism as soldiers, attempted to accomplish impossible missions, while all the time attempting to understand and obey the ideology of the government under which they served.

This is the restored, 209-minute director's cut of Wolfgang Petersen's harrowing and claustrophobic U-boat thriller, which was theatrically rereleased in 1997. Originally made as a five-hour miniseries, this version devotes more time to getting to know the crew before they and their stoic captain (Jürgen Prochnow) get aboard their U-boat and find themselves stranded at the bottom of the sea. Das Boot puts you inside that submerged vessel and explores the physical and emotional tensions of the situation with a vivid, terrifying realism that few movies can match. As Petersen tightens the screws and the submerged ship blows bolts, the pressure builds to such unbearable levels that you may be tempted to escape for a nice walk on solid land in the great outdoors--only you wouldn't dream of looking away from the screen. --Jim Emerson

One of the very first prison escape movies, Grand Illusion is hailed as one of the greatest films ever made. Jean Renoir's antiwar masterpiece stars Jean Gabin and Pierre Fresnay, as French soldiers held in a World War I German prison camp, and Erich von Stroheim as the unforgettable Captain von Rauffenstein. Following a smash theatrical re-release, Criterion is proud to present Grand Illusion in a new special edition, with a beautifully restored digital transfer.

It's long been one of the revered classics of international cinema, but there is no fine layer of dust over La Grande Illusion. Jean Renoir's film is just as vibrant, exciting, and wise as it has ever been. The story is set during World War I, mostly in a couple of German POW camps, where two very different French prisoners plot to escape: the working-class officer Maréchal (Jean Gabin, the French Spencer Tracy) and the upper-class de Boieldieu (Pierre Fresnay). The suspenseful backbone of the story is formed by these escape attempts, but Renoir is primarily concerned with the way people treat each other, and especially with how class and nationality inform human relations. Most compelling of all the film's characters is the aristocratic German officer von Rauffenstein, unforgettably incarnated by stiff-backed Erich von Stroheim; although he runs a prison camp, von Rauffenstein cannot help but strike up a friendship with de Boieldieu, a kindred spirit from the doomed nobility. There is nothing dewy or naive about Renoir's vision (and two years after the release of this antiwar film, Europe was plunged into another world war), yet Grand Illusion is one of those movies that makes you feel good about such long-outmoded ideas as sacrifice and brotherhood. After it won a prize at the Venice Film Festival in 1937, the Nazis declared the film "Cinematographic Enemy Number One." There can be no higher praise. --Robert Horton

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Catherine Deneuve, Vincent Perez. This Academy Award-winning story traces the passionate lives of a French woman and her adopted daughter in revolutionary colonial Vietnam. 1992/color/155 min/PG-13/French/subtitled.

Régis Wargnier's 1992 Oscar winner for Best Foreign Film is a bit like watching paint dry, despite its exotic locale and lead performance by the legendary Catherine Deneuve (Belle de Jour, The Umbrellas of Cherbourg). Deneuve plays a wealthy French landowner, born and raised in Indochina, from 1930 until 1955, the year of a Communist takeover. The brewing political changes bound to upset her fortune and destiny find an even more personal parallel in her relationship with an adopted daughter (Linh Dan Pham), who grows up and becomes independent. The outline of this scenario sounds pretty good, but the film is flat and unworthy of its star. --Tom Keogh

This "incredible, true story" (Los Angeles Times) is at once "eye-opening, harrowing and humorous" (Leonard Maltin) as it recounts the severe actions a young boy must take in order to survive the Holocaust. Based on the autobiography of Solomon Perel, a young German Jew, the film "bounds from one jaw-dropping episode to the next" (The New Yorker) and puts you in the middle of war-torn Europe where ingenuity, timing and luck are the key to survival. Separated from his family at the age of thirteen, Solly (Marco Hofschneider) takes on various identities to hide his Jewishheritage. First passing himself off as an orphan and later as one of the "Hitler Youth," Solly carries on his charade, hoping desperately to keep his identity hidden and make it through the war alive.

This wonderful film by Polish director Agnieszka Holland (Total Eclipse), based on an autobiography by Solomon Perel, concerns a Jewish-German boy who manages to conceal his identity from the Nazis and ends up a member of their Youth Party. An admirably full experience, the film is both black comedy and horror show, with the central character taking the full measure of everyone's perspective on the war and Nazi crimes. --Tom Keogh

Academy Awardr, Golden Glober and BAFTA nominee for Best Foreign Film, JOYEUX NOEL (Merry Christmas) tells the true-life story of the spontaneous Christmas Eve truce declared by Scottish, French and German troops in the trenches of World War I. Enemies leave their weapons behind for one night as they band together in brotherhood and forget about the brutalities of war. Even if you don't normally stock foreign films, give this title a chance.

Joyeux Noel captures a rare moment of grace from one of the worst wars in the history of mankind, World War I. On Christmas Eve, 1914, as German, French, and Scottish regiments face each other from their respective trenches, a musical call-and-response turns into an impromptu cease-fire, trading chocolates and champagne, playing soccer, and comparing pictures of their wives. But when Christmas ends, the war returns...Joyeux Noel has been justly accused of sentimentality, but if any subject warrants such an earnest and hopeful treatment, it's the horrors of trench warfare. The largely unknown cast--the more familiar faces include Diane Kruger (Troy), Daniel Bruhl (Good Bye Lenin!), Benno Furmann (The Princess and the Warrior), and Gary Lewis (Billy Elliot)--deliver low-key but effective performances as the movie dwells on the everyday elements of life in the face of war. Based on a true incident (though considerably fictionalized). --Bret Fetzer

Stills from Joyeux Noel (click for larger image)

As critic Roger Ebert observed in his original review of "Ran", this epic tragedy might have been attempted by a younger director, but only the Japanese master Akira Kurosawa, who made the film at age 75, could bring the requisite experience and maturity to this stunning interpretation of Shakespeare's "King Lear". It's a film for the ages--one of the few genuine screen masterpieces--and arguably serves as an artistic summation of the great director's career. In this version of the Shakespeare tragedy, the king is a 16th-century warlord (Tatsuya Nakadai as Lord Hidetora) who decides to retire and divide his kingdom evenly among his three sons. When one son defiantly objects out of loyalty to his father and warns of inevitable sibling rivalry, he is banished and the kingdom is awarded to his compliant siblings. The loyal son's fears are valid: a duplicitous power struggle ensues and the aging warlord witnesses a maelstrom of horrifying death and destruction. Although the film is slow to establish its story, it's clear that Kurosawa, who planned and painstakingly designed the production for 10 years before filming began, was charting a meticulous and tightly formalized dramatic strategy. As familial tensions rise and betrayal sends Lord Hidetora into the throes of escalating madness, "Ran" (the title is the Japanese character for "chaos" or "rebellion") reaches a fever pitch through epic battles and a fortress assault that is simply one of the most amazing sequences on film. Although this awesome epic is best viewed on a big theatrical screen, the DVD presents the widescreen film with a higher quality of image and sound than was ever previously available in any home-video format. "--Jeff Shannon"

As critic Roger Ebert observed in his original review of Ran, this epic tragedy might have been attempted by a younger director, but only the Japanese master Akira Kurosawa, who made the film at age 75, could bring the requisite experience and maturity to this stunning interpretation of Shakespeare's King Lear. It's a film for the ages--one of the few genuine screen masterpieces--and arguably serves as an artistic summation of the great director's career. In this version of the Shakespeare tragedy, the king is a 16th-century warlord (Tatsuya Nakadai as Lord Hidetora) who decides to retire and divide his kingdom evenly among his three sons. When one son defiantly objects out of loyalty to his father and warns of inevitable sibling rivalry, he is banished and the kingdom is awarded to his compliant siblings. The loyal son's fears are valid: a duplicitous power struggle ensues and the aging warlord witnesses a maelstrom of horrifying death and destruction. Although the film is slow to establish its story, it's clear that Kurosawa, who planned and painstakingly designed the production for 10 years before filming began, was charting a meticulous and tightly formalized dramatic strategy. As familial tensions rise and betrayal sends Lord Hidetora into the throes of escalating madness, Ran (the title is the Japanese character for "chaos" or "rebellion") reaches a fever pitch through epic battles and a fortress assault that is simply one of the most amazing sequences on film. Although this awesome epic is best viewed on a big theatrical screen, the DVD presents the widescreen film with a higher quality of image and sound than was ever previously available in any home-video format. --Jeff Shannon

One of the most popular foreign films of all time, playing continuously in some theatres for over five years, King of Hearts is a "bright, lilting, whimsical, lyrical" (Cue) comedy thatcleverly satirizes the absurdity of war with a "message [that is] meaningful and entertaining" (Boxoffice). Bumbling Scottish Private Plumpick (Alan Bates) is sent to a village in the beautiful French countryside during World War I on a suicide mission to detonate explosives set bythe retreating German army. The village, soon to be blown sky-high, has been abandoned by its inhabitantsand replaced with escapees from the local insane asylum. Now, with the mentally challenged running the town, Plumpick is crowned King! But his new title brings him his first horrible decision: to carry out his deadly mission or join the ranks of the blissfully ignorant who know nothing about war. King of Hearts is subtle, visually striking and, in short, the "ultimate display of madness" (Life)!

This film was a touchstone of the late 1960s, when it was seen as an antiwar allegory for a world in which madness seemed to reign. Of course, that would probably be true whenever this movie was shown, wouldn't it? Directed by Philippe de Broca and set during World War I, King of Hearts stars Alan Bates as a Scottish soldier separated from his unit in France. He wanders into a small French village that has been abandoned by its residents in the face of oncoming combat. Instead, the town is populated by the residents of a nearby insane asylum, whose keepers have fled--a fact that escapes the innocent soldier, who assumes these are the regular folks. A film that celebrates the innocence and wisdom of the insane, even as it questions who the real madmen are. --Marshall Fine

Like Tolstoy's novel, this epic-length "War and Peace" is rough going, but worth the effort. Winner of the 1969 Academy Award® for Best Foreign Language Film and widely considered the most faithful adaptation of Tolstoy's classic, Sergei Bondarchuk's massive Soviet-Italian coproduction was seven years in the making, at a record-setting cost of $100 million. Bondarchuk himself plays the central role of Pierre Bezukhov, buffeted by fate during Russia's tumultuous Napoleonic Wars, serving as pawn and philosopher through some of the most astonishing set pieces ever filmed. Bondarchuk is a problematic director: interior monologues provide awkward counterpoint to intimate dramas, weaving together the many classes and characters whose lives are permanently affected by war. Infusions of '60s-styled imagery clash with the film's period detail; it's an anomalous experiment that doesn't really work. Undeniably, however, the epic battle scenes remain breathtakingly unique; to experience the sheer scale of this film is to realize that such cinematic extravagance will never be seen again. "--Jeff Shannon"

Like Tolstoy's novel, this epic-length War and Peace is rough going, but worth the effort. Winner of the 1969 Academy Award® for Best Foreign Language Film and widely considered the most faithful adaptation of Tolstoy's classic, Sergei Bondarchuk's massive Soviet-Italian coproduction was seven years in the making, at a record-setting cost of $100 million. Bondarchuk himself plays the central role of Pierre Bezukhov, buffeted by fate during Russia's tumultuous Napoleonic Wars, serving as pawn and philosopher through some of the most astonishing set pieces ever filmed. Bondarchuk is a problematic director: interior monologues provide awkward counterpoint to intimate dramas, weaving together the many classes and characters whose lives are permanently affected by war. Infusions of '60s-styled imagery clash with the film's period detail; it's an anomalous experiment that doesn't really work. Undeniably, however, the epic battle scenes remain breathtakingly unique; to experience the sheer scale of this film is to realize that such cinematic extravagance will never be seen again. --Jeff Shannon

Between war and peace, humor and hate, capture and surrender, life and death lies No Man's Land. Set in the unforgiving trenches of the Bosnian-Serb conflict, this astonishing (Chicago Tribune) film follows the story of three soldiers caught between two

Danis Tanovic's Academy Award®-winning satire of the war in the Balkans is an astounding balancing act, an acidic black comedy grounded in the brutality and horror of war. Stuck in an abandoned trench between enemy lines, a Serb and a Bosnian play the blame game in a comic tit-for-tat struggle while a wounded Bosnian soldier lies helplessly on a land mine. A French tank unit of the U.N.'s humanitarian force (known locally as "the Smurfs"), a scheming British TV reporter, a German mine defuser, and the U.N. high command (led by a bombastically ineffectual Simon Callow) all become tangled in the chaotic rescue as the tenuous cease-fire is only a spark away from detonation. Tanovic directs with a ferocious, angry eloquence and makes his points with vivid metaphors and a savage humor as harrowing as it is hilarious. Searing and smart, this satire carries an emotional recoil. --Sean Axmaker