Caine Mutiny. Edward Dmytrik, one of the Hollywood Ten, was also the one who relented, named names, and returned to a soulless, lucrative Hollywood career. He directed this film of the Herman Wouk bestseller, produced by the indefatigable Stanley Kramer, and it ends up as an Eisenhower-culture fantasy; the Jewish lawyer gets to ask, in the final moments. Where all of Captain Queeg's mutinous underlings were when Queeg was fighting--right from WWII's beginning--to prevent his grandmother from being turned into a soap-bar. Bogart is Queeg, the psychotic captain of the U.S.S. Caine, and he's fine: it's fun to watch Fred MacMurray and Van Johnson flounder in his midst.

Cat on a Hot Tin Roof. Richard Brooks directed and adopted the Tennessee Williams play for the screen. Perfectly cast, with Paul Newman as Brick, an honorable but emasculated cripple, Elizabeth Taylor as his frustrated wife Maggie (the cat), and Burl Ives as his father Big Daddy, whose death and inheritance all the family save Brick and Maggie yearn for. One of the more palatable of the Williams films, and Brook's best.

Leo the Last, John Boorman directed this parable about revolution, and if he always cares about filmmaking, it's doubtful he cares much about this topic, Marcello Mastroianni stars as the nobleman whose royal seat is a townhouse in a neighborhood which is composed, except for his own staff, of impoverished blacks. Mr. Deeds Goes to the Barricades, of course, and he ends up assaulting his own supporters in defense of--that's right--The Community. Too abstract and stylized to make much sense.