Casablanca. Bogart gazing emptily over his bourbon, while Dooley Wilson, as Sam, plays a little something of his own--Rick's smoky Club American where Clause Rains wins at roulette, where Crande arrival earns Sam's state--Petter Lorre's escape, Sydney Greenstreet and the Blue Parrot, Conrad Veidt. Bogart and Bergman and a lighthouse. It's the best melodrama, with unforgettable mood and many great characterizations. Director Michael Curtiz integrated all the sentiment, all the style, to make a movie to be seen a dozen times.

Murmur of the Heart. Louis Malle's ripe, witty sketch of indiscreet bourgeois charm in 50's France is far more deeply thought out than other period pieces on adolescence. Lea Massari plays complex voluntary of a mother. As other French directors stagnate and repeat themselves, Malle may yet emerge as the most original and least gimmicky of the bunch. Be wary: the film plays alongside Heat, the latest by Paul Morrissey (Flesh, Trash). His second stand as surrogate Andy Warhol is full of grotesque actors and grotesque sex which boil down not to the grotesque but to the merely gross.

The Bed-Sitting Room. Could t his comedy about mutations found after a nuclear war really be a masterpiece ahead of its time? That's what disgruntled fans of director Richard Lester, of Beatles film fame, have claimed every since the film's miserable box-office showing in 1969.

Man of Aran. With an amazingly perceptive eye for expressions and detail, Robert Flaherty filmed the first narrative documentary (Nanook of the North), in 1922. This one, from 1934, is better photographed and equally moving in its sensitive portrayal of an island off the coast of Ireland, but not quite so historic.