Director William Wellman (The Big Heat) offered up this 1949 treatment of the Battle of the Bulge, which won Oscars for best screenplay and best cinematography. The film concentrates on the camaraderie and the divisions between the troops as they ready for the big offensive. Told in a taut narrative, the men of the 101st, led by Van Johnson, wait out the winter in the Ardennes forest to confront the German army in what would be the last major offensive of World War II. The men are demoralized and trapped, with no hope of support from the Allies as they are forced to band together and defend their position. A classically assembled war drama that nevertheless manages to be both engrossing and entertaining, Battleground is a mainstay of the genre.

An impressively rigorous, unsentimental, and harrowing look at combat during World War II, Band of Brothers follows a company of airborne infantry--Easy Company--from boot camp through the end of the war. The brutality of training takes the audience by increments to the even greater brutality of the war; Easy Company took part in some of the most difficult battles, including the D-Day invasion of Normandy, the failed invasion of Holland, and the Battle of the Bulge, as well as the liberation of a concentration camp and the capture of Hitler's Eagle's Nest. But what makes these episodes work is not their historical sweep but their emphasis on riveting details (such as the rattle of a plane as the paratroopers wait to leap, or a flower in the buttonhole of a German soldier) and procedures (from military tactics to the workings of bureaucratic hierarchies). The scope of this miniseries (10 episodes, plus an actual documentary filled with interviews with surviving veterans) allows not only a thoroughness impossible in a two-hour movie, but also captures the wide range of responses to the stress and trauma of war--fear, cynicism, cruelty, compassion, and all-encompassing confusion. The result is a realism that makes both simplistic judgments and jingoistic enthusiasm impossible; the things these soldiers had to do are both terrible and understandable, and the psychological price they paid is made clear. The writing, directing, and acting are superb throughout. The cast is largely unknown, emphasizing the team of actors as a whole unit, much like the regiment; Damian Lewis and Ron Livingston play the central roles of two officers with grit and intelligence. Band of Brothers turns a vast historical event into a series of potent personal experiences; it's a deeply engrossing and affecting accomplishment.

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 six-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

Two years after Twentieth Century Fox released its melodramatic disaster film Titanic in 1953, Walter Lord's meticulously researched book A Night to Remember surprised its publishers by becoming a phenomenal bestseller. Lord had an intuition that readers craved the reality of the Titanic disaster, and not the romantically mythologized translations that relied on fictional characters to enhance the world's worst maritime disaster. Lord's book proved that truth is far more compelling than fiction. Three years after it appeared, the book was brought to the screen with the kind of riveting authenticity he had insisted upon in his own research. The 1958 British production of A Night to Remember remains a definitive dramatization of the disaster, adhering to the known facts of the time and achieving a documentary-like immediacy that matches (and in some ways surpasses) the James Cameron epic released 39 years later. The film erroneously perpetuates the once-common belief that Titanic sunk in one piece (instead of breaking in half as its bow began to plunge), but many other misconceptions are accurately corrected, and the intelligent screenplay by thrill-master Eric Ambler is a model of factual suspense. By making Titanic the star of the film, director Roy Baker emphasizes the excessive confidence of the booming industrial age and creates an intense realism that pays tribute to Walter Lord's tenacious quest for truth

Alongside larger-scaled epics, this 1945 drama looks modest, but director Lewis Milestone achieves a gritty realism that is ultimately closer to the truth of combat. A World War I veteran, Milestone had already created a classic war film--and powerful antiwar statement--in 1930's All Quiet on the Western Front, focusing on German troops in the trenches during "the Great War." For obvious reasons, A Walk in the Sun views the action from the perspective of American troops, but Milestone and a strong cast headed by Dana Andrews and Richard Conte prove remarkably clear-eyed in this chronicle of a platoon moving through the Italian countryside following the successful, but bloody, invasion of Italy. There's little of the cheerleading fervor or reflexive demonizing of the enemy visible in other films from the period; instead, the men's treacherous odyssey captures the sense of random chaos as their bucolic trek is interrupted by sudden skirmishes. We're shown the deep bonds forged between the soldiers, the loss of innocence that is the inevitable price of combat experience, and the capricious fates that can spare one soldier while exterminating another. Milestone would extend his mastery of wartime fiction to include the Korean War, captured in the equally fine, equally sobering Pork Chop Hill.

In the capable hands of director Peter Weir, Master and Commander: The Far Side of the World is a seafaring adventure like no other, impeccably authentic, dynamically cast, and thrilling enough to give any classic swashbuckler a run for its money. In adapting two of Patrick O'Brian's enormously popular novels about British naval hero Capt. Jack Aubrey, Weir and cowriter John Collee have changed the timeframe from the British/American war of 1812 to the British/French opposition of 1805, where the HMS Surprise, under Aubrey's confident command, is patrolling the South Atlantic in pursuit of the Acheron, a French warship with the strategic advantage of greater size, speed, and artillery. Russell Crowe is outstanding as Aubrey, firm and fiercely loyal, focused on his prey even if it means locking horns with his friend and ship's surgeon, played by Crowe's A Beautiful Mind costar Paul Bettany. Employing a seamless combination of carefully matched ocean footage, detailed models, full-scale ships, and CGI enhancements, Weir pays exacting attention to every nautical detail, while maintaining a very human story of honor, warfare, and survival under wretched conditions. Raging storms and hull-shattering battles provide pulse-pounding action, and a visit to the Galapagos Islands lends a note of otherworldly wonder, adding yet another layer of historical perspective to this splendidly epic adventure.

Bataan may well be the best. Certainly it's one of the strongest Hollywood salutes to the war effort while World War II was still raging. In his grittiest role to date, Robert Taylor (sans mustache) plays a U.S. Army sergeant fighting a rear-guard action in the Philippine jungle, covering Douglas MacArthur's retreat. His platoon is the usual wartime study in democratic motley: veterans (Lloyd Nolan, Thomas Mitchell, Tom Dugan) thrown together with green recruits (Robert Walker, Barry Nelson), a Latino (Desi Arnaz), a black (Kenneth Spencer), not to mention a couple of stalwart Filipinos (Roque Espiritu, J. Alex Havier), and several officer types (George Murphy, Lee Bowman) with sense enough to defer to the sergeant's judgment. As in John Ford's desert classic The Lost Patrol, the group is whittled down through misadventure, disease, and skirmishes with the ever-advancing Japanese, till only a handful remain for a still-shattering last stand.

The Longest Day is Hollywood's definitive D-day movie. More modern accounts such as Saving Private Ryan are more vividly realistic, but producer Darryl F. Zanuck's epic 1962 account is the only one to attempt the daunting task of covering that fateful day from all perspectives. From the German high command and front-line officers to the French Resistance and all the key Allied participants, the screenplay by Cornelius Ryan, based on his own authoritative book, is as factually accurate as possible. The endless parade of stars (John Wayne, Henry Fonda, Robert Mitchum, Sean Connery, and Richard Burton, to name a few) makes for an uneasy mix of verisimilitude and Hollywood star-power, however, and the film falls a little flat for too much of its three-hour running time. But the set-piece battles are still spectacular, and if the landings on Omaha Beach lack the graphic gore of Private Ryan they nonetheless show the sheer scale and audacity of the invasion.

"They" are the officers and men of the Navy's PT boat service, an experimental motor-torpedo force relegated to courier duty on Manila Bay but eventually proven effective in combat. Their commander is played by Robert Montgomery, who actually served on a PT and later commanded a destroyer at Normandy; James Agee called his "the one unimprovable performance" of 1945. In addition to giving it, Montgomery codirected the breathtaking second-unit action sequences (and took over the first unit for a week when Ford broke his leg). John Wayne's costarring role as Montgomery's volatile second-in-command initially looks stereotypically blustery, but as the drama unfolds--the death of comrades, a friendship-that-never-gets-to-be-a-romance with an Army nurse (Donna Reed)--Wayne sounds notes of tenderness and vulnerability that will take Duke-bashers by surprise.

One of the very best films about the Civil War, this instant classic from 1989 is also one of the few films to depict the participation of African American soldiers in Civil War combat. Based in part on the books Lay This Laurel by Lincoln Kirstein and One Gallant Rush by Peter Burchard, the film also draws from the letters of Robert Gould Shaw (played by Matthew Broderick), the 25-year-old son of Boston abolitionists who volunteered to command the all-black 54th Regiment of the Massachusetts Volunteer Infantry. Their training and battle experience leads them to their final assault on Fort Wagner in South Carolina, where their heroic bravery turned bitter defeat into a symbolic victory that brought recognition to black soldiers and turned the tide of the war. With painstaking attention to historical detail and richness of character, the film boasts superior performances by Denzel Washington (who won the Oscar for Best Supporting Actor), Morgan Freeman, Cary Elwes, and Andre Braugher. Directed by Edward Zwick (cocreator of the TV series thirtysomething), this unforgettable drama is as important as Schindler's List in its treatment of a noble yet little-known episode of history.