Recommend a movie to the user above you.

In handling a camera I feel that I have no peer. But what De Sica can do, I can't do. I ran his Shoeshine recently and the camera disappeared, the screen disappeared; it was just life . . .

Godzilla's debut. There, that covers it. Seriously though, it is a masterful commentary on humanity's folly in dropping the atomic bomb - from which Godzilla was created, and which he represents. This message was all-too pertinent to 1954 Japan, the inhabitants of which were still suffering from the aftermath of Hiroshima and Nagasaki just nine years early. The black and white is perfect for the grim, somber subject matter, and thanks to the story and in part to incredibly competent special effects (even, or especially, compared to later Goji flicks) the movie can be taken utterly seriously even by those who think Godzilla has always been just "cheesy". The movie also shows Japanese society as being unified in the face of disaster (except briefly on whether to study or destroy Godzilla), which is something Western society is less known for. If you look for this one and find the edited version, Godzilla: King of the Monsters, make sure you watch Gojira first as it's the unadulterated and better version, though King of the Monsters can be enjoyable for afterwards.

If there's a single flaw in the film, it's that when describing Godzilla's origin they get the date wrong on when dinosaurs roamed the earth, making it coincide closer to man's initial existence.

I am always reluctant to single out some particular feature of the work of a major filmmaker because it tends inevitably to simplify and reduce the work. But in this book of screenplays by Krzysztof Kieslowski and his co-author, Krzysztof Piesiewicz, it should not be out of place to observe that they have the very rare ability to dramatize their ideas rather than just talking about them. By making their points through the dramatic action of the story they gain the added power of allowing the audience to discover what's really going on rather than being told. They do this with such dazzling skill, you never see the ideas coming and don't realize until much later how profoundly they have reached your heart. - Stanley Kubrick

Even so, it was years before Contempt started to make much sense to me. And though today I wouldn’t hesitate to call it a masterpiece, and certainly one of the great films of the 60s — if not “the greatest work of art produced in postwar Europe,” as critic Colin MacCabe labeled it in Sight and Sound last year — I still feel more comfortable with my earlier ambivalence about it than I do with its current acclamation as a timeless, unproblematic classic. Indeed, I would argue that Godard’s eclecticism must be acknowledged and understood before one can genuinely appreciate the film.