n the sitting rooms of 19th century England, romance is a complex game and a good marriage is the ultimate prize. This realistic production captures all the nuances of life among the English gentry, a society obsessed with profitable marriage contracts. In Jane Austen's classic novel Pride and Prejudice, the arrival of a young, well-off, eligible man named Mr. Bingley sends the Bennet household-with five girls of a marrying age-into a tizzy. But it's the introduction of Mr. Bingley's friend, Mr. Darcy (played with an imperious scowl by David Rintoul), that sets in motion the fate of Elizabeth Bennet (the adorable Elizabeth Garvie), resolved only after a labyrinth of social and personal complexities. Austen's novels are miracles of skillful plotting, fusing a rich understanding of psychological motivation with whimsical turns of chance. This superb BBC adaptation from 1980 zips along, thanks to lively performances, fluid direction, and a keen grasp of the wit of Austen's dialogue (expertly translated to the screen by British novelist Fay Weldon) and her satirical characters, who range from clever and kind to utterly odious. Due to its faithfulness and deep appreciation of the material, this five-episode miniseries stands up against any other film or television adaptation (at least nine to date), though Rintoul may not sets hearts aflutter the way Colin Firth did in the also excellent 1995 miniseries. [+]

Jeanette Winterson's semi-autobiographical novel transfers wonderfully to the screen in this BBC adaptation (with a screenplay by Winterson). Jess is the adopted daughter of evangelical Christians living in the northwest of England during the 1960s. Her mother wants Jess to be a missionary, but when she falls in love with Melanie, Jess begins to realize that there is more to life than church. When Jess's mother begins to suspect the girls of "unnatural passions" she tries to destroy their relationship with the help of Pastor Finch (Kenneth Cranham) and his congregation. But their efforts-including a terrifying attempt at exorcism-only push Jess further away. Jess eventually understands that the only way to survive is to escape, and she sets her sights on a place at Oxford. Oranges Are Not the Only Fruit is both a broad comedy and a moving coming-of-age story. Charlotte Coleman is perfect as the teenage Jess, attempting to reconcile her religious devotion and her adolescent passion, but the film belongs to Geraldine McEwan as Jess's mother. McEwan obviously relishes Winterson's script, and she creates a character who is monstrous, ridiculous, and surprisingly sympathetic. It's a difficult role to carry off, but McEwan succeeds. [+]

Franc Roddam's terrifically energetic movie, set to music from the Who's Quadrophenia, is-at the very least, the best film ever based on a rock album (and, yes, that includes, Tommy, Pink Floyd: The Wall, and Jesus Christ Superstar). Actually, this tale of the battle between two early '60s youth subcultures-Mods and Rockers-in the seaside teenage wasteland of Brighton, England, isn't so much a cinematic "version" of the Who's 1979 double-record rock opera as it is a story based on the sequence of songs on the album. Quadrophenia is about that crucial time in teenhood when the lion's share of your sense of identity is tied up in the music you listen to, the clothes you wear, and the groups you hang out with. Jimmy (Phil Daniels) identifies himself with the sharp-dressing, scooter-riding Mods, who listen to American soul and British pop-rock (The Who themselves were once rather Mod). The Rockers, on the other hand, are leather-jacketed, black-booted, motorcycle-riding tough guys who listen primarily to classic American rock & roll. The film captures this minor pop-culture revolution perfectly. Look for Sting as a club-hopping slickster, who's shameful secret is that he's a hotel bellboy by day. -Jim Emerson.

This majestic, French-made film wishes viewers a "latcho drom"-a safe journey-as it follows the roots of the Rom, traveling people better known as Gypsies. Stunning and evocative, it transcends language and culture, bringing together the best elements of National Geographic-style documentary and music video in a kind of anthropological MTV. Using only music and image, without any steady characters or plot, award-winning director Tony Gatlif (himself of Rom descent) tells a compelling story of Rom migrations from Northern India to Europe and the rest of the world. Beginning with a gathering of lavishly dressed nomads singing across the harsh deserts of Rajasthan, viewers are transported through the lush oases of Egypt into the ghettoes of Turkey, from the muddy lanes of Eastern Europe through lush French fields to the windswept coastal cities of Spain. Every step of the way, there are hypnotic reminders of the harshness and beauty of the Rom lifestyle: the rhythms of labor pounding into vibrant dance, the songs of Turkish flower sellers merging with the plaintive political satires of a gray-haired Romanian violinist. Music is everywhere-children barely able to walk dance alongside great-grandmothers-and covers all styles and subjects-from the wintry strains of an Auschwitz lament to a flamenco devotional in a Spanish shrine to a festive Dixieland number that borrows as much from New Orleans as from northern India. And wordless stories abound, told in the smiles of strangers waiting for a train or in the frowns of rifle-toting farmers come to evict travelers from their land. -Grant Balfour.