Director John Landis is a comedy legend, responsible for some of the funniest films of the 1970s and '80s. In particular, National Lampoon's Animal House is a landmark comedy of its era, and The Blues Brothers is now recognized as a cult classic. However, Landis's crowning achievement may be An American Werewolf in London, a movie which is as freaky as it is hilarious. With the film, Landis helped to establish the conventions of the modern comedy-horror. Landis's approach to storytelling reflects his influences. He's a big fan of comedies from the 1930s and '40s, especially fast-talking screwball comedies.

That said, his cinematic taste is more diverse than one might expect. He's also a devotee of John Ford and Akira Kurosawa, as well as exploitation filmmaker Roger Vadim. The following are some of Landis's most intriguing recommendations, which provide insight into his filmmaking style (and which should appeal to fans of his own work). "The idea of a list of 'The Best' or 'The Greatest' movies is an impossible task, as each film is unique," Landis has said of his favorites. "So these are some of the movies I appreciate."

10 'It's a Gift' (1934)

Directed by Norman Z. McLeod

This wacky comedy is essentially a vehicle for comedian and entertainer W.C. Fields, which recycles some routines from his stage career. He was famous for his verbose and misanthropic characters, who tended to have a particular disdain for children and dogs. Here, he plays Harold, a beleaguered and perpetually exasperated small-town grocer with dreams of owning an orange grove in California. He contends with eccentric customers, a demanding family, and a series of comical mishaps.

It's a Gift is obviously quite dated now, but it remains one of the more watchable comedies of its era. Landis ranked it among his ten favorite movies of all time. It breezes by at just 68 minutes long and is worth checking out for Fields' impeccable timing, deadpan delivery, and witty lines. The movie is also the origin of the iconic exchange where a woman accuses Harold of being drunk, to which he replies: "Yeah, and you're crazy; and I'll be sober tomorrow and ... you'll be crazy for the rest of your life!"

Editor's Note: Not available for streaming

9 'The Awful Truth' (1937)

Directed by Leo McCarey

The Awful Truth is a screwball comedy by filmmaker Leo McCarey, who also directed the Marx Brothers masterpiece Duck Soup. Cary Grant and Irene Dunne play a divorced couple, Jerry and Lucy Warriner, who separate due to misunderstandings and suspicions of infidelity. When both Jerry and Lucy become engaged to new partners, they find themselves entangled in a series of increasingly absurd situations as they attempt to sabotage each other's relationships.

Screwball comedies are characterized by rapid-fire dialogue and the upending of conventional gender dynamics, which is very much the case here. Grant and Dunne have fantastic chemistry, constantly trading charming (and often improvised) lines. There are also some great musical bits and a memorable dance scene in a nightclub. The Awful Truth was a big hit on release, winning McCarey the Best Director Oscar and catapulting Grant to the forefront of Hollywood. This was another movie that made Landis's top ten.

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8 'The Man Who Shot Liberty Valance' (1962)

Directed by John Ford

This classic Western follows Senator Ransom "Ranse" Stoddard (James Stewart), who returns to the small frontier town of Shinbone for the funeral of his friend Tom Doniphon (John Wayne). Ranse reminisces about their friendship, and the story flashes back 25 years to the days when Shinbone was terrorized by gunslingers. As Ranse recounts the events that made him a legendary figure—the man who shot the notorious outlaw Liberty Valance (Lee Marvin)—the film explores the blurred line between myth and reality.

The Man Who Shot Liberty Valance is an unusually meditative Western, with more of a focus on dialogue than shootouts. It's a much more muted, realistic take on the Wild West, especially in contrast to other John Ford masterpieces like The Searchers. But this is also the film's strength and part of what makes it unique. The elegiac mood and black-and-white cinematography is intended as a deliberate contrast with some of Ford's earlier Westerns. Landis included it on his top ten list for Sight & Sound.

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7 'The Miracle of Morgan's Creek' (1943)

Directed by Preston Sturges

The Miracle of Morgan's Creek is a screwball comedy by the master of the subgenre, Preston Sturges, who also made The Lady Eve and Unfaithfully Yours. In this one, Trudy Kockenlocker (Betty Hutton) is a small-town girl who finds herself in a predicament after a night out with a group of soldiers. Unbeknownst to her, Trudy gets married in a drunken stupor and later discovers she's pregnant. However, she can't remember the name of her new husband, leading to a series of comical attempts to sort out the situation.

These were risqué themes for the time, but Sturges handles them with style and wit. He's bold too, satirizing marriage, the military, small-town America, and the nuclear family, and even subtly comparing Trudy to the Virgin Mary. The dialogue is also surprisingly realistic and thoughtful, miles above most other comedies of the early 1940s.

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6 'His Girl Friday' (1939)

Directed by Howard Hawks

Since Landis rates The Awful Truth and The Miracle of Morgan's Creek highly, it's no surprise that he also loves His Girl Friday, which is arguably the greatest screwball comedy of all time. It follows Walter Burns (Cary Grant), a fast-talking newspaper editor, and Hildy Johnson (Rosalind Russell), his ex-wife and star reporter. She's engaged to a mild-mannered insurance salesman (Ralph Bellamy) but Walter, sensing a professional and personal loss, concocts a series of schemes to prevent her departure.

To some degree, the film subverts the era's expectations of romantic relationships, as Hildy is an unusually strong and independent heroine, and Walter is often the butt of the joke. Both leads are stellar, delivering the delightfully fast-paced dialogue with ease. Hawks was determined to make this the fastest-talking movie ever, and he certainly succeeded. His Girl Friday was highly influential, inspiring countless romantic comedies, as well as the fun, wordy dialogue of Tarantino's movies.

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5 'Throne of Blood' (1957)

Directed by Akira Kurosawa

Throne of Blood is Kurosawa's masterful take on Macbeth, but relocated to feudal Japan. It centers on the ambitious and power-hungry samurai, Washizu (Toshiro Mifune), and his wife, Asaji (Isuzu Yamada). After encountering a spirit in Spider's Web Forest that predicts Washizu's rise to power, the couple embark on a deadly and treacherous quest for the throne. The body count soon rises, with explosive consequences. Eventually, an army marches on Washizu's new castle, threatening to topple him.

It's a true visual gem, comprising haunting shots of fog, trees, and twisted roads. The Spider's Web Forest is particularly eerie. Then there's also the elaborate sets and daring special effects, including a hail of real arrows. Fundamentally, though, Throne of Blood succeeds thanks to the powerful performances. In particular, Mifune - a frequent Kurosawa collaborator - is intense and hypnotic, delivering some of his very best work. He's utterly convincing as a warrior who sells his soul for power.

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4 'Pinocchio' (1940)

Directed by Ben Sharpsteen and Hamilton Luske

Guillermo Del Toro's version is great, but there's no topping Disney's 1940 Pinocchio, which is one of the finest animated movies of all time. The classic tale follows the puppet created by the kindly woodcarver Geppetto, who is granted life by the Blue Fairy. However, Pinocchio's journey to become a real boy is fraught with challenges and temptations, including encounters with the deceptive Honest John and the sinister Coachman.

Gorgeous animation, stirring music, and a powerful message are at a premium here. The movie, like the original story, is rich and layered, lending itself to endless interpretation. This is an archetypal narrative done right. As a result, Pinocchio is timeless, feeling as fresh as it did on release, and will likely continue to delight children for generations to come. Not for nothing, it's one of the few movies with a 100% rating on Rotten Tomatoes.

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3 'Pretty Maids All in a Row' (1971)

Directed by Roger Vadim

Pretty Maids All in a Row is a darkly comedic sexploitation flick that satirizes the American high school experience. Student Ponce de Leon Harper (John David Carson) grows suspicious after several female students are found dead. He soon learns that his mentor, the charismatic and unorthodox guidance counselor Michael "Tiger" McDrew (Rock Hudson) has been having affairs with several students. At the same time, police captain Sam Surcher (Telly Savalas) descends on the school, seeking justice.

Pretty Maids All in a Row is a strange movie, but it's also fascinating in an offbeat way. It makes for an unusual blend of biting humor, social commentary, and explicit content. Savalas is also fantastic in his role. Most critics dismissed the movie on release, but it has been praised by subsequent directors like Quentin Tarantino. Landis named it as a favorite on The Movies That Made Me podcast.

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2 'Meteor' (1979)

Directed by Ronald Neame

Sean Connery and Natalie Wood star in this Cold War disaster movie about a massive asteroid hurtling towards Earth, threatening global destruction. To prevent this impending armageddon, a team of international scientists and experts, led by Paul Bradley (Connery) and Alexei Dubov (Brian Keith), collaborate to devise a plan to divert the asteroid's path. Meanwhile, the world faces political tensions and debates on how to handle the crisis.

Meteor bombed at the box office and drew mostly negative reviews, but Landis has named it as a favorite. Perhaps he enjoyed its schlocky vibe and low-budget aesthetic; it seemed like the kind of film that he could've made better. It's no masterpiece, but the narrative about the USA and USSR desperately trying to overcome their hostility and work together to save mankind is interesting, and in some ways prefigures Adam McKay's Don't Look Up.

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1 'Hopscotch' (1980)

Directed by Ronald Neame

Hopscotch is a comedic espionage caper starring Walter Matthau as Miles Kendig, a veteran CIA agent who, after being pushed into a desk job, decides to retire rather than face the bureaucratic constraints. Frustrated by his superiors, Kendig begins to publish his memoirs, revealing classified information and embarrassing secrets. As the CIA attempts to stop him, Kendig sets out on a globetrotting adventure, leaving a trail of laughter and chaos in his wake.

Burn After Reading, this is not, but Hopscotch is watchable thanks to a solid script and Maththau's charismatic performance. It's a feel-good film, lighthearted and breezy. This cheerful tone certainly sets it apart from most of the dour and self-serious spy movies that were in vogue at the time. It's another movie that Landis praised on The Movie That Made Me, and it feels like the type of story we would've enjoyed telling.

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