A Single Man (2009)
Hey, Good Looking! Released today on Blu-ray and DVD, Tom Ford's A Single Man is a reminder that cinema can sometimes be, like Derek Zoolander, "really, really, ridiculously good looking."
Effortlessly translating the infinite good taste which revitalised Gucci and Yves San Laurent onto the big screen, Ford delivers an elegantly tailored and art directed vision of the 1960s to rival Mad Men .
Colin Firth's churning, repressed emotions ensure that the film is more than a fashion shoot, but it's the look of the thing that will grab you first...and, as the following 59 examples prove, it's not the only film to do so.
What Dreams May Come (1998)
Hey, Good Looking! Vincent Ward is the great 'maybe' of visionary cinema, after his abortive attempt to film Alien 3 stalled the promise of bonkers medieval odyssey The Navigator .
But at least there's What Dreams May Come - cloyingly sentimental and agonisingly paced, maybe, but a startling, seductive vision of the afterlife.
Eduardo Serra provided the ravishing landscapes, imaginatively bolstered (for once) by groundbreaking visual effects. Judging by The Lovely Bones , it's still influential.
Hey, Good Looking! The peak of Hollywood's early 70s' fad with pre-war style ( The Sting , The Great Gatsby ), Roman Polanki's classic subverts the surface to locate its bleak, noirish core in well-dressed, sun-dappled L.A.
Cinematographer John A. Alonzo hides the truth in blazing light, but the chief architects of the film's gorgeous facade are brother- and sister-in-law Richard and Anthea Sylbert, alchemising the production and costume design into a seamless fantasy of elegant evil.
The Third Man (1949)
Hey, Good Looking! Hollywood money, British craft, European style: The Third Man pilfers from the best to achieve its more-noir-than-noir darkness.
Carol Reed hits the cobbled alleys of war-ravaged (but still stunning) Vienna with ace cameraman Robert Krasker in tow, but dims the lights and sets his tripod at crazy angles to visualise the moral corruption of Orson Welles' Harry Lime.
Has any screen villain had such a stylish entrance and exit, emerging from the shadows only to slip away in the sewers?
Broken Embraces (2009)
Hey, Good Looking! Pedro Almodovar has been honing his colourful, camp aesthetic for three decades, and there's probably nobody who films women, clothes and interiors with such delirious abandon.
His latest, Broken Embraces , pushes his trademarks to their limits, as Almodovar revisits past glories (notably Women on the Verge of a Nervous Breakdown ) with renewed - and heightened - style.
That's partly down to putting genius cinematographer Rodrigo Prieto ( Amores Perros , Brokeback Mountain ) behind the camera, and partly due to having the divine Penelope Cruz in front of it.
Hey, Good Looking! Silent cinema, for obvious reasons, had to work harder on its image-making than anybody since.
Hollywood was quick to recognise that German F.W. Murnau, director of Nosferatu , was the best in the biz and gave him carte-blanche to craft away.
The result is Sunrise , the definite silent art film, its simple story of lovers betrayed and reunited transformed into poetry by Murnau's stylised sets and exquisite lighting patterns.
Hey, Good Looking! In his 1950s peak, Alfred Hitchcock enjoyed a uniformly high standard of aesthetics, thanks to the vivid cinematography of Robert Burks and the finest designers Hollywood can offer - who could forget Grace Kelly sashaying into Jimmy Stewart's life in Edith Head's elegant couture?
But Vertigo is deeper, richer, more ravishing, thanks to its vibrant VistaVision colour palette, swooning camera movement, and Kim Novak's model ice maiden. Best of all, it captures San Francisco as a dreamy, shimmering hotbed of stylish insanity.
The Philadelphia Story (1940)
Hey, Good Looking! Some films splash out on lavish imagery and state-of-the-art technology to achieve their good looks; others rely on natural grace and style.
George Cukor's comedy of manners is an exercise in elegance, lent a silvery shimmer by DoP Joseph Ruttenberg and aspirational heft by fabled art director Cedric Gibbons. And let's not forget, gowns by Adrian.
And that's before we get to the cast: Cary Grant, Katharine Hepburn, James Stewart. They really don't make 'em like this anymore.
Hey, Good Looking! Not that you'd know it from his films, but some guys have all the luck. Ingmar Bergman was already one hell of a visualist...and then he started employing Sven Nykvist as his lighting master.
Persona is so art-house it hurts, as Nykvist's up close and personal camerawork captures every pained nuance of gorgeous-but-gloomy Scandinavian gals, Bibi Andersson and Liv Ullmann. And all framed against the equally bleak beauty of Swedish island Faro's austere beaches.
Raiders Of The Lost Ark (1981)
Hey, Good Looking! Steven Spielberg deals in such big, punchy images that pure aesthetic style sometimes passes him by.
With an honourable mention to Catch Me If You Can , Raiders remains his best-looking film, an effortlessly classy piece of old-school derring do defined by Indy's weather-beaten but still enviable leather jacket and fedora, and the dazzling Lean-esque visions of the Egyptian desert.
Hats off to costume designer Deborah Nadoolman and veteran cinematographer Douglas Slocombe.
Breakfast At Tiffany's (1961)
Hey, Good Looking! Blake Edwards' rom-com is still one of the most influential movies in terms of style, and that's largely down to Audrey Hepburn.
Dressed by Givenchy and indulging her silky, feline grace, Hepburn's languid performance oozes class and made generations aspire to Holly Golighty's life of leisure.
Presumably, Hollywood's efforts to disguise what Golightly does for a living were more successful than anybody had anticipated.
The Darjeeling Limited (2007)
Hey, Good Looking! Wes Anderson's critics often accuse him of being more obsessed with his quirkily retro, fastidiously detailed production design than with seamless storytelling - like that's a bad thing.
Maker of probably the most consistently good-looking movies in America, it still took a trip to India (via Paris, in ace prologue Hotel Chevalier ) to raise his game.
Visually, it's an eye-catching blend of indie whimsy and Bollywood panache, showing off the controlled perfection of Anderson regular Robert D. Yeoman's artfully posed compositions.
The Adventures Of Baron Munchausen (1988)
Hey, Good Looking! Critics' stock response to a Terry Gilliam film: story's all over the place, but it looks amazing.
That's not always true, but Baron Munchausen plays that gap for all it's worth. This was Gilliam's one shot at cashing in on a generous budget, and he knows it, focusing almost entirely on its fairytale chic.
With Fellini's cameraman and production designer (Giuseppe Rotunno and Dante Ferretti) orchestrating bonkers visions of Brueghel-esque citadels under cannonfire attack and Robin Williams as the King of the Moon, here's an model exercise in saying, 'to hell with it' and making pure cinema.
Pierrot Le Fou (1966)
Hey, Good Looking! For a director as fast and confrontational as Jean-Luc Godard in the 1960s, he didn't half have a good eye.
Alongside the Breathless sweep of his monochrome New Wave classics, Godard and regular cameraman Raoul Coutard produced eye-popping colour masterpieces, too.
Inspired by pop-art, Pierrot Le Fou is insurrectionary and irreverent, splashing colours about with abandon. Asked by one critic about the amount of blood in the film, Godard wrly replied, "It's not blood, it's red."
Hey, Good Looking! Some of the most distinctive Britfilm directors of recent years have arrived in filmmaking via the worlds of art and photography (Lynne Ramsay, Sam Taylor-Wood, Steve McQueen).
Arguably the pick of the bunch for image-making is rock photographer turned music promo helmer Anton Corbijn, who went back to his roots to film the story of old friend Ian Curtis.
Unsurprisingly, the concert footage looks like Corbijn's old gig shoots come to life, but the overall look - kitchen-sink realism with punk'd up attitude - makes even the most humdrum of settings sing with Joy Division's bleak grandeur.
Edward Scissorhands (1990)
Hey, Good Looking! Like Terry Gilliam, Tim Burton's taste for the grotesque often counts against good looks in his movies.
Edward Scissorhands stands out for being precisely about this juxtaposition, as Johnny Depp (cast against pretty boy looks for the first time) plays the soulful weirdo bringing beauty to the gaudy bad taste of suburbia.
Stefan Czapsky's wintry lighting is sublime, but what really catches the eye is Colleen Attwood's expertly delineated costume design, not least Edward's kohl-eyed emo kid.
Lost In Translation (2003)
Hey, Good Looking! Its solipsistic story of the idle rich behaving as tactless tourists in Japan might divide audiences, but one thing's for sure - Sofia Coppola can frame a shot as beautifully as Daddy.
The film's woozy, fashion mag style - elegant hotel bars, Tokyo neon and Scarlett Johansen's arse - is the perfect showcase for cinematographer Lance Acord, a photography student who first worked with legendary fashionista Bruce Weber.
Betty Blue (1986)
Hey, Good Looking! Ah, Beatrice Dalle. Not the only reason Betty Blue makes this list, but always worth repeating.
John-Jacques Beineix's film is the high watermark of the 1980s' ultra-stylish Cinema Du Look, in which story (a typically French affair of madness and copious shagging) comes second to the visuals.
If Jean-Francois Robin's artfully composed shots and Carlos Conti's tres chic production production look like an advert for Gallic grace, it's probably deliberate.
The General (1926)
Hey, Good Looking! More than any other film on this list, you'll struggle to see this at its best for the simple fact that - like most of Buster Keaton's 1920 classics - the negative is in terrible nick.
It's testament to Keaton's masterful grasp of filmmaking that, even compromised, The General is clearly a work of outstanding beauty, as Keaton's crew hit Oregon's forests (standing in for the Deep South) to capture never-bettered stuntwork.
With immaculate attention to Civil War period detail in costumes, weapons and - especially - vehicles, it looks convincingly old... If anything, the poor prints enhance the time capsule effect.
Hey, Good Looking! Jean-Pierre Jeunet regrouped after the debacle of Alien: Resurrection to reconfirm his credentials as France's leading visionary.
OK, so Amelie offers an eerily whitewashed version of multicultural Paris, the sweetness can be overwhelming and it is single-handedly responsible for Pushing Daisies .
On the plus side, Bruno Delbonnel's eye-popping visuals come on like the candy factory just got ramraided and, as dressed by costumiers Madeline Fontaine and Emma Lebail, Audrey Tautou is an enchantingly elfin style icon.
Hey, Good Looking! Horror, by necessity, doesn't offer much in the way of aesthetics. Chances are, if there's a good looking gal on screen, she's about to get butchered.
Dario Argento, thankfully, thinks differently. As twisted and brutal as the best of 'em, maybe, but Argento remains adamant that the butchering looks good enough to screengrab and hang on your wall.
Cinematographer Luciano Tovoli achieved his redder-than-red imagery by a smart juxtaposition of old (the same Technicolor processing technique used on Gone With The Wind ) and new (state-of-the-art anamorphic lenses).
Hey, Good Looking! Controversial choice, maybe, with some folk still banging on about Smurfs and Ferngully .
But the significant absence of another 3D flick to match James Cameron's stereoscopic vision ( Clash Of The Titans ? Don't make us laugh) prove that the good looks of the future will be 'seen' in front of the cinema screen.
And, if we're honest, Pandora still looks remarkably tactile and luxuriant on a flatscreen at home.
Sweet Smell Of Success (1957)
Hey, Good Looking! Alexander MacKendrick's acerbic satire of Manhattan media life is famed for the bitter poetry of its dialogue, but this is cinema, dammit, not a stage play.
Fortunately, MacKendrick wanted the film to look as hyperreal as it sounded and encouraged cinematographer James Wong Howe to shoot in Times Square with the oil-slick look of tabloid photography.
Mission accompanied. This has a ripped-from-the-headlines intensity that virtually throws its inky blackness into your eyes.
O Brother Where Art Thou? (2000)
Hey, Good Looking! Arguably, a coin toss would be the only fair way to decide which Coen Brothers film made this list. How else to decide between, say, the chilly tragedy of Fargo , the pop-art urbanity of The Hudsucker Proxy or the photographic precision of The Man Who Wasn't There .
All of those films were shot by Coens' regular Roger Deakins, and so was this one - probably their most innovative collaboration visually.
The first feature film entirely colour corrected using digital technology, it pays off as Deakins' captures the Coens' wish for the film to "look like an old hand-tinted picture."
The Searchers (1956)
Hey, Good Looking! John Ford, he's the Western guy, right? Well, yeah. Although he made other stuff (none of his four Oscars was for directing cowboys) that's the genre he made his own.
He was already a master by the time widescreen came along, so like a master he knew how to use that extra space. Shot in VistaVision by Winton C. Hoch, Monument Valley has rarely looked so majestic as here.
But the real excitement comes from the contrast between the wild landscapes policed by John Wayne and the 'aw shucks' domesticity of U.S. civilisation.
Hey, Good Looking! Funny movies tend not to be good-looking, but Woody Allen - disciple of Bergman and Fellini - insisted on class.
His visual peak is Manhattan , a monochrome masteriece shot by The Godfather 's Gordon Willis to make late 70s Noo Yawk look as sophisticated and timeless as stills from the 1930s. Honestly, you wouldn't clock this as being the same city that was so disturbing in Taxi Driver three years earlier.
If the rhapsodic opening sequence doesn't make you want to move to the Big Apple straight away, chances are you're probably already there.
Out Of The Past (1947)
Hey, Good Looking! The point about all those shadows in film noir were that they were cheap, a vital consideration for the war-hit resources of 40s Hollywood.
Still, that didn't stop filmmakers from getting creative; in fact, when all you have to play with is light, it's probably a good idea to know how to use it.
Jacques Tourneur's Out of the Past (aka Build My Gallows High ) is the gold standard for atmosphere on a budget, an intricate tale of double-cross and amour fou that gets the perfect visual style in Nicholas Musuraca's command of chiaroscuro.
Hey, Good Looking! Good looks needn't always involve spectacular scenery or eye-popping colours.
Michael Mann's sleek aesthetic has always involved a certain modernity, and Pacino and De Niro, playing cops 'n' robbers in designer suits, are models of minimalist cool matched by the look of the city around them.
For nearly three hours, Mann and his team (notably cinematographer Dante Spinotti and production designer Neil Spisak) conjure up an ethereal, existential world of steel and neon from everyday L.A.
With street shootouts for added excitement.
Finding Nemo (2002)
Hey, Good Looking! With apologies to Walt Disney and Hayao Miyazaki, only one animated film makes the cut.
But it's a good'un: Andrew Stanton's realer-than-real dip under the ocean, which looks like the most astonishing aquarium ever devised.
Quite simply, it's a good job the film's storytelling was up to scratch, otherwise audiences might have been tempted just to sit and gawp at all of the underwater action.
An American In Paris (1951)
Hey, Good Looking! Under the guidance of songwriter-turned-producer Arthur Freed, MGM's musicals unit knocked out some of the most breathtaking song-and-dance moments ever committed to celluloid.
But here, director Vincente Minelli and star/choreographer Gene Kelly upped the game, using the film's Parisian backdrop to paint their manifesto for taking the musical seriously.
The climactic 16-minute Gershwin ballet, a half-million-dollar extravanganza shot on sets and costumes modelled on the great Impressionist painters, might be pretentious but it's undeniably gob-smacking.
The Diving Bell And The Butterfly (2007)
Hey, Good Looking! Julian Schnabel ought to know a thing or two about imagery: in his day job, he's an artist whose work is "aiming at an emotional state, a state that people can literally walk into and be engulfed."
In The Diving Bell and The Butterfly , aided by Spielberg's camera guy Janusz Kaminski, that's exactly what Schnabel achieves on-screen, as we live in the thoughts of paralysed writer Jean-Dominique Bauby.
The locked-in view from Bauby's hospital bed is hellishly claustrophobic, but the film takes flight in lyrical flashbacks to Bauby's pre-stroke life.
Blue Velvet (1986)
Hey, Good Looking! Who would have thought that David Lynch, director of the brutal visions of Eraserhead and The Elephant Man , could be such an sensuous aesthete?
Here, the darkness of Lynch's mind is drapped in velvet and dipped in honey thanks to the tactile cinematography of Frederick Elmes, transforming white-picket suburbia into the lethal sexuality of a fever death.
Les Demoiselles De Rochefort (1967)
Hey, Good Looking! Like his earlier The Umbrellas of Cherbourg , 'The Young Girls of Rochefort' is Jacques Demy's love letter to cinema itself, a souffle-light concoction in story that's really just an excuse to film singing and dancing in super-saturated colours.
And how! Cinematographer Ghislain Cloquet's images are like a swirling fairground, as Catherine Deneuve and her sister Francoise Dorleac frolic about in colour co-ordinated frocks.
Demy was so adamant that the full richness of hiscolours should survive that he safeguarded his movies against deterioration by printing multiple copies of the negative for later remastering - the 1960s equivalent of backing up to a hard drive.
The Assassination Of Jesse James By The Coward Robert Ford (2007)
Hey, Good Looking! The long list of criminal injustices in Oscar history must surely include the lack of a golden fella for British DoP Roger Deakins: eight nominations to date, but no wins.
Andrew Dominik's gloriously evocative Western highlights Deakins' approach: a pumped-up classicism that somehow looks both timeless and thrilling modern, a perfect fit for Dominik's ever-relevant cautionary tale of celebrity in the cornfields.
Sin City (2005)
Hey, Good Looking! It's rare that a film's aesthetic is so bold that, within years, everybody is copying it - yes, Zack Snyder, we're talking about you.
Yet Robert Rodriguez's green-screen experiment, plonking live actors 'in' digital sets, remains the last decade's most innovative and influential revolution in cinematic style.
Who needs three dimensions when this level of control can deliver distilled essence of noir? Oh, and the bevy of screen beauties doesn't hurt, either.
Gone With The Wind (1939)
Hey, Good Looking! More tickets sold than any other film in history, and it's not hard to see why.
Producer/ringmaster David O. Selznick worked through three directors and as many cinematographers, with Ernest Haller and Ray Rennahan eventually getting the credit (and the Oscar) for the film's lush Technicolor hues and staggering scope.
Even after seventy plus years, it's still the benchmark for big Hollywood movie-making.
Hey, Good Looking! Federico Fellini was having a case of director's block, after helming the titular number of movies. So he threw his dilemma onto the screen, along with just about everything else in his head.
Cinematographer Gianni di Venanzo and sets/costumes designer Piero Gherardi had the uneviable task of visualising Fellini's flashbacks and fantasies - but, aided by the Italian technique of post-synchronised sound, they created an appropriately operatic vision.
Hey, Good Looking! Oliver Stone wrote Scarface as a political morality tale; Brian De Palma directed it as bloody opera.
Unsurprisingly, it's De Palma's hyperreal visual sensibilities that hold sway, its delirious decor setting the fashion for 80s excess and hip-hop bling culture alike.
John A. Alonzo's sun-kissed lighting is scorching, but it's Tony Montana's ostentatious suits (courtesy of designer Patricia Norris) and palatial home (Ed Richardson and Bruce Weintrab) that define the film's look.
Pan's Labyrinth (2006)
Hey, Good Looking! Fantasy, arguably, is easy to make astonishing but hard to make truly beautiful...as countless kitsch prog-rock L.P. covers will testify.
All the more remarkable, then, that Guillermo Del Toro's stunning movie (half full-on fantasy, half brutally realistic war drama) is absolutely spell-binding to look at, its out-there prosthetics merging seamlessly with Guillermo Navarro's earthy colour palette.
Bonnie And Clyde (1967)
Hey, Good Looking! Arthur Penn walked a delicate tightrope in Bonnie and Clyde , at once intent on shaking up 60s Hollywood with New Wave verve but also acknowledging the historical realism of the film's dustbowl 30s settings.
Amazingly, the film pulls it off, as Warren Beatty and Faye Dunaway make gangster glam chic again, and veteran DoP Burnett Guffey counters the bloody, frenetically-cut mayhem with elegiac, romanticised strokes.
Apocalypse Now (1979)
Hey, Good Looking! Given the nightmare shoot (recastings, heart attacks, truculent stars and typhoons) by rights Francis Ford Coppola's Vietnam epic should be a bloody big mess.
Instead, in the hands of cinematropher Vittorio Storaro - a man seemingly incapable of seeing ugliness - the jungle becomes a beautiful napalm bonfire; the night sky a trippy, lethal light-show; the battlefield a canvas for modern-day Valkyries.
It's the scorched look that coheres the insanity into a mentalist masterpiece.
There Will Be Blood (2007)
Hey, Good Looking! An ambitious, original filmmaker needs an expert pair of eyes to guide him, and the unsung hero behind Paul Thomas Anderson's ascent to the top of his profession is his regular DoP, Robert Elswit.
From the disco inferno of Boogie Nights , through Magnolia 's raining frogs and Punch-Drunk Love 's cartoonish colours, Elswit's images have consistently surprised, but none more so than There Will Be Blood .
Aided by David Lynch collaborator Jack Fisk's claustrophobic production design, Elswit nails the stormy textures of Daniel Plainview's world, notably in the pitch-black beauty of an oil geyser literally painting the land dark.
The Leopard (1963)
Hey, Good Looking! A huge influence on 1970s Hollywood, Luciano Visconti's sumptuous period epic taught a generation how to hide dark undercurrents under gob-smacking beauty.
Making full use of 8-strip Technirama, cinematographer Giuseppe Rotunno pulls out all the stops with the splendour of the final ball set-piece - but spare a thought for the researchers who made sure the dazzling images alighted on the exact details of life in 1860s Scillian society.
Hey, Good Looking! When a cinematographer turns director, the one thing you can be sure of is a great looking film - think of Nic Roeg, Barry Sonnenfeld and the gold standard, Zhang Yimou.
His 90s melodramas, notably Raise the Red Lantern , show a staggering command of primary-coloured costume and decor, but it's wuxia epic Hero where Zhang fully cut loose.
Stylised to death, his floaty fight sequences - uniformly delirious and sensuous - are marvels of movement captured by Christopher Doyle, one of the few cameraman to match the director's heightened palette.
Once Upon A Time In The West (1968)
Hey, Good Looking! Sergio Leone wanted to make the ultimate Western...and pretty much achieved it.
Given enough budget to expand on his Spaghetti style, Leone let his ace cameraman Tonino Delli Colli loose in Ford's beloved Monument Valley, not to mention Carlo Simi's sets-and-costumes double-header: rugged long-coats and the gorgeous, built-from-scratch Wild West town of Flagstone.
For good measure, screen goddess Claudia Cardinale is centre-stage to make up for all those sweaty, stubbly cowboys.
Three Colours trilogy (1993-4)
Hey, Good Looking! Cheating, of course: this is three films, but the entire trilogy needs to be seen to showcase the splendour of Krystof Kieslowski's visual ambition.
Based on the colours of the French flag, each film is a study of its shade - the haunting, tearful Blue , the chilly comedy of White and the climactic passion of Red . Aptly, Kieslowski hired a different cinematographer to punctuate the differences.
The roll of honour goes to, respectively, Slawomir Idziak, Edward Kosiski and Piotr Sobociski.
The Fall (2006)
Hey, Good Looking! "All style and no substance," the critics said of pop promo genius Tarsem Singh's debut film, the visually bravura but very silly J-Lo thriller The Cell .
When he came back with The Fall , Tarsem had remembered the substance...but ramped up the style to compensate. Made over many years on days off shooting ads and music vids, Tarsem built his dream-like visuals from some of Earth's most staggering locations and an admirable refusal to use CGI.
It works: this is like nothing you're likely to see without technical wizardry and/or drugs, including the best match cut since 2001: A Space Odyssey .
Citizen Kane (1941)
Hey, Good Looking! Best film evah, blah blah, yadda yadda.
But for all its groundbreaking influence - and the reverence in which it is held - let's not forget it's an absolutely gorgeous film to look at thanks to lighting legend Greg Toland.
Orson Welles deemed Toland's contribution so important he shared his on-screen credit with him, and it's the film's deep focus camerawork - a feast of impossible movement, pin-sharp detail and proto-noir nightmare - that continues to beguile.
Blade Runner (1982)
Hey, Good Looking! In narrative terms, the 2019 of Blade Runner is a bleak, ugly future - derelict buildings lashed by acid rain and illuminated by garish neon billboards.
But this is Ridley Scott we're talking about, and as filtered through his ad-man's sensibility, this is a richly imagined world to die for.
Jordan Cronenweth's cinematography is breath-taking, but really this is production designer Lawrence G. Paull and art director David Snyder's triumph, a bricollage of outlandish retro-futurism.
Hey, Good Looking! So striking were the black-and-white films of Akira Kurosawa that most ended up remade by Western directors: The Magnificent Seven , A Fistful of Dollars , Star Wars ...
But when Kurosawa discovered the joys of shooting in colour in his late period, it was like the sensei teaching his pupils how it should be done.
Marshalled by three cinematographers and an army of set decorators, the sight of a sea of rainbow-coloured flags fluttering over the devastating carnage of a samurai warzone is once seen, never forgotten.
The Night Of The Hunter (1955)
Hey, Good Looking! Acting giant Charles Laughton's sole gig behind the camera, a deep-fried slice of Southern Gothic, was so mocked and misunderstood he never directed again.
Only later was his film reclaimed as a true original, its modern-day fairytale of love and hate given life by Stanley Cortez's
dream-like, expressonistic compositions, especially an eerie river chase shot entirely in the studio.
The Thin Red Line (1998)
Hey, Good Looking! War is hell. Yes, but also sometimes beautiful.
Any of Terence Malick's (admittedly brief) C.V. might have made this list - he doesn't do ugly - but The Thin Red Line gets the nod for subverting the usual battlefield aesthetic for a gentle, transcendental meditation of the natural wonders of Guadacanal being destroyed in the firefight.
Some of John Toll's cinematography could be dropped into a David Attenborough documentary and nobody would bat an eyelid.
The Red Shoes (1948)
Hey, Good Looking! The Archers - aka director Michael Powell and writer/producer Emeric Pressburger - spent their career firing arrows into staid, conservative British cinema.
With musical melodrama The Red Shoes , they hit the bullseye: a swirl of colour thanks to cameraman Jack Cardiff's genius with Technicolor, a swoon of passion from the intense choreography of future Child Catcher Robert Helpmann, and some of the most striking imagery ever to emerge from these shores.
Future stylists Scorsese and De Palma were entranced: the career of neither would be possible without this.
The Godfather trilogy (1972, 1974, 1990)
Hey, Good Looking! Given Coppola's apprenticeship with Roger Corman, it could so easily have been just another exploitation pic, shot fast and on the cheap.
But Coppola had higher aspirations: less Mafia potboiler than an arty study of 20th Century American history. So he hired the best in Hollywood - meticulous cameraman Gordon Willis, production designer Dean Tavoularis - to create a rich palette of gloomy mahogany inner sanctums and dazzling Scillian sunlight.
The look of The Godfather Parts I & II (less so Part III , although it has its moments) put Coppola into the ranks of the great visualists, so much so the director nearly went insane trying to better himself with Apocalypse Now .
Barry Lyndon (1975)
Hey, Good Looking! For all their avowed beauty, you won't find any Merchant/Ivory costume dramas on this list, and that's Stanley Kubrick's fault, for perfecting the look a whole decade before A Room With A View .
To be honest, Kubrick could own this top 10, but this remains his most handsome visuals: a meticulous recreation of the past, like a painting come to life.
Kubrick's obsessive search for pictorial realism led him to NASA and a new lens capable of shooting by candlelight, but all credit to cinematographer John Alcott for actually pulling it off.
The Lord Of The Rings (2001-3)
Hey, Good Looking! When New Line announced their $300 million, three film gamble of letting Kiwi gorehound Peter Jackson loose on Tolkien's epic fantasy, most thought they'd gone doolally.
What only New Line knew was that Jackson was hoarding a couple of tricks up his sleeve. Firstly, a phenomenal Antipodean technical crew, aided by Aussie cinematographer Andrew Lesnie and the FX wizs at Weta, who could match - and better - anything coming out of the States.
Better still, Jackson had located the mines, mountains, fields and battlefields of Middle Earth in his own backyward. The rarely-filmed splendour of New Zealand was the film's most special effect, and brought hundreds of hobbit feet scurrying to the country.
In The Mood For Love (2000)
Hey, Good Looking! Wong Kar-Wai, it's fair to say, is the fashionista's choice of filmaker, the swooning, hallucinatory visuals of Chungking Express and Fallen Angels an electrifying, eye-popping sensation.
Yet it's here, as Wong locks down his camera to concentrate of the repressed angst of two not-quite lovers, that his eye for decor and costume (aided by the sublime, neon-drenched lighting of maverick DoP Christopher Doyle) proves he's even better than even his fans gave him credit for.
Lawrence of Arabia (1962)
Hey, Good Looking! Make no mistake, David Lean's black-and-white, British movies are models of atmosphere and iconic heft.
But, here, big really is best. A logistical tour-de-force as Lean marshalls hundreds of extras in the desert, he gave camera wizard Freddie Young the enormous responsibility of capturing those dazzling cinematic mirages.
The Last Emperor (1987)
Hey, Good Looking! Bernardo Bertolucci had been revolutionising cinematic style ever since the sharp suits and criss-cross lighting patterns of the influential The Conformist .
Imagine what he could with an epic... especially after being granted access to film parts of his biopic of Emperor Puyi Beijing's Forbidden City.
The result is a once-in-a-lifetime collaboration by some of the hottest technical talent in the movies, led by visionary, perfectionist cinematographer Vittorio Storaro (the man behind Apocalypse Now 's hallucinatory look).
Add American Gigolo 's production design maestro Ferdinando Scarfiotti, and ace Brit costume designer James Acheson (who'd first revealed his flair desiging space suits and monsters for 70s Doctor Who , fact fans), and you have one helluva good-looking movie.
Raging Bull (1980)
Hey, Good Looking! It could so easily have been Taxi Driver 's neon-soaked urban hell, Goodfellas ' Steadicam swing or The Age of Innocence 's elegant grace.
Yet Martin Scorsese wins the title of Best Looking Movie Ever this with his (mostly) black-and-white dissection of the troubled life of boxer Jake LaMotta.
The film remains most notable for its experimental, expressionistic boxing matches (including one filmed on roller skates!)...but Michael Chapman's high contrast monochrome is devastatingly good-looking even at LaMotta's kitchen sink.
Achingly evocative, with a careworn beauty at odds with the brutality of LaMotta's life, each and every frame of this could take pride of place on your wall as a photographic still, and that's why it's #1.