50. Hello Dolly (1969)

Big-screen, big-budget adaptation of the Broadway hit, which caused a big rift between its big stars, Walter Matthau and Barbra Streisand. Although only appearing in her second film, Streisand's now legendary diva behaviour was already taking root and Matthau is said to have found her antics and attitudes unbearable. She's certainly showboating on screen as determined widow matchmaker Dolly Levi, sorting out the love life of 'unmarried half-a-millionaire' Matthau, along with her own in the process, her domination of the film tempered only by the vibrant colours of Gene Kelly's direction.

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49. Muppets Take Manhattan (1984)

The well-known and well-loved faces from Frank Oz’s Muppet Show appear together in this enjoyable caper. Kermit, Fozzie and the rest of the gang head to the Big Apple with the hope of turning their play into a Broadway hit. There are some fabulous cameos, including Liza Minnelli and Joan Rivers, but there is no doubt that Miss Piggy steals the limelight, on top diva form throughout.

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48. Gentlemen Prefer Blondes (1953)

A warm-hearted social satire featuring a dazzling double act from Marilyn Monroe and Jane Russell. In one of the most memorable movie entrances ever, Monroe and Russell burst onto the screen in sparkly red costumes singing that they're just Two Little Girls From Little Rock - and the pace never slows from there. The banter is witty, the outfits are fabulous and the songs are superb, none more so than Diamonds Are A Girl's Best Friend, a true Marilyn-defining show-stopper whose popularity transcends generations.

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47. Summer Holiday (1963)

Cliff Richard and friends climb onto a London bus and tour Europe looking for girls in this famous British musical from the 60s. The famous title song became a big hit for Cliff and the pensioners' favourite built a career on this kind of nostalgia.

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46. A Chorus Line (1985)

Richard Attenborough's adaptation of this hugely popular Broadway musical works surprisingly well on the big screen. Michael Douglas is excellent as the enigmatic and ruthless director who operates from the safety of a dimly lit seat in the stalls. Playing his dancers like marionettes, he exploits their hopes and fears in order to get the best out of them. The choreography and music are spot on, and fans of the Broadway original will find little to fault with this version of their favourite show.

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