The stork delivers babies to the circus animals, including Mrs. Jumbo’s baby, an elephant with enormous ears. The other elephants laugh at him and call him Dumbo, but Mrs. Jumbo loves him very much. When Dumbo is mistreated, she is furious and raises such a fuss that she is locked up. Dumbo is made part of the clown act, which embarasses him very much. He is a big hit and, celebrating his good fortune, accidentally drinks champagne and becomes tipsy. The next morning, he wakes up in a tree, with no idea how he got there. It turns out that he flew! He becomes the star of the circus, with his proud mother beside him.

The themes in this movie include tolerance of differences and the importance of believing in yourself. It also provides a good opportunity to encourage empathy by asking kids how they would feel if everyone laughed at them the way the animals laugh at Dumbo, and how important it is to Dumbo to have a friend like Timothy.

Parents should note that while respecting individual differences is a theme of the movie, the crows who sing “When I See an Elephant Fly” would be considered racist by today’s standards. One of them is named “Jim Crow” and they speak with “Amos ‘n Andy”-style accents, but clearly they are not intended to be insulting. Families who see this movie should talk about that depiction, as well as these questions: Why does Timothy tell Dumbo he needs the feather to fly? How does he learn that he does not need it? Why do the other elephants laugh at Dumbo’s ears? How does that make him feel? Families who enjoy this movie will also enjoy some stories with related themes. The circus train, Casey, Jr., puffs “I think I can” as it goes up the hill, just like “The Little Engine That Could.” Compare this story to “How the Elephant Got Its Trunk,” by Rudyard Kipling (read by Jack Nicholson in the wonderful Rabbit Ears production), in which another elephant finds his larger-than expected feature first ridiculed and then envied by the other elephants. Kids may also enjoy comparing this to “Rudolph the Red-Nosed Reindeer,” “The Ugly Duckling,” and other stories about differences that make characters special.

George (Om Puri), who is Pakistani, marries Ella (Linda Bassett) and they settle down in Manchester to have seven children and run a fish and chips shop called George’s English Chippy.

As the movie opens in 1971, George returns unexpectedly from the mosque just as Ella and the children are marching in a church parade. George stops to watch, not seeing his family scurry down a side street. It is important to George that his children adopt the religion and customs of Pakistan, and it becomes even more urgent for him as events make him feel helpless and threatened. First, his oldest son, Nazir objects to an arranged marriage and bolts in the middle of the wedding ceremony. Second, it seems that in all the family chaos, they have neglected to have their youngest son circumcised. They belatedly take care of that, and the pain and humiliation lead the child to hide inside his parka, the hood covering his head and much of his face 24 hours a day. Third, India is at war with Pakistan, and George’s fear of the loss of his homeland and culture makes him even more concerned about passing on that culture to his children.

Ella will not let the children criticize their father. They go to the mosque, grudgingly, but they feel like Brits and only one of the seven wants to live according to Pakistani traditions. The others want the freedom of Western culture — to go to discos, study art, play soccer, eat pork sausage, and date whomever they want. They may feel English, but they look Pakistani, and George fears that the culture they want will never accept them. His neighbors support a politician named Enoch Powell who is calling for repatriation of foreigners. But George and the neighbor do not know that their children are romantically involved.

George becomes more rigid. He arranges marriages for two other sons, without consulting his wife. Finally, he becomes abusive, his frustration exploding into violence against his family.

This award-winning movie is based on the experiences of its author. The family moments, beautifully performed by the entire cast, have a tragi-comic authenticity. When George’s rage finally shatters the family’s fragile compromises, the movie struggles to recover.

Parents should know that the movie has very strong language, bathroom scenes, explicit sexual references, including depiction of male and female genitals, sexual situations, and severe wife and child abuse.

Families who see the movie should talk about the cultural heritages that are important to them and how they balance that with the pressure to assimilate. They should also talk about how husbands and wives from different backgrounds create a home that respects both of them, and how people sometimes live with compromises that may seem intolerable to others. Families who like this movie will also like “Mississippi Masala,” about a romance between an Indian woman and a black man.

“Plot: The movie begins with a dinner in 1929 honoring the “”Golden Jubilee of Light,”” the anniversary of the invention of the electric light bulb. But the guest of honor has not yet left home. He is being interviewed by two high school students, telling them that success is ninety-nine percent perspiration and one percent inspiration, and that the most valuable thing in the world is time, because all the money in the world won’t buy one minute of it.

It is 1942 and Stalingrad is “a city on the Volga where the fate of the world is being decided.” Hitler is trying to do what Napoleon could not and has sent his troops to invade the Soviet Union.

The Germans have enormous strength, and the Russians are overmatched. Soviet officers hand guns to every other soldier, telling them, “When the one with the rifle gets killed, the one following picks up the rifle and shoots.” The Germans establish a stronghold and the Russian soldiers are badly shaken. A new commanding officer, Nikita Krushchev (Bob Hoskins), terrorizes one of the senior officers into killing himself and asks for suggestions on how to build the morale of his soldiers. A young political officer named Danilov (Joseph Fiennes of “Shakespeare in Love”) makes a suggestion — “give them hope.” He has seen a soldier kill five Germans, each with a single shot. He urges Krushchev to “give them heroes.”

The soldier is Vassily Zaitsev (Jude Law), an uneducated boy from the Urals with an extraordinary talent for hitting his target. Danilov’s propaganda makes Zaitsev a legend. And that makes him a target for the Germans, who dispatch their own legendary sniper, Terminator-style, to go after him. When that legend arrives (Ed Harris as Major Koenig), he can research Zaitsev by reading Danilov’s circulars about Zaitsev. Danilov sees Koenig’s arrival as a chance for bigger and better propaganda. Koenig is a nobleman, so that now there is a class war to add to the story.

But everything Danilov does to make Zaitsev a hero and an asset to the Soviets makes him more vulnerable to discovery and attack by the Germans. Things get even more complicaged when Danilov and Zaitsev fall for the same girl, a tough soldier named Tania (Rachel Weisz of “The Mummy”).

This is a thinking person’s historical epic, so impressively ambitious in taking on issues and ideas that you have to cut it some slack when it does not manage them all as skillfully as it hopes to. The story of the German siege of Leningrad is worth a movie in itself. The cat and mouse game between Koenig and Zaitsev is like something out of a classic western, more much about strategy, courage, ingenuity, and patience as about sharpshooting. The issue of using one individual’s story to manipulate the masses plays out fascinatingly throughout the movie. It is reminiscent of “The Man Who Shot Liberty Valence’s” famous line, “When the legend becomes fact, print the legend.” If the love triangle is the weakest part of the movie, that is only because the rest of it is so strong.

All four stars are excellent, especially Law’s guileless integrity and Harris’ variation — a sort of guile-full integrity. When the two men face off against each other, it is clear that they understand each other in a way that no one else ever can.

Parents should know that this is a very tense and violent movie, with graphic battle scenes and piles of dead bodies. Characters are in constant peril and many are killed, including a child. There is a brief but fairly explicit sexual encounter with brief nudity. The characters use strong language, drink, and smoke.

Families who see this movie should talk about the effect that fame has on people. At first, Zaitsev innocently enjoys the attention, though he never lets it go to his head. Later he says, “I can’t carry that weight any more. I want to fight as a regular soldier.” Was what Danilov did necessary? Was it fair to Zaitsev? Did it do what it was intended to? How was that similar to what the Germans did to Koenig? (Think about the scene where he turns in his dogtags)? Why did Tania chose the one she loves? Think about what it says about the real Zaitsev at the end of the movie — does the movie do to the real Zaitsev what Danilov did to the fictional one?

Families who enjoy this movie should read more about the invasion of the Soviet Union, a key turning point in WWII. Younger members of the family might like to hear what happened to the commanding officer, Nikita Krushchev, whom baby boomers may remember best for banging the table with his shoe at the U.N. Families who enjoy this movie should also see “Doctor Zhivago.”

One of the most important contributions to the Allied victory in World War II was a code-breaking operation that was so secret it was not revealed until 30 years later. Their deciphering of the Enigma code developed by the Germans shortened the war by as much as a year.

This is the story of the people who worked at a huge and historic estate called Bletchley to unlock the unlockable. They had to solve a puzzle considered impenetrable because it was so complex that it could never have been decoded by the human brain. What the Germans never anticipated was that the British would think up the beginnings of the modern day computer and develop a “thinking machine” to sort through billions of complex computations and find the equivalent of a needle buried in one of millions of haystacks.

The essentials of the story are true, but the characters in the movie are fictional. As he did with “Shakespeare in Love,” screenwriter/playwright Tom Stoppard brilliantly interweaves the real and the imaginary to illuminate not only his characters’ era but our own.

The central figure in this story is Tom Jericho (Dougray Scott), a brilliant mathematician with a stunning grasp of numerical relationships. His grasp of human relationships is a little shaky, however. When we first meet him, he is returning to Bletchley after a breakdown. He was shattered by a brief, overwhelming affair with Claire (Saffron Burrows), a co-worker who seduced and then abandoned him. His superiors do not want him back, but he may be their best hope for breaking the German’s new code, the Shark, before a group of U-boats meet up with American convoys carrying desperately needed supplies.

The reason the Germans are using a new code is that they found out that the British had broken the Enigma. Meanwhile, Claire has disappeared. Figuring out where she is and whether there is a connection between her disappearance and the leak to the Germans is a puzzle that is as important to Tom as decoding the Shark.

He teams up with Claire’s roommate Hester (Kate Winslet) to find out what happened to Claire. As they search for clues, they are watched by Wigram (Jeremy Northern), a sleek secret agent investigating Tom and his team to see if one of them is a traitor.

Stoppard is fascinated with puzzles, wordplay, secrets, and stories within stories, all of which lend themselves very well to the Bletchley code-breakers. The movie brilliantly depicts the desperate atmosphere and heart-breaking dedication of the people who knew that their success – or failure – could do more to determine the outcome of the war than a thousand soldiers with guns.

The performances are excellent, particularly Northern, whose single syllable on entering Tom’s room, “Bliss!” gives us his character’s history from tony prep school through too many compromises. He is a man who has had to sacrifice what he once thought of as honor to serve a greater cause, has had to betray in order to be loyal, and has had to keep too many secrets. Winslet’s only failing is her entirely unsuccessful effort to look dowdy. But she and Scott are marvelous at showing us something we seldom see in movies, really smart people using their intelligence.

Parents should know that the movie has some sexual references and situations (brief nudity). Claire seduces just about every man she meets. There are some very tense scenes, including graphic images of slaughtered bodies in a mass grave.

The movie raises a number of moral dilemmas that are well worth discussion. When it becomes clear that there is no way to save the American supply ships in time, the code-breakers debate whether it is right to use what they know about the ships’ positions to help them calculate the keys to break the code. What are the best arguments for each side? Who was right? The characters lie and there are a number of betrayals in the movie – more than some members of the audience may be able to sort through on the first viewing – and it is worth talking about how people decide whom to trust and how much evidence they need before they change their minds.

Families who enjoy this movie should read about the real key figure at Bletchley, the truly enigmatic Alan Turing. His artificial intelligence test is still the standard used today.

Families who enjoy this movie will also enjoy reading Between Silk and Cyanide, a wonderfully entertaining memoir by Leo Marks, who worked on creating codes during this era. (Fans of 84 Charing Cross Road will enjoy the fact that Leo Marks is the son of man who owned the bookstore at that address.) The complicated issues of uneasy alliances and tragic choices are explored in Kurt Vonnegut’s classic novel, Mother Night. You can also see an exciting but highly fictionalized version of the capture of the Enigma machine (in real life, it was the Brits, not the Americans) in U-571.