The Seventh Voyage of Sinbad (1958)

If you love classic films and you love special effects, then you are undoubtedly passionate about the films of legendary Ray Harryhausen, and this is one of his best. In this movie, Harryhausen uses his stop-motion technique in color for the first time (and the print here is terrific) to tell the tale of Sinbad (Kerwin Mathews) as he sails the seas, forms an uneasy alliance with an evil magician (Torin Thatcher) and battles a Cyclops, a two-headed Roc and a dragon. Other memorable effects include the genie Berani and the interior of his magic lamp, the Princess Parisa being shrunk and the servant woman who is turned into a dancing half-woman, half-snake. The action starts right away and continues throughout the film, and Bernard Herrmann's music is, as always, absolutely perfect.

DVD extras are excellent, and include: a picture of the original poster; trailers from other Harryhausen features; two interview featurettes, each 12 minutes long; a 3-minute featurette about the Dynamation process; and a one-hour feature about Ray Harryhausen. This is a great package -and for you enthusiastic polyglots out there, the film can be heard in English, Spanish or Portuguese, while subtitles are available in English, Spanish, Portuguese, Chinese, Korean or Thai!

Having small children who are becoming interested in "scary movies", I've found that the Harryhausen ouevre is a great way for them to find thrills and chills without gore, and a wonderful way for me to reconnect with my childhood joys as well. The whole family has a great time watching these terrific films. I'm really glad they're being re-released in such high quality and with such interesting dvd extras.

Superb!

This film was always a favorite of mine since the first time I saw it.

Visually the print on this DVD is extraordinary. The colors are vibrant and the images are incredibly sharp, crisp and clear.

In particular, you can really appreciate Ray Harryhausen's Special Effects that he laboriously produced for this film. They don't look blurred or out of focus as they have on previous prints. They are presented here as they were intended to be seen in their entire splendor and brilliance. It is amazing what he did with an eight-inch tall stop-motion model of a skeleton.

Ken Kolb's screenplay elevates this film beyond the boundaries of what could have been just another fantasy monster movie. He brings depth to the characters and uses dialogue to increase the suspense of the story. Along with director Nathan Juran and all the other filmmakers an epic fairytale unfolds and is preserved on film.

Bernard Herrmann's score is a showstopper and as always accentuates the images on the screen adding mood and enhancing the overall visual effect for the viewer. Herrmann went on to score three more Harryhausen films: "The Three Worlds of Gulliver," "Mysterious Island" and "Jason and the Argonauts." Bernard Herrmann's collaboration with Ray Harryhausen and producer Charles Schneer equaled that of his collaboration with Alfred Hitchcock.

Kerwin Mathews is ever so stoically heroic as Sinbad. He is very good in this role as he brings energy and conviction to the part. He is a man with mission and will not bend or be swayed until he brings it to finality. It is a shame that Mathews never went on to greater screen accomplishments.

Trained for the stage at the Royal Academy of Dramatic Art, Shakespearean actor Torin Thatcher is the consummate evil magician, Sokurah. He too brings conviction to his role as he is dedicated to the forces of evil and darkness.

Visually this is far superior to the Laser Disc version. The Laser Disc was issued in full-frame and not quite as sharp. However, the Laser Disc version was issued with the soundtrack in stereo. I was very disappointed that this DVD was not issued in stereo. That would have made it completely satisfying.

However, the images are so spectacularly presented here it is almost a minor point. Thank the gods for Dynamation.

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Matlin's summary above is quite accurate in describing this film.

I first saw this film as a child of 10 at a drive-in theater. The memory of the imagery and the music have stayed with me over the years. I've seen the film since on tv, film festivals, and vhs. None had the clarity of image and sound of this new DVD release.

Columbia has done Harryhausen's film classic proud. The print quality has NEVER looked so good and is presented here enhanced for 16x9!. The original mono sound is also quite good and Herrmann's brilliant score moves the story right along. The extras on this disk are quite good with the lengthy "Ray Harryhausen Chronicles" being the highlight. The added trailers for other Cloumbia Harryhausen films are a treat.

Thanks to Columbia for an excellent presentation! Their DVDs are the industry standard!

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Just wanted to state this is loaded with extras.. here is a review below of the blu ray version:

The Picture

Filmed in Technicolor and framed at 1.66:1, The 7th Voyage of Sinbad arrives on Blu-ray disc in a transfer that not only shows the effects of its 50-year-old age, but also exposes some of the inherent limitations of the Technicolor format. Let me first start by saying that Sony's AVC/MPEG-4 transfer does well at capturing the source without any visible compression artifacts or processing effects such as edge enhancement and it is as sharp as it can be given the source material. There are also good shadow details, even if the blacks aren't the deepest I have seen. The Technicolor process, however, particularly in 1958, was inherently grainy and often prone to some visible variations in color contrast and density. As such, this transfer is very grainy and does display some of those variations as well as some flickering throughout. One also has to remember that the Technicolor process was known for its hyper-realistic, saturated palette that often yielded something more surreal than realistic. Therefore, The 7th Voyage of Sinbad doesn't necessarily display natural flesh tones, but something more in line with what one would expect from a Technicolor production.

In fact, most of what we see today when Technicolor films are remastered are color palettes that are toned down to be more in line with what audiences today expect to see. I'm not certain Sinbad is even as hyper-saturated as it should be, but it looks well enough reproducing the film's colorful Middle Eastern garb and bright, sunny blue skies.

The Sound

Sony continues their trend of providing multiple language tracks on their Blu-ray releases with The 7th Voyage of Sinbad. In this case there are two lossless options in the form of a newly remixed English Dolby TrueHD 5.1 soundtrack and a French Dolcy TrueHD 5.1 dub as well as the original English mono soundtrack and a Thai Dolby Digital 5.1 dub. The new lossless English 5.1 mix offers a slightly more expansive soundfield that lets the score by Bernard Hermann breathe, exposing more of its intricate instrumentation. The dialogue is well balanced, if a bit harsh, and intelligible while the film's action sequences are lively with subtle use of the LFE to provide some much needed weight to the otherwise thin sound.

The original mono soundtrack is also rather good, if obviously less engulfing. It is well balanced with good dynamics, clear dialogue, and ample low frequencies. Sadly, instead of utilizing soley the center channel for a true monaural 1.0 configuration, Sony has provided the soundtrack in a Dolby 2.0 configuration. Still, it is good to have the original mix represented on this release.

The Extras

The 7th Voyage of Sinbad offers an abundance of exploratory supplemental materials that offer much insight into the work of both Ray Harryhausen and his longtime collaborator, composer Bernard Herrmann. Fans of film history, special effects and Harryhausen should be pleased by the wealth of informative extras available here.

The extras available on this release are:

Commentary with Ray Harryhausen, visual effects experts Phil Tippet and Randall William Cook, author Steven Smith, and Arnold Kunert -The men offer very detailed information on the filmmaking and stop-motion animation process as the film goes by in a very conversational manner. Ray Harryhausen, in particular, offers up many informative anecdotes about the film's production. One interesting bit of trivia that can be gleaned form the audio commentary is the fact that Harryhausen had not actually met the film's young actor Richard Eyer (The Genie) until only a couple of years ago. Because of the scheduling, all of the location filming in Spain, where Harryhausen was, used a young Spanish double in his Eyer's place, while Eyer did all of his filming on the set in the US with director Nathan Juran.

Remembering The 7th Voyage of Sinbad (1.78:1/standard definition) -Ray Harryhausen reminisces on the production of Sinbad and his inspiration for doing the film. In the process, he offers up much information on the special effects techniques he employed during the filming.

The Harryhausen Legacy (1.78:1/standard definition)-John Landis and many visual effects artists speak of Harryhausen's influence on their work.

The Music of Bernard Herrmann (1.78:1/standard definition) -Music historian Steve Smith offers up an historical account of the legendary composer's music and tells of how he and Ray Harryhausen first came to collaborate.

Photo Gallery -A montage of stills from The 7th Voyage of Sinbad set to the film's score by Bernard Hermann.

"Sinbad May Have Been Bad, But He's Been Good to Me" Music Video -A promotional 45rpm recording created for the 1958 holiday season release ad campaign for Sinbad. The song is played back to a montage of promotional posters.

A Look Behind the Voyage (4:3/standard definition) -This is an archival television documentary on the career of Ray Harryhausen.

This is Dynamation (Special Effects) (4:3/standard definition) -A classic 1958 promo highlighting the film's special effects.

Ray Harryhausen -Interviewed by Director John Landis (4:3/standard definition) -John Landis interviews Ray Harryhausen in what is am ore a friendly discussion in which Landis it is obvious that Landis holds Harryhausen in very high esteem. Harryhausen once again details much of the techniques he used in the filming of The 7th Voyage of Sinbad and many of his other films.

Previews (high definition) -Promotional spots for upcoming and currently available Sony Blu-ray releases:

Casino Royale -Promo for the upcoming 2-Disc Collector's Edition

Men in Black

CJ7

The Waterhorse: Legend of the Deep

BD-Live -This disc is BD-Live enabled for users with BD-Live (Profile 2.0) capable players. The BD-Live features available on this release so far are just promos for other Blu-ray releases from Sony, and offer nothing of any real added value.

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If you're like me, you remember watching this on Saturday TV in some terrible condition but that was ok because it was quite an adventure. And adventure it was with Harryhausen artistic magic that made this fun and way ahead of its time. When I popped in this Blu-ray I was expecting a sentimental journey, not the rush of the experience I got. I remember watching this and the colors were always faded and the copy grainy at best. I was stunned at the color and for a B-Movie, the High Def comes through more than I was expecting. In all, watching the Blu-ray of this film is a joy and the best I have ever seen it. Bravo!

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Scarlet Street: Kino Classics Edition (1945)

The original story was filmed by the great French director Jean Renoir as "La Chienne" which means "The Bitch." The director was the son of the outstanding impressionist Pierre August Renoir; the son actually sold his father's great art masterworks to subsidize his effort to make films featuring his ambitious wife. In the end, Renoir felt deeply manipulated and divorced her. In Renoir's hands, this is a black comedy. In Fritz Lang's hands, it becomes a tense sexual thriller and the tale of the dark descent of a man who is completely destroyed by his erotic longing for a beautiful woman who never returns his love.

Edward G. Robinson plays a shy, henpecked married man who works as an unimportant bank cashier/clerk. In his spare time, he loves to paint and in fact possesses an original vision in his naive paintings. His wife humiliates him and announces the art is worthless.

The film really begins when the Robinson character believes that he has saved a gorgeous woman from being beaten up by a man in the street. (That man happens to be her pimp). Unable to take his eyes off this woman, he allows his sexual desire for her take complete control. All his normal ethics of honesty are misused in his attempt to raise money.

Let's be fair. A woman as gorgeous as Joan Bennett could demand favors from her admirer, particularly when he is so emotionally vulnerable. Obviously, she just leads him along, takes his paintings, and discovers that there is a hot market for them. But all along, she is really attracted to her pimp, who is handsome in a cheap sort of way, mean spirited, and cunning.

When the truth is discovered, needless to say, things get darker and darker.

Compared to other scratchy and dull versions which have appeared earlier on DVD copies, this Kino Classics Edition is a superb translation of the original film onto the disc. The cinematography of dark and rainy streets and confining apartments creates an exterior landscape that matches Edward G. Robinson's sexually repressed character.

As a cinematic treatment of a man's psychological descent into hell, this is one of the best film noirs that I have ever seen.

One of my favourite film noir movies and in my opinion easily among the best ever made. If you like noir and have not seen this you absolutely MUST. Don't waste time thinking about it just DO IT. Delighted to see that this has finally been salvaged from the poor quality disappointing prints making it to DVD over recent years. The Kino BluRay version is like seeing it clearly for the first time. The 1080p transfer is very good indeed but contrary to what the description says I would not go so far as to call it "immaculate". Some parts of the movie have scratches running down them... now this is no huge deal but if you are going to do a 1080p digital transfer it would seem little additional work to digitally remove these seeing as it's so easy to do... But despite this I have to give the release 5 stars for the sheer quality of the film itself, the superb acting/directing/lighting/script and the fact that we can at last see it all clearly!

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When Christopher Cross (Edward G. Robinson), a meek, middle-aged cashier, ran one rainy night to the aid of Kitty March (Joan Bennett) who was being beaten by her boy friend, Johnny Prince (Dan Duryea), he had no idea how his life would be changed. It's probably also fair to say that Robinson, Bennett, Duryea and director Fritz Lang had no idea at the time that they were making one of the great noirs, a movie so good, in fact, that in my view it transcends the noir genre.

Cross is married to a shrew. He does the dishes wearing a frilly apron. He's taken for granted by just about everyone he knows. After 25 years with the bank, he has just been given a gold watch. And he paints. He loves to paint; it's the only thing that gives him happiness. When he meets Kitty and walks her home, he sees a beautiful young woman who is friendly. He arranges to meet her again. One afternoon he tells her about his love of painting. "Nobody ever taught me how to draw," he says. "I just put a line around what I feel when I look at things. It's like falling in love, I guess." Kitty looks at him sympathetically. When he looks down at his plate, though, she can't keep a little twist of amusement from her lips. He doesn't know that in him she sees a middle-aged figure of pathetic fun. She and Johnny begin to take Chris for every penny he can make or steal. When Johnny sells his paintings and the paintings become famous, Kitty takes the credit and Johnny takes the money. Johnny may beat up Kitty but she loves him. Cross finally realizes not just how he has been used by the pair, but how Kitty has held him in contempt as a little man whose feelings are laughable. One night she screams at him, "How can a man be so dumb? I've been waiting to laugh in your face ever since I met you. You're old and ugly and I'm sick of you." The ending is violent. Kitty and Johnny both pay a price. And Chris...his ending is sad, poignant and will last as long as he lives.

Of all the movies Lang made in Hollywood, this is the one where, I think, all the components came together in a completely satisfying way. Partly, this is because of the story and the script. The tale isn't just about a meek man's descent, it also is about three individuals using each other in a strange mixture of love, contempt and amoral selfishness. It also often is wry and jaundiced. When Kitty uses Chris' words almost verbatim to describe to an art critic how she feels about painting, "like falling in love, I guess," we know she could not care less about art and is, in fact, amused by her own clever use of Chris' feelings. The effect is funny in a sick sort of way.

Most importantly, I think, is that Lang was blessed by having all first-class lead actors. Duryea made a career out of playing sleaze, but he was never better than here. Joan Bennett, in my view, is one of Hollywood's underrated actors, probably because she was so good-looking. Compare her performance here with her performance as Wendy Van Kettering, smart, lovely, sympathetic in Vogues of 1938 and with the warm, understanding mother of the bride, Ellie Banks, in Father of the Bride. Here, Bennett convinces us that Kitty is captured by Johnny and his rough love, that Kitty hasn't a moral bone in her body, that Kitty is happy to be a slob, shallow and sexy. Kitty says "Jeepers" when she wants to emphasize something. She eats grapes and spits the pits on the rug. She tosses a cigarette end onto the dirty dishes that fill the sink. She has great legs and a lazy drawl. As for Edward G. Robinson, he is the heart of the movie. His meekness draws our sympathy as well our impatience. When he finally becomes violent it is startling and satisfying. The end of the movie may be sad, but it also is ironic and strong. Chris loved Kitty, and he'll be forever hearing in his mind, "Jeepers, I love you, Johnny."

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I have this movie as part of a set I bought a while back.To be honest I thought this would be a nice period piece.That was my entire expectation.I was pleasantly surprised to find that this is a timeless story with emotions that are relevant even in today's modern society. Yes, the 30's feel and atmosphere is there(and wonderfully done), but it's more than that. A film that should be watched with an open mind. Truly a Scarlet Surprise.

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Fritz Lang's 1945 film noir classic "Scarlet Street" may be banal with its golddigger storyline but once the grisly twist hits the viewer, you have no doubt that Lang (known for classics such as "M", "Metropolis", "The Testament of Dr. Mabuse") has successfully drawn the viewer in for something unpredictable and shocking.

It's no surprise that "Scarlet Street" was considered a bleak film noir that was banned in three cities, but nearly 70-years-later, one can marvel and perhaps be amused by how well-crafted this film was for its time.

"Scarlet Street" is a film adaptation by Dudley Nichols ("Stagecoach", "Bringing Up Baby", "The Bells of St. Mary's") of the French novel and play "La Chienne" by Georges de La Fouchardiere and Andre Mouezy-Eon.

Lang would also take his three stars from the 1944 film "The Woman in the Window", Edward G. Robinson ("Double Indemity", "Key Largo", "The Ten Commandments"), Joan Bennett ("Dark Shadows", "Father's Little Dividend", "Father of the Bride") and Dan Duryea ("The Pride of the Yankees", "Peyton Place"), and cast them in "Scarlet Street".

While Fritz Lang was well-known for his films in Germany, it wasn't until decades later that many film historians and critics learned how much of an impact Lang would have in the emergence and the evolution of the film genre, film noir.

VIDEO:

"Scarlet Street" is presented in 1080p High Definition (1:33:1 aspect ratio). Because Kino Lorber were able to obtain the video from the archives of the Library of Congress, what we have here is the best print available. And naturally, with it being in HD, this is simply the definitive version of the film to own.

With that being said, it's important for those new to Kino Lorber to know that the company takes a hands free approach. As restoration is quite laborious and very expensive, they present the film from the original master in HD. So, what we have here is a film that does have its fair share of white specks (not too much that it would ruin your viewing pleasure) but in terms of picture quality, clarity is the keyword when watching this film on Blu-ray.

Black levels are deep, contrast in white and gray levels are great and compared to previous version of the film, there is no blurring effect nor the interlacing.

AUDIO & SUBTITLES:

"Scarlet Street" is presented in uncompressed Linear PCM 2.0 monaural. As mentioned with video, Kino Lorber takes a hands free approach when it comes to Blu-ray releases. So, "Scarlet Street" does have its share of a few clicks and even some mild hissing. But dialogue is clear and understandable.

There are no subtitles.

SPECIAL FEATURES

"Scarlet Street" comes with the following special features:

Audio commentary Featuring a audio commentary by David Kalat (author of The Strange Case of Dr. Mabuse)

Photo Gallery Featuring images of deleted scenes and artwork for the film.

Kino Classics Trailers

JUDGMENT CALL:

"Scarlet Street" is a 1945 film which may have seem twisted, dark or grisly to movie fans during that time.

But it was also the beginning of a genre in cinema known as "film noir" that would later become appreciated by cinema fans.

What I enjoyed about this film is that at first glance, it seemed as if it was too banal. A story about an old man named Christopher Cross who doesn't get the love and appreciation from his wife and wonders if men flock to younger women for fun and a exciting life. Maybe it's what he needs because his life is absolutely dull.

And then you have the banal gold digger Kitty who is directed by her boyfriend Johnny to bilk as much money she can from him.

But of course, Fritz Lang is not your traditional Hollywood filmmaker. Even when I first watched this film and even today, I still had this grin of awe of the clever writing he was able to pull off and literally pull the seat under movie watchers because it was nontraditional movie making.

But "Scarlet Street" was a fantastic film that I absolutely enjoyed! But for those who are not erudites to Lang's work in Hollywood, let's just say that "Scarlet Street" is just the beginning to Lang's darker films.

During that era in time, Fritz Lang was well-known for his German films and in Hollywood, suffice to say, many film critics wondered why his films from the '40s to the '50s became darker and darker. In fact, things would get even darker in the '50s with films such as "The Big Heat" and it correlated with Lang's pessimistic view towards the world and seeing how things worked in the move industry.

For Edward G. Robinson and Joan Bennett, the films they made with Fritz Lang would be in their peak as Robinson's career would be called into scrutiny a few years later as he was threatened with black listening as the government (via the House Un-American Activities Committee) was cracking down on communist sympathizers in Hollywood.

This would lead for nearly a decade of B-movie films for Robinson until Cecil B. DeMille would later cast him in the epic "The Ten Commandments" in 1956.

As for Joan Bennett, she has had a long career since the silent era but a few years after "Scarlet Street", her career would be slightly damaged when her husband Walter Wanger tried to kill her agent Jennings Lang, when Wanger suspected the two having an affair.

And as the careers of these three individuals would change after "Scarlet Street", the film still resonates strongly among fans of Fritz Lang. And it is a wonderful choice for Kino Lorber to release on Blu-ray and one can hope that more of Lang's noir films will receive the HD treatment in the near future.

As for the Blu-ray release, as mentioned earlier, this is the definitive version to own of the film at this time. Watching it on Blu-ray has more clarity and no more interlacing or blurring issues. The film looks good, granted it could look better with restoration. The audio commentary by David Kalat is very good and includes a lot of in-depth information that cineaste will enjoy listening to.

Overall, "Scarlet Street" is an enjoyable, darker noir film from Fritz Lang and one of the earlier films to help kick off the film noir genre. Definitely recommended!

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Spellbound (1945)

The video quality of Criterion's DVD version of SPELLBOUND discs look a bit sharper, more detailed, but grainier than Anchor Bay's re-pressed version from 2000 (in which the flash-of-red color shot was restored). The audio quality of Criterion's 1.0 mono soundtrack is also a little more detailed and more distinct than Anchor Bay's 2.0 mono track. The Anchor Bay disc also sounds much louder, but there are audio distortions in a few places. The soundtrack of the Criterion disc (and many DVDs) was recorded at a much lower volume level, which is usually an effort to retain as much as possible the dynamic range of the source material. The Criterion DVD booklet says the film's original overture and exit music has been included on the disc for the first time. This is simply not true, for the re-pressed Anchor Bay disc also has the overture and exit music. The initial pressing of the Anchor Bay disc, in which the red-color shot is erroneously shown in B&W, does not have the overture and exit music, however.

Although SPELLBOUND helped solidify Hitchcock's position in Hollywood, it isn't one of his best films. But Marian Keane's remarkable analytical audio commentary on the Criterion disc should heighten your appreciation of the film. Keane juxtaposes the themes in the film against the manner in which Hitchcock made his films and the manner in which we, the viewers, watch them, and suggests that they are somehow interrated. She points out that many Hitchcock films (including SPELLBOUND) are about people who take pleasure in watching and analyzing other people, which is also the very thing that we, the viewers, do when we watch such films. As in her commentary for the NOTORIOUS DVD, she injects an extra layer of significance within the film by refering to certain elements in the film as "surrogate authors," "scriptwriting sessions," and "director's assertion of his authorship." Keane single-mindedly concentrates on the interpretation, deconstruction, and theorization on the subject of Hitchcock, and the result is one of the most remarkable dissertations ever recorded on DVD. I give 4 stars to the film itself, but 5 to Keane.

I give 5 stars to the supplements on the Criterion disc as well, like I routinely do. There is a wonderful, rather detailed photo-essay segment on the making of the Dali sequence. Two film clips of the surrealist film UN CHIEN ANDALOU is included ! to show some earlier inspirations for the SPELLBOUND dream sequence. Memos from the filmmakers and production photos show how the dream sequence was re-shot several times due to logistic difficulties and artistic differences. There are also production photos of the deleted "ballroom" sub-sequence, in which Ingrid Bergman plays a statuesque figure bewildering Gregory Peck.

Other extras include about 150 production and publicity photos, a half-hour audio interview of the film's composer, a 7-minute radio program on the subject of theramin, a 1-hour radioplay version of SPELLBOUND, "story treatments" that show how the original novel was loosely adapted into a filmmable story, and other correspondences from psychoanalysts and Production Code officials who offered advices to the filmmakers. The booklet contains two very good essays; one is about the making of the film, while the other offers some artistic analyses (some of which echo Keane's comments).

Combining Hitch's fascination with Freudian symbolism, desire to work with Salvador Dali and writer Ben Hecht, "Spellbound" manages to be very entertaining even if it is a flawed Hitchcock classic. Compromise started with casting with Hitch forced to take Gregory Peck for the lead opposite his choice Ingrid Bergman. Peck does a nice job even if he is a bit stiff in the role of Dr. Edwardes--only he isn't Edwardes at all. It turns out that "John" suffers from amnesia and must rely on Dr. Constance Peterson (Berman) to discover who he is and what happened to the real Dr. Edwardes.

Blu-Ray Transfer: "Spellbound" will leave fans of the film, well, spellbound. The film receives a handsome transfer. How does this compare to the Criterion? "Spellbound" looks sleeker in a good way with nice, consistent grain (for the most part) with the only major flaw I could detect some over use of edge enhancement (resulting in some intrusive haloing). Could this look better? Probably--the use of edge enhancement was unnecessarily heavy handed but, on the whole, it bests just about every DVD presentation I've seen of the movie.

Bear in my that the bigger your screen, the higher resolution your monitor and the more noticeable the improved resolution/depth will be. It isn't a huge difference but it IS there (depth though is noticeable different on both small and large screens).

"Spellbound" had a very troubled production from conflicts between Hitchcock and Selznick's consultant on the film, to butting heads over the dream sequence (which uses a lot of Dali's concepts but was actually redesigned by William Cameron Menzies at Selznick's request)which was heavily edited for the film. Selznick had a heavier hand in this Hitchcock production compared to other films from the period (with the exception of "Rebecca" which Hitchcock always stated wasn't a "Hitchcock picture" and "The Paradine Case" about which star Gregory Peck responded he'd love to see burned when asked if he could pick one film to be destroyed from his extensive filmography).

As usual when Hitch had a conflict or couldn't quite find an angle to the material he focused his attention on certain sequences such as the last shot of the film (which briefly uses an innovative moment of color in an otherwise black and white film) and the sequence where Bergman experiences her sexual awakening.

That isn't to say that this set doesn't have some flaws. For example the lack of a main menu is a bit annoying although not a deal breaker.

The special features are solid throughout.

We get a really good commentary track featuring Thomas Schatz and Charles Ramirez Berg both film historians with some interesting observations about the movie, it's production history and the issue that Selnick had with the dream sequence (and had the bulk of it cut unfortunately).

We also get a featurette on Dali and Hitch's collaboration as well as Selznick's discomfort with the dream sequence.

"Guilt By Association: Psychoanalyzing Spellbound" is a solid featurette highlighting the narrative hook of psychoanalysis and dream interpretation. Hitch was primarily interested in Freud only as a means to tell a story.

We get a unique presentation--Hitchcock directing the radio play of "Spellbound" featuring Joseph Cotten subbing for Peck.

We also get one of Peter Bogdanovich's Hitchcock interviews.

There's also a good featurette on co-star Rhonda Fleming as well as the theatrical trailer in standard definition.

Although it isn't a flawless classic "Spellbound" has enough of Hitch's set pieces to make this interesting and Bergman is, as always, beautiful. Hitchcock's "Spellbound" receives a nice transfer to Blu-ray courtesy of MGM and, while this isn't one of Hitch's best films, it has enough moments to make it worthwhile for Hitchcock fans.

Is this the ultimate edition on Blu-ray? It's hard to tell because MGM and the company they've hired for the restoration done here has done a fine job on the film. It's possible that Criterion or another studio could do some additional work that might make this edition obsolete but, for now, THIS is the best showing of the film even with the occasional bit of noise, edge enhancement and other minor imperfections in the transfer.

Recommended for Hitchcock fans.

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SPELLBOUND was directed by Alfred Hitchcock and produced by David O. Selznick in 1945. As the story unravels it is essentially a murder plot interwoven around psychiatrists and psychoanalysis. It is actually Alfred Hitchcock's approach to the story and his collaborations with composer Miklos Rozsa and surrealist artist Salvador Dali that highlights this film. Gregory Peck plays John "J.B." Ballantine who poses as a psychiatrist while in a state of amnesia. Uncovered by Dr. Constance Peterson played by Ingrid Bergman, Ballantine must find out if he is responsible for the death of the missing psychiatrist that he posed as and simultaneously discover his own identity. Miklos Rozsa's score is both romantic yet eerie as Ballantine tries to remember what happened through analysis of his dreams. Alfred Hitchcock hired Salvador Dali to design illustrations and paintings in order to construct a crisp and vivid rendering of these dreams. Hitchcock did not want to use conventional techniques such as blurred camera shots to recreate the dreams. He wanted them to be as clear and even sharper than the rest of the film. He wanted Dali's style of using shadows, lines of convergence and the idea of infinite distance incorporated into the dream sequences. In the dream sequence we see a black stage highlighted with people at gambling tables with huge mysterious looking eyes peering over them. A man cuts away at the fabric of one eye with a giant scissors revealing another eye. In another part of the dream we see a man standing on a roof behind a chimney that has sprouted roots. The hooded man holds what looks like a deformed or eccentric wagon wheel in his hand. In the distance there is a formation of rocks and boulders, which look like they are sprouting into the shape of a man's head. Another part of the dream shows a man running down a pitched geometric plane as the shadow of a bird follows him. In the background there are geometric shapes and lines that go off into infinity. All these images must be interpreted into experiences from reality. Dali's images are unsettling and thought provoking. Eventually, the eccentric wagon wheel turns out to represent the chambers of a revolver pistol and reveals the true identity of the murderer. A surrealistic painting brings to the canvas an image from reality but puts it into a context of the unreal. I think Dali was successful in translating the realistic elements from the plot into a vision of incomprehensibility of the conscious human mind. Hitchcock and the scriptwriter Ben Hecht then had their characters translate Dali's images back into plausible reality. This is brilliant filmmaking years ahead of its time.

Read Best Reviews of Spellbound (1945) Here

This movie has several flaws, but the great performances of its stars and Hitchcock's clever direction make it a classic, and great fun, anyway! First off even though most of Hitchcock's films have aged well, this one hasn't. Its biggest problem is that the silly psychology reminds you constantly when the movie was made. Additionally, if you are a big Hitchcock fan, be forewarned that this is not as thrilling as some of his other films. Instead, it is more oriented towards romance and bad ideas about psychology.

Pretty much, Spellbound is about a icy, analytical psychologist (Ingrid Bergman) who runs off with a patient who was posing as the new director of the mental institute (Gregory Peck). As they attempt to keep away from the police, who want to arrest Peck, Bergman tries to "cure" him using psychoanalysis (it's tough not to laugh during these scenes).

Anyhow, all in all, this is great entertainment. The Salvador Dali dream sequence, which is famous, is rightly so and the music, acting, and cinematography combine to make a great atmosphere. The movie is still pretty exciting and Bergman and Peck give great performances and make a nice couple. Even though this is not Hitchcock at his typical best, it's a good movie and deserves a viewing regardless of its silly ideas.

Want Spellbound (1945) Discount?

This review refers to the Anchor Bay release of the "Spellbound" DVD....

Anchor Bay has done it again. This 1945 classic directed by Alfred Hitchcock, was beautifully transfered onto this DVD. The black and white images are sharp, crisp, and clear. Barely a sign of this film's age. The sound remastered in Dolby Dig 2.0 is great. If you're a fan of this film, you'll be thrilled at how good it looks.

Haven't seen it yet, but love Hitch, or maybe it's been a while since you have?....Here's a little of this riveting story.....

The beautiful Ingrid Bergman plays the distant psychiatrist Dr. Constance Petersen. She treats a number of troubled patients at the Green Manors Mental Asylum, but her toughest case is yet to come. With Dr. Murchison(Leo G Carroll) being forced into retirement a new chief of staff will be arriving. It is the esteemed Dr Edwards(Gregory Peck)who takes over. It is not long before Edwards and Constance find themselves attracted to one another, and it is not long before Constance figures out that Edwards is not really who he says he is. He displays signs of paranoia and amnesia and it is possible that he murdered the real Dr. Edwards.They are on the run to try to solve the case but as the original theatrical poster says,"Will he Kiss me or Kill me?"(The DVD comes with a mini version of this poster).

You'll be awed Hitch's definitive style of camera angles, shadow and lights, romance and a unique dream sequence designed by Salavdor Dali. Not to mention all the wonderful talent that graces this film. Bergman and Peck make screen magic together, Carroll is a legend and this film shows us why.Also starring is Rhonda Flemming,Michael Chekhov, and Wallace Ford. The music by Miklos Rozsa also adds greatly to the building tension, and romantic scenes in the story.

Looking for Hitch: About :40 minutes in, you may see him if you're quick!

It never ceases to amaze me that we are lucky enough to be able to see these great classics as they were first seen and with the added treat of the origianl theatrical Overture.(I will be adding this one to my listmania of "Old Movies That Look Great on DVD") Now, if you are looking for special features, this DVD does not have any, there is another version by Criterion that offers more in the way of extras,although quite a bit more expensive.(Criterion also does great transfers)Which ever you choose, this a a must have for fans of Hitch, Bergman or Peck.

So don't worry about trying to over anaylze this one....As Hitch himself said "It's just a movie." But a GREAT one! So enjoy!......Laurie

more Hitch stuff:

Hitchcock's Notebooks: An Authorized and Illustrated Look Inside the C

Alfred Hitchcock Presents volume 2

Alfred Hitchcock Double Feature Volume One Sabotage / The Man Who Knew Too Much [VHS]

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Avengers Illuminated 3D Lenticular Gift Set - Best Buy Exclusive (2012)

$19.99 the week of March 17th 23rd, 2013 in Best Buy stores! Get them while you can and don't pay these crazy prices on here.

VERY FAST SERVICE.I LOVE THE BOXSET PRESENTATION.THE BOOK OF THE MARVEL CHARACTERS IS INCREDIBLE.ALSO THE LITOGRAPH OF THE AVENGERS IS VERY NICE.

Buy Avengers Illuminated 3D Lenticular Gift Set - Best Buy Exclusive (2012) Now

This really is a step up: the box is made of some sort of rubber which sets it apart. And the illuminated lenticular, once lit, looks awsome.

The book offered about Marvel's characters is also a good adition to have around with all the new stuff coming...

Read Best Reviews of Avengers Illuminated 3D Lenticular Gift Set - Best Buy Exclusive (2012) Here

The Dark Crystal (1982)

This movie is Jim Henson's magnum opus. There isn't a fantasy movie out there that brings you to a whole different reality like The Dark Crystal does. The only movie that comes close is James Cameron's Avatar. Yes the movie is all performed entirely by puppets and yes there isn't a human being in site. That's the beauty of it. With a combination of an excellent story, innovative (for its time) animatronics, beautiful sets and cinematography you get a truly dazzling experience that any fantasy fan would be a fool not to miss.

The biggest aspect of Dark Crystal is the setting. They created a whole different world with its own animals, plants and terrain. The level of detail put into creating this new world is staggering and you get some good scenes to soak yourself up in it. From the rock caves of the Mystics to the jagged spires of the Skesis castle to Aughra's planetarium to every landscape in between. You will get drawn into this alien world. The beauty of the sets and location shots is only enhanced with some fantastic cinematography and conventional effects.

Since we are essentially talking about a puppet show brought to you as a feature film let's talk about the puppets. Granted they might seem a bit archaic by today's standards, they were nothing short of incredible back in 1982. To have puppets act and react in such an organic and lifelike fashion was never done on film before. This is the first movie where you get that sort of eye and mouth movements we have come so used to with current animatronics. Famed artist Brian Froud created all of the creatures and characters for Dark Crystal and if you're a fan of his work you will definitely see it. When you look at the majesty of the Mystics you forget they are just people covered in foam latex.

Of course having a truly creative setting and truly creative characters would not be enough to make a great movie. Lord knows fantasy fans have seen plenty of examples that prove that point. However this movie has a story that is as classic as any fable you have read before. By the time you finish this movie if will feel like you just read a grand fairy tale... only about wondrous and fantastic creatures never seen before. It's not deep storytelling. Then again it shouldn't be considering the mythical theme.

The soundtrack for this film is a perfect fit for the movie. The main themes are grand, dynamic and best of all memorable with a full orchestra giving the music vibrant life. Other pieces of the film work with what I can best describe as old western European instrumentation and themes, and again they work wonderfully. I can think of about a half dozen songs from the movie right now that would stick in my head in a good way if I let it. The music is that memorable. Okay... I do remember one song in the least useful scene (Skeksis banquet) in the movie that didn't impress me. But to be honest the music was fitting the scene, and the scene didn't impress me either.

The original release of this DVD had a host of wonderful extras that made it feel like the only DVD you would ever need. Then came the 25th Anniversary Edition, which gave an impressive upgrade to the visuals (I mean night and day difference) via a digital remaster, Dolby Digital Surround sound, a new commentary and some additional features. On a small note they took out the Spanish stereo track the original DVD had and included a surround track in Japanese.

Now we have the Blu-Ray. Even if you bought any of the previous releases (and all of them were worthy purchases at the time) you definitely want to make that double/triple dip. And I thought the Anniversary Edition was an amazing improvement. The details really, really stand out on the Blu-Ray. I see little details as plain as day that I never noticed before. It even gives new life to the aging puppets by bringing out even the subtlest of details. The sound is very much improved with Dolby TruHD in English, French and Portugese. A Dolby Digital surround Spanish track is finally included. Looks like they corrected the absence of the Spanish track on the Anniversary Edition, and then some. But then they take out the Japanese audio track. What's going on here? There are a few new extras on the Blu-Ray, but nothing that compares to the previous features. Here is a run down:

COMMENTARY BY BRIAN FROUD Brian is the conceptual designer for the movie and essentially created the world for Jim Henson. He goes on about design techniques and how he came about the characters and inspirations for his work in The Dark Crystal.

WORLD OF THE DARK CRYSTAL The most amazing "making of" documentary one can ever ask for. It details over an hour of footage regarding conceptual design, character creation, production, cinematography, the philosophy behind the creation of this movie and the world it is based on, and more. This documentary was made while the Dark Crystal was released so you get interviews with the man himself, Jim Henson, at the time of the movie along with scores of others involved in the movie. Most "making of" documentaries that come out with movies these days are little more than lip service to help promote the movie. I wish they would follow the model done on THIS documentary.

REFLECTIONS OF THE DARK CRYSTAL Two-part featurette (Shard of Illusion [16 minutes] and Light on the Path of Creation [20 minutes]) with more recent interviews from writers, directors, and performers including co-writer David O'Dell, conceptual designer Brian Froud, and Jim Henson's son Brian. These featurettes also include newly discovered test footage from Jim Henson's home in England.

PICTURE-IN-PICTURE STORYBOARD TRACK This is probably the best Blu-Ray exclusive feature in the set. As the titles describes you get a sizable window showing pre-production storyboards and conceptual drawings, each with descriptions of what you are seeing.

THE BOOK OF THRA: THE DARK CRYSTAL COLLECTOR Hmm... is it a game? You click a button on the remote every time you see an icon appear. Not much of a game. Is it an in-movie encyclopedia? When you collect the entries in this Blu-Ray exclusive you get notes on various characters, places, and creatures in the film. Mostly the names and duties of the Skeksis and Urru (mystics). It's neat, but it would have been less cumbersome if they just made a data file type page instead of something you have to watch the movie to see. The details are sparse, and if you want to really get into this universe you're better off getting The World of the Dark Crystal. Or better yet Wikipedia.

ORIGINAL SKEKSIS LANGUAGE: Test Scenes The original concept of The Dark Crystal was to have many of the creatures speak their own language, which we would get subtitles for, in order to further put in that different world. I think that would have been a cool way to see the movie and with this footage you get an idea of Jim Henson's original concept. Keep in mind this is not fully produced footage and it's not the same as seeing the end product. Namely the character Augra is being dubbed with Frank Oz's Miss Piggy-esque voice over and of course there is no music or post-production. Still it's interesting to get a taste of what the movie could have been like.

DELETED FUNERAL SCENES Just a deleted scene of the Skeksis funeral. You're really not missing much taking it out if you ask me. The funeral itself is boring. The scene has some footwate with Jen talking to one of the Mystics about his quest, which was nice. No remastering on the scene of course. It's pretty grainy.

SKEKTEK'S CRYSTAL CHALLENGE Also a Blu-Ray Exclusive. It's a trivia game played throughout the movie. A question pops up and you have to answer or get some of your essence drained. Not as annoying as the Book of Thra feature, but I still don't see why they don't just put this separate from the film.

Every time I have reviewed a Dark Crystal disk I have been impressed. It seems they just keep getting better and better. The first one had the movie with a good array of language tracks and extra features that still top all that has been offered since. The second one ups the ante with an amazing digital remastering. Now the Blu-Ray gives and absolutely jaw dropping visual and audio presentation that even dwarfs the visual clarity of the second release; especially for a movie that was made back in 1982. If you have a Blu-Ray player and like The Dark Crystal you owe it to yourself to get this.

I will admit that some people might be put off of this movie due to the lack of human actors in front of you and the fact the puppet animatronics might feel dated (although I feel less so with the Blu-Ray presentation). It's a shame people would feel that way because The Dark Crystal is fantasy storytelling at its finest. If you are a fan of the genre this movie is an absolute must. If you're a Muppet fan... well these aren't Muppets so don't expect Fraggle Rock when you see it. Any fan of grand storytelling who wants to be whisked away to a strange faraway land will find what they are looking for in The Dark Crystal. Do yourself a favor and check this movie out.

I'm a huge fan of The Dark Crystal (it and Labyrinth are my favourite movies of all time ever) so I was of course thrilled when a special collector's edition was released. However, I'm disappointed in the "features".

Pretty much everything on the disc is the same as what's on the non-collector's edition. The few new things to me aren't worth it. Character Illustrations and storyboards are nice and all. I was excited about "The Mithra Treatment", which I thought was the original print of the movie...where the characters speak their own language and not English (you see some of this in the deleted scenes on the disc). It is not. It is simply screens and screens of Henson's original notes. Interesting yes... but I'd rather have that in a booklet, not in screens on my TV. Then again, the fact that it was only 1 disc should have tipped me off.

The packaging is nice, the replica of Henson's notepad detailing the original ideas which would become the movie is very interesting... but in my opinion, not worth the $35 or whatever I just shelled out for this.

I'm very disappointed in the amount of "exclusives" on this DVD. The original print of the film would have been *amazing* to see, to see how Henson and Co. originally viewed the film. Maybe some new interviews with some of the other players (Oz and Froud for sure) as they look back on the movie, its box office disappointment but almost cult success. Or even a nifty booklet with a lot of these extras in it. I hate sitting in front of my TV trying to read screens of information or look at drawings which I'd rather have on paper so I can see the detail better.

So to make a long story short... if you like the movie, get the regular edition and not collector's. If you're a fanatic like me, bought the re-issued World of the Dark Crystal book and even considered shelling out a few hundred for the original pressing... and somehow MISSED buying the first DVD release of this movie, well then this is probably for you. But if you already own the DVD that came out a few years ago... I'd think very heavily on it, unless you are a fanatic. Even as a fanatic, you probably won't find any new material here (especially if you own the aforementioned book), and I'd save the $35. Or try to recoup some of your "loss" and sell your other DVD somewhere (like I'm going to try and do). I hope that if Henson and Co. decide to do a Collector's Edition of Labyrinth they put a little more work into it. I have to say, I'm disappointed with how the kids have carried on Jim's legend.

Buy The Dark Crystal (1982) Now

I didn't buy this dvd to criticize it or take it apart. I bought it to own it and enjoy it---like most people. This is my absolute favorite movie. I looked forward to seeing all of the new features being released about this movie. The special features were incredible---the work prints, the clips, the trailers, character profiles,the deleted scenes----all of that was pretty magical to me. The problem that I had was with the overall quality of the movie itself. The sound was not top notch, and the movie was entirely too dark----NOT the content(I love this movie!)I'm talking about the color of the characters, backgrounds, etc...it seemed to have been re-issued in a darker finish. The biggest disappointment, was that the original soundtrack was not on the dvd as stated---there was an option to choose it, called "isolated music score", but when you choose it, you just get sent back to the beginning of the dvd menu. The other problem that really messed-up the whole movie----certain colors were changed. For instance: the color of the crystal became purple instead of that murky wine color. Next, when the crystal was healed, after the rock and crust fall from the walls, the brilliant white crystalline walls of the castle are no longer white---the dvd shows these walls in brown---they seemed faded; not how they were portrayed in the original. Next, when the Urskeks ascend to their higher realm, they meld together and are swept into this beautiful funnel of white energy and carried through the triangular portal over the crystal.In the dvd, however, someone changed the white color of the energy into GREEN; a serious contrast---it was so obvious. That was terrible. Lastly, the sound dips and waves in two places----immediately after Kira is brought back to life by the Urskek...right after her head moves. And the sound also fluctuates at the exact point where the Urskeks disappear through the triangle portal...right when the end music hits its climax. The reason why I know so many of the flaws is because I have the laserdisk that was put out a couple of years ago, and I played them both at the same time---mirrored---I flipped back and forth just to see if my assumptions were right.. There were major differences. The quality was just not there for it being a re-issue. By all means---if you like this movie, then buy the dvd---it's great to have and watch. Just understand that the money that you are paying for this is strictly for the special features and not for the movie itself. I never criticize things just to criticize. I don't believe in nit-picking every little detail. This is simply not the Dark Crystal that I have grown to know and enjoy. I firmly believe that if you're going to take the time to bring back something so popular and special to so many people, why do it halfway? Do it right, and make it big.

Read Best Reviews of The Dark Crystal (1982) Here

Long have I loved The Dark Crystal, and when I got the DVD as a gift (my first DVD!), frankly, I was apprehensive. I hadn't seen the movie in years, until this past summer, when I rented the videotape and was appalled by the quality: the murky picture, the incomprehensible composition of many scenes, and the slow pacing. Would the DVD simply present digitally-clear proof of all these complaints?

Nope! This is a feast for the eyes, a creative masterpiece.

Okay, first off, I'll say that the pacing *is* slow, and that's the biggest flaw in this film. My only other issue, brought to light by the sharp DVD picture, is that the hero puppets, the Gelflings, are relatively unexpressive -their facial features change very little. Perhaps that was the limited state of the art for a humanlike puppet in the early 1980s. It's ironic, because every other creature in this fantasy world (excepting the beasts of burden: Landstriders, Garthim) is delightfully expressive, from the simple Pod People to the wonderful conniving Skeksis Chamberlain. But then, I've read the same about Star Wars, even: Heroes tend to be plain and undetailed because we are meant to project our own traits upon them. Still, I'd have appreciated even a basic facial expression, a simple smile or frown, but the Gelflings don't have it.

But don't get me wrong: Those are minor complaints. I love this movie. I almost gave up on it after the atrocious VHS rental experience, but the DVD restored my faith and then some. If the pacing is slow, it is a boon in disguise, because it allows you more time to absorb the visual detail. And The Dark Crystal is loaded with detail; this is a complete fantasy world, inspired by Brian Froud (of the book "Fairies") and constructed by Jim Henson's shop. The widescreen frame is necessary (it's the only aspect ratio included) -after seeing this DVD, I can't imagine watching the movie in TV pan 'n' scan format. Every shot is a dreamlike panorama. And the color is truly vibrant.

The sound, as well, is excellent, and the isolated music soundtrack option provides for an even more mysterious and compelling experience. The bonus material is sometimes weak (e.g., overdesigned character-photo screens with terse descriptions), but the saving grace is the documentary piece. It's an extensive look at the conception and making of the movie, and it features the most footage of Jim Henson I've ever seen in one place. The Dark Crystal was in many ways the crown jewel of Henson's achievements, and it's fitting that he gets the chance to talk so much about it. Plenty of interviews with other production people, too, including Frank Oz. (At one point, Henson and Oz are seen discussing a storyboard, and if you close your eyes, it's eerie -you could swear it's Ernie and Bert.) Truly a treat for Henson fans. For the many who waited decades for a definitive collector's release of The Dark Crystal, it's a dream come true.

Note: I wouldn't recommend this film for young children. I'd say it's best for later grade-schoolers, especially fantasy-oriented ones (I can imagine a revival among the Harry Potter crowd). But don't assume that because it's from Henson it's another Sesame Street preschooler romp: The Dark Crystal has some frightening scenes, elements of macabre horror, and even murder. I'm saving this one until my kids are older -and then, boy, am I going to love watching it with them.

Want The Dark Crystal (1982) Discount?

Those who haven't seen The Dark Crystal have been missing out on what may be the greatest live-action fantasy film of all time (or at least the '80s). A completely alien world is presented as vivid, believable reality via the deceptively "simple" technique of puppeteering. The result is very unlike a Muppet film as some might expect, much more like something truly out of this world; it is a storybook brought to life. The tale is simple and enjoyable enough for children, but deep and layered enough for adults as well.

Fans of the movie should own this DVD not just for the exceptional crispness of the picture and the virtues of the ultra-widescreen format (2.35:1) but for the bonus materials. In particular the documentary explaining the production process gave me a whole new appreciation for the difficulty of making this film, and the incredible artistry and talent that was poured into it. The complexity of getting everything to work just right seems to have given the piece a strong sense of unity; the creature effects don't fight the plot nor do the characters fail to convey emotion in ways ordinary actors might. Because the technical challenges of working entirely with puppets have been somewhat scrapped in favor of CGI over the last decade, I think we're unlikely ever to see another movie like it--more's the pity.

If you liked the movie on VHS, buy the DVD. If you just like fantasy and would like to see a worthy film in the genre, buy the DVD. If you're a fan of the late Jim Henson's work and want to see something different from his other stuff, buy this DVD. This one is worth every penny.

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Ramrod (1947)

One of the bitterest of all range war westerns, Ramrod is an early example of Andre De Toth's muscular intensity that characterises all his work in the genre through the string of very satisfying Randolph Scotts in the 50s to the extremely bleak Day of the Outlaw (1959). Joel McCrea is just fine as the initially weak cowpoke who tries to keep peace on the range in the face of two rival camps, one led by rancher's daughter Veronica Lake (in a ferocious, chilling performance) and the other by tough hombre Preston Foster, who loves and is rejected by her.

De Toth handles the complex plot and screenplay with his usual sharp explorations of shifting allegiances and betrayals of trust; Don Defore's edgy performance as McCrea's erstwhile friend is pivotal in embodying the film's dark mood and tone which some commentators have labelled noir.

It's great to see some of the Scott/De Toths on or soon to be released on DVD. Why not this film? Its brooding sense of evil is quite extreme.

I loved this movie.... and boy is it packed with star power from McRea and Veronica Lake to Lloyd Bridges and Donald Crisp and lets agree that Andre De Toth knew how to direct. I'd give this a solid 5 star review if the BR disc was priced at $15 and was a beauty to behold. As it is ...its $25 bucks and not restored ...full of dust and other issues which should be addressed at this level of price in today's market place. I'm happy to own this disc but I can't give it any more than 3 stars when you consider its high price and low quality of image.

I've had good luck with Olive Films blu rays but it seems they just spit out whatever they get so I'll proceed with caution going forward. The Trap starring Richard Widmark was another of theirs I picked up today and its just a dreadful transfer.... truly horrible and again $25.

Buy Ramrod (1947) Now

A ramrod or segundo is the owner's man, his or her representative standing between the owner and range crew. In this case Dave Nash, newly appointed ramrod, is called upon to stand not only between his boss and the crew but also every other cattleman on the range. The reason is that the the 66 outfit is contemplating introduction of sheep to what has been up to now only open range cattle country.

As the film opens, we seem to be getting 'in medias res' after certain things have happened, events of which we have no information. As things move along many things become clear, however, the cheating, lying, murder, and out-and-out villany continue to unfold anew. As one character eventually states, too many men have died in this unofficial range war. For it has become open season, with many characters, including Dave Nash, to have seemingly changed their typical, accepted pattern of behavior.

This film of 1947 follows the Macmillian hardcover book by Luke Short (Frederick D. Glidden) from 1943, which by 1944 in hardcover had already reached its 3rd printing. The mass market paperback has been in print down to the present day, and can be fairly easily located in 2nd hand stores even now. I've had a Bantam paperback on my shelves for many a year, and one interesting thing about the movie is that it follows the book fairly well, which in itself is rather unusual for a Hollywood western of that time or any time.

Another unusual feature of both book and film is the behavior of Connie, or as one person said in another western novel she appears to be "crazy as a tree full of owls". She will deceive anyone to obtain what she wants, but true to fashion once she gets it, it doesn't satisfy, isn't really what she wants at all. And in the process she loses her largest strengths: Bill Schell and Dave Nash. Schell is shot in the back killed by Frank Ivy and Dave Nash finally gets a clear view of Connie's destructive focus, only to walk away before being destroyed.

One person who generally doesn't receive much attention in this movie from reviewers is the Rose Leland character. Arleen Whelan plays her part in this film and for me Arleen pretty much steals the show, talk about a woman of strength and uncommon understanding! Though much will be said of Mrs. Andre De Toth (Veronica Lake) and I've seen many of her films due to my advanced age, I find Veronica very much out-of-character in a Luke Short western, or any western for that matter. She is more at home as the femme fatal of noir mysteries with her blonde, flowing hair streaming down covering her eyes. In this picture she has to keep her hair fairly pinned up, prim and proper, and though playing an unprincipled and somewhat amoral woman, she is rather subdued, even petulant.

All of this aside, RAMROD is still a very interesting western to watch. Filmed in black and white it offers a stark quality to the film, and with DeToth trying to be faithful as possible to Luke Short's book, several innovative angles are brought forth in the filming. Not just another western, this is one that will call for re-viewing as one trys to gain as much as one can from all semi-classic gyrations, twists and turns. As time would show, RAMROD certainly started De Toth upward on his road to eventual cinematic fame.

Semper Fi.

Read Best Reviews of Ramrod (1947) Here

Noir or not, this is an outstanding movie it has jumped into my top 10 westerns of all time. It has a complex, twisting plot, finely executed and often brutal action scenes and great use of rugged landscape. The sophisticated script tells a strongly moral story, with economically sketched but still layered characters and excellent performances from all the lead actors.

The dialogue requires concentration by the viewer, as some characters' background and motivation are sketched in a brief sentence or two or even in a phrase. The sparse conversations pose some real moral issues, which will linger in your mind long after viewing the film. Is violent revenge ever justified, or should a man always pursue his ends through legal means? Is it good to sacrifice your life for a principle or a person you believe in? Should a man be a drifter or a stayer? Should a woman's objective be to marry a man and support his life, or can she marry and seek to also take a place of power in a world dominated by powerful and violent men?

The film makes clear the answers to these questions are not straightforward and the characters working through these issues are not painted in simple black and whites of good and bad.

Working from the excellent script, the director creates genuine suspense, often leading up to violence where the faces of the men facing death betray fear and uncertainty. The stalking and eventual cold-blooded execution of one of the characters is among the most chilling sequences you will see in a movie. In another scene, one of the 'good' guys goads an enemy into a one-sided gun fight, including by stubbing out a burning cigar on his intended victim's hand.

At the heart of the film are Lake's scheming character, using the men around her in her drive for power as a means of revenge on the men who have tried to control her and McCrae's damaged cowboy, trying to regain his self-respect as he recovers from humiliation and loss brought on by alcoholism. Both actors excel in their roles, playing in an understated way and the tiny Lake, especially, is mesmerising and towers over many of her scenes.

This superb movie is not just for Western fans: anyone who loves a well-made drama, aimed at grown ups, will cherish this DVD.

Want Ramrod (1947) Discount?

It is a minor tragedy that this tough little range war Western is so little known and not easily available on DVD or VHS I urge lovers of the genre to keep an eye open for TV screenings as they are in for a treat .The movie is based on the novel of the same name by Luke Short and stars Veronica Lake as a headstrong young woman who takes the law into her own hands when her fiance (Ian McDonald)is publiclly humiliated by a powerful range baron -played with suitably nasty snarling relish by Preston Foster .She forms her own gang to strike back at him despite counsel from her "ramrod",and right hand man Joel McCrae who advises she seek legal redress through the office of the sheriff (Donald Crisp).Open range war breaks out betwen the two sides

McCrae is excellent aa a man torn between his employer ,who he believes is headstrong and borderline psychotic ,his duties to her which conflict with his conscience and his love for another woman ,the wholesome town milliner (Arlene Whelan).Indeed ,he like all the characters in the movie is not in control of either themselves or their fate -one way in which this deserves its reputation as a noir Western .

There are good support performances from Lloyd Bridges and Charles Ruggles but Veronica Lake dominates the movie as an out of control self -willed avenger who seeks to manipulate the situation and those aaround her .

Andre de Toth -Lake's real life husband-directs with intensity and vigour .Be advised that it is quite a complex storyline and script and the movie does take work from the viewer

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Radio City Christmas Spectacular

Every time I go to NYC for the holidays, I make a point to see this show. A fabulous New York City fix; a fabulous Christmas tradition. And they get to wrap it up in one of the most beautiful art deco buildings in the world. This was the 75th anniversary production. Most of the old favorite numbers were included and many spetacular new pieces (my favorite being the double decker bus ride through Manhattan). I was actually in the audience the night this was taped and I was very pleased to see considerably more footage of the show than was televised on network TV and, as I remember, in the correct order it appeared in the program. This DVD will go into the stack of my holiday memories to watch again and again. I

I'm a product of the Music Hall. I worked on and off their for years. It is really to bad that other stage spectaculars such as the Easter (Spring) Show or the other great stage shows that i know were video recorded but never released. It shocks me that they released this as the full production and not as shown with all the edited TV version last year. The production value of the Christmas Show is excellent and the sound is wonderful. My only objection is that they didn't record the music halls grand organs. I have no idea why you couldn't hear it during some of the numbers that i know from seeing the 2007 version live both grand organs were used.

Maybe if we press the Music Hall they will release other great stage spectaculars. I started seeing productions back in the late 50's till last years Christmas Show and the many shows i worked on during the 60's and 70's.

This is a great purchase and if you have never seen a Radio City Music Hall Show, GET THIS ONE. You won't be disappointed.

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From seniors to toddlers, this is an experience to be cherished. Filmed at the world-famous Radio City Music Hall one of the greatest Art Deco buildings ever the Christmas Spectacular is sure to please anyone that enjoys the holidays.

The Rockettes are superb and the mainstay of the performance. I saw the show way back in 1973 and have always retained the memory of that experience. This updated version is new and thrilling (the double-decker bus and virtual tour of NYC is fantastic), yet some of the original remains:

* The Parade of the Wooden Soldiers is in the show since its conception in 1933; in my opinion it is one the greatest choreographed music pieces of all time

* The Live Nativity is visually beautiful as ever

The price of greeting cards has risen so high that I seriously considered not sending any this year. Along came this DVD...I've ordered several copies of this show to send to people this year in lieu of holiday cards. I usually look at a holiday card for about 30 seconds. This DVD is 90 minutes of entertainment that can be kept and enjoyed over and over again. I don't know about you, but I've never saved a holiday greeting card from year to year; however, if I received this for the holidays, I'd keep it and remember who sent it to me.

And, let's face it, the show is just plain fun!

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I saw the show in 2006 and this is pretty much what i remember lots of energy that really comes out and the colors on my flat screen are awesome thought i had gotten a Blue Ray verison by mistake really feel like you are a part of the excitement and cant wait to have this playing for the folks at my christmas party this year. The kids will love iti just hope they dont get too excited and want to go again anytime soon this is as good as it gets.

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Watched it tonight with my 3 yo twins & 6 year old. I wanted to see how they would respond to it before we spent the money on train tickets & money on the show in the city. They LOVED it as did I. We will for sure be taking them all into the city next year to see it. The quality was amazing. A lot of these types of productions you feel like you are 10 miles away...with this one you felt like you were front row, center! It was so clear & crisp. Amazing! So worth the money. So worth adding to your Holiday collection. So easy to pull out & watch every year, especially if it easy for you to just hop on over to Radio City to catch the show! I have recommended this to several friends & family members already!!!

The Decoy Bride (2011)

I am a David Tennant fan and now a Kelly MacDonald fan. This is a lovely romantic comedy that focuses on characters caught in a delightful dilemma. This is the type of role that Tennant does with such ease giving depth to his character making it easy to see how two women would fall in love with him. Kelly MacDonald is down to earth and human like the rest of us. Making it even better is the fact that David's fiance is someone you also like in fact there isn't a character to dislike so no stress! Buy it, pop some popcorn, relax and enjoy I've watched it twice already I bought it region 2 from Amazon UK when it was released in England.

I've just watched this movie one and three-fourths times in a row (all D.T. scenes), and then I went back and watched my favorite scenes again, twice. I jumped on the opportunity to see this movie in the US since I'm a die-hard David Tennant fan, and where do we get this much screen time with him lately? This was even better than I expected, and I'd recommend it as a good romp to anyone, fan of David Tennant or no. Best ten bucks ever spent! Enjoy!

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Admittedly, the only reason I got this film was to see David Tennant outside of the DOCTOR WHO realm. My expectations were low and so imagine my utter surprise when I found myself completely drawn in by this wonderful little comedy! The plot is pretty simple, but this film is so much more enjoyable because the writing is great and the actors are far more fun to watch than the standard American romantic comedy leads. Because the dialogue is delivered by actors who inhabit their character as opposed to actresses trying to pose as thespians, this film has a lot of heart going for it. And even though it's somewhat predictable, you cannot help but be entertained. No need to give you any plot points, but if you're a David Tennant fan, then you'll enjoy the film. If you like comedies that are not bombastic in their approach, then you'll be smitten. If you like excellent dialogue and quarky characters, then you might just fall in love with the film. Not the greatest story ever todl, but DECOY BRIDE is a far better film than anything featuring Katherine Hiegel and Jennifer Anniston. These actresses could learn a thing or two about sutbtleness, which is why this film works so well. Can't help it....I'm under the DECOY BRIDE's spell and am most likely going to buy this film on Blu Ray as it's a great film when you need cheering up and want a smile on your face!

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I am admitted David Tennant fangirl, but having said that, the movie was cute and adorable all on it's own. A bit formulaic in parts, but it's a rom-com chick flick. David was great and Kelly was brilliant. I fell in love with both of them. Definitely worth the 10 dollars to watch!!

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I am also a David Tennant fan from the US, and was so excited to see The Decoy Bride available here on Amazon. It was a really cute movie that was a bit quirky at times, laugh at loud funny (at least I did), and enjoyable to watch. David was (as usual) fantastic and Kelly MacDonald was lovely to watch as well. The island was a gorgeous backdrop for the story too. I'd recommend this to anyone who enjoys chick flickish movies, and/or is a David Tennant fan:)

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Orphan (2009)

When I first saw the trailer for this movie, I thought "Oh God, another one of those movies." But I was surprised that after I'd gone and seen it, I'd actually thoroughly enjoyed it.

Isabelle Fuhrman is the "orphan"; that is, 9-year-old Esther who seems a little strange and morbid despite the adopted parents instance attraction to her. When violent events began taking place that are connected to Esther, the parents began to suspect that there is more to the little girl than appears.

Fuhrman definitely was the right choice for the role of Esther; she has an attractive face and her youth doesn't strain her acting abilities which were very convincing. I won't lie though; the movie was very grisly, and even I had to turn away from the screen a few times. Even the twist ending really shocked me, and I'm not easily shocked. I really think that despite how it looks, give it a shot, because it wasn't a bad little movie. It was well acted, well thought out, and seriously creepy.

I saw this film when it opened on July 24, 2009. Mixed reviews from fans and critics were the usual flair upon its release, but something struck me about this movie. The film went on to gross $37 million at the box-office despite the thrashing it took from critics, but everyone couldn't help but notice the Oscar-nomination worthy performance of its 12-year-old star Isabelle Fuhrman. I just viewed the film on DVD for the first time since its theaterical run and I'm still seeing just how riveting and engaging this movie really is.

"Orphan" is NOT a horror film. It's more along the lines of a SUSPENSE THRILLER. When I think of horror films, I think of sex-crazed teenagers being sliced up one-by-one by a machete-wielding maniac (Jason Voorhies, Freddy Krueger, Micheal Myers, etc.). The only real weapons wielded here is just a hammer, a knife, and a .38-caliber pistol. You think scary when it comes to horror films and "Orphan" isn't scary. Has some frightful moments, yes, but scary? Wishful thinking!

Set in the winter-bound parts of Conneticut & Canada, the story centers on the Coleman family: Kate (Vera Farmiga), a Yale University music teacher recovering from alcoholism and bouts of depression after having a stillborn from her third pregnancy; John (Peter Sarsgaard), an architech whose nice guy persona overshadows his increasing issues with Kate that led to past affairs; Max (Aryana Engineer), their deaf 5-year-old daughter who communicates through sign language and their oldest son Daniel (Jimmy Bennett), who feels bitterly neglected & increasingly isolated from his parents. As a way of coping with the loss of their would-be 2nd daughter, Jessica, and to amend their existence as a family, Kate & John make a fateful decision to adopt a young girl at the local orphanage.

It is here where they meet Esther (Isabelle Fuhrman), a sweet-looking 9-year-old Russian girl harboring some deep-seeded issues of her own despite her angelic smile and sympathetic mannerisms. Upon arriving home with new stepdaughter in tow, a series of events unravel to make everyone question the background and sincerity of this little girl. Daniel dislikes her immediately, Max forms an unhealthy bond with her new stepsister, Kate begins to seek out further information about Esther's background, & John just plays Devil's Advocate with all that occurs involving Esther. What's wrong with Esther? Is it true that behind the smile of this little angel beats the heart of a psycho killer?

The answer, and the big secret about who she really is, lies within the confines of this 123-minute thriller. I agree with everyone here that it moves at a near-torturous snail's pace, that being the film's major fatal flaw. But the story itself is so entralling and engaging, you can't help but to excuse that misfire. Fuhrman's performance alone keeps you involved in the twists and turns entrenched here. Only a young, superbly talented actress like Fuhrman was able to pull off a psychological undertaking of switching from sympathetic manipulator to disturbed sadist and it's why I feel she should've gotten an Oscar nod. But due to the overall dislike of the film itself from most critics and for her young age, she didn't get anywhere near sniffing distance of the balloting.

Nonetheless, I was so inspired by this film and became such a fan that I created my own 20-song, hard-rock CD Mix (liner notes & all) of songs inspired by the movie (my own psuedo-soundtrack, if you will, but John Ottman's score was cool). Seemingly destined to go down as a cult favorite, if not a classic, "Orphan" was a solid & enjoyable thrill ride that's essentially "The Hand That Rocks The Cradle", "The Good Son", "The Crush", and a more mean-spirited version of "Problem Child" all rolled into one. That's why this movie isn't a horror despite being classified as one. This film has a depth, substance, and intuitiveness to it that Jason, Micheal, & Freddy couldn't touch with a bloddy axe. Just take sweet, little Esther home and let her hold you, thrill you, kiss you, .... kill you!!! Can someone out there please say "CULT CLASSIC"? DEM -

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"There's something wrong with Esther," say the ads for "Orphan," and indeed, there is. I could just end the review with that, as it does pretty much tell you everything you need to know about the main character, an adopted girl who promises heaven and delivers hell. But then I'd miss out on the opportunity to tell you about all the other great things it has to offer. This is a truly great horror movie, ambitious enough to be frightening and absorbing, confident enough to toy with the conventions we know all too well, mature enough to rely on the talents of actors instead of the sex appeal of teenagers. Its greatest achievement is transcending the cliché that is the precocious yet evil child, and while I'd like to elaborate on that, I'm afraid the nature of the plot doesn't allow for such details. Regardless, what happens is most likely not what you think will happen, which is to say that you'll actually be surprised.

Esther is played by Isabelle Furhman, a twelve-year-old playing a nine-year-old, although age doesn't count much here. She speaks with a flawless Russian accent and masterfully runs the emotional gamut between sweet and sadistic. Esther is a consummate manipulator, able to advertise herself as the nicest girl you'd ever want to raise as your own before switching gears and making those who stand in her way suffer. We first see her sitting all alone in the classroom of an orphanage, painting a colorful and happy picture that tells a story. Her dress is nice, if a little old fashioned, and the ribbons she has tied around her neck and wrists make her look like a princess. When she smiles, it's not the toothy perfection of a mouthwash commercial but a real girl's smile--so cute and innocent and loveable. Her words are eloquent, and she definitely possesses a wisdom beyond her years. Maybe the trauma of losing her parents back in Russia has forced her to grow up a little too fast.

For these very reasons, she immediately attracts the attention of a couple looking to adopt after a miscarriage claims the life of their third baby. Here enters Kate and John Coleman (Vera Farmiga and Peter Sarsgaard), who both carry a lot of baggage. Kate, once a successful piano teacher, is a recovering alcoholic who feels nothing but guilt. John, an architect, is a nice enough guy but takes everything at face value, a character flaw that ultimately proves disastrous.

Esther is adopted. Now things start to get tense. At school, she's made fun of for her clothing and her old, dilapidated Bible, and she screams bloody murder when someone goes to touch the ribbon on her neck. At home, she's hated by the Coleman's son, Daniel (Jimmy Bennett), who rightfully feels ignored by his parents. She soon forms an unhealthy bond with the Coleman's deaf young daughter, Max (Aryana Engineer), who eventually sees things that no little girl should ever have to see. As for the relationship between Esther and Kate, it gets progressively worse while the relationship with John gets progressively better. But Kate knows that there's something wrong with Esther, and it has nothing to do with the little things like dropping an F-bomb; it has to do with serious things, like Esther being present when her mean schoolmate falls from the top of a playground set and breaks her ankle.

One of the nuns from the orphanage, Sister Abigail (CCH Pounder), seems to think Kate is on to something: "Trouble has a way of finding her," she says of Esther, believing that a mistake might have been made in the adoption process. But what if they were nothing more than accidents? What if Kate is wrong? Is it possible that she's venting her resentments on a girl who has been through a lot? Is it possible that she should be back in rehab? Kate's therapist, Dr. Browning (Margo Martindale), seems to think so, and apparently, so does John. But what about their children? Let's just say they know more than care to admit. Think of it in terms of one of Esther's paintings; when you look it in a different light, you'll find that a completely different story is being told.

"Can you keep a secret?" the ads ask us ominously, if not altogether unexpectedly. Indeed, you should keep the film's big revelation to yourself, even if you found it unconvincing. Suspension of disbelief is required of you, yes, but fortunately, this is one of the few recent horror films that earns it. Why? Because the story doesn't resort to cheap gimmicks--it's a thriller that actually thrills. There are moments that seem to be leading up to a tired horror cliché, only to throw us off guard with ... nothing. When a door or a medicine cabinet is opened, blocking the camera's view, what do you expect to see in the shot when the door closes? In this movie, you're never sure whether or not someone will suddenly appear out of nowhere. If it does happen, chances are it's for reasons other than a quick scare.

The more lasting scares involve Esther, who at one point or another makes use of a hammer, a gun, a vice, a knife, a pillow, a retractable blade, and a match with a bottle of lighter fluid. Even a car rolling backwards down a hill in neutral finds its way into the story. As has been repeatedly said, there's something wrong with Esther, a girl who makes little Rhoda from "The Bad Seed" seem like an amateur. "Orphan" is a first class shocker that begins with a nervous whisper before building to a cry and ending with a scream. Director Jaume Collet-Serra and writers Alex Mace and David Leslie Johnson actually made an effort; yes, their film is scary, and yes, their film is disturbing, but more to the point, their film is engaging.

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Vera Farmiga, Peter Sarsgaard, and CCH Pounder give excellent performances, but it's the kiddies who steal the show in "Orphan."

Farmiga and Sarsgaard star as Kate and John Coleman, a successful and loving (or so it seems at first) couple with two children and the desire to adopt another when Kate's third child is stillborn. They believe that they've found the perfect child in Esther (Isabelle Fuhrman), a nine-year-old Russian orphan who is sugary sweet, highly intelligent, and very artistic.

Once Esther arrives at the Coleman home, she is immediately met with resistance by the Coleman's son, Daniel (Jimmy Bennett), and takes their deaf daughter, Max (Aryana Engineer) under her protective wing. She is also teased at school for her dresses and the Bible she carries with her.

Slowly the viewer sees sweet Esther turn into a very dark and sinister little girl. Not only does she seek out revenge on those who pick at her, but she begins to manipulate Max and force her to help out with her dirty work.

Esther also opens old wounds from Kate and John's past and drives a wedge between them. Kate becomes suspicious of Esther and seeks out more information on her newly adopted daughter. The head mistress of the orphanage, Sister Abigail (CCH Pounder), tries to help Kate and becomes a target for Esther as well.

As Esther's dark past is revealed, her actions become more wicked and, in some cases, fatal. It is at this point that the film begins to rely on well-worn cliches that have been trod out in a number of other films about evil children, particularly "The Good Son" and "The Omen."

Naturally there is a twist thrown in near the film's climax in order to give a motive to Esther's madness, and while it is rather sickening, it's not that big of a surprise.

Overall, the film isn't that bad. However, clocking in at a very slow moving 120-plus minutes makes for a somewhat boring experience. I'm assuming that director Jaume Collet-Serra was trying to build suspense by drawing out the film, but it makes for a lackluster thriller in the end. Even the climactic battle near the end of the film is drawn out and rather unbelievable. It's almost as if the film is attempting to be a psychological thriller and a slasher flick at the same time.

Again, the film really isn't that bad, just too long and a bit boring at times. The children all shine in their roles, particularly little Aryana Engineer, whom I believe does an excellent job as Max. Her performance is overshadowed somewhat by Fuhrman's turn as Esther, but she still shines on her own.

So is this film worthy of purchase? If you enjoy psychological thrillers involving young children then, yes, I say go out and buy it. However, I do recommend to everyone else that you rent this film first. It's good, but I have no plans to add it to my permanent collection any time soon.

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I love the pro-adoption commentary before this movie. It's a PSA of sorts telling you that all orphans are not bad kids and the following movie is not based in fact. I don't see why that was necessary, but it is humorous to think that anyone would believe this film is non-fiction.

The children in this movie are believable and they carry much of the films weight. Isabelle Fuhrman is spectacular in her performance. She is nothing like a young, wooden MacCauley Calkin who often seemed to be reading directly from a cue card (see Home Alone). Dad thinks she is innocent and sweet, but she secretly trys to destroy the dynamics of the family. As her character evolves and we learn more and more about her, she loses that sweet exterior and we see her for the murderous little heathen that she really is. Her language is very graphic at times, but not without purpose.

The entire cast were fine in their roles. The parents, and their need of another child seemed very convincing. The flow of the film from beginning to end makes for a great thriller that I highly recommend to all. It's not the same old typical slasher film with the same typical ending... and the acting is superb!

Thank you for reading....

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