Chitty Chitty Bang Bang (Two-Disc Edition: DVD/Blu-ray in DVD Packaging) (1968)

Well...after all the waiting, it's finally landed. I wish I could say that it's truly scrumptious, but in truth, from the ashes of disaster (the previous DVD release) grow the roses of mediocrity. Like so many DVD "special editions" of late (A Christmas Story, Willy Wonka, etc), this one is a bit short on the "special".

The film itself is presented in two formats on the first disc. Both widescreen and pan & scan. The widescreen transfer is just slightly wider than the laserdisc release and the colors seem to me to be about the same, though my laserdisc is rotting and the colors are a bit compromised. It might be worth getting for the widescreen alone if you don't already have at that aspect ratio. Also on disc one is the "sing along" feature and a preview of the musical which only succeeds in demonstrating how fat Michael Ball is.

Disc two (home of the real disappointments) has a conversation type "documentary" with Dick Van Dyke (and ONLY Dick Van Dyke) where he reminisces about some of the cast. Another new feature is with Pierre Picton, owner of the nicest of the on-screen cars and it's kind of a fun look at the eccentric who owns and cares for the car. There are 3 vintage featurettes, one with designer Rowland Emett which is interesting, another which is apparently a press conference with Dick Van Dyke (boring) and the last "featuring the children" (but not really). One excellent special feature (and kudos to the person responsible!), is the inclusion of more than a dozen of the Shermans original demos for the film.

There are about 7 trailers for the film, both theatrical and television, but not the one which followed the film on the laserdisc version which, to me, seems like the genuine trailer. It is presented on the DVD in French, but not in English.

The remainder of the special features are kiddie things like digital coloring book, inventor games, etc.

I'm sure money may have been the reason for not presenting a more professional and interesting supplement. Sally Ann Howes is alive and well...I've seen her in NY. The kids, Heather Ripley and Adrian Hall, attended the premiere of the stage show in London, so they're definitely locateable. Very little is said about the locations or the production of the film. I was expecting a documentary of the caliber on MGM's Bond DVD releases given that the production company was largely the same. At least pay Dick enough to do a running commentary! Shame on you, MGM.

Perhaps what disappointed me most of all is that I feel that I could have made a better effort.

Little prepares you for the print on this it's simply extraordinary.

It's been frame-by-frame restored using the Lowry Digital Restoration Process which was used on all 20 of the Bond films, the three Godfather movies, the original Star Wars Trilogy, the Indiana Jones films and even the transfer of Avatar (all to much acclaim).

But this 2010 Blu Ray/DVD Combination pack reissue of 1968's "Chitty Chitty Bang Bang" has to be a benchmark even for them.

After the excellent 2DVD set issued a few years back, I didn't think that much more improvement could be wrenched out of the negative, but it has been. This transfer is practically faultless BEAUTIFUL to look at for the whole duration of the movie. Directed with style and flair by Ken Hughes and filmed in 70mm Super Panavision Technicolor it's a sumptuous feast of colours you see their period clothes anew, the details in the inventions inside Caractacus Pott's hillside home, the uncluttered English countryside, the Scrumptious Sweet Factory, the seaside scenes, the two bumbling spies, the toy dance at the King's Birthday Party in the Palace where their love shines out and almost gets them caught all of it gorgeous to look at. There's old and 'New Extras' also...

Sally Ann Howes looks suitably wholesome and lovely, Dick Van Dyke is as likeable as ever (a much underrated leading man) and the songs are excellent if not a little twee in places. The quirks of Sixties movies remain intact too the patience-sapping Overture at the beginning where a black screen sits there with only the roaring of car engines before the picture finally appears the "Intermission" break in the middle (so you could go and buy sweets) where Chitty goes over the cliff-edge and you don't find out what happens until the film starts up again and you're back in your seats all there as it was in the cinema and the original aspect retained too.

The child-catcher is still the scariest monster ever created in cinema (with Benny Hill being strangely creepy too) and the interplay between Gert Frobe and Anna Quayle as the bickering King and Queen of Vulgaria is still pricelessly funny. All this and Stanley Unwin speaking "...horribold..." English to Lionel Jeffries which always makes me pine for The Small Faces 1967 album masterpiece 'Ogden's Nutgone Flake' (he spoke in between tracks on Side 2).

Sure it'll be too saccharine for our "Call Of Duty" teenagers to enjoy nowadays, but there's something timeless and lovely about this 'magical car' movie and that beautifully evocative "Hushabye Mountain" melody always renders me a quivering mush whenever I hear it.

This 2010 BLU RAY of "Chitty Chitty Bang Bang" is a superlative reissue of a family classic. Ian Fleming would indeed be shaken and possibly even stirred.

Recommended like a duet with the wife on "Chu-Chi Face".

PS: for other superb restorations on BLU RAY, see also my reviews for "The Italian Job", "Saturday Night, Sunday Morning", "The Loneliness Of The Long Distance Runner", "Goldfinger", "North By Northwest", "Cool Hand Luke", "The Dambusters", "The Prisoner The Complete (TV) Series In High Definition", "Braveheart", "Snatch", "The Ladykillers" and "The African Queen"

Buy Chitty Chitty Bang Bang (Two-Disc Edition: DVD/Blu-ray in DVD Packaging) (1968) Now

This is one of the last big budget fantasy musicals before these films became just too expensive to produce. But Dick Van Dyke was at his zenith here and Sally Ann Howes was marvelous as well. Note that Ian Fleming wrote the original story and as a tribute there were two Bond actors in the cast. Gert Frobe as the King and Desmond Llewyn as Mr. Coggin. But I was very dissappointed to see this DVD released in the Pan and Scan format. I really don't understand why MGM/UA remastered the film in the THX process and used a clean beautiful video transfer and doesn't present the film in its original widescreen format. At one-third of the film is missing and its really difficult to watch this now considering I had owned the widescreen laserdisc of this film.

Read Best Reviews of Chitty Chitty Bang Bang (Two-Disc Edition: DVD/Blu-ray in DVD Packaging) (1968) Here

Our family is on a retro trip, having bought this movie, as well as The Sound of Music, My Fair Lady, Mary Poppins, Bedknobs and Broomsticks, The King and I, Willy Wonka, and Pete's Dragon.

One of the reasons is that we want our 2 year old to experience the movies we grew up with, and the other is nostalgia.

Before watching this movie again recently, I could only remember that there was a flying car, a nice title song, and something about children being kidnapped. Watching it again for the first time, I discovered that I had forgotten most of the movie.

Caractacus Potts (Dick Van Dyke) is an inventor way ahead of his time, whose inventions don't always work the way they are intended. If you think his name is weird, the female lead is Truly Scrumptious (Sally Ann Howes), the daughter of a rich sweet manufacturer. This unlikely pair, along with his two kids and the wonderful car, Chitty Chitty Bang Bang, are the star players in a story which starts out being about pirates, and ends up as a rescue mission. With comic support from Caractacus' father, and a toy maker (Benny Hill, in an uncharacteristic G rated performance), they defeat the schemes of spies (kind of like Laurel and Hardy combined with Boris and Natasha), an evil Baron and Baroness,and a wicked childcatcher, to bring the story within a story to a predictable but entertaining end.

The scenery is breathtaking, especially the Vulgarian castle and surroundings, and since this is a 1968 movie, we can forgive the lack of finesse in the special effects, where the characters stick out like sore thumbs from the backgrounds, and wires can be seen attached to Professor Potts during a dance sequence.

It's a little harder to swallow the concept of Truly Scrumptious running around on the beach dressed in tons of white cloth and coming up spotless, and her song about needing a lovely man is way too over the top and much too long. I will admit to skipping over that one.

The sing along feature is a nice touch, and catchy songs (other than the theme song) include "Me Old Bamboo", "Toot Sweet", my personal favorite "P O S H (Posh)", and the nearly too sugary "Truly Scrumptious".

Overall, this DVD is a refreshing family movie that you will watch over and over again.

Want Chitty Chitty Bang Bang (Two-Disc Edition: DVD/Blu-ray in DVD Packaging) (1968) Discount?

One of my favorite childhood films is ruined in this full screen DVD edition. Please release this fillm in its widescreen version as well! Why not offer both versions so that consumers have a choice?

Save 38% Off

Changeling (2008)

Clint Eastwood's "Changeling" is not easy to watch, but I implore you to give it a try. This is filmmaking at its finest. It's all at once heartbreaking, infuriating, touching, empowering, and immensely compelling, which is to say that it taps into core human emotions without being manipulative. It tells a story so absorbing, it's as if the movie is happening to us instead of just passing before our eyes. This is appropriate given the fact that it's a true story and not merely based on a true story; screenwriter J. Michael Straczynski relied on actual articles, transcripts, and testimonies to document the story of Los Angeles native Christine Collins, whose nine-year-old son, Walter, disappeared in March of 1928. Five months later, the LAPD returned a boy Collins knew was not her son. Because the police refused to admit that a mistake was made, they deemed Collins an unfit mother and subsequently had her committed to a mental institution. But she wouldn't be silenced, and with the help of some key figures, she took on one of the most shameful cases of police corruption in Los Angeles history.

Angelina Jolie gives yet another wonderful performance as Collins, an honest, caring woman who was clearly striving for independence in a male-dominated society. She works diligently as the supervisor for a telephone company, so much so that she's offered a managerial position. As a single mother, she's firm yet nurturing, and she's upfront with her son (Gattlin Griffith) about why his father left before he was born. After Walter's disappearance, and after the wrong boy is returned to her, she initially faces the LAPD on her own, which leaves her with little since it's a tyrannical system motivated by power, not justice. There's a pivotal scene in which Chief of Police James E. Davis (Colm Feore) makes the following announcement: "We will hold trial on gunmen in the streets of Los Angeles. I want them brought in dead, not alive, and I will reprimand any officer who shows the least bit of mercy on a criminal." This is immediately followed by a shot of officers executing a line of criminals in the middle of a dark street. An elimination of the competition. For a system this dishonest, a persistent woman like Collins is seen as nothing but a disruption.

Of all the authority figures in this film, Captain J.J. Jones (Jeffrey Donovan) is by far the most deplorable. He's obstinate and domineering, bullying Collins into taking in an imposter child, who was found with a drifter in DeKalb, Illinois. Jones has the nerve to question Collins as a mother, claiming she was so happy her son was taken that she's now resorting to phony accusations. Her insistence that he carry on the investigation lands her in a dehumanizing psychiatric hospital, where numerous disruptive women are sent to endure constant medicating and cruel electroshock therapy. A kindly but broken prostitute (Amy Ryan) tells Collins that there's absolutely no winning with the doctors. If you smile too much, you're delusional. If you smile too little, you're depressed. If you're neutral, then you've lost touch with basic human emotions. All anyone can do is learn how to behave properly.

The only person on Collins' side is Gustav Briegleb (John Malkovich), a Presbyterian minister and community activist who made it his life's work to expose the corruption of the LAPD during radio sermons. When Collins is committed, Briegleb takes it upon himself to publicize the disappearance of her son and rally the public to support her. This puts tremendous pressure on the LAPD, as does the recent discovery of a crime scene; buried beneath a chicken ranch in Wineville, California are human remains. A mechanic named Gordon Northcott (Jason Butler Harner) becomes the primary suspect in a string of murders. I don't want to reveal any more about this case, but I will make it a point to praise Harner for not playing Northcott as a fanatical stereotype.

Apparently, Straczynski inserted newspaper clippings into copies of his screenplay, just as a reminder to the actors that everything being depicted actually happened. "The story is just so bizarre," he said, "that you need something to remind you that I'm not making this stuff up." Indeed, a lot of what Collins goes through is so outrageous that it's just shy of being funny. She knows, for example, how tall Walter is, for she measured his rate of growth on a wall. The boy who was returned to her is three inches shorter than the last notch. Collins also notices that this boy has been circumcised; she knows for a fact that Walter has not been. A doctor sent by Captain Jones assures Collins that, after months of improper care and nutrition, children can actually shrink. As for the circumcision, well, she should never put it past a kidnapper to do something extreme.

But what about the LAPD? Should she put it past them to do something extreme, such as returning the wrong child and knowing about it? It's easy to watch this movie and feel just as emotionally drained as Collins; there are moments where I wanted to scream, others where I wanted to cry, and many where I didn't know how to feel. This is not a criticism. The success of a movie like "Changeling" depends on a strong emotional gamut that reflects what the audience thinks and feels. This is, without a doubt, one of the year's best films, a powerful human drama dedicated to the ideals of hope and perseverance.

Changeling is a powerful film. It tells the forgotten story of a working-class woman who brought down the corrupt establishment of Los Angeles 80 years ago.

Angelina Jolie gives a strong, Oscar-worthy performance as Christine Collins, a single mother and one of the first female supervisors at the phone company who refuses to bow down to corrupt police when her son vanished without a trace in 1928.

Los Angeles on the brink of the Great Depression was an epitome of corruption. The police chief, James "Two Guns" Davis, had an officially sanctioned "gun squad" that terrorized opponents with impunity. When Collins' son Walter vanished, the L.A. police were embarrassed by their inability to find him. To squelch public criticism, they tried to convince Collins that a young drifter was her son. When Collins protested, police Captain J.J. Jones labeled her as histrionic and delusional and had her locked in a "psychopathic ward."

Luckily for Collins, her plight came to the attention of Gustav A. Briegleb, a Presbyterian minister and community organizer who regularly lambasted police corruption on his radio show. Briegleb helped Collins get a lawyer and tell her story. Although the movie does not mention it, Collins' case led to passage of a law that prohibited police from incarcerating people in psychiatric facilities absent due process.

Despite the compelling nature of Collins' story, it came close to being forgotten. The old records were about to be incinerated when a city worker telephoned screenwriter and former journalist J. Michael Straczynski and told him to come over and take a look. What Straczynski read that day was so compelling that he spent a year poring over city archives to reconstruct the case.

Straczynski has said that he wrote the script to honor Collins: A woman whose "simple question, `Where is my son?' brought down the entire L.A. city structure."

Changeling owes its aura of authenticity to Straczynski's meticulous research; verbatim quotes from the files and direct testimony from the public hearings are incorporated into the script.

The film's power also owes to its feminist message about a strong woman who refuses to be silenced by a corrupt establishment. The scenes from the public hospital's "psychopathic ward" provide a grim reminder of the horrors faced by women who were labeled as crazy for resisting male authority.

Clint Eastwood was a great choice of director to tell this story. The acting is uniformly excellent, the plot presses forward inexorably, and attention to detail is exhibited throughout. The location shots are masterful in transporting us back in time, as Collins (Jolie) hops on and off streetcars in a convincingly reconstructed 1920s Los Angeles.

Although the film closely parallels the actual history, viewers should be aware that Eastwood took some dramatic liberties, presumably to streamline the story and highlight its good-versus-evil message. We don't find out, for example, that the missing boy had a father who was serving time at Folsom Prison for robbery. Nor is the presentation of the infamous Wineville Chicken Coop murder case entirely accurate. Killer Gordon Stewart Northcott was indeed hanged at San Quentin, but the film does not mention that his mother was convicted of the Collins murder and spent 12 years in prison.

For those who are interested in additional background on that case, it is the topic of a just-published book by James Paul, Nothing is Strange with You: The Life and Crimes of Gordon Stewart Northcott. Former San Quentin warden Clinton P. Duffy also wrote about Northcott in his memoirs. Another source of information is the film's website, changelingmovie.net, which has reproductions of some of the actual L.A. Times news articles on the case.

Buy Changeling (2008) Now

Christine Collins: The boy they brought back is not my son.

Short Attention Span Summary (SASS):

1. A single mother's only son is missing

2. It takes five months for the Police to reunite the mother and the boy who said "I am the one"

3. But she knew that the kid was not her son

4. The Police Captain insisted: "Don't go Changeling. She'll love you just the way you are"

5. But she didn't

6. ... and she learned the hard way why the Police Force had such a bad reputation

7. They said she was crazy

8. But she never gave up, always hoping that her son had flown the coop.

Based on a true story, this heartbreaking movie may be difficult to watch, especially if you're a parent. A mother's greatest nightmare comes to life when her only child goes missing, and this unfortunately is just the beginning of a sordid tale of incompetence, stubbornness, malice, abuse of power, madness and murder.

Angelina Jolie more than earns her Oscar nomination as Christine Collins, the young mother at the center of this story, and good performances are also seen from John Malkovich as a fiery Presbyterian minister, Amy Ryan as a wronged woman, and Jeffrey Donovan as the Police Captain that you'll hate for a long time.

Recommended for fans of true crime stories, Angelina Jolie, and period movies that nail the sets and wardrobes.

Amanda Richards, March 15, 2009

Read Best Reviews of Changeling (2008) Here

This is fantastic story-telling, well put together, all elements

in place and making perfect sense. Such have become the earmarks

of a Clint Eastwood film..his taste and touch is impeccable

as both a director and producer!

(Of course, his acting, when he is acting, is nothing

to sneeze at either!) Angelina Jolie did a wonderful job

as a woman in the late 1920's who endures an unimaginable

ordeal that must be seen to be believed!

There were some moments that had me on the end of my seat

and others that I almost couldn't bear, mainly the brutality

of the child murderer who is revealed later into the film!

Even though she is not reunited with her son, the story still

finds a way to end on a ray of hope.

This was definitely an oscar-worthy performance in a year

of many oscar-worthy performances!

Want Changeling (2008) Discount?

The movie is superbly done. Jolie is magnificient as the mother who strives against a corrupt system to bring justice. The sets, the location, and the pacing are all very good. However, I can't say I enjoyed the movie. It is a hard movie to watch. The topics are kidnapping, corruption, and mass murder. The emotional impact is brought home with gritty realism.

In summary, I strongly recommend watching the movie. The movie is about heroism and bravery in face of fantastic odds. The movie is extremely well done. However, I don't know if I recommend buying it. It is very hard hitting and disturbing movie in some ways. The realism is the strength of the movie. I would recommend renting it and then buying it.

Save 60% Off

Tooth Fairy 2 (2012)

This is a place to review the products not express an opinion against a celebrity that a person thinks is stale. For anyone that wants to know if it's a great movie for kids, my 4 and 5 year old love it. There is nothing offensive about it. It's not going to win any Oscars but I'm pretty sure the makers didn't expect a nomination. There is no violence and it's a cute story. Nothing about it you'll have to explain to your kids later. So for parents that just want 90 mintues of peace and quiet its worth the purchase.

I judged this by the same standards I would judge an adult movie:

Did it keep my attention throughout the film?

Was the story-telling original?

Was the sequence of events credible (within the context of the fantasy)?

Was the humor original and did I laugh spontaneously?

Were the casting choices and acting good?

I consider myself a harsh but fair critic, judging a work by its merit within its own genre. I thoroughly enjoyed "Tooth Fairy 2."

Buy Tooth Fairy 2 (2012) Now

My kids loved it that the "Head Fairy" was a kid. They know Larry the Cable Guy and his redneck ways, so the farce was complete. Total turn-around from the Rock version.

Read Best Reviews of Tooth Fairy 2 (2012) Here

I know everyone has their own opinions on everything; here is mine:

I LOVE Larry, he is so funny. This movie is nothing like the last one, except he is the fairy. There are all different actors, and frankly it is not as funny as you would think. I am sorry Larry, but the Rock has you beat on the funny portion. This could be due to the fact that the Rock is a wrestler and actor of a different type, so to speak. And knowing Larry is in the movie you just expect it to be hilarious, I don't know. I was actually disapointed in it.

As far as the person selling this, they did a fantastic job. The items was as described, a good price, and the shipping was fast, thank you.

Want Tooth Fairy 2 (2012) Discount?

Cute story and enjoyed the actress Brady Reiter who complemented Larry the Cable Guy. Great movie for the younger audience members.

Save 50% Off

Medium Cool (Criterion Collection) (1969)

Released in 1969 by overshadowed by Easy Rider (which despite being a bit more flashy in technique is actually a far more conventional film), Medium Cool is one of the few "counterculture" films of the '60s to actually remain relavent. The first film to be directed by famed cameraman Haskell Wexler, Medium Cool is the story of 1968, a panoramic view of a near revolution. Cleverly, Wexler tells his story through two outsiders -a detached newsman (Robert Forster) and the country widow that he romances (well played by Verna Bloom who should have become a star as a result of her sweetly realistic and appealing performance). Though the film is clearly on the side of the counterculture, the use of these two outsiders allows Medium Cool to retain an objectivity that seems to be missing from most other films of the period. Instead of simply worshipping the trends of the time, Wexler was actually at the apocalyptic events seen in the film. When Forster and Bloom find themselves lost in the chaotic rioting of that year's Democratic convention, the scenes are riveting because they were actually filmed during the actual riots. This is the rare protest film where, instead of seeing wealthy Hollywoodites playing their idealized versions of the times, you are actually seeing the events as they unfold. For someone like myself who was born on the tail end of the Viet Nam War, seeing that footage and realizing how close to collapse society actually was in 1968 is truly an eye opening experience.

Much of the film, of course, is improvised. Improv is often a frightening word when it comes to film making. It seems to be a talent that a lot more people believe they have than actually do. However, Medium Cool is one of the few films I've ever seen where the improvised sequences come off not as self-indulgent but actually very revealing. It helps that Wexler found some of the best improvisational actors working at that time and put them in his film. Hence, the wonderful Peter Bonerz shows up as Forster's jittery partner and the contrast between his nervousness and Forster's coldness provides for a good deal of humor (something missing from far too many protest films). A particurlar highlight is when Forster and Bonerz interview a group of Black militants. Bonerz's desperate attempts to both find an escape and come across as a good, white liberal at the same time are priceless. Other than his later role as the oily dentist on the Bob Newhart Show, Bonerz was never given another oppurtunity to show off just how truly talented he is and that's a shame.

Also giving a strong improvisational performance is Peter Boyle, making one of his first film appearances and playing one of the first of his signature "right-wing nut" roles with a blue collar accent that never condascends or gives into easy elitism (another quality that sets Medium Cool apart from other protest films).

However, the film truly belongs to the two leads and they bring a true humanity to what otherwise could have been an overly cold and clinical film. As stated before, Bloom plays a simple character without ever giving a simple performance. Her political innocence is never ridiculed or attacked and her horror at the growing violence around her is wonderfully conveyed and felt by the audience. Forster, an always underrated actor, gives one of his typically low-key performances and bravely gives an honest performance as a character that many in the audience probably won't find extremely likeable. As he would later in "Jackie Brown," Forster manages to convey his character's detachment while stll suggesting an actual, human being. As he romances Bloom and becomes attached to her young son (well-played by Harold Blankenship), Forster slowly starts to surrender his cool exterior and Forster's subtle emotional development is wonderfully conveyed. By the time of the film's apocalyptic ending, we've come to truly care about these two characters and, as a result, Medium Cool becomes more than just a film about the 1960s. It becomes a film for the ages.

Hollywood just didn't get it in the Sixties and the best they could do was turn out stuff like "Wild in the Streets." But there were two films that did capture what was going on in those days and 'Medium Cool' was one of them. The other was 'Easy Rider,' and both of them were made in spite of Hollywood and not with the help of Hollywood. One picture dealt with the political upheaval in the streets and the other dealt with the cultural revolution.

I saw 'Medium Cool' the week it opened and I probably wasn't the only one who considered it a revolution in film making and figured it would be the first of many such films that tied documentary and narrative film together, but sadly there were no more 'Medium Cool's' to follow, or no more 'Easy Rider's' either.

The Amazon review is totally uninformed in describing what happened in Chicago. The only 'riot' that happened were the police riots that repeatedly attacked the protesters and anyone else who happened to be in their way. And very few of us considered ourselves to be hippies by that time. I know because I was there and that's me on the cover of the DVD carrying a red flag. Interestingly Haskell -who I became friends with many years later -is still at it. I was marching down Hollywood Boulevard in an antiwar protest at the beginning of the Iraq war and looked up just in time to see Haskell in the crowd pointing his DVD camera at me. There was no tear gas this time, no rioting cops, and no machine guns set up on the streets. I wasn't carrying a red flag and my hair has long since turned to gray, but some some basic things never change.

This picture tells it like it was as only the world's greatest cinematographer could have done it. Amazon calls it a 'curiosity' and maybe it is, but it's also an authentic historical document executed with artistry and passion and is every bit as watchable as it was back then. I recommend it especially for this wonderful and brave new generation who are carrying on the great American tradition of dissent in these troubled times.

Buy Medium Cool (Criterion Collection) (1969) Now

"Medium Cool" is one of those magnificent wonders that creeps up on the film world, either in passing conversation or in revivals. But it still has yet to receive it's pure due, in spite of it being made over 30 years ago.

It's an accidental masterpiece. Director Haskell Wexler's original intentions were to (via filmic terms) view the various sides of the media as relating to Marshall McLuhan's famous "hot medium/cool medium" essay. In this case, he corraled a bunch of actors (some of whom were associated with the Chicago improvisational scene), gave a loose story line and filmed it around the unfolding events at the 1968 Chicago Democratic Convention (with a few accidental stops in Los Angeles & Washington). Wexler attempted to put the actors into the roles of television men & everyday people and, basically, leave them with their own improvisational devices. Tus, this is where "Medium Cool" develops.

Maybe upon first viewing it in 1969, the performances didn't hold up, but more than thrity years later, everyone involved (even right down to the smallest part) has to be commended. This film is more than an experiment, or even a time capsule, but a true countercultural event. This is a film that not only teaches a thing or two about the times (1968), but also serves as a great study on media and it's truths & manipulations. It's also a great acting lesson of what improvisational acting truly should be...risk-taking with a high degree of failure (and NOT the cutesy-poo clever laugh inducing theatre that it's been reduced to...more later). You want a true example of play actors facing a REAL reality situation? Well, look no further...

Robert Forster's role may seem a little wooden at first, but as the movie (and years) pass on, he did an extraordinary effort of a man who's caught between compassion for his job, the manipulation that seems so tempting and the overall wear & tear that comes with the territory. Peter Bonerz puts an an excellent improvisational performance, years before "Bob Newhart" and fresh out of Chicago improv. One scene, with the two reporters in Washington after Robert Kennedy's assassination (in a taxi) speaks pages.

But two performances really stand out: Verna Bloom & Harold Blankenship.

Verna Bloom has the least obvious role as a lower-class single mother who, with very open and impressionable eyes, takes in everything around her via Forster's world. In what seems like an innocent (and touching) supporting role turns into one of the most ballsy & daring improvisational performances ever attempted, with the mother (looking for her son) stumbles upon a growing riot in a park. Only, the riot is very much real life. Masterful performance.

Harold Blakneship as the son provides what is the most pure performance by a child actor. He doesn't mug nor try to act cute, but there's something in his soul that looks like it lived many lifetimes. It's a soulful & haunting performance that doesn't seem to be self-conscious of the camera.

Despite Paramount allowing him to film it with a very strict budget, this is truly an independent film. Risks were taken. Lives were most definitely at stake. Comments had to be made. But it's one of the finest cinematic risks ever taken and a true multi-purpose film.

This DVD not only carries a fine widescreen transfer, but contains great commentary from Wexler, Paul Golding & Marianna Hill, plus a cool theatrical trailer (with the original 'X' certificate at the end for historical purposes). Fan of this film will not be disappointed.

In late 1999, I was in a class with a Chicago-based improvisational company (which shal remain nameless). When I mentioned this film in conversation, the teacher (who was also the manager of the L.A. branch) asked what we were talking about, I told him "Medium Cool". When he had never heard of it, I was shocked and told him that any improvisational actor, from Chicago or otherwise, should make this a mandatory film for studying any kind of on-the-spot acting. I lent it to him, but when I asked for his impressions, he just found it "interesting".

I guess he wanted to make people laugh.

Read Best Reviews of Medium Cool (Criterion Collection) (1969) Here

Medium Cool is an icon and artifact of the political furnace that was the 1960's in America. The title derived from the then-popular analysis of mass media by Marshall McLuhan, it mixes the important events of the time with the lives of characters trying to live their lives and do their jobs in the midst of upheaval with an insight into electronic media.

Originally this film was supposed to be another film entirely. Instead, two-time Oscar winner Haskell Wexler and his crew, after the assassinations of Martin Luther King and Bobby Kennedy, waded into the turmoil of the 1968 Democratic Convention in Chicago.

There is some resulting confusion apparent in the film. Is it about the mass media, particularly television, in 20th century America and the insensitivity to human suffering it weaves? Is it about racial politics and cultural exploitation of black people? Is it about a poor Appalachian mother and child in Chicago? Is it about political intrigue, assassination and FBI spying and disruption of legitimate protest?

At times some of the acting may seem stiff or ad hoc, and sometimes the sound has a raw documentary quality about it. But some of the music apparently enhanced on DVD, particularly that provided by Frank Zappa's Mothers of Invention, provides a sarcastic critique of the popular culture promoted by the mainstream hype of the time. The conventional belief system was being severely challenged by assassination, the shocking realities of Chicago '68 and countercultural events like "Medium Cool".

Patience of the viewer is rewarded with Wexler's outstanding photography in an amazing cinema verité of the characters playing out their roles in the actual "police riot" in the streets of Chicago."This is REAL, Haskell," we hear one of his crew warn offcamera as tear gas is discharged in front of them. There is also some footage of the poor people's march and encampment in Washington D.C., with the TV crew squishing around in the mud in rubber boots as if on some expedition.

The DVD is excellent. The technical perfection and poetic composition of Wexler's cinematography comes through from a flawless print. The commentary available with Wexler, actress Mariana Hill and Paul Golding interviewed in 2001 greatly enriches the viewer's understanding of the making of the film and its subtle touches.

Want Medium Cool (Criterion Collection) (1969) Discount?

I saw "Medium Cool" shortly after I had been drafted in 1969 in San Antonio where I was going through basic training for conscientious objectors. I was so blown away by this film I sat through it a second time (you could do that in those days) to try to take it all in. The mixture of documentary style direction with actors playing characters was a new idea, but to put them into an explosive (& eventually exploding) situation was a stroke of cinematic genius by Wexler. The movie also received an "X" rating for a scene you could probably show during family viewing hours on TV these days.

The thing that still stands out in my mind after all these years is Robert Forster's characterization of the news cameraman. Working in this "cool" medium, he stays detached from the people he films almost to the point of inhumanity. In the opening scene, Forster and sound man Peter Bonerz come upon a crash on an expressway, the car against a wall with its horn blowing continuously and a bleeding woman lying on the ground next to the open passenger's door. They procede to start filming the scene, but Bonerz compains that the horn is wiping out all other sound he might get. Forster goes to the open (from the crash) hood of the car & yanks out the horn wires. They then continue filming the scene without ever considering calling for help for the injured woman on the ground until they're finished. You begin to wonder who are these guys who callously put getting the story, which they would have gotten anyway, ahead of helping someone who's been injured.

Two other scenes come to mind which give insight into Forster's character. In one scene with girlfriend Marianna Hill, she challenges him by asking him about a scene from the movie "Mondo Cane". This scene involved tortoises on a Pacific island whose sense of direction had been affected by atomic bomb tests to the point where they no longer knew how to find the ocean. She asks Forster if, after they were done filming, the cameramen might have turned the tortoises around and pointed them toward the ocean. She really wants to know what he would have done. Forster replies, "How do I know? Those were French cameramen."

The second scene occurs when Forster is watching the mourning for the death of Martin Luther King on TV at Verna Bloom's house. His reaction to the outpouring of grief & emotion on the screen is to say, "Jesus, I love to shoot film."

Forster (& the others I've mentioned) are great in this film. And among the other points he makes with this film, Wexler reminds us that to the TV camera, our lives, joys, accomplishments and especially our sufferings are reduced to being just frames of film which may occasionally be newsworthy.

Save 30% Off

Mighty Aphrodite

`Mighty Aphrodite', written, directed, and starring Woody Allen seems to be the kind of movie Allen makes after he is worn out doing a strictly realistic, mostly serious movie such as `Crimes and Misdemeanors', `Hannah and Her Sisters', and `Husbands and Wives'. Unlike these excellent seriocomic works, `Mighty Aphrodite' flies off into a world of fantasy similar to the crazy / inventive situations in `Zellig' and `A Midsummer's Night Sex Comedy'.

Allen brings along with him his usual band of big name actors taking off from more remunerative roles to have some fun with this lighthearted comedy. As usual, heavyweights such as F. Murray Abraham, Claire Bloom, Jack Warden, and Olympia Dukakis have such small roles that you hardly notice they are there until they are off screen. In the case of Abraham and Dukakis and Allen stock player David Ogden Stiers, this anonymity is heightened by the fact that they are playing masked members of a Greek chorus, filmed in a ruined Roman amphitheater, in Italy, according to the location credits.

This movie was done for Mirimax and a sizable number of new names appear among the film's executive producers, although I am certain Allen still has his hands firmly on the artistic reins for the filming of the movie. I have no idea which of these new names represents `Sweetland Films', but their only contribution seems to have been a slightly less austere credit crawl at the end of the flick.

Aside from Allen, all of the really heavy lifting on the screen was done by title character actor Mira Sorvino, and it is beyond me how she was nominated for the supporting actress Academy Award and not in the lead actress category, although I suspect it did improve her chances of winning in the lesser category, which she did.

Of Allen's two most important movie subjects, love and death, love is certainly the main issue in this movie, signaled by the fact that Aphrodite is the name of the ancient Greek god of love, represented in this flick by Sorvino's character who is a prostitute and pornographic movie actress who wants to get out of that life and settle down in a more normal setting.

Allen plays a successful New York City sportswriter who gets connected with Sorvino when he and his wife decide to adopt a baby boy, and Allen becomes obsessed with the identity of the real mother, who turns out to be Sorvino. While Allen tries to set Sorvino up with a farmer turned boxer turned farmer, his wife (Carter) hooks up with a business partner (Peter Weller) who threatens to break up their marriage.

While there are a few brief moments of apparent danger when Sorvino's pimp threatens Allen's life if Sorvino quits, the pimp is bought off with nothing more than a pair of courtside tickets to a Knicks game. While the main `realistic' plot is pretty improbable as it is, the real silliness is going on in asides to a full masked Greek chorus very similar to what you would find in productions of plays by Aeschylus, Sophocles, and Euripides. Thrown into this absurdity is Jack Warden playing a modern blind man named Tiresius encountered on the streets of New York. The joke is that Tiresius is the name of a character in Sophocles' `Oedipus Rex' who makes the prophecy that Oedipus will kill his father. In Allen's version, Tiresius simply clues Allen into the fact that his wife is fooling around with her business partner.

The invocations of the Greek choruses get even more silly as the movie progresses, with the chorus appearing in modern New York near the end of the film, bursting into renditions of Cole Porter and tunes from other modern composers.

Like `Zellig', there is no attempt to avoid straining credulity. Near the end of the movie, Sorvino is rescued from her life of sin by a totally improbable `deux ex machina', which Allen glorifies by simply describing it as such in the voice-over.

This movie is about as close as Allen ever comes after `Annie Hall' to returning to the silliness of early movies such as `Bananas' and `Sleeper'. Unlike the early gag fests, you really feel for the characters in this movie. You don't want Allen to break up with his wife and you want Sorvino to get out of her sex business. And, we are much happier at the end of the movie than we are at the end of `Crimes and Misdemeanors' where a killer escapes justice and the nebbish gets cheated out of his girlfriend.

This is not one of Allen's very best movies, but it is in the upper half. Sorvino's performance is definitely worth the price of admission.

There seem to be three camps when it comes to Woody Allen. (1) People who love his earlier works and villify his most recent films (2)People who love all of his films (3) People who hate Woody Allen, his films, and anything else related to him. I belong to the second group, and like most of his films. Mighty Aphrodite is a great movie, featuring the performance that put Mira Sorvino on the map. This film also contains a great performance by Michael Rappaport, who has gone on to do more stellar work with Allen. Every time I watch this movie I laugh. If anything, see this film for the Greek chorus led by F. Murray Abraham. Like most of Allens more recent works this film is funny and wacky, while at the same time you don't leave the movie feeling as if you've lost brain cells by watching it.

Buy Mighty Aphrodite Now

Woody Allen is a comic genius, and he outdid himself in "Mighty Aphrodite." But the real comic treat in this film is Mira Sorvino. Her role as the air-head porn star was hilarious -she was the scene-stealer of the movie and she deserved every bit of that Oscar.

There are very few movies whose comic timing is as precise as this one. This is a dark comedy that you wouldn't want to miss. It's one of the best I've seen in recent years.

Read Best Reviews of Mighty Aphrodite Here

Got the European version -- unplayable on U.S. DVD. No statement made of

a version that was unplayable. Not acceptable! I can't be bothered with returning

this. Better things to do. A clear warning should be there upfront no mistaking what

is being offered.

Want Mighty Aphrodite Discount?

I am a fan of Woody Allen films. Like most people, I got interested in his early comedy films and then appreciated his development into a master of serious film. Occasionally, Allen bring the serious and the comedic together in a film that simultaneously cracks you up while amazing you in his innovative method of conveying a message. "Mighty Aphrodite" is an example of this successful mix. I remember the movie from the 1995 Academy Awards when Mira Sorvino won the Best Supporting Actress Award (and her father's touching reaction). However, I never had the chance to see the movie until it was on the Independent Film Channel last night. I was surprised by the opening scenes but I quickly came to appreciate the somewhat wacky Greek chorus. As the movie moved along, I got a bigger and bigger kick out of the chorus's persistent reappearance.

The basic story line was about a couple who adopts an infant child. The reluctant father becomes more and more absorbed in the many fine qualities of his son. He becomes obsessively curious about the boy's biological mother and manages to track her down. What he finds destroys his image of what she should be. Nonetheless, he can't shake this obsessive involvement in her life.

Mira Sorvino truly earned her Oscar for her preformance. She was so uniquely inappropriate that the comedy had trouble keeping up with her. I usually disdain the profanities of modern cinema but I have to acknowledge that, in "Mighty Aphrodite", the profane and obscene really added to the story. Ultimately the movie comes to an end in which almost all is well. In the process we discover that it is best to leave well enough alone, you can't make silk out of a sow's ear, true love takes commitment, and a variety of other messages.

I rated this movie "4 Stars" mainly because most of Woody Allen's comedies are funnier and most of his serous films are more profound. However, this was well worth watching.

High School Musical 2 (Extended Edition) (2007)

I was amazed by the amount of extras on this 2-Disc DVD set. What a fantastic set--with over 5 hours of bonus material. The story is typically light-hearted fun as you would expect from this franchise. It's the last day of school, and all your favorite East High Wildcats are counting down the seconds for the final bell that tells them it's finally summer! The rousing opening song is "What Time Is It?" and gets the movie off to a high energy start. Troy (Zac Efron), Gabriella (Vanessa Hudgens), and the gang must get summer jobs; meanwhile, Sharpay (Ashley Tisdale) wants to get Troy a job at her country club, Lava Springs, so that he can sing with her at the talent show and become her new boyfriend. Unbeknownst to her, the club's manager, Mr. Fulton (Mark L. Taylor), has to hire the entire gang to get Troy...including Troy's girlfriend Gabriella. Sharpay does everything she can to break the two up, including setting Zac up with a sweet college scholarship. Can Zac resist?

Visually, this movie is a technicolor feast that harks back to the Esther Williams/Busby Berkeley musicals of MGM. One of the most spectacular numbers if "Fabulous," sung by Sharpay (Ashley Tisdale) as she lets everyone at the pool know that she has impossibly high standards. Her brother, played by Lucas Grabeel, is dolled up like Elton John and plays a pink piano in the shallow end of the pool while wearing a white tux with hot pink lapels. Definitely classic!

Spec-wise, the DVD audio is a speaker blowing Dolby Digital 5.1 mix and the video is full-frame. Sure, for those with 16x9 or widescreen TVs it's a disappointment. However, this movie was originally shown on the Disney Channel, and as you can clearly see in the behind-the-scenes documentaries (as you look over the shoulder of the camera and see the framing), this movie was COMPOSED for full-screen, even though there was spillover frame to fill out a widescreen. Minor quibbling point...still a great piece of entertainment suitable for ALL ages.

Now onto the extras...there's a ton! You get a great sneak-peak at High School Musical 3 (which will actually debut in theaters), which shows that the whole gang is back, along with three newcomers (looks like Sharpay may have some competition in the conniving department from the new girl). There are also some deleted scenes; although they were trimmed for the right reasons, one does explain a little bit of how Gabriela got to the Country Club for the talent show. Backstage Disney also gives you High School Confidential, an assortment of LOTS of featurettes such as:

*Manly the Dog: director Kenny Ortega's dog who has a featured spot in the movie as Sharpay's pampered pet.

*Sharpettes: Sharpay's sidekicks, featured in the "Fabulous" number

*Hilarious one about Ashley Tisdale; all her costars say she is like Sharpay, even though she protests. Very cute.

*Zac Factor: All about Zac Efron

*Special photo gallery where you can guess what baby photos match your fave HSM star.

*The Making Of "HUMUHUMUNUKUNUKUAPUA'A."

*Hannah Montana/Miley Cyrus is actually in HSM2; never knew that until I saw the featurette about her cameo!

*Cast Favorites: The stars dish (except for Zac who is not in this one) about their favorite singers, movie actors, desserts, and more.

*On Location Visit the resort area of St. George, Utah

*In The Kitchen Lucas Grabeel takes fans behind the scenes of the clubhouse kitchen set.

In the Music & More section you get:

*Dance Along: follow along to the moves of "What Time is it?" and "All For One." You'll be doing these dances in no time by following multiple camera angles.

*Music Video "All For One" A special performance of the song is intercut with the cast recording session and behind-the-scenes footage.

And lots more! All HSM fans should add this one to their collections!

This sequel to High School Musical features the same stars as the first film and nearly the same plot. Once again, high school hunk Troy (Zac Efron) ponders whether he should stick to the stuff he knows (in this case, the sweet Gabriella), the conniving Sharpay wants him there beside her, and eventually everyone learns that they're all in this together. OK, that wasn't fair. That's also the plot of "Grease," and for that matter, nearly every other teen musical.

In this case, though, I couldn't help feeling let down. Unlike the original (High School Musical (Encore Edition)), this film breathes not a breath of fresh air. It is, in essence, just a clone of its mama. If you loved the first film you'd like this one -it has the same feel-good bounce -but I bet you won't be watching it as often.

So why four stars? The music. It's better! "You Are The Music In Me" is a sincere, catchy duet by Gabriella and Troy (Vanessa Hudgens and Zac Efron) that uses a gospel chorus to rise above nearly everything ever cranked out by today's dime-a-dozen pop tarts. "Everyday" (also Gabriella and Troy) is in the same vein, a Britney-esque bouncer with a finale that seems literally straight out of a black church. "I Don't Dance" boogies along like an old big-band number, while the staccato boy-band rocker "Bet On It" (Troy) recalls the best of Michael Jackson. Finally, "All for One" is a hand-clapping shout-out that hints, a little, at Sheryl Crow's "Soak in the Sun." The soundtrack is available here: High School Musical 2.

Why "Extended Edition'? Because an additional music scene has been integrated into the film: the musical number Troy and Sharpay rehearse. The scene features Sharpay playing a pineapple princess looking for her "fresh fish prince" in the Polynesian fantasy "Humuhumunukunukua'pua'a." Bonus features include a sing-along feature, rehearsal footage and music videos.

One final note: Though this DVD is in fullscreen, the Blu-ray version is widescreen.

Buy High School Musical 2 (Extended Edition) (2007) Now

I have two daughters (5 & 7) and they love the movie, love the characters and can't stop watching both HSM 1 and 2. For very conservative parents (I kind of consider myself on the conservative side), this isn't all that bad. They do kiss in this one, at the end. Other than that, I can't say there is anything else in the movie that requires explanation to the kids (not that I needed to say anything about "the kiss"). It is actually good, clean fun, unlike many of the other videos that come out nowadays..

Read Best Reviews of High School Musical 2 (Extended Edition) (2007) Here

I really don't understand the negative reviews for this movie as I found it to be really great. As usual, one wonders if they saw the same film. This movie was made to appeal to pre-teen and teen viewers and it's been a hit with them this summer. I'm not a teen, but I've always loved teen movies and I found it terrific. I've had lots of kids say positive things to me about this movie and so I know it was well received. I'm just so glad that musicals are popular again as I've always liked that genre. Music has a way of touching people in ways that a regular film just can't. Yes, this film has been marketed, but I have to say that to market successfully you have to have a good product (which this is).

Ok, we all knew that the movie producers would have a really hard time matching the success of the first movie which was a real classic. This movie came so close to being even better than the first. I think what did this was the outstanding music, vocal performances of Zac & Vanessa, and choreography. Also, the "romantic quotient" is quite high and there are plenty of romantic scenes for those of us who like those kind of movies. Zac and Vanessa have a lot of onscreen chemistry & their real love for each other really shines through on film. I can see that there are a few scenes that are going to get 'stuck' in my dvd player! :) Also, the message is very good about staying true to yourself and making the most of opportunities while you are young. If you go off the track, it means nothing and you can lose sight of what's really important and become someone you don't want to be. There are more positive messages as well, and I think that's one of the things that is so great about these movies.

Extended version? This makes me happy because it seems to mean extra features and perhaps deleted scenes. Yipee! It should be great. December 11th can't come soon enough. Also, the idea of a 3rd movie about their prom in theatres is exciting to me. I say, bring it on...there aren't enough great movies like these.

Want High School Musical 2 (Extended Edition) (2007) Discount?

Having been a Disney fan all my life, I always look forward to new releases. With the Success of High School Musical I wondered how they could top this production. They did though. HSM2 is thoroughly enjoyable with great acting by all the cast and the musical numbers are out of this world. The energy exibited along with the fun they seemed to have during the production made it even more enjoyable. It is a fantastic production and I recommend it for anybody who enjoys Disney. This is sure to become a classic.

Save 13% Off

Wake of the Red Witch (1948)

I can't believe this is the first 5-star review of "Wake of the Red Witch". Ever since I was a child it's been one of my very favorite John Wayne films. Maybe it's the greedy quest for the valuable pearls, or the conflict between Captain Ralls (John Wayne) & Captain Sydneye (Luther Adler), who compete fiercely for both the treasure & the lovely Angelique (Gail Russell). Or maybe it's the doomed romance that makes this so watchable. The Duke was awesome with Gail Russell in this classic as well as the wonderful western "Angel & the Badman". John Wayne made some of his best movies in the late 40's, but for some reason this classic (from 1949) has been largely forgotten. Well, at least it's on dvd. The picture quality is very good but unfortunately there are no special features, not even the trailer. If you're a big John Wayne fan & want to see him in a rare non-western role, then this is a definite must-see!

After the classic "Angel and the Badman", DUKE and Gail Russell paired again for this effort, "Wake of the Red Witch".

A tale of the effects revenge, greed, and bittnerness can have on people, the story traces the duel of words and intrigue between two men; Captain Ralls (The DUKE), and shipping magnate Mayrant Sidneye.

DUKE skippers Sidneye's prize ship, the Red Witch, and purposely wrecks her in a plan to cheat Sidneye out of a cargo of gold. Turns out that Sidneye had plotted to steal away DUKE's girl, Angelique Desaix (played by the lovely and angelic Gail Russell).

Tricking DUKE into a fatal confrontation with the girl's father, Sidneye is able to marry Angelique before The DUKE can set things right. This leads to her unhappiness, and The DUKE takes revenge on Sidneye by wrecking the Red Witch.

A wonderful study of greed, revenge, and redmption, we see the tale through the eyes of a young seaman (Gig Young), who Ralls sees as his younger self.

Familiar faces in the cast include Paul Fix, Henry Daniell, Jeff Corey, Erskine Sanford, and Grant Withers.

Gail is gorgeous, as usual.

Buy Wake of the Red Witch (1948) Now

This seemingly obscure 1949 movie produced quietly during some of John Wayne's greatest years of stardom is an overlooked excellent and well written drama. The movie ties into the original story and actually opens the original book and begins the narration of Chapter one at the hands of the first mate. The story revolves around scuttling a sailing vessel "The Red Witch" that contained a cargo of five million in Gold Bullion. There is competition between the owners and Captain Ralls (John Wayne) who plays an ambivilant character who sides with whatever group is most advantageous at the time. The story is told from the perspective of the first mate and utilized the "flashback" technique similar to "Casablanca" but spends considerable time filling you in on how the present situation developed. Although this is in glorious B&W, the island scenery and romance of the age of sail work wonders along with casual romances and adventure to make this a great and interesting film to watch.

Read Best Reviews of Wake of the Red Witch (1948) Here

Here is a very average movie that John Wayne made during the most brilliant portion of his career. If you consider that he had just made "Red River", Fort Apache", & "Three Godfathers", and was going on to make "She Wore a Yellow Ribbon", "Sand of Iwo Jima", "Rio Grande", & "The Quiet Man"....then you have to say that "Wake of the Red Witch" was just bringing in a paycheck for him. It's overly wordy, and has two extensive flashbacks which only serve to confuse the plot more.

As for the DVD, it's quality is first rate. Artisan has been very spotty putting out the Duke's films on DVD. Some like "The Flying Tigers" have been mastered from original negatives, while others, like "The Quiet Man" look like they came from a fifth generation copy. Anyway, this transfer will not disappoint.

Want Wake of the Red Witch (1948) Discount?

A very interesting and exciting sea picture that involves intrigue, danger, adventure, and romance. What more do you want? In addition to all of the previously mentioned offerings you have a sea monster, ie; a giant squid which is only one of many obstacles that John Wayne has to battle to retrieve valubles located in a sunken freighter.

This John Wayne film is different and unusual in that John Wayne is not the all encompassing heroe that he usually portrays in films. He starts out as a somewhat greedy, deceptive person out to get what he feels he deserves from a former employer and rival, but in the end he finds redemption from his love interest, the very beautiful, Gail Russell, who starred with Wayne in "The Angel and the Badman", another fine Wayne western. Also, in the film is Gig Young, a great, "in my opinion", underrated actor who does a fine job as the character with redeaming qualities, and a friend of John Wayne in the film.

They don't make'm like this anymore! I'm sure you'll enjoy this film, pure adventure, and a film you don't have to analyze, just enjoy!

I recommend purchasing this film. You won't be disappointed!

John E. Matty, Springfield, VA.

Save 30% Off

Stargate (Extended Cut) (2007)

After all the poor releases of this film, Lionsgate has finally stepped up and given the fans the REAL Ultimate Edition. This is a new 1080p VC-1 film-to-disc transfer (~25 Mbps peak), with an all-new 7.1 DTS-HD MA audio track (7 Mbps peak) which literally shakes the floor and sounds more alive and active than I've ever heard. I can't compare this to the 2006 blu-ray since I never purchased it (after reading that it too was subpar), but it's a massive upgrade from my 2003 Artisan disc. Rounding out this release is 4+ hours of bonus content, none of which is contained on the previous blu-ray. The best part of the deal was the fact that I was able to purchase this for $9.99 from a local big box retailer due to some confusion over which version was on sale. If you haven't purchased the 2006 blu-ray (and even if you have!) this is a must-own for fans.

When MGM first released this film on Blu-ray (see Stargate (Extended Cut) [Blu-ray]), I bought it because it claimed to be 1080p picture quality with enhanced sound. The sound on that version was quite good, but the video quality was as if they just copied a VHS tape to Blu-ray: it was grainy, had all kinds of pixelation issues, and had no extras at all. I'm not sure what they did with all the space on the Blu-ray because they certainly didn't use it for the film.

So, I was a little leery purchasing this release because of the bad experience with the previous release. I am so glad to be proven wrong this time.

The video quality on this one is amazing! All of the images are very clear and crisp, the blacks are very black and there is none of the graininess as in the previous release. There is no pixelation that I can find. The audio quality has been boosted as well. They also spent a little time making a decent intro and menu this time as well. They have finally "done right" by this film and released it in what appears to be a new transfer from the film.

They also included all the extras found on the various releases, something completely missing from the first Blu-ray release. This kind of film demands "making of" specials, and the specials included are very interesting. They explain the sources of the film. You get to meet the director, the producers, and some of the actors as well. It's always very interesting to hear from the people who made the movie why they made the movie, what they experienced while making the film, and what they were thinking when they chose do one thing instead of something else.

If you have been waiting for a GOOD Blu-ray release, you don't have to wait any longer. This is the one to get.

Buy Stargate (Extended Cut) (2007) Now

I'm not sure what makes the ultimate edition much different from the special edition, as both include the director's cut and theatrical version. The ultimate edition does include a 'making of' featurette, as well as a 'Is there a stargate' featurette that isn't included on the special edition. These are both interesting, but nothing to write home about. One big difference is the audio. The ult. ed. includes DTS 6.1 audio, as well as dolby digital 5.1.

Good: Being a fan of Stargate SG-1, I wanted to own the original movie as well, and when the ult. ed. was released, knew it was time to buy. I watched the director's cut, and was amazed. There were added scenes, as well as extended existing scenes. These changes really gave me a better understanding of how things in the tv show came to be the way they are, such as the relationship between Jack O'Neill and Daniel Jackson. In the director's cut, we see more interaction between them. We also get more into the head of Jack, and better understand just how messed up he really is after the loss of his son.

Bad: The only disappointment I have with the ult. ed. is that there were no 'gag reels' or bloopers, or other deleted scenes included. I enjoy watching these on other DVDs I have, and would have loved to have seen them for Stargate.

Overall, I'm glad I added this DVD to my collection. My only wish is that the Stargate SG-1 DVDs included behind the scenes or blooper reels as well.

Read Best Reviews of Stargate (Extended Cut) (2007) Here

First, let me start by saying that I love this movie. Perhaps because I traveled to Egypt when I was 16 and I saw the glory of the giant pyramids in person (just don't tell an Egyptian that it was the aliens who built their pyramids and not their ancestors, he or she will be mad at you forever!).

I also love Sci-Fi flicks, and this movie has a great story. if you haven't seen it and you like Sci-Fi movies, even adventure movies with Kurt Russell, you'll love this one.

Now about the Blu-ray DVD:

Let me say that I have been a happy HD DVD owner for almost a year now, but seeing some the movies that I love in Blu-ray only, made me decide to get a Blu-ray player.

Video: The picture quality of this Blu-ray disc shows excellent CLARITY and BRIGHTNESS and BETTER COLORS that were not on the standard DVD. It seems that the brightness level was boosted, but also at the cost of some graininess and video noise.

The Picture looks almost perfect in the bright sunny desert scenes, but with very visible grains indoors.

Overall, comparing this version to the dark (less grainy SD DVD) is like the difference between Day and Night!

Also, This BD has a cool disc menu with ancient Egyptian Hieroglyphic that turn into English letter.

There was a problem with the subtitled translation of the Alien language or ancient Egyptian (I'm not sure if this language was actually made up in Hollywood like the "KLINGON" language in the Star Trek Movies). The problem is, the translation should show up in English whenever that language is spoken, but it doesn't!!!!!! One helpful reviewer on this page suggested going to the main menu and selecting English subs, and it works!, but you end up with subtitles throughout the whole movie. This release might have been rushed to the market (like many Blu-ray releases of 2006 in order to compete with the other HD format). How long do we "Stargate" fan have to wait again before we get a release with a good picture quality (hopefully grain free and no subtitle problem)????

Audio: very good

Conclusion: I can say that this is the best version of this movie available to date! but it has its problems. If you can't wait and you don't mind turning on the subtitles during the whole movie, it's a great release under $20.

Want Stargate (Extended Cut) (2007) Discount?

First off, once you get past the idea of a Stargate the rest kind of falls into place. The government, with the help of Professor Daniel Jackson (James Spader), figures out how to work it. Pro. Jackson, with an escort of soliders led by Colonel Jack O'Neil (Kurt Russell) step through it to the other side.

They find a desert planet where humans are being made to mine for the same material that the gate was made from.

The people are Egyptians who were removed from Earth over 10,000 years ago, by an alien, and even Daniel Jackson can't understand their language because living languages CHANGE.

The movie is careful to stay away from many of the cliches of most sci-fi movies but also stays away from having characters which are TOO simple. Both Daniel and Jack (played by James and Kurt) are real people, not cardboard cut-outs, with all the flaws and merits of our own reality. The natives are catch between trying to be friendly towards strangers AND not pissing off their Gods.

The science and technology used by Ra and his men look very sleek and very real. From the spaceship to the gliders, everything has a touch of old Egyptian myth mixed with advanced alien know-how.

The DVD comes with two versions of the movie, Director's Cut and the theatrical cut, in which the former has audio commentary. The DVDs also have a great 'Making of Stargate' featurette, a 'Is There a Stargate?' short starring Erich von Daniken himself, trailers, scane access, crew and cast information and production notes.

Everything you could want in a DVD set, a mixture of sound science fiction, a touch of great effects and the pinch of old fashion adventure. This is a great pop corn flick. Enjoy!

8 1/2 (The Criterion Collection) (1963)

Frederico Fellini's masterwork 8 ½ is difficult to approach largely because of its reputation. Many critics also state that the film is so complex that it requires multiple viewings to understand, and this is likely to intimidate many viewers. But the truth is that, in spite of its surrealistic flourishes, 8 ½ is more straight-forward than its reputation might lead you to believe.

The storyline itself is very simple. A famous director is preparing a new film, but finds himself suffering from creative block: he is obsessed by, loves, and feels unending frustration with both art and women, and his attention and ambition flies in so many different directions that he is suddenly incapable of focusing on one possibility lest he negate all others. With deadlines approaching the cast and crew descend upon him demanding information about the film-information that the director does not have because he finds himself incapable of making an artistic choice.

What makes the film interesting is the way in which Fellini ultimately transforms the film as a whole into a commentary on the nature of creativity, art, mid-life crisis, and the battle of the sexes. Throughout the film, the director dreams dreams, has fantasies, and recalls his childhood-and this internal life is presented on the screen with the same sense of reality as reality itself. The staging of the various shots is unique; one is seldom aware that the characters have slipped into a dream, fantasy, or memory until one is well into the scene, and as the film progresses the lines between external life and internal thought become increasingly blurred, with Fellini giving as much (if not more) importance to fantasy as to fact.

The performances and the cinematography are key to the film's success. Even when the film becomes surrealistic, fantastic, the actors perform very realistically and the cinematography presents the scene in keeping with what we understand to be the reality of the characters lives and relationships. At the same time, however, the film has a remarkably poetic quality, a visual fluidity and beauty that transforms even the most ordinary events into something slightly tinged by a dream-like quality. Marcello Mastroianni offers a his greatest performance here, a delicate mixture of desperation and ennui, and he is exceptionally well supported by a cast that includes Claudia Cardinale, Anouk Aimee, and a host of other notables.

I would encourage people not to be intimidated by the film's reputation, for its content can be quickly grasped, and when critics state the film requires repeated viewing what they actually seem to mean is that the film holds up extremely well to repeated viewing; each time it is seen, one finds more and more to enjoy and to contemplate. Even so, I would be amiss if I did not point out that people who prefer a cinema of tidy plot lines and who dislike ambiguity or the necessity of interpreting content will probably dislike 8 ½ a great deal; if you are uncertain in your taste on these points you would do well to rent or borrow the film before making a purchase. For all others: strongly, strongly recommended.

**EDIT 10/4/11: ADDED REVIEW OF 2009 CRITERION BLU-RAY**

The most obvious achievement in 8 1/2, Fellini's mind-boggling piece of self-examination, is its audacious mixture of dreams and reality in order to show the protagonist Guido's whimsical mind state. Dream sequences come and go without warning, depicting Guido's pain, yearning, frustration, guilt that can pop up at any instant. The first time we see Guido's face, it is his mirror image, hinting to us the unreality we are about to face. Some of the dream sequences have a Bunuel-like surrealism. Some of them, however, blend almost seamlessly into scenes of reality, intentionally confounding us. Some are nightmarish, yet some are warm and hopeful. Some are brief flights of fancy, and some are lengthy, elaborate, wild visions that reflect Guido's heightened sense of confusion and anxiety. Although the film is often called the best film ever made about a filmmaker, its theme is universal in that it is a vivid picturization of a person's (and by extension, any person's) mind, which is often haunted by the past, tormented by the present, and apprehensive about the future and the unknown...

The Criterion Blu-ray edition duplicates all the content in the bonus features and booklet of the DVD edition, but offers a high-def picture and lossless uncompressed mono track. The 1080p video transfer seems to come from the same high-def source that created the DVD edition (which looks very good itself), so you get the inherent advantage of high-def over standard-def, which is 2-3 times higher resolution horizontally and vertically. The uncompressed audio track is encoded at a bit rate of 1152 kbps, which is 6 times higher than that of the DVD's Dolby Digital mono track. In short, this is the best the film has ever looked and sounded on home video. Of course, the better your audio and video equipments (especially screen size), the better your experience. I viewed mine on a 50" screen. As is usually the case in viewing black-and-white films on Blu-ray, you see more optimal black and white levels than the DVD counterpart. But be sure to calibrate your screen properly, such as with the "color bars" screen that comes with all Criterion discs. Proper calibration is quite important for serious viewing of Blu-rays because of the format's ability to show a lot more subtleties and nuances in the picture than DVDs ever can.

The 52-minute short film "Fellini: A Director's Notebook" in the Blu-ray's bonus feature section actually has better picture quality than that on the DVD edition. It still looks severely battered and scratchy, but the colors are much brighter, whereas on the DVD they look very faded. Criterion has obviously found a different video copy of the film for the Blu-ray, as indicated by the opening logo that does not exist on the DVD.

For my opinions on the quality of the bonus features, please see my original DVD review below.

**BELOW IS MY REVIEW OF THE 2001 CRITERION DVD EDITION, originally posted Dec-05-2001**

The new Criterion DVD of 8 1/2 has a sparkling video transfer. A frame-by-frame cleanup of the picture has been done, so this DVD is significantly better-looking than Criterion's laserdisc version in 1989. There are momentary freeze frames during the opening scene, but since they also appeared on the LD, I assume they are normal. The 1.0 mono audio track is indistinguishable in quality from that on the LD -it is mostly clean and sharp, although loud sound shows some distortion. The image is anamorphic. The disc is region-free. The audio is supported by newly-translated optional English subtitles.

There is one slight discrepancy between the LD and the DVD. The LD contained the American release version of the film in which some scenes, such as the one in which Guido first meets his wife, had altered music cues. The DVD, however, is the original Italian version, retaining all of its original music.

The DVD's audio commentary comprises of scene-specific comments (whose authorship is unclear), and additional comments from critic Gideon Bachmann and NYU professor Antonio Monda. The result is a pretty well-rounded audio essay covering the film's conception, production details, themes, and artistic significance, as well as personal recollections, anecdotes, and abandoned concepts and scenes. Other extras include two 1-hour films on the filmmakers. The first is "Fellini: A Director's Notebook", directed by and starring Fellini himself. It is a sort of Fellini-style DAY FOR NIGHT, a fictional, somewhat humorous account of how the director goes about making a film. The video/audio quality of this piece is poor, and there are no subtitles or closed captioning. The second film is a documentary made by German filmmakers in 1993 titled "Nino Rota: Between Cinema and Concert". It offers an intimate yet enigmatic portrayal of Nino Rota through his personal recordings, film footage of him working with Fellini, clips of some early films scored by Rota, and interviews of his associates and students. One segment is about how Rota recycled his score from the 1957 film FORTUNELLA to create the theme for THE GODFATHER, an act that would cost him the Oscar nomination. The DVD extras also include 3 new interviews. Sandra Milo speaks candidly about her experiences, both personal and professional, with Fellini. Linda Wertmuller lavishes praises on Fellini's genius while offering a fascinating appraisal of Fellini's psychology that figures prominently in 8 1/2. And Vittorio Storaro pays tributes to the achievements of 8 1/2's cinematographer, Gianni di Venanzo. Rounding out the extras are 100 or so still photos from the set of the film, some of which were taken from deleted scenes.

Buy 8 1/2 (The Criterion Collection) (1963) Now

First off, its one of the 10 greatest movies. If you have any interest in the history of cinema, its a must-view. However, the Image Entertainment single disc edition suffers from a decent transfer of a mediocre print, with much distracting dust and emulsion chipping present. The Criterion 2 disc version, while weighed down by a second disc of less interesting documentaries issue appears to have far fewer print defects. IMHO the commentaries and better transfer make the Criterion disc a better purchase.

Read Best Reviews of 8 1/2 (The Criterion Collection) (1963) Here

Semi-autobiographical self-analysis mixed with fantasies in a movie? It worked for Fellini to the point that it yielded him his third Oscar for best foreign film, the other two being La Strada and La Dolce Vita. It's a unique testament to his vision.

The opening scene itself is memorable. In it, Guido Anselmi is inside a car surrounded by traffic. He tries to get out but can't, frantically rapping on the window, unable to breathe. The occupants of the other cars stare expressionlessly at him. It's a brilliant symbol of the oppression of society and conformity. The allegory continues with him soaring into the sky and being a human kite, after which authority orders him to be brought back down to earth instead of being in the clouds. How repressive!

Guido is a film director in his stride who's onto a rough start with his current project. Yet his collaborator Daumier finds several flaws. There is no fundamental guiding principle, no philosophical premise, and ambiguous intention. One thing that Guido wants for sure is an angelic woman dressed in white, symbolizing innocence, purity, and salvation. Ironically, in the end, it is she identifies his problem for him. The reason why there isn't a coherent project going on is that the movie is more scenes from Guido's childhood, and many of those are played throughout the film. He wants to make a film that is honest, helpful to everyone, and that will bury everything dead in everyone. But does he really have anything to say? In the meantime, he is hounded by his producer to stick to schedule, hire actors, and start shooting.

He also has a mistress Carla, who's extravagant, sexy, a bit loquacious, being at an impasse in his marriage to Luisa. But it's the fantasy-world and the past that he retreats to in times of stress that's the real wonder here. We learn of his encounter with the hefty and sensuous Saraghina, who lives on the beach and who teaches the local Catholic school kids forbidden dances. The scene of having his own harem, full of the women whom he has encountered, is nothing more than a big booster shot to his male ego. I need to daydream something like that more often.

In the scene between Guido and the Catholic cardinal, I found a line there that reminded me why I quit going to church. Guido complains of not being happy. The cardinal replies, "Why should you be happy? That is not your task in life. Who said we were put on Earth to be happy?" He then quotes from Origenes: "There is no salvation outside the Church."

A question from Guido to Claudia, the stunning actress tapped to play his pure angel is also one to us all: "Could you choose one single thing and be faithful to it? Could you make it the one thing that gives your life meaning, just because you believe in it?"

Marcello Mastroianni is well-placed as Guido, as is Sandra Milo as Carla and Anouk Aimee as Luisa. Barbara Steele plays someone usually out-of-character compared to the horror films she did during this time, as Gloria, the poetic young fiancee of Guido's friend Mario. She has a wonderful line: "The cruel bees have sucked the life from these poor flowers."

This movie was called 8-1/2 because Fellini had done seven films plus three collaborations in which he shot a short segment for an anthology, counting each collaboration as half, so he decided this film would be his 8-1/2th. One of those movies in a league by itself.

Want 8 1/2 (The Criterion Collection) (1963) Discount?

One of my top five films of all time. I won't speak much about the film itself, under the assumption most readers have already seen it. You can be guaranteed a fantastic film if you haven't seen this yet.

As far as the BD itself, the transfer is absolutely fantastic! The DVD version itself already had a pretty pristine transfer, but of course with the BD upgrade the resolution and detail is so much better, and of course comes loaded with extras and an accompanying booklet that is actually quite thorough and should be considered an item in itself, and not just a supplement to the disc.

I haven't watched them all, but the extras that are bundled with the film are plentiful and quite informative. Often times with extras you feel as though it is just filler and fodder (let's be honest, it usually is) but at least Criterion makes a conscious effort to make it interesting. I'd say the extras are worthwhile, and also an upgrade from the DVD version.

The biggest difference I noticed from my first viewing is that the subtitles are slightly changed from the DVD version, and also theatrically. There are probably lots of different translations, but it IS different from the DVD but not drastically. The same point is made, but just using a different delivery. Not sure how I feel about some of the changes, but I probably just got used to the previous translation.

I'm not sure where some of these discrepancies or complaints are coming from that have surfaced recently, but my copy was packaged in the special made Criterion jewel cases, NOT the cardboard ones, and of course not the actual blue ones. For a while, with some of the earlier releases, Criterion was releasing its BDs in cardboard slip case and digi-pack format which angered a lot of customers who spoke their voice and got them to upgrade to the now standard jewel cases. A good move in my opinion, but now I'm stuck with Third Man and 400 Blows in cardboard. Reportedly, you can send in the old cases to get upgraded to new ones, but it'll cost you 5 bucks each, so... I think I can live with it.

Save 50% Off

Long Day's Journey Into Night (1962)

Another strip-down medicore presentation from Artisan....

This is a landmark brilliant film of perhaps Eugene O'Neill's great play. The directing by Sidney Lumet and the acting by Katharine Hepburn, Ralph Richardson, Jason Robards, and Dean Stockwell is nothing less than amazing. This has got to be one of the 3 all-time greatest performaces from the late Ms. Hepburn!

Simply one of the most amazing films of the 1960's.

This should have been issued on Criteron. We should have gotten a first-rate restoration job with either a good documentary/back story on the making of the film, or a commentary by the two survivors of the film, Dean Stockwell and Sidney Lumet.

Instead we get a nearly public-domain quality release.

I'm so happy to finally get this important film on DVD...but I'm utterly disappointed at the slap-dash quality one has come to expect from Artisan.

I agree with the reviews, the performances are absolutely stunning, especially Katharine Hepburn's, possibly the best of her career if not one of the best ever captured on film.

HOWEVER, this DVD release is atrocious. This is close to a three-hour film and they crammed on to one disc. That wouldn't be so bad had they done a new transfer, but this looks like the same one used for the VHS tape. Cropped for the TV screen like the video release, (this was definitely shot in widescreen, according to imdb.com), it's got the same gritty, low-res quality. You could tape this movie off of TCM or Bravo and get better quality. Rent it, tape it, but hold off on buying this until it's given a proper DVD release (if anyone from the Criterion Collection's listening, please license this movie!)

Buy Long Day's Journey Into Night (1962) Now

This is a powerful film that's making its long-awaited DVD debut and what do we get -a scratchy print scaled down from widescreen to a 4X3 aspect ratio, essentially the same as its VHS presentation. The price is cheap for good reason ...this is a beauty that's been somewhat stripped of its grandeur.

Read Best Reviews of Long Day's Journey Into Night (1962) Here

(2008 HOLIDAY TEAM)This is likely Katharine Hepburn's greatest screen performance in a career that spanned over six decades. Tackling Eugene O'Neill's morphine-addicted Mary Tyrone must have been daunting at the time, but this 1962 film version of the playwright's autobiographical masterwork is a blazing showcase for not only her formidable talent but her male co-stars as well. Set right after the turn of the last century, it follows a summer day in the life of the Tyrones, as dysfunctional a family as one could possibly imagine. Ex-actor James Tyrone Sr. is the titular head of the family, a miserly alcoholic actor whose sanctimonious attitude has his family unable to cope with their feelings in constructive ways. His wife Mary is a faded beauty defiantly denying both her condition and that of her youngest son Edmund. Edmund has just returned from a few years on the seas but has contracted tuberculosis. Older son Jamie is a failed actor, a wastrel who has become an alcoholic and resentful of his father's stinginess in not being able to send Edmund to a good sanitarium.

The movie is really a series of confrontations and long recollections. As the story progresses, we learn that each of the family members, instead of bonding over Edmund's illness, is gradually retreating into private hellish worlds and that the inability to peacefully cohabitate stems from an inability to move on from events long passed. Even though they are all obviously intelligent people, they refuse to get past their disappointments, and we are left to witness the repercussions of how their choices have affected their relationships and most tragically, how their relationships have informed their choices. What makes spending three hours with this quartet worthwhile is the fact that O'Neill transcends the melodramatic aspects by honing in mercilessly on each one's strengths and frailties. He avoids the talkiness of a stage play by imbuing a sublimely lyrical use of language that captures a profound sense of beauty amid the overwhelming tragedy.

Director Sidney Lumet remains faithful to the text and emphasizes the play's substantial dramatic force by focusing very specifically on the four actors. Hepburn's head-shaking was beginning around this time, and it actually feeds effectively into the character's constant sense of loss and paranoia. She has several great moments, such as Mary's giggly remembrance of her first encounter with James and the demented stupor she displays near the end as she carries her old wedding dress around. A somewhat rigid Ralph Richardson plays James Sr. with appropriate stentorian fervor, though honestly I would have liked to have seen either Fredric March, who originated the role on Broadway, or ironically Spencer Tracy play this role, especially as the play deals heavily with Irish Catholic guilt. Jason Robards has been so inextricably connected with O'Neill in the intervening years that it is no surprise to see him superbly interpret the role of Jamie with alternate flashes of fury and poignancy. As Edmund, Dean Stockwell is a revelation as the O'Neill doppelganger, the emotional core of the play who takes the family's one positive step of forgiving his father and brother for their faults in the climax. Additional credit needs to be given to cinematographer Boris Kaufman whose fluid work here makes the camera an integral part of the experience by lending depth and range to the scenes that could not have been captured onstage. True, it can be an emotionally draining film for the uninitiated, but it is more importantly, a powerful realization of one of the undisputed classics of the American stage.

Want Long Day's Journey Into Night (1962) Discount?

Eugene O'Neill finished writing "Long Day's Journey Into Night" in 1940, but when he died in 1951 his will specifically stated the play was not to be produced until at least 25-years after his death. Because his widow relented and gave her permission for this "play of old sorrow written in tears and blood" we are left with this 1962 film and Katharine Hepburn's greatest acting performance. I first stumbled upon this film on late night television twenty years ago and I still remember staying up and crying throughout the emotionally devastating conclusion with the camera slowly pulling back from the family sitting around the table before a stunning series of emotional close ups of the doomed Tyrones.

This painfully autobiographical play is set on the long day and night in 1912 when the Tyrone family deals the news that young Edmund (Dean Stockwell) has tuberculosis. The tragedy is compounded by the rest of the family: a father (Ralph Richardson) who is a miser, a brother (Jason Robards, Jr., repeating his stage performance) who finds solace in drink, and a mother who retreats into her addiction to morphine before the night is over. Writing about his own family, O'Neill not only changed their last names to Tyrone but also switched Eugene with Edmund, the name of the infant brother who died. After watching this heartbreakingly painful story you know why the playwright wanted it tucked away until he was long gone.

Hepburn received her ninth Oscar nomination for her role as Mary Tyrone (the award went to Anne Bancroft for "The Miracle Worker"), and the four actors shared the acting award for the Cannes Film Festival along with the principals of "A Taste of Hone" (no clue how they came to that strange pairing). The almost 3-hour film is the complete O'Neill script (the key selling point for Hepburn in taking the role) and was shot by director Sidney Lumet in sequence in 37 days after the cast rehearsed for three weeks. The music score is by Andre Previn and Boris Kaufman was the cinematographer of this black and white film. O'Neill is enjoying something of a revival thanks to Kevin Spacey in "The Iceman Cometh" on Broadway, but when it comes to film this is far and away the best representation of his work. Given that he wrote extremely long plays about the early part of the last century, it is likely we will never see a greater film version of O'Neill than "Long Day's Journey Into Night."

Interesting background tidbit: Hepburn tried to talk Spencer Tracy into taking the role of the father. Tracy, who was already in failing health, turned it down, claiming it was a question of salary (Hepburn received only $25,000 for her part). Some of Tracy's biographers, wondering how one of the greatest actors of the century would have done with one of the greatest plays, have suggested that Tracy was intimidated by the role. Still, it is hard not to fantasize about the "Long Day's Journey Into Night" as a Tracy-Hepburn vehicle.

Save 27% Off