Andrzej Wajda - Three War Films (A Generation, Kanal, and Ashes & Diamonds) - Criterion Collection (1961) Review

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(More customer reviews)I have not seen A Generation, the first film in this box set, but I have seen the others. I felt compelled to write a review, because there was none so far and I wouldn't want anyone to be turned off from these films due to ignorance. I am half-Polish and have visited the country half a dozen times since I was a little boy. What struck me most about Poland when I visited as a young man, was the kindness people expressed to each other, even if they were complete strangers. I asked an older woman for directions in the street and she pulled me close and put her arm around me in a motherly way, pointing in the direction I needed to go. The fact that such kindness and humanity have persisted under decades of oppressive totalitarian rule seems both ironic and appropriate. It's as if the more Stalin beat down on the Polish people, the more resilient and warm-hearted they became. Knowing Polish people helps you understand their films. But, not everyone interested in Wajda can have that luxury, so I will try to give you a summary in a way you would relate to.
Kanal is a very compelling film, very accessible to American audiences. It is taut, suspenseful and portrays the WWII conflict from a perspective I think many Americans will be unfamiliar with. Much of the film takes place in a sewer, as the refugees try to find an escape from certain death at the hands of the Nazis. Fans of claustrophobic thrillers will appreciate this. The atmosphere is almost choking at times. It's a powerful experience. Steven Spielberg revealed in an interview that he screened Wajda's war films to his crew in preparation for Saving Private Ryan, to give them a better sense of how to create the mise-en-scene of war torn Europe. Kanal contains some virtuosic camera work that should be of interest to any serious film student.
Ashes and Diamonds is a monumental film, probably the most important in all of Polish cinema. (the only other one that comes close is Wajda's Man of Iron, winner of the Golden Palm in 1981). Zbigniew Cybulski is the antic, nervy hero, indeed a James Dean-like persona. Tragically, Cybulski also died young, missing a step while hopping onto a moving train, he fell and was crushed. Ashes and Diamonds will be of most significance to those familiar with the politics of the time and place. It's not an easy film. In fact, it's heartbreaking. But the staggeringly honest portrayal of conflicted allegiances to government and one's soul will resonate with all who see it. A man is hired to assassinate another man. A simple story treated realistically, with all the second guessing and anguish a real person would feel. The Polish sense of compassion extends even to her enemies.
The cover art on this box set depicts a blood soaked bed sheet flapping on a clothesline. When I visited Poland, white sheets drying on clotheslines was a common sight, be it a rural or urban area. But beyond the evocation of war and bloodshed, the red blood has another significance. Red and White make up the bi-colored Polish flag, which closely resembles the bedsheet in the graphic. It is a symbol of Poland's bloody history and the traumatic turmoil of this period in time.
This box set and Kieslowski's the Decalogue comprise a healthy chunk of the brilliant cinema found in Poland, a country with one of the earliest and most successful film schools in the world.

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In 1999, Polish director Andrzej Wajda received an Honorary Academy Award(r)for his body of work-more than thirty-five feature films, beginning with A Generation in 1955. Wajda's second film, Kanal, the first ever made about the Warsaw uprising, secured him the Special Jury Prize at Cannes and started him on the path to international acclaim, secured with the releases of his masterpiece, Ashes and Diamonds in 1958. These three groundbreaking films ushered in the "Polish School" movement and later became known as the "War Trilogy." But each boldly stands on its own-a testament to the resilience of the human spirit, the struggle for personal and national freedom, and Wajda's unique contribution to homeland and world cinema. The Criterion Collection is proud to present this director-approved edition, with new transfer of all three films and extensive interviews with the director and his colleagues.

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The Hunchback Of Notre Dame (Ultimate Edition) (1923) Review

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(More customer reviews)...although this new Image release which replaces their 1999 edition is likely the best that we'll see until someone can afford to do a full scale restoration. David Shepard and Film Preservation Associates are to be commended for making this look as good as they have considering the limited funds they have to work with (Shepard once said that Kevin Brownlow and Photoplay Productions spend on one reel what he spends on an entire film) and the source material which appears to be 16mm. There is no significant new footage here but the film has been speed corrected which accounts for the longer running time. The print seems to be the same as the 1999 release with lots of scratches throughout but the image is sharper and the toning of certain scenes is better.
Aside from the condition of the print what really keeps this from being the "Ultimate Edition" is the score by Donald Hunsberger. Hunsberger is a fine conductor (check out his Eastman Wind Ensemble recordings) but the music he compiled is too lighthearted overall and not sombre or medieval enough to enhance what's going on during the movie especially toward the end (the compiled score used for the 1999 version was far more appropriate). A darker score like the one Ennio Morricone did for the 1912 RICHARD III would help to undercut the melodramatic elements of the story and some of the performances. Once again a score can make or break a silent film.
Lon Chaney remains a marvel as Quasimodo, fully inhabiting the character beneath the makeup and the natural speed transfer restores his performance to what it should be. The medieval sets and vast army of extras also continue to inspire awe 80+ years later. The disc comes with program reproductions, 3-D glasses for old stills, and commentary from Chaney scholar Michael F. Blake. So fans of HUNCHBACK and Chaney rush out and be sure to get this edition for your DVD collection. I just wish that someday someone with unlimited funds can really produce the ultimate edition (ala METROPOLIS, BATTLESHIP POTEMKIN, PHANTOM OF THE OPERA) that this classic deserves.

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Lon Chaney stars as the gentle outcast Quasimodo in the first film version of Victor Hugo's classic novel, The Hunchback of Notre Dame. Paris of 1482 was meticulously recreated on the back lot of Universal Studios for this powerful drama that turned Chaney into a screen legend -- now presented in the ultimate special edition of this timeless classic. Mastered in high definition from an original multi-tinted print. New symphonic score compiled by Donald Hunsberger, adapted and conducted by Robert Israel. Recorded in Europe in digital stereo. Insert essay and optional audio essay through the film, both by Michael F. Blake, author of two books on Lon Chaney. Facsimile reproduction of original souvenir program. Gallery of Original 3-D stills (3-D viewing glasses are included with this DVD). Extensive gallery of 2-D stills including production shots, scenes and advertising materials. Behind-the-scenes footage of Lon Chaney out of makeup on the set.

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Astaire & Rogers Ultimate Collector's Edition (Flying Down to Rio / The Gay Divorcee / Roberta / Top Hat / Follow the Fleet / Swing Time / Shall We Dance / Carefree / The Story of Vernon and Irene Castle / The Barkleys of Broadway) (1949) Review

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(More customer reviews)The box set is made up of clear plastic thin cases and measures 3 7/8" wide x 7 7/8" high x 5½" deep, which is a real space saver for 12 discs (10 movie DVDs, 1 bonus DVD, and 1 audio CD). Each DVD comes with the feature film, a comedy/musical/vintage short, and a classic cartoon. Seven have a theatrical trailer; five have a featurette; three have a running commentary; two have a radio promo. The Gay Divorcee DVD comes with two vintage shorts, so you get eleven shorts on ten discs. Below are brief reviews/descriptions of the feature films, featurettes, vintage shorts, radio promos, classic cartoons, bonus material, and run times for each.
FEATURE FILMS
Their first film together, FLYING DOWN TO RIO is the only Fred and Ginger (F&G) movie where they play supporting roles. The studio executives and the public did not yet know this couple's dance potential and powerhouse future. They only dance together once 43 minutes into the film (The Carioca). The movie is filled with several post-card quality shots of Rio de Janeiro and has more choreographed group dance routines and vocalists than you can shake a stick at. My favorite is all those girls dancing on biplanes while in flight, which is very creative. The romantic plot of the main characters, Belhina De Rezende (Dolores del Rio) and Roger Bond (Gene Raymond) and the subplot of the Greek investors are a little light but still held my interest.
F&G's second film and their first as leading characters together, THE GAY DIVORCEE is the initial series of boy-chases-girl movies with comic misunderstandings, misgivings, and mistaken identity. F&G do the dancing, but Rodolfo Tonetti (Erik Rhodes) with his accent has the best one liners and password mispronunciations. The forgetful Hortense Ditherwell (Alice Brady) is a hoot. The musical number "Let's K-nock K-nees" is very fun and playful, even though it does not have F&G in it. Its tune is repeated in whistling near the beginning by a bellhop and near the end by canaries. In their previous movie "Rio" the dance craze was the Carioca; in "Divorcee" it's the Continental, which has a spectacular song, F&G dance, dance ensemble, and finale.
If you want to see Paris fashions in 1935, F&G's third film, ROBERTA, is the place to see it. Among all F&G movies, the plot is more sophisticated and dramatic and less comedic. Ginger plays an act within her role: not just the sassy American blonde but also the sophisticated Russian Comtess. She even sings "I'll Be Hard to Handle" with a Russian accent. In that same number, F&G communicate with each other not with words but by taps on their feet. Almost every speaking actor/actress has a three-dimensional personality especially Roberta/Aunt Minnie (Helen Westley) and Johnny (Candy) Candido with his voice performances. However, Stephanie (Irene Dunn) has an excellent singing voice but is overrated and should not have been top billed. As a side note, if you pay attention, look for Lucille Ball as one of the fashion models (uncredited).
The fourth Fred & Ginger (F&G) movie, TOP HAT is considered by many the quintessential one and is my personal favorite. In the Top Hat musical number, Fred cleverly uses his gentleman's cane as a "machine gun." And the ever-so-tender cheek to cheek number where he is singing and dancing with Ginger makes me feel like I am dancing in heaven as well. A deleted scene in some prints in which Bates (Eric Blore) insults a policeman, is present in this DVD. A running commentary with Ava Astaire McKenzie (daughter) and Larry Billman includes background information about the supporting actors and trivia, such as the significance of the ring Fred wears in the film. And even though Ginger rides the horse in this movie, we learn that Fred is the real horse lover. Ava admits she does not know everything about her dad and his career, which adds to the authenticity of what she does know and contributes.
The fifth F&G movie, FOLLOW THE FLEET shows two sides of Fred's character, Seaman Bake Baker. In other F&G movies, he is the upper class, suave gentleman. But in this one he plays a blue collar, enlisted seaman in the navy. In one part, you see him in his white tie and tails dancing and in control; in another part, he gets in trouble for trying to punch a commissioned officer. Two love stories in one movie, the additional romance of Connie Martin (Harriet Hilliard) and Bilge Smith (Randolph Scott) keeps the plot moving and enriches the story.
SWING TIME probably has the most intricate and advanced dance routines out of all the F&G movies. Even though the song, "The Way You Look Tonight" is wonderful, I would like to have seen them dance to it instead of watching Ginger with a hair full of whip cream. The running commentary by John Mueller sounds very clinical. Speaking in an almost monotone voice as if reading from his book, he does give interesting tidbits, such as converting any monetary amounts mentioned in the movie into today's dollars to give you a sense of the magnitude of a given situation. Mr. Mueller also points out that F&G are never seen kissing, because the on-screen romance is instead expressed through their dancing.
When you watch a F&G movie you expect to see the two of them to dance together. In their seventh film together, SHALL WE DANCE, you don't see their first dance routine until literally half way through the film (unless you want to count walking the dog as a dance). The way Harriet Hoctor bends backwards in the final dance number is incredible. Her body must be made of rubber. She's probably a better dancer than Ginger, but because she does not speak or act, we don't appreciate her as much.
In this eighth installment of F&G films, CAREFREE, Ginger displays her talents not only as a dancer but also as an actress and a singer. She performs all three simultaneously in The Yam. She causes mischief while under the hypnotic influence of Tony Flagg (Fred Astaire), throwing sticks and dinner rolls, breaking glass, driving erratically, and shooting skeet. The psychiatry is definitely unconventional, but it is a comedy after all. The slow motion dancing in the dream sequence is very smooth and kind of cool. A running joke where Aunt Cora (Luella Gear) keeps telling Judge Joe Travers (Clarence Kolb) to sit down adds a couple of more laughs. Typecasting prevails here; look for Hattie McDaniel (Gone with the Wind) playing a maid here, too.
Their ninth film together and the last for RKO, F&G play real life characters VERNON AND IRENE CASTLE. Since the story is set in the 1910s, which is comparably a more "innocent" era, the dancing is not as sophisticated but just as elegant, because it's F&G. A typical biographical account, it takes you through various trials and conflicts throughout their lives. The movie has more comedy in the beginning but becomes more serious at the end, especially when Vernon joins the Royal Air Corps during World War I. All the characters are lovable, and you wish you could be there. It's also the only F&G movie where the principles are concerned about having enough money to make ends meet.
After a ten-year absence, F&G are dancing as a pair one last time in their only Technicolor movie. THE BARKLEYS OF BROADWAY is not your typical F&G movie. Their acting has matured so much so that you forget that they dance, too. It has a little more drama and a little less comedy. Instead of boy meeting and chasing girl, their characters are already married, which provides a different relationship on screen. Also, Ezra Miller (Oscar Levant) is superb in his piano playing.
FEATURETTES
Made in 2005, these documentaries are behind-the-scenes looks at the making of the movies and includes interviews with Ava Astaire McKenzie, archivists, film historians, and biographers with a mix of F&G photographs and film clips.
"On Top: Inside the Success of Top Hat" explains many intricacies and attention to detail in the making of this movie. Nothing is left to chance. You will appreciate all the names in the opening credits (Run time 18:20).
"Follow the Fleet: The Origins of Those Dancing Feet" explains how F&G each got into show business, how they got their "big breaks," and where they first met. You'll discover why Fred went to RKO and not to one of the larger, better-known studios (Run time 13:53).
In "The Swing of Things" Broadway choreographers and performers demonstrate and comment on F&G's signature hopping step shown throughout Swing Time. Each dance number is analyzed and appreciated (Run time 14:47).
As the title suggests, "They Can't Take That Away from Me: The Music of Shall We Dance" emphasizes the songs in that movie. There is some good information on the composers, George and Ira Gershwin. Did you know that the origin of the song "Let's Call the Whole Thing Off" is based on how F&G pronounced certain words? (Run time 15:41)
"Reunited at MGM: Astaire and Rogers Together Again" explains F&G accidental pair up for their final film, their continuous chemistry, and Fred's perfection. Broadway choreographers and performers also appreciate how F&G have inspired them. (Run time 13:53)
VINTAGE SHORTS
Even without F&G, these film shorts are consistent with the genre and were made close to the times of the feature films they accompany.
"Beer and Pretzels" is a very early three stooges short with Ted Healy still with the comedy team. The slapping-of-the-face sound effects have not yet even entered the soundtrack. Just like F&G in Rio, Moe, Larry and Curly are in supporting roles. The four men cause havoc as waiters in a high class restaurant. Most of this short consists of song and dance routines of people I have never heard of. (1933, B&W, Run time 20:33)
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Studio: Warner Home VideoRelease Date: 10/24/2006

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The Most Dangerous Game - Criterion Collection (1932) Review

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(More customer reviews)The Most Dangerous Game is a superb early horror film. It is a really creepy, chilling film with great atmosphere. I always prefer this sort of moody horror to more modern films in the genre that depend on shocks and gore. The Most Dangerous Game can really get under your skin with its central theme of a manhunt. I had always thought, until watching the movie, that the `Game' of the title was referring to a game like Poker or Baseball, but really it is game in the sense of big game, lions and tigers and such. It is man who is `the most dangerous game.' For humans with their intellect are more of a threat to the hunter. This idea of a hunter matching his wits against a fellow human being is a deeply disturbing idea.
The film has a really fine cast. Leslie Banks plays the villain Zaroff and is suitably sinister without using histrionics. Joel McCrea shows why he would remain a leading man for the next thirty years and more. He had real star quality and a quiet acting ability similar to that of Gary Cooper. Fay Wray is delightful in a role which gives her more to do than just scream.
The Criterion DVD is very good indeed. The print is superb. There is some occasional damage, but it is hardly noticeable. The images are nearly always clear and sharp and show off the black and white photography very well. Best of all however is the sound quality. Many early talkies have terrible sound with indistinct dialogue and lots of background noise. This DVD has great sound and Criterion should really be congratulated. The DVD also has an audio commentary track by film historian Bruce Eder. His commentary is worth listening to as he is obviously enthusiastic and well informed about The Most Dangerous Game.

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"One of the best and most literate movies from the great days of horror," The Most Dangerous Game stars Leslie Banks as a big game hunter with a taste for the world's most exotic prey-his houseguests, played by Fay Wray and Joel McCrea. Before making history with 1933's King Kong, filmmakers Merian C. Cooper and Ernest B. Schoedsack wowed audiences with their chilling adaptation of this Richard Connell short story. Criterion is proud to present the DVD premiere of The Most Dangerous Game in a new digital transfer.

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Hawaii (1966) Review

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(More customer reviews)In the mid 1960's, Julie Andrews was the biggest movie star the world. Her success came on the strength of two block busters, 1964's "Mary Poppins" and 1965's "The Sound Of Music", the two films for which she will be forever identified. However, her body of film work in the 1960's, though only 7 films in all is impressive in it's scope and content. Of these films, one of the best and most successful was the epic "Hawaii".
The film tells the story of a zealous but misguided missionary, Abner Hale (Max von Sydow) and his loving, forthright wife Jerusha (Julie Andrews) who try to bring Christianity to the native Hawaiians. Both von Sydow and Andrews give magnificent performances, bringing humanity to two characters that could have been cardboard, stock figures in less talented hands. Indeed, these two characterisations work well because of each other with the unsympathetic Hale coming off as human after all due to being loved by his wife. Together, von Sydow and Andrews make an impressive team. The cast is rounded out beautifully by a raft of excellent players including Richard Harris, Gene Hackman, Carol O'Connor and even Bette Midler in her first film as an extra on the ship headed for Hawaii.
When the film was originally released, it was as a 189 minute roadshow production with overture, intermission, entr'acte and exit music. The film was later presented in an edited, 161 minute version. It is this version that has been released on DVD. This begs the question, what's missing from the DVD version?
The majority of cuts appear in the film's first half with entire scenes being removed. The second half is virtually intact with only some trimming of scenes. The deleted scenes in the films first half are as follows:
At 0:15:37Hale says goodbye to his family
At 0:27:06After her wedding to Hale, Jerusha says goodbye to her little sister prior to leaving for Hawaii
At 0:35:26On the voyage to Hawaii, Hale makes a convert in the crew
At 0:35:44The Captain charts the course and large bunches of bananas are brought on board
At 0:37:30Hale force feeds a seasick Jerusha bananas
At 0:38:30Hale condemns the convert he made among the crew because of drunkenness
At 0:39:21The Captain requests Hale's prayers prior to sailing through the Evangels
At 0:46:05The Captain throws his novels overboard (his part of a deal with Hale for praying in the ship's behalf) followed by Jerusha throwing the bananas overboard
At 1:16:12Sister Hewlett dies after giving birth
At 1:17:57Hale assures Jerusha that he can deliver her baby and that she will not die in childbirth
At 1:52:50Hale recovers in bed after a shark bite and Jerusha tells him that a wife needs to be loved not worshipped (final scene in the first half of the roadshow version)
There are also some trimmed scenes in the first half such as the farewell scene prior to Hale and Jerusha leaving for Hawaii as well as the elimination of the entr'acte.
It is Julie Andrews' Jerusha that suffers most at the hands of the editor. Some of her most powerful acting (the force feeding scene and her subsequent reaction to this in throwing the bananas overboard and calling her husband a bully, and again when she walks out on her husband's sermon when he condemns the incestuous marriage of the new Queen, for example) was removed. The result of this it to make one of Julie's most absorbing characterisation seem less moving and less three dimensional. In the full version, Jerusha is a devoted wife but is also capable of standing up to her husband and asserting her own personality and beliefs. The shorter version presents less of this side of her character and leaves Jerusha as a submissive wife with a bully of a husband. However, Julie Andrews is incapable of a bad or uncommitted performance and even in the edited version is at the top of her game matching von Sydow's Hale (a more flashy character) every step of the way.
Here's hoping that M-G-M will eventually release a fully restored DVD of the roadshow version to show what a fine film this really is and let us see the complete performances of two great actors, Andrews and von Sydow.
My recommendation: it's worth a look in its edited form but would have been better is presented complete.

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Two cultures collide in this vast, lavish and truly spectacular film starring Julie Andrews, Max Von Sydow, Richard Harris, Gene Hackman and Carroll O'Connor. Adapted from James A. Michener's Pulitzer Prize-winning novel and nominated* for seven OscarsÂ(r), this "majestic, gorgeously framedepic is adventuresome picture-making, a credit to the industry" (The Film Daily) and riveting entertainment! They came to bring God, but instead brought disease and destruction. The Rev. Abner Hale (Von Sydow) and his gentle wife Jerusha (Andrews) attempt to convert early 19th-century Hawaiian natives to Christianity but find themselves ill-equipped to endure the unexpected tribulations of paradise. Surging with the excitement of windstorms, firestorms, shark attacks and magnificent island scenery, Hawaii shines as passionately as the island paradise itself!*1966: Supporting Actress (Jocelyne LaGarde), CinematographyColor, Costume DesignColor, Special Visual Effects, Score, Song, Sound

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Laurel & Hardy (Sons of the Desert/The Music Box/Another Fine Mess/Busy Bodies/County Hospital) (1933) Review

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(More customer reviews)First let me say that these films are the BEST that Laurel & Hardy ever did, they are ***** films! I was excited to get this DVD, finally we were going to see the great restoration work that was done in Europe and sold on DVD there.
I have seen their DVDs, and this is NOT the restored version!
Problem 1) Over compression causes digital artifacting that makes SONS OF THE DESERT look like VHS at times. The transfer is the old grainy U.S. TV tape.
Problem 2) THE MUSIC BOX is compressed from a damaged video tape, there are wrinkles that appear as the boys are unloading the piano.
Problem 3) COUNTY HOSPITAL is a grainy copy from the Film Classics re-issue negative. The European DVD is authored from the original MGM issue negative. Leo the lion roars a greating to you to let you know that Europeans are about to see a fine transfer. In the U.S., our DVD only has the soundtrack of the roars over the grainy re-issue titles.
Problem 4) BUSY BODIES, while it does have the nice original MGM titles, is grainier than the European restored release.
On a slightly positive note, ANOTHER FINE MESS did not undergo restoration in Europe, so their version looks as grainy as ours. It does have the original title section with the two girls reciting the credits.
There is a fair documetary that used grainy clips from other shorts not on this collection (giving us a preview of how bad the future DVDs might be) and some nice stills showing you some locations as they look today.
Hopefully Artisan & Hallmark will re-master this DVD so that those without access to the European DVDs can enjoy these five classic movies the way they were meant to be seen: sharp without artifacting, on two discs.

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For one-stop convenience, you can't beat this handy compilation of "Laurel & Hardy" classics. Although it's modestly priced and packaged, this DVD packs plenty of extras along with Stan & Ollie's finest feature and several of the comedy duo's best-loved "talkie" shorts. "Sons of the Desert" (1933) is the crown jewel in any L&H collection, and with Charley Chase as their stellar comedy costar, the boys reached the pinnacle of their unique partnership, playing a pair of Fez-wearing "Sons of the Desert" sneaking off to a convention in Chicago, but their wives discover the ruse with hilarious results. For L&H fans, it simply doesn't get any better than this, although 1932's "The Music Box" shares equal status--and a 1932 Oscar® for Best Comedy Short--in the L&H pantheon. The remaining shorts on the disc ("Another Fine Mess," "Busy Bodies," and "County Hospital") were produced during the prime of Stan & Ollie's sound-era success (1930-33), each boasting their own timeless bits and flawless routines. Abundant laughs are virtually guaranteed. \nMost of the bonus material pays tribute to legendary comedy producer Hal Roach, who first partnered Stan & Ollie in 1926. A film-clip tribute includes interviews with comedy greats like Mel Brooks and Steve Allen, and on-screen articles explore Roach's career in greater detail. A "then and now" photo tour provides an historic tour of Roach Studio locations in Culver City, California, and text biographies are provided for Roach, Laurel, and Hardy. In addition to the films themselves (which never looked or sounded better), these extras make this "Laurel & Hardy" DVD a perfect choice for old and new fans alike. "--Jeff Shannon"

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The Uninvited (1944) Review

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(More customer reviews)Neatly playing light-hearted daytime fun against unsettling nighttime hauntings, THE UNINVITED is very much a traditional ghost story. When Ray Milland and sister Ruth Hussey buy a house on the Cornwall coast the purchase seems ideal--particularly as Milland is attracted to the seller's granddaughter, beautiful Gail Russell. But once settled in, Milland and Hussey soon find they are not quite alone in their new home.
The film is particularly notable for an "every day ordinary" style: there are no manipulative camera angles or unexpected editing tricks; there is no foreshadowing soundtrack; there are precious few special effects--and by refusing to use such time-honored elements, the story's ghostly elements seem all the more disturbing by comparison. The strong cast, which also includes Donald Crisp, Alan Napier, Cornelia Otis Skinner, is first rate and plays expertly, and Lewis Allen directs with restraint but never allows the pace to drag. THE UNINVITED is not a horror movie by any stretch of the imagination, and viewers who expect to rocked, jolted, shocked, and shuddered will probably be disappointed. But as a traditional ghost story with a mysterious and truly creepy plot it has more than a few chills, THE UNINVITED more than holds it own.

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The Stepford Wives (1975) Review

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(More customer reviews)Whether or not you've actually seen it, you'll probably have heard of "The Stepford Wives". Based on Ira Levin's novel, it was produced in the 1970s and has endured in the public consciousness ever since. Indeed the terms "Stepford" and "Stepford Wife" are now part of our vernacular. If you're in any doubt what these expressions mean, just imagine a woman who is the perfect male fantasy...a wife who cooks, cleans and keeps her husband's home to perfection whilst remaining an object of beauty, with well-preserved looks, sexy outfits and just the right-sized cleavage. A female who is there to service her man's every need - domestic, emotional, sexual - whilst never questioning her role as devoted housewife.

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JOANNA EBERHART HAS COME TO THE QUAINT LITTLE TOWN OF STEPFORD, CONNECTICUT WITH HER FAMILY, BUT SOON DISCOVERS THERE LIES ASINISTER TRUTH IN THE ALL TOO PERFECT BEHAVIOR OF THE FEMALERESIDENTS.

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The Bicycle Thief (1949) Review

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(More customer reviews)I first saw this movie as a student decades ago, and now seeing it all these years later on DVD, I'm amazed how well it holds up. It's a lesson in what can be done on the screen with so little; there's no budget here, largely amateur actors and a very simple plot. It's about an unemployed man, who gets a job offer that requires a bike, the sacrifice his family must make to get his bike out of hock, and what happens when the bike is stolen on the job. It's successful because I think the writers and director focus on some universal truths--about human nature, love, pride, survival and--yes--family values. It's disheartening to read some reviews that say: "I was bored," "It wasn't entertaining enough," or "Enough with the black & white." It's also disheartening to see reviews from people with no concept of this film's historical context. The poverty of post-WWII Europe produced a revolution in cinema, and this movie was one that redefined the medium's possibilities. I can't imagine someone not being moved by the dilemma faced by the lead character in this film. I do regret that this movie has not gotten a full "Criterion Collection" restoration, and I would have liked more "extras" on the DVD--like background information on the time the director and the Italian neo-realist movement. BTW, the more accurate translation of the Italian title is "Bicycle Thieves," which (after you see the movie) you must agree is more appropriate.

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A beautiful, simple story of a man in post-war Rome who needs his bicycle in order to work at his job. No sooner does he retrieve it from pawn, then it is stolen. The heartwrenching search teaches the man and his son much about the meaning of life and just how far we will go when pushed to the edge. Winner of a special Academy Award.

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Alfred Hitchcock - The Masterpiece Collection Review

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(More customer reviews)There are both pros and cons to this remastered/rereleased Hitchcock boxed set. The pros are that all have been remastered (all of them were anamorphic despite what other reviews have stated except for the first edition of "Vertigo" on DVD--read the boxes of the original releases or better yet watch them)and the remastering job has resulted in colors being bolder in many cases (Do a comparison as I did)with images being crisper and with slightly better resolution. There is an exception to this--"The Man Who Knew Too Much" actually looks worse than the previous release. While colors are good the image clarity and detail are off. I'm not exactly sure what happened here but it must have been during the Telecine transfer process from film to video (and then DVD). This is based on a head-to-head comparison with the other edition of the film and isn't based on a bad DVD. Instead, it's related to the transfer not being quite as good for this new updated version. So if "Man" is one of your favorites I'd advise you to keep the previous DVD. Also, there's no paper inserts with chapter stops listed as on previous editions. Also, a couple of films didn't have a huge difference but they were still noticeable for the most part.
The DVDs are housed four to a DVD "book" with two on each side one on top of the other. I know what you're thinking--they'll get scratched--but I didn't notice any potential for that. Still, you'll need to be careful taking them out and putting them in and these holders are not as secure as the individual keep cases. Each cover is decorated with images from the original posters for each movie overlapping each other.
Extras are exactly the same as the original releases for each disc. "The Making of Psycho" and "All About 'The Birds'" which were on the original discs themselves have been relocated to the bonus discs. There's also three new bonuses included. The first is a 15 minute excerpt from the AFI tribute focusing primarily on Hitch's droll comments when he accepted the Lifetime Achievement Award. I've long wanted to have this on DVD but do wish that Universal had licensed the entire AFI tribute as it was a charming and worthwhile evening. The second extra is a 30 minute interview featuring Pia Lindstrom and William K. Everson and is a vintage videotape interview with Hitchcock from the 70's. It's quite a revealing interview with Hitchcock charming the hosts as usual. He discusses quite frankly his likes (pre-production) and dislikes (method actors like Montgomery Clift). The third bonus is a 36 page booklet that, like the booklet that came with "Jaws", is hardly essential. It does include credits for each movie, some photos and brief comments about each film. It'll be something you might look at once or twice.
The box itself has a crushed velvet exterior and is quite attractive. The cover has a door that slides into the box to access the movies. So the pros are better transfers for most of the films. If you don't have all of Hitch's movies on DVD yet, this is a great deal. The new extras aren't worth the price of admission if you don't already have all of these and while they look better, the difference may not be all that striking to you. With the release of Hitch's TV show and other new stuff coming out, it's a matter of spending where one can.
I gave this set 4 stars for two reasons; 1) There are a number of so-so Hitchcock films in this set ("Torn Curtain", "Topaz", "Marnie" which is one that, despite Robin Wood's absurd arguments to the contrary, I find to be substandard Hitchcock and the enjoyable but light "Family Plot"). 2)"The Man Who Knew Too Much" should look BETTER than the previous edition but, in fact, looks a bit worse for the wear with less clarity and definition. 3)While we do some some new extras they are slim pickings. I would have loved to get more commentary tracks on these classic films from Hilton Green (Assistant Director on "Psycho" and a number of Hitch's TV episodes), Bruce Dern or Karen Black (on "Family Plot") and others on the important films.
Some of Hitch's finest films are here "Vertigo", "Rear Window", "The Man Who Knew Too Much", "The Trouble With Harry" (an acquired taste), "Psycho", "Shadow of a Doubt", "Sabotage", "Frenzy", etc but also some of his weaker thrillers as well. It's a good concise and inexpensive way to get them all.

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14 of the finest works from the universally acclaimed Master of Suspense come together for the first time in one collection. These captivating landmark films boast three decades of Hollywood legends, including James Stewart, Grace Kelly, Anthony Perkins, Sean Connery and Doris Day. The premium packaging and collectible book make Alfred Hitchcock: The Masterpiece Collection the must-own, definitive anthology of gripping works by a true genius.

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The Night of the Hunter (1955) Review

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(More customer reviews)There are images in Night of the Hunter, Charles Laughton's only film as a director, that will sear themselves into your brain and haunt you the rest of your life. That's not hyperbole; this film is simply that potent.
Nothing about Night of the Hunter is "realistic" or even plausible - not the plot, not the dialogue, not the behavior of the child characters, not the photography. Yet, Night of the Hunter transcends realism utterly to do something far more challenging than merely create a simulacrum of reality. It creates a waking dream - a vivid hallucination of fearsome beasts, tragic heroines, children in peril, and ultimate redemption. It succeeds as a modern fairy tale in the darkest tradition of the brothers Grimm. Even comparisons to German expressionist cinema of the silent era (apt though they are) diminish the singular, elemental power of this film. The Cabinet of Dr. Caligari and Nosferatu are stunning, but it's hard to imagine either of them getting under the skin in quite the same way.
The plot centers on the evil machinations of Harry Powell (Robert Mitchum), a murderous, psychotic "preacher" who does time with bank-robber Ben Harper (Peter Graves), father of two young children (Billy Chapin - brother of Father Knows Best star Lauren, and Sally Jane Bruce). Before being taken away by the police, Harper hid the money he stole and swore his children to secrecy about its location. No one else - not even their mother Willa (wonderfully played by Shelley Winters) - knows where the money is hidden. But after Ben Harper is hanged for the murder of two bank guards killed during the robbery, Harry Powell makes it his business to find out. Thus begins a cinematic odyssey like no other, filled with stark symbolism and eerie imagery.
Perhaps the most unsettling image is the celebrated shot of Willa's corpse in the river, strapped into a car, her hair billowing out in the water like the aquatic plants that surround her. It is one of the strongest images in all cinema - comparable to the baby carriage racing down the Odessa steps in Battleship Potemkin, or the eyeglasses landing on the snow-covered battlefield of Dr. Zhivago.
The central sequence is a boat journey that the children take down-river in an attempt to escape the evil preacher. Though obviously filmed on a sound stage and filled with incongruous and frankly theatrical moments, the overall effect is nearly overwhelming in the way it evokes childhood fears of abandonment and pursuit. Every time I see it, I fall completely under its spell.
Stanley Cortez's breathtaking black-and-white cinematography is complemented by Walter Schumann's atmospheric score. There is a moment during the river journey when Pearl (the little girl) begins singing a children's lullaby. The orchestra swells and turns the song into a dreamy, meditative piece of night music - filled with dread, sadness, and awe. It's not at all realistic, but if that scene doesn't give you chills, then you're just made of stone.
It is fitting that Lillian Gish plays the children's savior, the elderly Mrs. Cooper - a righteous woman with a steely constitution. Gish was there for the birth of cinema itself. Her presence in Night of the Hunter is like seal of approval, a testimony to this film's enduring status as a classic.
My only reservation with this otherwise superb DVD is the warning at the beginning that "This film has been modified from its original version. It has been formatted to fit your TV". Either that's flatly untrue (as Night of the Hunter looks perfectly at home in 4:3), or MGM has cheated us by not giving a true American classic its due.

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Of Mice and Men (1939) Review

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(More customer reviews)John Steinbeck's masterful story of friendship is definitively brought to screen in Lewis Milestone's 1939 OF MICE AND MEN. This is a terrific movie, essential viewing for anyone with a tolerance for black and white. The story is so universal and cleanly told this one is hard not to become deeply engrossed in.
Lon Chaney Jr., rightfully, is the chief reason we remember this movie. He nails the role of the feeble-minded Lennie, who wants nothing more than to tend his rabbits. I've never seen this movie before, and I was surprised at how effective Burgess Meredith was as Lennie's friend and protector, George. If Chaney steals most of the scenes he's in, Meredith is the reliable engine, grounded in humanity, that draws us in.
OF MICE AND MEN has been remade once, in 1992, in a production starring John Malkovich and Gary Sinise. For all of Malkovich's talents, I still prefer Chaney's performance. More importantly, the 1939 production was contemporaneous with Steinbeck's novel. If the latter movie is a period piece, the 1939 version is current events, and that does make a difference.
Get out the hankies and get ready to be deeply moved. An essential movie.

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OF MICE AND MEN - DVD Movie

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The Good, the Bad and the Ugly (Two-Disc Blu-ray/DVD Combo in Blu-ray Packaging) (1966) Review

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(More customer reviews)MGM released a DVD edition of "The Good, the Bad and the Ugly" in the late 1990s, but it had few extras, a mono soundtrack, and a scratched print. Finally, MGM has given Sergio Leone's Western epic the double-disc special edition it deserves. The print is restored and as clear as I've ever seen it, the sound is now an astonishing 5.1 Surround (listen to the glass falling off Tuco after he springs through the window in the opening sequence!) nineteen minutes of footage from the Italian original have been restored, and the discs are packed with extras. Even the packaging is great: a sturdy interlocking box, with the DVDs kept in the upper and bottom parts of the two lids. Also inside the box are cards containing posters for the film in five different countries.
The film, like most of the European Westerns of the 1960s, was critically disregarded in its day. The New York Times said of it: "the most expensive, pious, and repellent movie in the history of its peculiar genre. There is scarcely a moment's respite from the pain." It's amazing how people missed the brilliance of this movie, which turned Western conventions upside down in such a wonderfully bizarre, European way. Now the film is considered a classic, and only Sergio Leone's own "Once Upon a Time in the West" (another great 2 DVD set, by the way) has more respect in the genre. Leone's strange style -- stretched out time, obsession with close-ups and extreme wide-shots, focus on rituals, and use of Morricone's wild and avant-garde score -- are all in full force in this tale of three treasure-seekers searching for a cache of gold coins on the Texas-New Mexico border during the Civil War. The implacable and unflappable 'hero' Blondie (Clint Eastwood), the crazy comic bandit Tuco (Eli Wallach), and the calculating immoral sadist Angel Eyes (Lee Van Cleef) cross each other's paths amidst the senseless violence of the war. Leone perfectly contrasts the self-interested men with the greater backdrop of the tragedy of war. It's a strangely emotionally affecting picture despite its focus on three men who are detached from normal society and seem not to care about anything but money. So many individual scenes stand out for their virtuosity that the movie a parade of "greatest hits." Most astonishing of all is "The Ecstasy of Gold" sequence where Tuco dashes madly through a cemetery, looking for the grave that might hold the gold. Morricone's music here is especially overwhelming.
Chances are you've seen the film and love it. What about the new scenes and the extras?
Nineteen minutes of footage have been restored that were never shown in the American prints. The scenes integrate perfectly into the film, and after seeing them once, you won't be able to imagine they were ever missing. Among the scenes are Angel Eyes visiting a destroyed fort; Tuco hiring bandits to help him chase Blondie; Blondie and Angel Eyes having a face-to-face when they first set out together to find the gold; and some extra conversation between Tuco and Blondie in the desert. However, these scenes were never dubbed into English in the 1960s. Therefore, the DVD producers had to newly dub them. Eli Wallach and Clint Eastwood do their own voices. An actor named Simon Prescott does the imitation of the deceased Lee Van Cleef. Admittedly, Wallach and Eastwood no longer sound the same, but I couldn't imagine someone else imitating their voices -- it couldn't have been done any other way. Prescott is pretty good as Angel Eyes, if a bit more gravelly.
The extras...
Disc 1 has audio commentary by Richard Shickel, a film historian who wrote Eastwood's biography and also did commentary on Leone's "Once Upon a Time in America" DVD. His comments can be pretty dry, and he focuses mostly on Leone's style and techniques instead of on background information on the filming itself. Nonetheless, there are many interesting insights, and Shickel manages to say a lot during the three-hour running time.
Most of the extras are on Disc 2:
"Leone's West" -- A 20-minute documentary about the making of the film. Includes interviews with Shickel, producer Alberto Grimaldi, author of the English dialogue Mickey Knox, and best of all, Eastwood and Wallach. There's some very interesting info and memories here, mostly from Knox and the two actors.
"The Leone Style" -- A 23-minute documentary, really just an extension of the first one. It spends more time on Leone's unusual techniques. The same interviewees appear here.
"The Man Who Lost the Civil War" -- A 14-minute documentary that was produced separately from the DVD. It makes no mention of the movie, but is about its historical backdrop: the disastrous General Sibley campaign in Texas. Sibley appears in the film briefly, and this short documentary gives the viewer an important insight into the world of Blondie, Tuco, and Angel Eyes.
"Reconstructing The Good, the Bad and the Ugly" -- An 11 minute look into the painstaking work involved with fixing the picture and sound, restoring the cut scenes, and re-dubbing it.
"Il Maestro: Ennio Morricone" -- 8 minutes; mostly an interview with music scholar John Burlingame about the film's score. At the end of the feature, you can choose to listen to an audio-only twelve-minute lecture by Burlingame that provides a much more in-depth analysis of the music.
"Deleted Scenes" -- Two scenes couldn't go back into the film. The extended torture scene had a damaged negative, so here it is in its rougher state. An apparently lost scene is reconstructed through text, stills, and clips from the French trailer.
Finally, there's a gallery of posters, the original trailer, and MGM tossing in some gratuitous advertising for their other films.
Don't miss this DVD. Not only is it one of the great action films and one the great westerns, but it's the kind of release that the DVD format was invented for!

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By far the most ambitious, unflinchingly graphic and stylistically influential western ever mounted, The Good, the Bad and the Ugly is an engrossing actioner shot through with a volatile mix of myth and realism. Clint Eastwood returns as the "Man With No Name," this time teaming with two gunslingers (Eli Wallach and Lee Van Cleef) to pursue a cache of $200,000and letting no one, not even warring factions in a civil war, stand in their way. From sun-drenched panoramas to bold,hard close-ups, exceptional camera work captures the beauty and cruelty of the barren landscape andthe hardened characters who stride unwaveringly through it. Forging a vibrant and yet detached style of action that had not been seen before, and has never been matched since, The Good, the Bad and the Ugly shatters the western mold in true Clint Eastwood style.
Audio: English: Mono, 5.1 DTS HD Master Audio / Spanish & French: 5.1 Dolby Digital
Language: Dubbed & Subtitled: English, French & Spanish
Aspect Ratio: Widescreen: 2.35:1

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This Property Is Condemned (1966) Review

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(More customer reviews)How could a movie fanatic go wrong with this one? Sidney Pollack directing, with Francis Ford Coppola helping out with the adaptation of a Tennessee Williams play? A great cast , with especially memorable performances from Natalie Wood, Kate Reid and Mary Badham (as younger sister, Willie Starr)? Roberts Redford and Blake and Charles Bronson thrown in for lagniappe? Sounds like great gumbo to me.
Natalie Wood is absolutely alluring in this one. She and Redford, who also teamed together in the memorable INSIDE DAISY CLOVER, did indeed appear to have a lot of screen chemistry. He is the cynical company man who appears like the Grim Reaper in a small, shabby, depression-era southern town, carrying pink slips with him, instead of a scythe. The role has a lot of resonance now, what with all the corporate downsizing currently going on. Needless to say, the townfolk don't much cotton to Mr Owen Legate, with his fancy suit and self-assured ways.
With a couple notable exceptions. Tom boyish Willie Starr is taken by him right away and the minute her big sister Alma sets eyes on him, she's putty. Wood's expression in that initial glance is part of film history.
Owen further antagonizes the townfolk because they see that Alma has taken a shine to an outsider. Alma's been something of a tramp up this point, givining it up to varying degrees to most of the men in the town. Several of them, including an old geezer with an invilid wife, have been fantazising about further adventures with Alma. And Alma's mother is upset with Owen, because she sees that he is going to take away her gravy train. Hazel Starr is one of Williams' great eccentric female characters, and perhaps his most unctuous (though Amanda Wingfield, in THE GLASS MENAGERIE, is no prize, either. Kate Reid is perfect in the role. This, to me is her most memorable performance, followed closely by her title role in AND MISS REARDON DRINKS A LITTLE, which unfortunatley appears to be impossible to find. It's hard to believe she never won an Oscar or a Tony.
This was only the second feature film that Pollock directed. He of course went on to great things with such films as THEY SHOOT HORSES DON'T THEY and TOOTSIE. He and Cinematographer James Wong Howe do a great job of capturing small southern town lethargy, as well as 30's New Orleans ambience. The print, unfortunately, could definitely use a full restoration. It's faded noticeably over time. The film certainly warrants the extra work. Yet time cannot wither Natalie Wood. She's still one of the most lovely women a camera ever made love to. This film definitely belongs near the top of the list for screen adaptations of Williams' plays.
BEK

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Inspired by Tennessee Williams' play. Brought to life by Hollywood's biggest stars.He's the wrong man to love. How could it all seem so right?Robert Redford and Natalie Wood headline this sexually charged Depression-era drama. Redford (whose next film, Barefoot In The Park), would rocket him to stardom) plays Owen Legate, a railroad official come to backwater Dodson, Mississippi, with a pocketful of pink slips for the yard employees. Wood (at age 28 already a 23-year screen veteran) portrays the town flirt whose affair with Legate ignites her mother's - and the town's - revenge.Repressed desires, sultry women, sweltering weather and a handsome stranger... this is Tennessee Williams territory. And with stars Redford, Wood and co-star Charles Bronson, it's all prime property.

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Three Coins In the Fountain (1954) Review

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(More customer reviews)I must be honest--I bought "Three Coins in the Fountain" because I thought my wife would enjoy it. How right I was ! At the risk of sounding sexist, this 1954 production is definitely a movie aimed at women--and men wanting to impress women--it was probably a great "date flick" !
The plot is quite conventional, standard soap opera fare. Three young and single American women are employed as secretaries in Rome. They are played by Dorothy McGuire, Jean Peters, and--as "the new kid on the block"--Maggie McNamara. Of course, all three find romance, not to mention ever-changing wardrobes and lavish living accommodations. In 1954, secretaries must have made a bundle in Italy ! For gorgeous and seductive Ms. Peters, romance comes in the form of a ruggedly handsome Italian law student, Rossano Brazzi ( later to have Mitzi Gaynor swooning in "South Pacific" ). Young, naive Ms. McNamara attracts the attention of an Italian prince with a womanizing reputation
( Louis Jourdan, a poster boy for charm and sophistication ). She has to wait for much of the film, but Ms. McGuire is finally "noticed" by her stuffy, self-absorbed boss and best-selling author ( Clifton Webb, very badly cast as a romantic lead ). These relationships go through various predictable complications, with the steamy Peters/Brazzi pairing as the most realistic.
However, at this point, we should mention the real star of this film--Italy. Has that country ever been photographed more beautifully than in "Three Coins" ? This is one of the earliest Cinemascope productions, shot on location in colour--the views of Rome, the Italian countryside, and spectacular Venice are breath-taking. I agree with other positive technical reviews of this DVD--the film has been restored to its original glory, and this is a beautiful disc to own.
Of course, the film is still fifty years old, and dated in a number of ways. I still got caught up in it though because of the fabulous scenery and the three leading ladies are certainly attractive--I'm also sure that female viewers won't mind watching those two continental "hunks", Louis Jourdan and Rossano Brazzi !
The title song won an Oscar, and was a big hit for both Frank Sinatra--his version opens the film--and the Four Aces.
So--bottom line--a light, frothy confection from the fifties in a most beautiful package. There is one serious drawback--for us guys, this disc could become very expensive--my wife wants to spend our next holiday in Italy !

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A charming romantic comedy about three American roommates working in Italy who wish for the men of their dreams after throwing coins into Rome's magnificent Trevi Fountain.

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Jerry Lewis - The Legendary Jerry Collection (The Bellboy / Cinderfella / The Delicate Delinquent / The Disorderly Orderly / The Errand Boy / The Family Jewels / The Ladies Man / The Nutty Professor / The Patsy / The Stooge) (1964) Review

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(More customer reviews)The author of a recent book in appreciation of Lewis' film work, Enfant Terrible! notes that he's been honored primarily not in the US but in France, by "those incomprehensible hedonistic strangers across the sea." This set affords an opportunity to reappraise his standing in the cinema, and I find myself falling in with the hedonistic strangers in appreciation of his considerable talents.
I can remember as a kid laughing my head off in the theater watching Who's Minding the Store? (not included in this set), but it wasn't until I saw Martin and Lewis on the Colgate Comedy Hour shows on DVD that I had any idea of his range and versatility. Then I saw the first Dean and Jerry movie, My Friend Irma, a film based on a radio show, and thoroughly forgettable but for one thing: the Martin/ Lewis interplay. Paramount long ago saw what I'm just finding out, and the duo made sixteen movies together.
Only their last film in that series is included in this set, The Stooge, from 1953, in which, as Leonard Maltin has noted, Lewis shows hidden depths as an actor. His first solo outing, The Delicate Delinquent (1957) is surprisingly poignant, with only intermittent comic bits. This unimaginably rich set of ten films from 1953 to 1965 may not convert staid critics on this side of the Atlantic, but it certainly will prove the Lewis lover's cup of tea. The films are on ten single sided DVDs in five slimline cases which fit in a box set. The slim cases are too thin to comfortably hold two discs, however, and plastic pieces had broken off in all the cases I opened. The DVDs were still OK though (single sided discs are tougher than double sided ones), and except for that problem this is an attractively packaged set.
The ten films are in widescreen, four in black and white and six in color. In chronological order they are: The Stooge (1953, black and white), The Delicate Delinquent (1957, black and white), The Bell Boy (1960, black and white), Cinderfella (1960, color, with Ed Wynn as the fairy godfather), The Errand Boy (1961, black and white), The Ladies Man (1961, color), The Nutty Professor (1963, color, special edition), The Patsy (1964, color), The Disorderly Orderly (1964, color, with an opening song by Sammy Davis Jr.), and The Family Jewels (1965, color, in which Lewis plays six roles). There's not much information on the box, but many films include trailers and extra features, listed inside the DVD cases. The piece de resistance is a personal note from Jerry slipped into the box, expressing his hope that the Martin/ Lewis films will also soon make it to DVD. A sentiment we fans, mon ami, fervently echo.

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Contains: The Nutty Professor, The Ladies' Man, The Delicate Delinquent, Cinderfella, The Bell Boy, The Errand Boy, The Patsy, The Disorderly Orderly, The Family Jewels, and The Stooge.

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The Spiral Staircase (1945) Review

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(More customer reviews)Robert Siodmak's "The Spiral Staircase" is one of my all-time favorite thrillers. It was adapted from the book "Some Must Watch" by the prolific Ethel Lina White. 2 of White's books had been made into films by Alfred Hitchcock. "The Wheel Spins" became "The Lady Vanishes", and "Before the Fact" became "Suspicion". "The Spiral Staircase" deals with a pretty creepy premise: An unknown killer has been murdering women with "afflictions". (One victim was disfigured, another feeble-minded, another lame). Helen, a young mute servant girl working in a gloomy old mansion, is the killer's next intended victim. The killer is in the house with her, but who is it? Siodmak, a master of film noir, holds your attention for approximately 85 minutes, and never lets go. All of the classic elements are here: Old gloomy house, thunderstorm, chiaroscuro lighting, eerie musical score, colorful performances. The sets, by the way, are leftovers from Orson Welles' "The Magnificent Ambersons", the music score by Roy Webb, who had composed other goose-pimplers such as "The Cat People", "I Walked With a Zombie", "The Body Snatcher" and Hitchcock's "Notorious". Dr. Samuel J. Hoffman on the Theremin is featured on this score, providing added goosebumps. And the cast! Pretty Dorothy McGuire is excellent as the endangered Helen, in a house peopled by the likes of the very grand Ethel Barrymore, the wooden George Brent, marvelous character actors Elsa Lanchester, Rhys Williams and Sara Allgood, handsome Kent Smith and Gordon Oliver, and lovely Rhonda Fleming. Ellen Corby is in the film too, in a bit part-watch for her! Robert Siodmak was an excellent "B" movie director, having made masterpieces on relatively small budgets. His other films include "The Killers", "Phantom Lady", "Son of Dracula", the camp classic "Cobra Woman", "Criss Cross", and the Burt Lancaster romp "The Crimson Pirate". So, in this age of over-inflated budgets, it's a wonder and honor to see these well-made films from an era of almost non-existent special effects, modest budgets, and great actors. The picture and sound quality on this DVD are excellent-very clean and crisp, so you can really appreciate the gloomy Victorian sets and eerie musical score. There are practically no extras on the disc-just the theatrical trailer, but who's complaining? So, lock your doors and windows, because you never know who's watching you, and maybe even look under the bed, just to be on the safe side, and watch "The Spiral Staircase"-you will be thoroughly, enjoyably chilled!

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A murderer is targeting disabled young women in a sleepy New England town, and Helen (Dorothy McGuire), a mute servant in a Gothic mansion, is terrified she's next! Mrs. Warren (legendary actress Ethel Barrymore in an Oscar®-nominated* performance [Best Supporting Actress, 1946]), the invalid, bullying mistress of the house, warns Helen to leave at once, rather than rely on her weak son and stepson for protection. But even as Helen is packing her things, she suspects she may be too late and the murderer is closer than she ever imagined!

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