Shane
by George Steven
from Paramount Home Video
Acclaimed director George Stevens' legendary rendition of the quintessential Western myth earned six Academy Award® nominations and made Shane one of the classics of the American cinema. The story brings Alan Ladd a drifter and retired gunfighter to the assistance of a homestead family terrorized by a wealthy cattleman and his hired gun (Jack Palance). In fighting the last decisive battle Shane sees the end of his own way of life. Mysterious moody and atmospheric the film is enhanced by the intense performances of its splendid cast.System Requirements:Starring: Alan Ladd Jean Arthur Van Heflin Brandon De Wilde Jack Palance Directed By: George Stevens Running Time: 117 Min. Color Copyright Paramount Pictures 2003. Genre: WESTERN/MISC. Rating: PG UPC: 097360652246 Manufacturer No: 065224
Consciously crafted by director George Stevens as a piece of American mythmaking, Shane is on nearly everyone's shortlist of great movie Westerns. A buckskin knight, Shane (Alan Ladd) rides into the middle of a range war between farmers and cattlemen, quickly siding with the "sod-busters." While helping a kindly farmer (Van Heflin), Shane falls platonically in love with the man's wife (Jean Arthur, in the last screen performance of a marvelous career). Though the showdowns are exciting, and the story simple but involving, what most people will remember about this movie is the friendship between the stoical Shane and the young son of the farmers. The kid is played by Brandon De Wilde, who gives one of the most amazing child performances in the movies; his parting scene with Shane is guaranteed to draw tears from even the most stonyhearted moviegoer. And speaking of stony hearts, Jack Palance made a sensational impression as the evil gunslinger sent to clean house--he has fewer lines of dialogue than he has lines in his magnificently craggy face, but he makes them count. The photography, highlighting the landscape near Jackson Hole, Wyoming, won an Oscar. --Robert Horton
Mr. Smith Goes to Washington
by Frank Capra
from Sony Pictures
Political heavyweights decide that Jefferson Smith (James Stewart), an obscure scoutmaster in a small town, would be the perfect dupe to fill a vacant U.S. Senate chair. Surely this naive bumpkin can be easily controlled by the senior senator (Claude Rains) from his state, a respectable and corrupted career politician. Director Frank Capra fills the movie with Smith's wide-eyed wonder at the glories of Washington, all of which ring false for his cynical secretary (Jean Arthur), who doesn't believe for a minute this rube could be for real. But he is. Capra was repeating the formula of a previous film, Mr. Deeds Goes to Town, but this one is even sharper; Stewart and Arthur are brilliant, and the former cowboy star Harry Carey lends a warm presence to the role of the vice president. Bright, funny, and beautifully paced, Mr. Smith Goes to Washington is Capra's ode to the power of innocence--an idea so potent that present-day audiences may find themselves wishing for a new Mr. Smith in Congress. The 1939 Congress was none too thrilled about the film's depiction of their august body, denouncing it as a caricature; but even today, Capra's jibes about vested interests and political machines look as accurate as ever. --Robert Horton
You Can't Take It With You
by Frank Capra
from Sony Pictures
Frank Capra's 1938 populist spin on the George S. Kaufman and Moss Hart play about a family of happy eccentrics is a great deal of fun, though it significantly rewrites the original work and doesn't represent Capra (Mr. Deeds Goes to Town, Mr. Smith Goes to Washington) at his best. Jean Arthur plays a member of the blissful Vanderhof household who falls in love with a rich man's son (James Stewart) and brings him into her nutty home. Lionel Barrymore, who played such a bad guy eight years later in Capra's It's a Wonderful Life, is the wonderful Grandpa Vanderhof, who addresses God during the dinner prayer as "sir" and speaks plainly and beautifully of why it's good to be alive. Capra took this opportunity to rail against big business and champion the common man, but the overall tone of the film--typical for the director's comedies--is buoyant and snappy. --Tom Keogh
Easy Living (Universal Cinema Classics)
by Mitchell Leisen
from Universal Studios
Of all the screenplays Preston Sturges wrote for Paramount before becoming the greatest comic director of his generation, 1937's Easy Living seems the most like something he would have filmed himself--a satirical fable about chance, class, and the absurdity of the American dream. Jean Arthur is a New York secretary riding to work atop a double-decker bus when a fur coat miraculously descends from the sky and settles on her shoulders. The fur, however, has not dropped from Olympus but from the hand of a millionaire (Edward Arnold) who has just tossed it from a nearby roof to punish his wife. But as if it were a magic fleece (the mythical reference is almost certainly intended by the erudite Sturges), it makes its wearer invincible, conferring an aura of prosperity, celebrity, and power on the previously average working girl. No folk tale is complete without a prince: Sturges's is the millionaire's son, Ray Milland, who is trying to pass as an apprentice stockbroker. Directed with a light, elegant touch by Mitchell Leisen, the film lacks the crazy energy it would have had under Sturges's own hand, but this remains one of the great screwball comedies (in a year that also saw The Awful Truth and Nothing Sacred). --Dave Kehr
Jean Arthur and Ray Milland shine in this screwball comedy written by Academy Award® winner* Preston Sturges. Mary Smith (Arthur) is a poor working girl who literally has a fortune dropped in her lap when a wealthy financier (Edward Arnold) tosses a sable coat out a window and it lands on her. Everyone automatically assumes she's his mistress and soon her fairytale-like rags-to-riches lifestyle threatens a very real romance with an inept waiter (Milland). It's a "delightful comedy" (Leonard Maltin's Classic Movie Guide) full of misunderstandings that showcases high-society slapstick at its best!System Requirements:Running Time: 89 minutesFormat: DVD MOVIE Genre: COMEDY/SCREWBALL COMEDY Rating: NR UPC: 025193299123 Manufacturer No: 61032991
The Premiere Frank Capra Collection (Mr. Smith Goes to Washington / It Happened One Night / You Can't Take It with You / Mr. Deeds Goes to Town / American Madness / Frank Capra's American Dream)
by Frank Capra
from Sony Pictures
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Mr. Smith Goes to Washington Political heavyweights decide that Jefferson Smith (James Stewart), an obscure scoutmaster in a small town, would be the perfect dupe to fill a vacant U.S. Senate chair. Surely this naive bumpkin can be easily controlled by the senior senator (Claude Rains) from his state, a respectable and corrupted career politician. Director Frank Capra fills the movie with Smith's wide-eyed wonder at the glories of Washington, all of which ring false for his cynical secretary (Jean Arthur), who doesn't believe for a minute this rube could be for real. But he is. Capra was repeating the formula of a previous film, Mr. Deeds Goes to Town, but this one is even sharper; Stewart and Arthur are brilliant, and the former cowboy star Harry Carey lends a warm presence to the role of the vice president. Bright, funny, and beautifully paced, Mr. Smith Goes to Washington is Capra's ode to the power of innocence--an idea so potent that present-day audiences may find themselves wishing for a new Mr. Smith in Congress. The 1939 Congress was none too thrilled about the film's depiction of their august body, denouncing it as a caricature; but even today, Capra's jibes about vested interests and political machines look as accurate as ever. --Robert Horton
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It Happened One Night Director Frank Capra (Mr. Smith Goes to Washington) took home every Oscar in the book (well, okay, all the major ones) for this seminal 1934 comedy starring Clark Gable as a hard-bitten reporter who stays close to a runaway heiress (Claudette Colbert) rather than lose a good story. Funny and sexy, the film is full of memorable scenes often referred to in other films, such as the "walls of Jericho" (a mere bedcover hung on a line down the middle of a room so opposite-sex roommates can get undressed), and Colbert's famous flash of thigh to stop a speeding car in its tracks. Capra's brisk, urbane brand of wit was a perfect complement to his populist faith in the common man (in this case, Gable's character), and that inspired combination makes this film both a spirited entertainment and an uplifting experience. --Tom Keogh
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You Can't Take It With You
Frank Capra's 1938 populist spin on the George S. Kaufman and Moss Hart play about a family of happy eccentrics is a great deal of fun, though it significantly rewrites the original work and doesn't represent Capra (Mr. Deeds Goes to Town, Mr. Smith Goes to Washington) at his best. Jean Arthur plays a member of the blissful Vanderhof household who falls in love with a rich man's son (James Stewart) and brings him into her nutty home. Lionel Barrymore, who played such a bad guy eight years later in Capra's It's a Wonderful Life, is the wonderful Grandpa Vanderhof, who addresses God during the dinner prayer as "sir" and speaks plainly and beautifully of why it's good to be alive. Capra took this opportunity to rail against big business and champion the common man, but the overall tone of the film--typical for the director's comedies--is buoyant and snappy. --Tom Keogh
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Mr. Deeds Goes to Town
Mr. Deeds Goes to Town is Frank Capra's classic screwball comedy about a village innocent who inherits $20 million, only to discover it's more trouble than it's worth. The screwball in question is Longfellow Deeds (Gary Cooper), a small-town greeting-card poet and tuba player transplanted to the big city to administer his newly inherited wealth, where fast-pattering, wised-up cynics, sneering society denizens, and corrupt lawyers lord it over the ingenuous and straightforward. Deeds's idiosyncrasies are amply magnified in the tabloids by journalist "Babe" Bennett (Jean Arthur), dating Deeds as a cover, only to discover she's the sap when she falls irresistibly for him. But the damage has been done, when Babe's column is used by a pack of corrupt lawyers, Cedar, Cedar, Cedar & Budington, to prove Deeds mentally unfit. The miracle of this unforgettable comedy is how it embraces dark material, calling into question some common assumptions about capitalism while maintaining an approachable atmosphere of light comedy, and deceptively so. You'll be so pixilated by its charm, you won't rest until you've doodled your way to a rhyme for "Budington." --Jim Gay
More Stills from The Premiere Frank Capra Collection (click for larger image)
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Designated the "Number One Director in Hollywood" by Time Magazine in 1938 and voted by Entertainment Weekly (April 19th issue, 1996) as one of the greatest directors of all time, Capra has received numerous industry awards and accolades over the course of his successful career including three Best Director Oscars®.
The Premiere Frank Capra Collection is a 6-disc collectible box set featuring five of Frank Capra's best films. The digitally re-mastered set includes Mr. Smith Goes to Washington, You Can't Take it With You, Mr. Deeds Goes to Town, It Happened One Night and American Madness. The DVD box set includes a bonus disc packed with all-new interviews, archival footage, plus Frank Capra's American Dream documentary hosted by Ron Howard and produced by Capra's eldest son, Frank Capra, Jr. (An Eye for an Eye, Marooned). This Premiere Collection also features commentaries for each film, along with a 96- page collectible Movie Scrapbook.
A Lady Takes a Chance
by Henry Hathaway
from Republic Pictures
A Lady Takes a Chance is probably the best American romantic comedy of the '40s that hardly anyone knew about--at least, in the last three or four decades of the 20th century. That's chiefly because, as a semi-independent production mounted for Jean Arthur by her husband, Frank Ross, the movie couldn't claim a place in any studio archive (It's a Wonderful Life was long neglected for similar reasons). So this lovely gem is ripe for rediscovery, not only for Arthur at her most enchantingly distracted, as a New York gal on a bus tour of the modern Wild West, but also for John Wayne's sly sexiness as the rodeo rider who literally falls into her lap. James Agee, no less, approvingly noted that "Wayne suggests how sensational he might be in a sufficiently evil story about a Reno gigolo." Lady isn't evil, but it's surely a delight. --Richard T. Jameson
The More the Merrier
by George Stevens
from Sony Pictures
Portly Charles Coburn makes a cute if unlikely cupid in George Stevens's smart 1943 romantic comedy. Jean Arthur is girl next door and big-city sophisticate rolled up in one bubbly package as Connie Milligan, a single woman in Washington D.C. who sublets a room in her small apartment during the wartime housing crisis. Her new roommate, the deadpan eccentric Mr. Dingle (Coburn, who won an Oscar for his rascally performance), dislikes her stiff, bureaucratic beau and takes it upon himself to find her an appropriate boyfriend, namely the soft-spoken industrial engineer Joe Carter (Joel McCrea), whom Dingle puts up in his half of the apartment. Stevens takes a measured approach to comedy: The first morning with all three in the cramped kitchen turns a painstakingly organized schedule into a chaotic free-for-all that just gets funnier as the anarchy builds. Even more effective is the contrast between the charmingly effusive Arthur and McCrea's sauntering style, which creates not so much sparks as a slow simmer as they continue to spend time together. One of the finest craftsmen of Hollywood's Golden Age, Stevens shapes this lightweight screenplay into one of the most delectable romantic comedies of all time. --Sean Axmaker
Mr. Deeds Goes to Town
by Frank Capra
from Sony Pictures
Mr. Deeds Goes to Town is Frank Capra's classic screwball comedy about a village innocent who inherits $20 million, only to discover it's more trouble than it's worth. The screwball in question is Longfellow Deeds (Gary Cooper), a small-town greeting-card poet and tuba player transplanted to the big city to administer his newly inherited wealth, where fast-pattering, wised-up cynics, sneering society denizens, and corrupt lawyers lord it over the ingenuous and straightforward. Deeds's idiosyncrasies are amply magnified in the tabloids by journalist "Babe" Bennett (Jean Arthur), dating Deeds as a cover, only to discover she's the sap when she falls irresistibly for him. But the damage has been done, when Babe's column is used by a pack of corrupt lawyers, Cedar, Cedar, Cedar & Budington, to prove Deeds mentally unfit. The miracle of this unforgettable comedy is how it embraces dark material, calling into question some common assumptions about capitalism while maintaining an approachable atmosphere of light comedy, and deceptively so. You'll be so pixilated by its charm, you won't rest until you've doodled your way to a rhyme for "Budington." --Jim Gay
Only Angels Have Wings
by Howard Hawks
from Sony Pictures
Hands down, Only Angels Have Wings is one of the most buoyantly entertaining movies in the American cinema. It is also a razor-sharp example of the action-oriented films of Howard Hawks, the wide-ranging auteur who would go on to make To Have and Have Not and Red River. This one is set in Barranca, a South American port city swathed in perpetual night fog, where a band of mail pilots struggle daily to get their planes through a treacherous mountain pass. They don't care about the mail so much as they live by the rules of adventure, professionalism, and friendly rivalry. Cary Grant is the leader of this daredevil group, a man who won't be pinned down to anything except his own code of stoicism. ("I don't believe in laying in a supply of anything," he says, which may be why he's always asking people for matches to light his cigarettes.) His cool style is tested by the arrival of a wisecracking blonde (Jean Arthur) and an ex-mistress (Rita Hayworth); Rita's now married to a pilot (Richard Barthelmess), disgraced by a single act of cowardice. Hawks always got great mileage from throwing a bunch of colorful characters together in an enclosed space, where death could strike in a moment. The great secret about Hawks is that although his feel for action was crackling, he was really more interested in the way people exchanged sidelong glances or lit each other's cigarettes--there's a lot of both in Only Angels Have Wings. --Robert Horton
The Talk of the Town
by George Stevens
from Sony Pictures
An escaped accused arsonist hides out at the home of a friend and they work to convince her summer tenant, a judge, of his innocence.
Genre: Feature Film-Comedy
Rating: UN
Release Date: 25-FEB-2003
Media Type: DVD
The screwball comedy was the definitive genre of the Depression, but as America edged toward war in the early '40s, it suffered some strange and wonderful mutations--none stranger than The Talk of the Town, directed by George Stevens from a script by novelist Irwin Shaw and frequent Capra collaborator (and future blacklist victim) Sidney Buchman. Cary Grant, awkwardly cast, is a small-town political agitator who is framed for the burning of a local factory; he takes refuge in the attic of a country cottage that landlady Jean Arthur is preparing to rent out to a celebrated law professor (silver-tongued Ronald Colman, perhaps the only actor in Hollywood who could make Grant look like a proletarian). Stevens, suspended between his light '30s style (Swing Time) and his heavy postwar manner (A Place in the Sun), struggles to balance a charming, surprisingly suspenseful romantic triangle with the heavy, debating-society tone of the screenplay, which pits Grant, the representative of a compassionate, emotional sense of justice, against the cool, abstract application of the law advocated by Colman. Caught between these two highly verbal characters, Jean Arthur doesn't have much to do but be adorable and provide the occasional quizzical reaction shot--two things she does with exquisite skill. Stevens and Arthur teamed up again one year later for another strange-bedfellows farce, the marvelous The More the Merrier; in 1953 Arthur made her final film appearance in Stevens's Shane. --Dave Kehr
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