Astor, Mary

Meet Me In St. Louis (Two-Disc Special Edition)

One of the finest American musicals, this 1944 film by Vincente Minnelli is an intentionally self-contained story set in 1903, in which a happy St. Louis family is shaken to their roots by the prospect of moving to New York, where the father has a better job pending. Judy Garland heads the cast in what amounts to a splendid, end-of-an-era story that nicely rhymes with the onset of the 20th century. The film is extraordinarily alive, the characters strong, and the musical numbers are so splendidly part of the storytelling that you don't feel the film has stopped for an interlude. --Tom Keogh

St. Louis 1903. The well-off Smith family has four beautiful daughters, including Esther and little Tootie. 17-year old Esther has fallen in love with the boy next door who has just moved in, John. He however, barely notices her at first. The family is shocked when Mr. Smith reveals that he has been transfered to a nice position in New York, which means that the family has to leave St. Louis and the St. Louis Fair.

Midnight (Universal Cinema Classics)

Academy Award® winners* Claudette Colbert Don Ameche and John Barrymore light up the screen in Midnight - one of the best romantic comedies from the Golden Age of Hollywood. The fun begins when a penniless showgirl (Colbert) impersonates a Hungarian countess and with the help of an aristocrat (Barrymore) quickly adapts to her new lifestyle. But can she stop herself from falling in love with yet another poor man (Ameche)? Written by Academy Award® winners** Billy Wilder and Charles Brackett Midnight has been hailed as "just about the best light comedy ever caught by the camera!" (Motion Picture Daily)System Requirements:Running Time: 95 minutesFormat: DVD MOVIE Genre: COMEDY/SCREWBALL COMEDY Rating: NR UPC: 025193312921 Manufacturer No: 61033129

Although Hollywood's golden year of 1939 is best remembered for Gone with the Wind and The Wizard of Oz, it was also a banner year for sophisticated screen comedy, and Mitchell Leisen's Midnight is a deliciously prime example. Screenwriters Billy Wilder and Charles Brackett were in peak form when they concocted this smooth confection about Eve Peabody (Claudette Colbert), an American showgirl in Paris who is out of work, money, and luck when a handsome cabbie (Don Ameche) offers to drive her around the City of Light to search for employment as a nightclub chanteuse. Nobody's hiring, but Eve has a better plan: posing as a Hungarian countess, she smuggles her way into Parisian high society and suddenly finds herself in the lap of luxury, commissioned by a wealthy aristocrat (John Barrymore) to seduce a French playboy (Francis Lederer) away from Barrymore's not-so-loyal wife (Mary Astor). While Eve is living it up at the Ritz Hotel and enjoying trips to Versailles, Ameche's on a mission to find her and declare his true love.

Class distinction, infidelity, false identity... these were daring ingredients for a 1939 comedy, and Midnight (a casebook display of Paramount's shimmering studio style of the '30s) is as fresh today as it was when first released. The silky perfection of the Wilder-Brackett screenplay is expertly served by Leisen (a director who deserves ranking with Ernst Lubitsch and Preston Sturges), and Colbert is merely the brightest star in a flawless cast of screwball veterans. Poking fun at the elite was a Wilder-Brackett specialty, and Barrymore is particularly savvy to the material, giving a performance that's simultaneously sly, desperate, and hilariously inspired. The plot is so elegantly executed that Midnight makes most comedies of later decades look pale in comparison. Gone are the days, it seems, when sophistication, wit, and good taste were an integral part of Hollywood comedy. Midnight offers all of those qualities in abundance, making it a perfect antidote to the crudeness that dominates mainstream comedy at the turn of the millennium. --Jeff Shannon

Hush...Hush, Sweet Charlotte

Poor Charlotte Hollis. She's been shunned by the community for decades, ever since the fateful night in 1927 when her lover was hacked apart with an axe. Her antebellum southern mansion is slated for the bulldozer, as it stands in the way of highway construction. Charlotte's only hope lies in her cousin Miriam (Olivia de Havilland), coming down from up north to help settle things. Miriam, however, has other designs. Together with her boyfriend Drew (Joseph Cotten), she embarks on a scheme to systematically drive Charlotte out of her mind (not a great leap) and get her mitts on the family fortune. From there, things only get more complicated. Charlotte puts the "gothic" in southern gothic, as a great showcase for completely bizarre, overwrought, and out-of-control performances from all involved. Agnes Moorehead plays Charlotte's loyal, disheveled housekeeper to the hilt, with an odd inflection that calls to mind Amos and Andy more than southern gentility. As the drunken, conniving Dr. Drew, Cotten's accent is indeterminate at times, and seems to come and go. As great as the supporting players are, though, the crown goes to Bette Davis as the shrieking Charlotte, a portrait of isolation and decay stuck in a world of tragic delusions inside her crumbling mansion. De Havilland is a close second as the scheming Miriam; the scene where she slaps the holy snot out of a hysterical Charlotte is itself worth the price of admission. Mary Astor (in her last role) and Cecil Kellaway (as a kindly Lloyd's of London adjuster) put in the only performances with any restraint, acting as counterweights for the rest of the cast. Besides, you'll never get another chance to see Joseph Cotten playing the harpsichord and singing, or caked in mud and lily pads! With Robert Aldrich's claustrophobic direction, Charlotte is as Southern as a field of kudzu, and as subdued as a train wreck. --Jerry Renshaw

This is the tale of a wealthy southern spinster Charlotte Hollis (Bette Davis) who lives with her eccentric maid (Agnes Moorehead) in a decaying southern mansion, shunned by the townsfolk after the mysterious axe-murder of her late lover. When her jealous cousin (Olivia de Havilland) and her cousin's wily husband (Cotton) arrive for a visit, the two conspire to drive Charlotte insane and have her commited so the two can sell off her estate and pocket the proceeds.

The Bette Davis Collection, Vol. 3 (The Old Maid / All This, And Heaven Too / The Great Lie / In This Our Life / Watch on the Rhine / Deception)

IN THIS OUR LIFE Homewrecker Davis runs off with sister Olivia de Havilland?s hubby and that?s just for starters! THE OLD MAID Let the fireworks begin. Miriam Hopkins poses as the mother of the child Davis bore out of wedlock?the arrangement is beginning to fray. ALL THIS AND HEAVEN TOO Enchanted by governess Davis nobleman Charles Boyer murders his wife. But is la Bette as innocent as she appears? THE GREAT LIE Friends make the best enemies. Scheming concert pianist Mary Astor and selfless Davis are entangled in secrets and lies. DECEPTION Now Voyagers' Davis Claude Rains and Paul Henried reunite in a gloriously flamboyant tale of musicians indiscretion and murder. WATCH ON THE RHINE A leader of Germany?s anti-Hitler underground is hunted by Nazi agents in Washington DC. Dashiell Hammett adapts Lillian Hellman?s play.Running Time: 668 min.Format: DVD MOVIE Genre: DRAMA/CLASSICS UPC: 085391187578 Manufacturer No: 118757

To quote Claude Reins in "Deception," Bette Davis is "all eyes and talent," and both burn bright in six vintage films she made for Warner Bros. between 1939-46. Lesser known than her certified classics, these are not exactly best Bettes, but they are marvelously entertaining and a representative showcase for one of Hollywood's most enduring leading ladies. These eminently repeatable films put Davis (and viewers) through the ringer. Few actresses portrayed characters who suffered the slings and arrows of outrageous misfortune so grandly, so regally, so tragically, or so deservedly. As an ad for one of Davis' movies once famously proclaimed, when she was good, she was very good. When she was bad, she was terrific. Just check out John Huston's In This Our Life (1942), this set's unearthed treasure. Bette, flouncing like mad, jilts her fiancée, steals good sister Olivia de Havilland's husband, and promptly drives him to drink and suicide. And she's just getting warmed up! (You don't need Jeannine Basinger's informed commentary to debunk the tantalizing movie legend about a supposed cameo by members of the Matlese Falcon cast. Those gents at the bar look nothing like Bogie and company. But that is Walter, John's father, tending bar). Davis was also very good at being noble. In the prestige project, Watch on the Rhine (1943), based on Lillian Hellman's play and adapted for the screen by Dashiell Hammett, she is the steadfast wife to Paul Lukas, in his Oscar-winning role, as a "legendary figure of the underground movement," who carries on his fight against fascism in Washington, D.C. In The Old Maid (1939), based on the novel by Edith Wharton, Bette allows her cousin (Miriam Hopkins) to give her illegitimate child a respectable name, and, posing as the girl's unsuspecting aunt, must stand by while she grows up spoiled and "horrid." And in All This and Heaven Too (1940), she is a transplanted French schoolteacher who regales her initially scornful students with the true story behind her scandalous past. Deception is another ripping melodrama in which she stars as a pianist whose reunion with her lost love (Paul Henreid), a cellist is threatened by Rains as her arrogant and sadistic Svengali (who's responsible for those minks in her closet). Last but not least is The Great Lie (1941), pitting Bette against Mary Astor, who won an Academy Award as the bitchy concert pianist whose son Bette is raising (long story, but it involves missing aviator George Brent, whom they both love). These films offer such they-don't-make-'em-like-this-anymore pleasures as lush, melodramatic scores by such masters as Max Steiner, hothouse emotions, quotable dialogue, and, of course, indelible character actors at their peaks. These films are seen to their best advantage when viewed as part of each disc's bonus features that recreate an old fashioned "Night at the Movies," complete with theatrical previews, newsreels, short subjects, and Warner Bros. cartoons featuring Porky Pig or Daffy Duck. --Donald Liebenson

Little Women

This sumptuous 1949 film adaptation of the beloved Louisa May Alcott novel isn't as good as the 1933 Katharine Hepburn version, or even the 1994 remake starring an Oscar-nominated Winona Ryder, but it does offer its own pleasures, especially in seeing an all-star cast put through its paces. Erstwhile tomboy June Allyson stars as Alcott's famed heroine Jo, the budding writer in Civil War New England who pines for adventure, independence, and her own career. With Father off to war, it's up to Jo, practical older sister Meg (Janet Leigh), frail sister Beth (Margaret O'Brien), and vain sister Amy (Elizabeth Taylor) to help Marmee (a saintly Mary Astor) keep the home fires warm while dealing with the rigors of adolescence. It's all poured on with a generous amount of syrup, including lavish sets, hoop skirts, and petticoats, but anyone who's ever read Alcott's book will take comfort in its familiar story line. The dialogue is clunky but earnest, but you'd have to have a heart of stone not to get caught up in Jo's plight. And rarely do you get to see such stars go at it with such gusto: Allyson and Peter Lawford (as neighbor and rich boy Laurie) are a match made in B-movie heaven, Taylor is spunky and hilarious in an early comic performance, and Leigh does the matronly thing with aplomb. And nobody, but nobody, cries and suffers like Margaret O'Brien! Watch it in the wintertime, with a fire roaring. --Mark Englehart

Louisa May Alcott's famous novel of the March family, brought to the screen.

Return to Peyton Place

The residents of Peyton Place Mass. are not happy when its most famous resident Alison Mackenzie writes a "shocking" novel detailing the sinful secrets of the town. Most outraged is malicious Roberta Carter who wants the book banned from the school library. Roberta's other mission is to destroy her son Ted's marriage to his Italian bride. Theirs however isn't the only marriage in trouble: Alison's book is causing a rift between her mother and stepfather who is also the school principal and one of the book's few defendants.System Requirements:Running Time: 123 MinFormat: DVD MOVIE Genre: DRAMA UPC: 024543162704 Manufacturer No: 2226270

The Maltese Falcon

Still the tightest, sharpest, and most cynical of Hollywood's official deathless classics, bracingly tough even by post-Tarantino standards. Humphrey Bogart is Dashiell Hammett's definitive private eye, Sam Spade, struggling to keep his hard-boiled cool as the double-crosses pile up around his ankles. The plot, which dances all around the stolen Middle Eastern statuette of the title, is too baroque to try to follow, and it doesn't make a bit of difference. The dialogue, much of it lifted straight from Hammett, is delivered with whip-crack speed and sneering ferocity, as Bogie faces off against Peter Lorre and Sydney Greenstreet, fends off the duplicitous advances of Mary Astor, and roughs up a cringing "gunsel" played by Elisha Cook Jr. It's an action movie of sorts, at least by implication: the characters always seem keyed up, right on the verge of erupting into violence. This is a turning-point picture in several respects: John Huston (The African Queen) made his directorial debut here in 1941, and Bogart, who had mostly played bad guys, was a last-minute substitution for George Raft, who must have been kicking himself for years afterward. This is the role that made Bogart a star and established his trend-setting (and still influential) antihero persona. --David Chute

Sam Spade is caught in a frantic search for the jeweled falcon of Malta and his partner's killer. His pursuit leads him to a group of desperate individuals who also want the bird.

The Palm Beach Story

Among the earliest writers to set his sights on the director's chair, Preston Sturges brought a frank, unsentimental view of the war between the sexes to his mid-'40s features that exemplify his style, as demonstrated in this prescient 1942 gem. Architect Tom Jeffers (Joel McCrea) and his wife, Gerry (Claudette Colbert), further refine the archetypal Sturges couple--the male embodying strength, idealism, and a certain naivete, the female ultimately stronger, smarter, and (as revealed early on in an astonishing speech by Colbert) clearer-eyed and more pragmatic about the subtext of sex. This giddy shaggy-dog story follows the couple's split, and Gerry's subsequent flight to Palm Beach. This head-snapping frolic is paced by double-entendres and lampooning looks at the very rich, with standout performances by the predatory Princess Centimillia (the delicious Mary Astor), who's more than ready to comfort Tom, and the wealthy, dim-witted John D. Hackensacker III (Rudy Vallee, staking out a new career, post-crooner, as comic foil), Gerry's new suitor. Even the predictable reunion of the star-crossed lovers is achieved with an antic surrealism. Sturges's strength in building strong character ensembles is matched by his affection for coupling screwball dialogue with physical slapstick, seldom to better effect than in the drunken target practice of the Ale and Quail Club, who make Colbert's train ride to Florida a different kind of shoot-'em-up. --Sam Sutherland

Dodsworth

One of the finest films of the 1930s, this classic Samuel Goldwyn production was based upon the hit Broadway play written by Sidney Howard, which had in turn been adapted from the 1929 novel by Sinclair Lewis. Ahead of its time in dramatizing the disintegration of a marriage, the story centers on the title character (superbly played by Walter Huston, who originated his role onstage), a wealthy automobile manufacturer whose wife (Ruth Chatterton, in her final American film role) desperately craves an aristocratic lifestyle in Europe. Dodsworth indulges her fancies to a degree, but their clashing desires--compounded by her affair with a European baron and his affection for a sympathetic widow (Mary Astor)--create further tension and mutual rancor. Dodsworth was perhaps the first Hollywood drama of the sound era that maturely addressed the complexity of a failing marriage and impending divorce, made especially compelling since Dodsworth is such an admirable and upstanding character who means well and upholds the ideal of marital commitment. Sharply directed by William Wyler, the film is as relevant today as it was when released in 1936. --Jeff Shannon

The Kennel Murder Case